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"Artikel ini membahas tentang unsur sensualitas yang terdapat di dalam video klip musik penyanyi Dima Bilan yang berjudul ПоПарам/Po Param/Berpasangan.Model-model perempuan dalam video klip dianggap sebagai objek yang dipertontonkan untuk memberikan kesenangan visual.Penyanyi Rusia, Dima Bilan, seringkali menjadikan perempuan-perempuan cantik sebagai model di dalam video-video klip musiknya, salah satunya di dalam video klip tersebut. Metode yang digunakan dalam penulisan artikel ini adalah metode kualitatif dengan deskriptif analitis, yang selanjutnya akan dikaitkan dengan teori tatapan laki-laki atau male gaze dari Laura Mulvey, teori sinematik, teori gender, dan teori sensualitas.Penulisan artikel ini bertujuan untuk mengetahuiapakah ada pergeseran makna sensualitas yang terjadi melalui representasi video klip.

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The focus of this article is about sensuality in a music video clip of Dima Bilan which entitled По Парам/Po Param/in Pairs. Women in video clips considered as visual object who give visual pleasure to the spectators. Russian singer, Dima Bilan, often using some beautiful women as the models, such as in video clip mentioned above. This article is using qualitative research method with analytical descriptive, and fasten upon male gaze theory from Laura Mulvey, cinematic theory, gender theory, and sensuality theory. The purpose of this article is to get to know is there any displacement of term sensuality as we can see throughthe video clip."

"Penelitian ini bertujuan untuk melihat apakah terdapat perbedaan antara pemain musik klasik yang tampil secara solo, duo dan trio atau lebih dalam hal kecemasan performa musikal. Responden dalam penelitian ini adalah 90 murid sekolah musik di wilayah Jabodetabek yang pernah melakukan penampilan musik klasik. Kecemasan performa musikal diukur menggunakan alat ukur Kenny-Musical Performance Anxiety Inventory yang dikonstruksi dan dikembangkan oleh Kenny (2006). Hasil dari Penelitian ini adalah tidak adanya perbedaan tingkat kecemasan performa musikal yang signifikan antara pemain musik klasik yang tampil secara solo, duo, dan trio atau lebih.

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The aim of this research is to find if there are any differences between classical music players who perform solo, duo, and trio or more in the matter of their musical performance anxiety. Respondents for this study are 90 music school students in Jabodetabek who has performed in a classical music performance. Musical Performance Anxiety is measured by Kenny-Musical Performance Anxiety Inventory constructed and developed by Kenny (2006). This research found that there is no level difference of musical performance anxiety between classical music players who perform solo, duo, and trio or more."

"Mahasiswa generasi millennial menghadapi tantangan krisis empati di dalam lingkungan dimana teknologi berkembang pesat, ketersediaan informasi begitu kaya, dan berbagai media digital mengelilingi generasi ini. Hal ini menjadikan generasi ini rentan terhadap berbagai tekanan psikologis yang muncul dari pertarungan eksistensi diri intragenerasi dan prasangka dari generasi sebelumnya. Tekanan tersebut dapat dihindarkan dengan membangun individu yang memiliki empati yang baik. Musik memiliki kapasitas untuk memaparkan pendengarnya dengan berbagai sudut pandang yang berbeda-beda. Individu dengan preferensi musik eklektik mdash; mereka yang tidak memiliki preferensi yang kuat pada jenis musik manapun, melainkan, menunjukkan fleksibilitas dalam mendengarkan musik mdash;merupakan jenis pendengar yang empatik. Penelitian ini dilakukan untuk mengetahui hubungan antara preferensi musik eklektik dan empati pada mahasiswa generasi millennial. Penelitian ini dilakukan pada 356 partisipan. Preferensi musik diukur menggunakan Short Test of Music Preferences STOMP oleh Rentfrow dan Gosling 2013 yang dimodifikasi, sedangkan Interpersonal Reactivity Index IRI milik Davis 1980 digunakan untuk mengukur empati. Hasil penelitian menunjukkan bahwa terdapat hubungan positif yang signifikan antara preferensi musik eklektik dan empati r= 0,164; p= 0.002, signifikan pada L.o.S 0.01 . Penelitian selanjutnya diharapkan memerhatikan karakteristik seperti pengalaman dan kemampuan bermusik responden, metode pengambilan data yang digunakan, serta melakukan elisitasi yang lebih mendalam mengenai budaya musik yang sedang berkembang pada masanya.

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College students of millennial generation are challenged with empathy crisis in an environment with vast development of technology, rich availableness of information, and digital medias surrounding this generation. This circumstances make this generation prone to many psychological pressures which emerge from the battle of self existance among millennials themselves and prejudice from the previous generations. This pressure can be escaped by equipping each individual with empathy. Music has a capacity to expose its listeners with diverse pespectives. The ones who has an eclectic music preference mdash whom does not have strong preference to any music cathegory, but showing the flexibility in listening to diverse kind of musics mdash are the empathetic individuals.

This research aims to find the correlation between eclectic music preference and empathy in college students of millennial generation. This research was conducted to 356 participants. Respondents rsquo music preference was measured by a modified version of Short Test of Music Preferences STOMP from Rