Browsing by Subject "musiikki"
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(2008)This work studied the creative process of musicians. The subject was chosen partly due to the attention given to creativity in social discussion. The approach was material-based, because during the work it became clear that the theoretical models describing the creative process in general did not provide adequate tools for the examination of musical creation. In this study, the creative process was defined as a process, which generated a work found by the musician novel to him or her. There were two principal research questions: 1) How does the creative process of musicians progress? 2) What makes a process creative? The main emphasis was on the first question, because the study aimed at modeling the creative process of musicians. The material for this study was collected by interviewing five professional musicians, each qualified by an expert of music to be creative. The interviews were thematically linked with each musician's recently implemented creative process. The work generated in the process was used as a stimulant in the interview. The main themes of the interview dealt with the musician's concrete action, cognitive functioning and affective experience during the process. Secondary themes included his or her goals as well as the factors that enhanced or inhibited the process. A material-based analysis was made of the interviews. The conceptualization and modelling of the creative process was founded on a phenomenological-hermeneutic interpretation. In addition to the primary interviews, also supplementary interviews were made in order to ensure that the description of the musician was understood correctly. Further supplementary interviews were made when the material was analyzed and results were deduced. This aimed at increasing the reliability of interpretations and conclusions. The study resulted in a four-level model representing the progress of a creative process. The levels were defined by means of the conception of state. The levels used in defining the process were 1) the state determining the potential of the process, 2) the state delimiting the process, 3) the state orienting the process, and 4) the state determined by the process. The progress of the process was described as changes taking place in the state. It was discovered that the factors having an effect on the creativity of the process were the dynamism of the process, the musician's work in relation to his or her inner standard and the impulses that caused variation in the musician's thinking. The interview method used in this study proved to be a very suitable tool in an examination of a creative process. Thus it may well be applicable in other research contexts associated with creative processes. The outcome of this study, the model of the progress of a creative process, should also provide a feasible basis for the examination of different kinds of creative processes. It enables a comprehensive examination of a creative process, simultaneously justifying the dynamic nature of the process.
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(2018)Objectives. The aim of the current study was to explore whether participation in short-term music intervention can increase phonological awareness and the size of vocabulary in 5–6-years-old children. Phonological processing is defined by the ability to recognize and modulate small units of words, like phonemes. Vocabulary is a group of words that represents specific concepts such as objects (nouns). Both phonological processing and the size of vocabulary are known to be related to later reading ability in children. It is also known that children with musical experience perform better on tests measuring language abilities than children without musical experience. Single studies have also reported that short-term music intervention enhances phonological awareness and development of vocabulary in preschool children but more research on this theme is needed. Methods. The sample consisted of 64 children in two cohorts. There were three groups of children: an experimental group with music intervention (n=20), an experimental group with dance intervention (n=24) and a control group (n=20). Music and dance interventions took place in the kindergartens and lasted 3‒6 months. Before and after the interventions the groups were compared with tests of phonological processing and the size of vocabulary. The comparison was made with repeated measures analysis of variance. Results. Differences in the phonological processing or the size of vocabulary between the groups were not found. All children performed better on post-tests than pre-tests. The results of the current study indicate that short-term music intervention does not enhance phonological processing or development of vocabulary in preschool children. The results are contradictory to previous research and highlight the importance of more precise conceptualization of music intervention in the future.
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(2023)The aim of this study is to describe, analyze and interpret class teachers’ perceptions of support- ing self-efficacy in music classes from the perspective of assessment. The purpose is to investi- gate how different assessment methods support the building of the student’s self-efficacy, and which evaluation methods are generally used in music lessons. The purpose of this study is also to find out what other influential factors are related to supporting self-efficacy. The phenomenon of this research is how self-efficacy can be supported by evaluating music lessons and other factors. Self-efficacy is a part of Albert Bandura’s (1986) socio-cognitive theory, which describes a person’s own confidence in his own abilities, for example in learning situations. The study has been carried out as a qualitative case study. I interviewed six qualified class teachers who teach or have taught music during their careers. The material has been analyzed with a material-oriented content analysis. I have explored this phenomenon because the topic is important for learning. A student’s school motivation largely depends on how he feels he succeeds in learning. With the evaluation, a teacher can strengthen a student’s self-efficacy beliefs, which increases a student’s experience of success at school. According to the results, supporting self-efficacy from the perspective of assessment is not easy in music lessons. It requires a lot of special attention from teachers. Different assessment methods and the other factors related to supporting self-efficacy affect how evaluation supports self-efficacy. Increasing group sizes, teachers’ own teaching skills and the diversity of students affect also how assessment can be carried out in music lessons in general. The factors that define self- efficacy (strength, power, and levels) also affect how a class teacher can strengthen students’ self-efficacy beliefs with his actions. The research results show why it is important to explore the connection between supporting self-efficacy and evaluation.
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Musiikillisen harjaantumisen vaikutus riitasointisuuden erotteluun : aivovaste- ja vertailututkimus (2018)Objectives. Consonance and dissonance are basic features of harmonic music and are most likely based on the properties of our auditory system and are discriminated automatically at the level of early information processing. Attentional focus may have an effect on the preattentional discrimination of dissonance. In addition, musical expertise has been shown to affect the processing of musical stimuli on a neural level. However, the effects of musical expertise on early levels of processing and plasticity are not yet known. The aim of this study was to explore whether there are differing effects of musical dissonance on event-related brain potentials (ERPs) between musicians and non-musicians and how the attentional focus might alter the possible effect. A second aim was to find out how musicians and nonmusicians discriminate dissonance in a separate behavioral task. Methods. 16 musicians and 14 non-musicians took part in the study. Electroencephalography (EEG) was used to measure participants’ ERPs, while listening to chords presented in an oddball-paradigm. Two dissonant four-tone chords with different levels of dissonance were presented in a consonant chord context. The chords were presented in a passive condition and in an active listening task. The mismatch negativity (MMN) potential amplitudes were used to investigate pre-attentive discrimination. In addition, participants discriminated the chords according to their dissonance in a behavioral test. Results and conclusions. The dissonant chords evoked MMN responses in both conditions and in both groups. The frontal part of the brain displayed stronger MMN responses to the more dissonant chord. The change of attentional focus had an effect only on the nonmusicians and the MMN response in the passive condition was stronger than the one in the active condition. Both groups performed better than chance in the behavioral test but overall, musicians discriminated dissonance more accurately. The results indicate that dissonance is a musical feature that is discriminated in pre-attentive information processing independent of musical expertise. However, musical expertise seems to facilitate the discrimination processes in a behavioral task.
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(2020)Objectives: Stroke is one of the most common causes of long-term adult disability. The fastest recovery occurs during the first months of post-stroke. Still, patients in rehabilitation wards spend most of the time in nontherapeutic activities. There are promising findings on using music listening as part of the rehabilitation of stroke patients in the rehabilitation ward environment. Nevertheless, the implementation of music listening therapy still requires more research. This pilot study was designed to determine usability of music listening devices (MP3 player compared to a tablet computer with Spotify), to evaluate whether music listening can facilitate recovery after stroke and to study the subjective benefits that occur as a result of music listening on stroke patients. Methods: In total 24 subacute phase stroke patients (age 51–82 years) in a rehabilitation ward took part in the study. Patients listened to music using either MP3 device (n = 8) or Spotify on a tablet computer (n = 16). Patients listened to their favourite music for approximately one hour a day, during 2–3 weeks period. Neurological examination and brief cognitive testing were performed at the beginning and the end of the study. Patients filled questionnaires on functioning, quality of life, mood, and motor and cognitive deficits as well as role of music in life and experiences on music listening before and after the music listening intervention. At the end of the study, patients also evaluated the usability of the music listening technology. Rehabilitation ward nurses observed patients during the usage of music listening devices at the beginning, middle and end of the study. Results and conclusions: There were no changes in functioning, quality of life and mood measures, apart from the improvement in the neurological examination compared to pre-examination. There were no differences in the impacts of music listening between groups. The usability of the MP3 player and the tablet computer and Spotify were evaluated as quite good on average by patients and there were no differences between groups in this evaluation. In qualitative analysis, there seemed to occur more problems in the tablet group, but usage became easier over time. Stroke patients felt that music listening was rewarding and beneficial to their recovery and they were eager to recommend music listening as a part of stroke rehabilitation. Stroke patients felt that music listening was useful to them with both devices and beneficial to their rehabilitation. Stroke patients were eager to recommend music listening as a part of the stroke rehabilitation. Based on the results of this study, music listening therapy can be recommended as a part of the rehabilitation of subacute phase stroke patients.
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(2016)Tutkielman tarkoituksena on avata ja tuoda ymmärrettäväksi inkerinsuomalaisen muusikko-pastori Arvo Survon käyttämää käsitettä ”musiikin sakraalisuus”. Tärkeimmän tutkimusaineiston muodostavat vuosina 1998 ja 2011 tehdyt Survon tutkimushaastattelut, joita kirjoittaja pyrkinyt ymmärtämään ja tulkitsemaan gadamerilaisen hermeneutiikan avulla. Erityisenä mielenkiinnon kohteena on kirjoittajalla ollut musiikin sakraalisuuden ja pyhyyden suhde. Aihetta on käsitelty lukuisista eri tulkintahorisonteista. Niistä keskeisiä ovat olleet uskontotieteen pyhän ja mystiikan teoriat sekä eri taiteenalojen filosofiset näkökulmat. Eri tutkimustraditiot ja lähestymistavat on filosofis-hermeneuttisessa reflektiossa saatettu dialogiin Survon ajattelun sekä toistensa kanssa. Tutkielmassa nousi esille useita teoreettisia näkökulmia musiikin sakraalisuuteen. Huomattavimpia niistä on musiikin sakraalisuuden dualistinen luonne, jota kirjoittaja on jäsentänyt muun muassa Julia Kristevan semioottinen/symbolinen -modaliteettien ja Akseli Gallén-Kallelan ajatteluun pohjautuvan pyhäkoodin avulla. Tutkielman perusteella musiikin sakraalisuus voidaan tulkita pyhäksi sekä pyhän transsendenttisen tutkimustradition tuonpuoleisuusaspektin että yhteiskuntatieteellisen tutkimustradition korostaman erottamisaspektin pohjalta. Näyttää kuitenkin ilmeiseltä, että pyhä ilmenee musiikissa nimenomaan mystisen kokemisen kautta. Mielenkiintoisena seikkana nousi esille musiikin sakraalisuuden analogisuus kirkkoisä Augustinuksen sisäisen ja ulkoisen sanan teorian ja kristillisen opin ”Sanan lihaksi tulemisesta” kanssa, jolloin musiikin sakraalisuus on sisäisen (semioottisen) sanan yhdistymistä ulkoiseen (symboliseen) sanaan eli ilmaisuun. Sakraalinen musiikki voidaan tällöin tulkita myös Mircea Eliaden pyhäteorian mukaiseksi hierofaniaksi, pyhän ja profaanin paradoksaaliseksi esiintymiseksi yhdessä.
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(Helsingin yliopistoUniversity of HelsinkiHelsingfors universitet, 2003)Tämä Pro gradu -tutkielma käsittelee Krakovan kaupungin teknomusiikkiin pohjautuvaa kaupunkikulttuurin osasta - Krakovan teknoheimoa. Antropologisella kenttätyömetodilla kerätyn aineiston pohjalta olen pyrkinyt selittämään kaupunkikulttuurin toimintaa nykyaikaisessa kulttuuriteollisuuden ja postfordistisen kapitalismin määrittämässä kaupungissa. Kaupungissa, joka on vuoden 1989 jälkeen, Puolan sosialistisen järjestelmän romahdettua, ajautunut jälleen mukaan globaalin kapitalismin pyörteisiin. Kapitalismin saapumisen myötä kaupunki ja sen elämä ovat saamassa lisääntyvissä määrin vahvistuvasta urbanisoitumisesta ja postmodernin kiistellystä epookista kertovia tunnusmerkkejä. Näistä tunnusmerkeistä selvin on Michel Maffesolin tunnistama ilmiö kaupunkielämän heimottumisesta. Postmodernien kaupunkikulttuurien leimaamissa kaupungeissa ihmisten yhteisöllisyys on muodostunut eri lähtökohdista kuin perinteisissä naapurustoihin pohjautuvissa kaupungeissa. Heimottuneissa yhteiskunnissa yhteisöllisyys muodostuu kuluttamisen ja ekstaattisen yhdessäolon kautta. Krakovassa on selviä merkkejä siitä, että kaupunkiheimot ovat korvaamassa perinteisen katoliseen kirkkoon pohjautuvan yhteisön. Yksi kaupunkiheimoista on teknomusiikkiin - elektroniseen tanssimusiikkiin-pohjaava kaupunkikulttuuri. Krakovan teknoheimo on globaalin teknokulttuurin ja paikallisen tilan ehdoilla toimiva yhteisö. Sen olemassaolo perustuu toisaalta tiettyjen, dominoivien henkilöiden haluun ansaita elantonsa teknomusiikin kautta ja toisaalta heimon jäsenten tarpeesta kokea yhteisöllisyyttä muiden samanlaisen maun omaavien henkilöiden kanssa. Teknomusiikin ja -heimon tarina on alkanut vasta 1980- luvun puolen välin paikkeilla Lontoosta, mutta kuitenkin alle 20 vuodessa se on levittäytynyt lähes koko maapallon alueelle. Nopea levittäytymistahti kertoo omaa tarinaansa nykyisen kulttuuriteollisuuden voimasta. Sen kyvystä omaksua uusien, mielenkiintoisten kulttuurien tavat, symbolit ja asenteet ja tehdä niistä kulutushyödykkeitä. Tämä on selvästi nähtävissä myös Krakovan teknoheimon elämässä. Kaupungissa on toisaalta nähtävissä teknoheimon taso, jossa harrastuneisuus ja aito innostus musiikkia ja tanssimista kohtaan on määräävässä asemassa, mutta myös kulttuurikoneisto, joka yrittää markkinoida teknoheimon elämäntavan helposti omaksuttavia osia mahdollisimman laajalle yleisölle. Teknoheimon kautta puolalaisen yhteiskunnan muutos kohti urbaanimpaa ja globalisoituneempaa maailmaa on selvästi nähtävissä. Se on ollut yksi niistä monista silloista, joita pitkin kapitalismin leimaamaa kaupunkikulttuuria on rakennettu entiseen sosialismin saarekkeeseen.
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(2019)Tässä pro gradu -tutkielmassa selvitetään musiikkiharrastuksen ja erityisesti soitonopiskelun yhteyttä 13–21-vuotiaiden nuorten tarkkaavaisuus- ja toiminnanohjaustaitoihin. Musiikkiharrastus on aiemmissa tutkimuksissa liitetty tehostuneisiin kuuloerottelukykyihin, kielellisiin kykyihin ja korkeamman asteisiin kognitiivisiin prosesseihin. Tämän laajan kognitiivisten kykyjen tehostumisen takana on ehdotettu olevan tarkkaavaisuuden säätelyn ja toiminnanohjaustaitojen kehittyminen musiikki- ja erityisesti soittoharrastuksen myötä. Tarkkaavaisuudelle ja toiminnanohjaukselle tärkeä etuotsalohko kehittyy edelleen nuoruudessa ja vielä aikuisiän saavuttamisen jälkeen, joten on kiinnostavaa selvittää musiikkiharrastuksen mahdollisia hyötyjä nuorten ja nuorten aikuisten vielä kehittyviin toiminnanohjaustaitohin ja mahdollista yhteyttä niiden taustalla oleviin aivomekanismeihin. Tutkimuksessa mitattiin aivosähkökäyrämittauksella (elektroenkefalografia, EEG) nuorten ja nuorten aikuisten (N=64, joista 35 kuului musiikkiryhmään ja loput kontrolliryhmään) inhibitiota, kognitiivista joustamista ja työmuistia edellyttävän visuaalisen vaihtamistehtävän synnyttämiä P3-tyyppisiä herätevasteita. Lisäksi nuoret ja nuoret aikuiset tekivät inhibitiokykyä ja tarkkaavaisuuden sujuvaa vaihtamista sekä työmuistia ja yleistä päättelysuoriutumista mittaavia neuropsykologisia tehtäviä. Tutkimuksessa tarkasteltiin myös näissä tehtävissä suoriutumisen yhteyttä P3-tyyppisen vasteen voimakkuuteen. Musiikki- ja kontrolliryhmän välillä ei havaittu eroa toiminnan tai taitojen tasolla koeasetelman vaihtamistehtävässä eikä neuropsykologisissa tehtävissä. Ryhmien välillä ei havaittu myöskään eroa P3-tyyppisen vasteen voimakkuudessa. Vasteen jakauma erosi kuitenkin ryhmien välillä. Musiikkiryhmällä P3-tyyppinen vaste oli voimakkaampi päälaen alueella pään keskiosaan verrattuna, kun taas kontrolliryhmällä vaste oli voimakkaampi päälaen alueella vielä taaempaan takaraivon alueeseen verrattuna. Koeasetelman vaihtamistehtävässä suoriutumisella oli yhteys P3-tyyppisen vasteen voimakkuuteen: mitä suurempi vasteen voimakkuus oli, sitä lyhyemmät olivat reaktioajat tehtävässä. Sen sijaan neuropsykologisessa inhibitio- tai vaihtamistehtävässä suoriutumisella ei havaittu olevan yhteyttä P3-tyyppisen vasteen voimakkuuteen. Työmuistisuoriutuminen oli kuitenkin positiivisesti yhteydessä P3-tyyppisen vasteen voimakkuuteen. Myös iällä havaittiin yhteys vasteen päänpinnan jakaumaan. Nuorimmilla vaste oli voimakkaampi päälaen alueella taaempaan takaraivon alueeseen verrattuna, mutta vanhimmassa ikäryhmässä vasteen amplitudi oli suurempi päälaen alueella pään keskiosaan verrattuna. Toiminnanohjaustehtävissä suoriutuminen parani iän myötä molemmilla ryhmillä. Vaikka selkeitä ryhmäeroja ei tutkimuksessa havaittukaan, tulokset viittaavat siihen, että nuorilla ja nuorilla aikuisilla musiikkiharrastus on yhteydessä erilaiseen tarkkaavaisuuden säätelyyn ja toiminnanohjaukseen liittyvään hermostolliseen toimintaan musiikkia harrastamattomiin verrattuna. Tulosten mukaan tarkkaavaisuus- ja toiminnanohjaustaidot ja niihin liittyvät hermostolliset prosessit myös kehittyvät edelleen 13–21 vuoden iässä.
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(2015)The effects of musical training are a subject of growing interest in the field of cognitive brain research. Earlier it has been found that in addition to honing the skills directly related to musical performance, musical training also can elicit transfer effects in neuronal circuits affecting other areas of cognitive performance. One such function is attention, which is a cognitive process known to mature during childhood. This thesis seeks to investigate whether early-onset musical training is linked to correlates in involuntary attention shift on a neuronal level in school-aged children. The EEG data was gathered from 69 subjects, 54 percent of whom had received musical training. The subjects were between 11 and 17 years of age, and they were divided into two age-groups (between 11 and 13 years and between 15 and 17 years of age), in addition to the division of musically trained and non-trained control group. We assessed the subjects' involuntary shift of attention with the amplitude of early and late P3a component, evoked by unattended novel stimuli during a visual task the subjects were instructed to attend to. The results show that the amplitude of early P3a decreased for recurring novel stimuli. The effect was found for the musically trained group, but it was absent in the control group. For the younger subjects, the amplitude for late P3a was larger for the control group in comparison to the musically trained group. No such effect was found with the older subjects. Late P3a amplitude was larger for the young subjects of the control group in comparison to the older subjects, an effect that was absent in musically trained subjects. Both the age-related difference in P3a amplitude for the control group, and the training-related difference for the younger subjects suggest maturation of attentional processes. The amplitude of the P3a has earlier been connected to higher use of resources. In light of this evidence, the results suggest that younger musically trained subjects must allocate fewer resources identifying and processing task-irrelevant novel stimuli compared to the control group. However, any age-related maturation in attentional processes present with the control group in this study is absent in the musically trained group. This leads to an assumption that musically trained subjects simply reach the peak of their attentional skillset earlier than the control group, but display no observed attention-related advantages during the late adolescence.
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(2020)Faculty Faculty of Medicine Department Department of Psychology and Logopedics Author Mikaela Molander Title Development of syllable stress perception and word finding in children with cochlear implant during speech-music -intervention Subject Logopedics Level/Instruct Master’s Thesis / Ritva Torppa, Eila Lonka Month and year April 2020 Number of pages 59 pages + 9 appendices Abstract Aims. Phonological and lexical development of children with a cochlear implant (CI-children) is often poorer compared to children with normal hearing. There have been only a few studies on word finding (WF) skills of CI-children. As the time frame of childhood language development is narrow and language development of prelingually deaf children is often delayed, it is important to study how to support early speech perception and production of these children. The aim of this study is to find out whether syllable stress perception and WF skills of CI-children develop during a speech-music -intervention. Methods. In this multicase study, four CI-children, aged 5–7 years, were followed through a group intervention with methods and procedures from music and speech therapy. The group was chosen by a public hospital hearing center. Children performed tasks on discrimination of fundamental frequency (F0) and duration four times (at 0, 3, 7 and 12 months) and a test of word finding (accuracy and speed) two times (at 3 and 12 months) during the 12 months follow-up. Quantitative results were compared with previous research data on syllable stress perception of Finnish CI-children and with Finnish background data on the normative WF test used in the follow-up. Results and conclusions. Perception of fundamental frequency (F0) and duration of CI-children improved in almost every task and comparison during the follow-up period. WF skills improved at least in one part-task per child, however individual variation was evident. Only one child showed (both positive and negative) changes quicker than expected according to WF normative data. Changes in WF performance of other children fell within normal variation. There was more positive development in WF accuracy than in WF speed. The reported changes, coincided with the speech-music -intervention, support the assumption that music may have positive effects on syllable stress perception and further on language development of CI-children. Music in family rehabilitation coaching and as part of speech therapy of young CI-children should be encouraged. Keywords cochlear implant, music, prosody, word stress/syllable stress, word finding, children Where deposited Helsingin yliopiston kirjasto – Helda / E-thesis (opinnäytteet) ethesis.helsinki.fi
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(2019)Goals. The aim of this study is to examine how pupils describe collaborative learning processes and how they describe group processes in a band project. The purpose of the study was to research how pupils experience learning, group dynamics, and the different roles in a group. Band projects enable teachers to implement the participatory method of music education required by the new National Core Curriculum of Basic Education 2014. The theoretical background of this study is socio-constructivist approach, in which learning occurs in interaction with others, and pupils are active in their own learning. The results of previous studies on ensemble and group processes show that playing in a band and interactive learning during music lessons increase motivation and well-being in schools. Methodology. The study was a qualitative case study. The data of this study was collected with a survey from the pupils (N=74) of one elementary school in the capital area of Finland. The students were 5th and 6th graders. The survey had both multiple choice and open questions relating to the experiences that pupils had during the band project. The survey was originally designed to be a self-evaluation form for the pupils after the band project. The survey was conducted during the Spring of 2018 as a Forms survey on the Office 365 platform. The final data consists of the answers of 25 pupils from the 5th grade. The data was analysed by using qualitative content analysis and applying the phenomenographic approach in part. The role of the theory was directional in the analysis. A part of the results of the content analysis was analysed also quantitatively. Results and conclusions. The pupils` descriptions of group processes were related to either goals set, the actions of the group, or the musical activities. The pupils` views of their own role in the group were divided into four categories: the one maintaining a positive atmosphere, the one influencing the actions of the group, the one acting actively and the one expressing opinions. The pupils’ experiences of the group operations during the project were related to either other group members or to the task itself. The categories of pupils` descriptions of the learning processes during the band project were: learning how to play an instrument or how to sing, learning how to play in a group, the music theory and technology related learning and learning the collaboration skills. According to this study the band project as an educational method gives the pupils good possibilities to improve their collaboration skills, work with others, and actively participate. In addition, it develops the pupils’ musical skills in interaction with each other.
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(2022)Achievement goal orientations depict studying motivation and they are related to academic achievement. Yet, the means to support the developing achievement goal orientations in childhood require further examination especially in the case of children with special educational needs (SEN). Musical and physical activity may enhance learning but the associations with achievement goal orientations remain unclear. The purpose of this study was to examine what kinds of goal orientation groups occur among 3rd to 4th graders within one and half years, and how integrated music and physical education are related to the achievement goal orientations. Migrant background and SEN were observed as demographic factors. Finally, between groups comparisons were analyzed in terms of academic achievement in mathematics. The participants (N = 52) were comprised of four classes of which three received integrated music and physical education three times a week for two school years. The fourth class received usual curricular education during the experiment. Twenty students had special educational needs and eleven spoke some other language than Finnish as their first language. Teacher questionnaires were used to collect data from students’ achievement goal orientations and mathematical achievement was evaluated using RMAT and MATTE tests in three time points. Goal orientation groups were formed using K-means cluster analysis and between groups comparisons were analyzed with cross-tabulation and nonparametric tests. Three distinctive goal orientation groups were found in each time point: mastery, performance and avoidance goal oriented. No significant difference was found between the integrated education group and the usual curricular group in their achievement goal orientations. Instead, goal orientations tended to develop more maladaptive among students with SEN – especially if their first language was other than Finnish. Mastery oriented students’ mathematical achievement differed significantly from the avoidance oriented ones’.
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(2022)Tutkielman aiheena on Unkarin musiikkitallenteiden markkinoiden kehittyminen aikavälillä 2003– 2020. Analysoitu aikaväli kattaa Unkarin musiikkitallenteiden markkinoiden kehittymisen fyysisten tallenteiden dominoimasta markkinasta digitaaliseen, suoratoistopainotteiseen markkinaan, sekä musiikkipiratismin laskun. Tutkielman näkökulma aiheeseen on kuluttajalähtöinen, mitä heijastaa myös tutkielman teoriatausta. Pääasialliset tutkimuskysymykset tutkielmassa ovat, miten Unkarin musiikkitallenteiden markkinat ovat kehittyneet aikavälillä 2003–2020, ja miten tätä kehitystä pystyy selittämään ja mallintamaan. Tutkielmassa on analysoitu laillisten musiikkitallenteiden markkinoiden lisäksi myös musiikkitallenteiden markkinahäiriöitä ja niistä johtuvaa musiikkipiratismia maassa. Tutkimus soveltaa teoriaa innovaatioiden diffuusiosta sekä mikrotaloustieteen teoriaa hyödykkeistä ja kuluttajan valinnasta. Aineistona tutkielman laillisten musiikkitallenteiden analyysiosassa ovat unkarilaisen MAHASZ levytysteollisuusorganisaation fyysisten musiikkitallenteiden myyntiluvut vuosilta 2003–2020 ja digitaalisten musiikkitallenteiden myyntiluvut vuosilta 2005–2020. Laillisten tallenteiden myyntidata on luokiteltu tallennetyypeittäin, joista jokaisen diffuusiota ja ominaisuuksia on analysoitu teoriataustaa ja aiempaa tutkimusta hyödyntäen. Musiikin piratismin analyysissa aineistona ovat EUIPO:n ja IIPA:n raportit immateriaalioikeuksien toteutumisesta Unkarissa, SZTNH:n raportti digitaalisesta piratismista Unkarissa ja Maailmanpankin data Unkarin BKT per capitan ja Gini-kertoimen kehityksestä. Musiikin piratismista on tutkielmassa analysoitu sen syitä ja kehitystä Unkarissa. Tutkimuksen tulokset antavat yksityiskohtaisen kuvan eri musiikkitallenteiden diffuusiosta sekä tämän diffuusion syistä kuluttajalähtöisestä näkökulmasta Unkarin musiikkitallenteiden markkinoilla. Tutkielma tarjoaa myös kuvan musiikkipiratismin kehityksestä ja siihen vaikuttaneista tekijöistä Unkarissa. Pääasiallisia syitä musiikin markkinoiden ja piratismin kehitykseen sekä markkinoiden digitalisaatioon olivat tallenteiden hinnat, kuluttajan preferenssit ja musiikin tallennetyyppikohtainen tarjonta, joiden vaikutusta kuluttajan valintaan analysoitiin yksityiskohtaisesti tutkielmassa.
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(2014)Music has an important role in our everyday lives. It is a powerful way of conveying and inducing emotions. It is even described as the language of emotions. Still, the research on the processing of musical emotions and its variations among individuals is scarce. In addition, it is not known whether the same or different neural pathways are recruited when musical emotions are processed with or without conscious awareness (i.e., implicitly or explicitly). The central aims of this thesis are 1. to examine the neural basis of the processing of musical emotions, namely happy, sad and fearful, 2. to determine the neural networks underlying the implicit and explicit processing of musical emotions and 3. to discern the effects of personality on this processing. 31 participants (mean age 27.4 years, 9 men) attended the study. Functional magnetic resonance imaging (fMRI) was used to assess the brain activation as the participants listened to musical excerpts expressing three emotions: sadness, happiness, and fear. In the implicit paradigm, participants estimated how many instruments they heard in the stimulus (one, two or many). In the explicit paradigm, participants chose the emotion that best described the stimulus (happy, sad, or fearful). Personality was evaluated using two personality questionnaires, NEO-FFI and S5. Each of the three emotions studied activated different brain regions. Processing of happy music activated the auditory cortex, processing of sad music activated the limbic and frontal areas, and processing of fearful music activated areas of the limbic system, the frontal cortex and the motor cortex. As was expected, implicit processing of musical emotions recruited both cortical and subcortical regions whereas explicit processing activated mainly cortical regions. In addition, personality traits of neuroticism, extraversion and openness affected the processing of musical emotions. Neuroticism correlated with increased activation in the temporal and frontal lobe in response to music expressing negative emotions, and in the subcortical areas in response to happy music. Extraversion correlated with decreased activation in the limbic areas in response to happy music. Openness correlated with activations in the occipital regions in response to happy and sad music. These results highlight the importance of individual differences in the processing of musical emotions and offer perspectives on the applied use of music in health care and educational settings.
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(2018)Objective. Non-communicable diseases related to obesity, physical inactivity and poor fitness are widespread public health concerns. Research has shown that personality traits, especially neuroticism and conscientiousness, are linked to health outcomes. The positive effect of music on health has also been the topic of recent research. The aim of this study is to examine if and how five-factor-model personality traits and use of music are related to risk factors of non-communicable diseases. Methods. Participants were men and women (n=37) aged between 19 and 40 who took part in MoMaMo! intervention study. Their physical activity, personality and use of music were assessed by questionnaires. Participants went through a cardiopulmonary exercise test and their body composition and blood samples were analysed. Logistic regression and a mediation analysis were used to examine relationships between personality, use of music and the risk factors. Results and discussion. Although the participants were obese and their fitness level was poor, they reported very high levels of physical activity. Openness to experience was the only trait which was associated with higher BMI and body fat. Use of music was associated with higher body fat and lower cardiorespiratory fitness. Mediation analysis revealed that openness to experience was positively related to use of music and this predicted lower levels of fitness. It is possible that open individuals prefer music-related hobbies over exercising and sports. The questionnaire “Brief Music in Mood Regulation” might also measure some other tendencies which are related to poor fitness. The aim of future studies should be examining these relationships in a community sample and assessing the mechanisms underlying them.
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(2024)Tämä tutkielma käsittelee suomalaisten nuorten miesten tapaa navigoida death metal -musiikin luomisprosesseja ja musiikin ympärille muodostuvaa alakulttuuriryhmittymää tai skeneä. Tutkielmaa varten on suoritettu kolmen kuukauden mittainen etnografinen kenttätyöjakso Etelä-Suomessa kevät-kesällä 2023. Tutkimusaineisto koostuu pääasiallisesti osallistuvan havainnoin avulla kerätyistä kenttämuistiinpanoista. Tutkielmassa hyödynnetään myös death metal -musiikkiin sidotun visuaalisen materiaalin, kuten levynkansien ja valokuvien, aineistoanalyysia. Death metal on metallimusiikin alagenre, jonka historia ulottuu 1980-luvun loppupuolelle. Death metallille ovat ominaisia murisevat vokaalit, meluisat ja äärisäröiset kitara- ja bassoesitykset. Death metal -rumpalit soittavat usein fyysisesti vaativia nopeita osuuksia. Tempo, tahti- ja sävellaji saattavat muuttua nopeasti. Death metal -sanoitusten teemoja ovat mm. kuolema, väkivalta, poliittinen konflikti, uskonto, yhteiskunnan ongelmat ja okkultismi. Genren sisällä on myös jaotteluja erinäisiin death metallin alagenreihin. Keskeiset tutkimuskysymykseni ovat; miten death metal -skeneä luodaan ja uusinnetaan niin fyysisenä paikkana kuin tyylillisenä tilana, kuinka autenttisuutta hahmotetaan, kuinka nuoret muodostavat eroja eri alakulttuurikategorioiden tai skenejen välillä, ja kuinka eri skenejä navigoidaan? Tutkielmani teoreettisen viitekehyksen kannalta keskeisiä teoreetikoita ovat alakulttuuriteoreetikot Dick Hebdige, Tony Jefferson ja Stuart Hall sekä skenetutkimusta edustava etnomusikologi Kevin Fellezs. Tutkielmassani death metal hahmotetaan alakulttuurina suhteessa valtavirtakulttuuriin. Death metal -toiminnan pääasiallinen miljöö on death metal -skene. Lisäksi sovellan myös kulttuurintutkijoiden Lawrence Grossbergin ja Simon Frithin teorioita aitouden kokemusten merkityksestä musiikissa. Hahmotan skenen ja tyylien navigointia antropologi Laura Bearin navigointi-teoriaa soveltaen. Tutkielmassani argumentoidaan, että death metal -yhtyeissä soittavat nuoret omaksuvat genren tyylillisiä aspekteja taidokkaasti. Erityistä painotusta on aitouden kokemuksessa. Death metallin soittaminen on nuorille merkityksellinen harrastus. He voivat omaksua monia eri rooleja ollessaan aktiivisia toimijoita death metal -skenessä. Sama henkilö voi esimerkiksi soittaa useassa eri yhtyeessä, tehdä kuvataidetta ja nauhoittaa musiikkia. Tutkielma tuo esiin erinäisiä huomioita death metal -tyylin muodostamisesta ja nuorten tavasta navigoida myös erilaisten ala- ja valtakulttuurityylien välillä. Death metal -skenen ja erilaisten tyylien navigointi voi antaa positiivisia kokemuksia haasteiden hallitsemisesta ja yhteisöön kuulumisesta. Argumentoin myös, että death metal -skene voi toimia paikkana, jossa haastetaan valtakulttuurin ja sen arvoja. Tämä pitää sisällään mm. sopivuuden, siisteyden ja luonnollisiksi koettujen sukupuoliroolien tai -ominaisuuksien haastamista. Hahmotan death metal -skenen monisukupolvisena ja pitävän sisällään myös erilaisia pienempiä ryhmittymiä, jotka ovat paikkasidottuja. Laajempi kansainvälinen death metal -skene voidaan vuorostaan hahmottaa kuviteltuna yhteisönä Benedict Andersoniin viitaten. Nuoret luovat yhteyden tämän kuvitellun yhteisön historiaan ja myös tarkemmin suomalaisen death metal -skenen historiaan. Tämä voidaan nähdä myös historian navigointina.
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(2016)Tutkielmassa käsitellään, miten YouTube vaikuttaa musiikkiin. Kahden tapaustutkimuksen kautta tutkitaan muusikon, kuuntelijan ja soivan lopputuloksen suhteutumista tähän sosiaalisen median muotoon. Ensimmäinen tapaus on Andrew Huang, joka käyttää sosiaalista mediaa inspiraation lähteenä. Toinen tapaus on perinteisempään muusikon rooliin sopiva Lady Gaga. Käsittelen aihetta sosiologisesta näkökulmasta, sekä musiikkivideo- ja genreanalyysin keinoin. Primaariaineistona ovat Andrew Huangin ja Lady Gagan YouTube-kanavat. Tutkimus jakautuu kolmeen osaan. Ensin kartoitetaan, miten nämä kaksi muusikkoa toimivat YouTubessa. Seuraavaksi tutkitaan, miten muusikot sijoittuvat genren piiriin ja miten se vaikuttaa sosiaaliseen sijoittumiseen yhteisössä. Viimeiseksi analysoidaan musiikin muuntumista musiikkivideoksi ja sitä, miten YouTube vaikuttaa lopulliseen audiovisuaaliseen tuotteeseen. Primaariaineisto jakautuu kummankin tapauksen kohdalla seuraavasti: ensimmäisessä osassa analysoidaan kanavien etusivut, niiden syötteet ja yksittäisen videon katsoja-data. Genreosuudessa vertaillaan eri alustojen määrittämää genretaustaa muusikoille. Lisäksi näitä tietoja verrataan muusikoiden itse määrittämiin genreihin ja tutkijan näkökulmaan. Viimeiseksi muusikkojen genreä määritellään yhden kappaleen ja kyseisen kappaleen eri versioiden tasolla. Näiden kappaleiden alkuperäiset videot analysoidaan musiikkivideoteorian kautta. Tutkimus osoittaa, että YouTubella on vaikutusta musiikkiin. Huangin tapauksessa alustan kautta voidaan saada elinkeinon perusta taiteilijalle sekä inspiraatiota musiikille. Toisaalta YouTube voi olla vain markkinointikanava ja vapaamman musiikkivideollisen ilmaisun mahdollistava palvelu, kuten Lady Gagan tapauksessa. Yleisesti ottaen Internet tarjoaa alustan uudenlaisille teoskokonaisuuksille, jossa kuuntelijalla on aiempaa enemmän kontrollia musiikin sisältöön. Sosiaalisen median kautta on mahdollista tehdä musiikkia uudella tavalla ja jakaa sitä yhteisön kanssa. Se on osa maailman teknologista kehitystä ja sosiaalisen tilan muutosta.
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(2016)This thesis inspects how community music workshops may affect self-perceived work ability in the disabled, immigrant, mentally ill, or otherwise disadvantaged participants. Community music workshops had statistically significant positive effect on self-perceived work ability in all the subgroups, except the immigrant participants.
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(2019)The purpose of this study was to describe, analyze and interpret what kind of experiences and what contact with the use of Satukantele (a traditional Finnish instrument) is to linguistic skills, to creativity and musical action of pupils, and to pupils` other activities in school. Research is a qualitative case study in a first-class special education group. The theoretical framework of the thesis presents earlier studies of music connections to learning and other activities and human well-being. In addition, the development of reading and writing skills, teaching methods of reading and challenges of learning to read are considered. This first study included eight firstgraders in a special education group and a special education teacher. During the study, the pupils participated in eight Satukantele classes designed and driven by the researcher during spring 2019. In the sessions, the pupils invented their own texts and composi-tions, which were then adapted to a single finished work. The texts were adapted to the tone by syllables. The finished works were played and sung together during the Satukantele studies. At the beginning of every class pupils first played ready-made notations (Leikkinuotti) to increase the understanding of the reading direction and ensure motivation and concentration. At the be-ginning and end of the study period, syllable analysis of the first-class autumn evaluation materi-al was carried out from the LukiMat test, the analysis of which aimed to gain an understanding of linguistic skills during the study. At the end of the study, students and teacher were inter-viewed. The interview material was transcribed and analyzed by material-based content analy-sis. The topics highlighted in the interviews were supported by the findings of the study journal and the mean of the answers in the LukiMat-tests. Based on the results of the analysis of the material, three themes emerged: 1. Satukantele as a Learning Tool 2. Satukantele as a Produc-er of pleasure and 3. Satukantele as the Enabling Creativity and Own Thinking. In this study, the use of Satukantele was connected with learning to play the instrument itself, learning musical lit-eracy and reading direction, gaining an experience of success, enabling the pupil's own creative activity (inventing), producing positive emotional experiences, and strengthening linguistic skills. In particular, the results of this study related to pleasure and creative activity were in line with previous music-related studies.
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(2012)Since the beginning of the digital revolution the music industry has been forced to face frequent changes. Finding musical talent is at the core of the music industry, and therefore this study has examined how the music industry view that the digital changes have affected the talent scouting and talent launching processes. The research method used in this study was semi-structured interviews that were analyzed using qualitative content analysis. This study relied on the constructivist position as the constructivists’ incentive is to understand the world we live in by developing meanings from experiences towards certain objects and ideas. The aim of this study was to rely as much as possible on the participants’ responses related to the subject. Altogether ten music industry professionals with different backgrounds were interviewed to get an in-depth understanding on the research question. The main findings of this study show that opening up the digital production and distribution channels gives the artists more power to get distinguished even without the help of any record labels. However, the record labels are still integral part of the talent launching processes that are increasingly moving towards digital platforms. The growth in the volume brings new talent into the music markets but simultaneously the more fragmented digital music environment makes the competition much harder. Moreover, the fans are growing importance where the information collected from them using the digital technologies can help the record labels in their scouting and launching plans. In addition to this, digital marketing and promotion are growing importance in the talent launching process. Overall, the digital changes have created a lasting impact on the talent scouting and talent launching processes, which are now extending more towards the digital environment. The slow reaction of the music industry towards the ever changing digital environment has made it less efficient in the use of the new digital technologies. The music industry is often not educated enough to take advantage of and use the full potential of what the modern digital environment has to offer. However, more recently the music industry has started to realize the usefulness of digital tools and platforms on the talent scouting and talent launching.
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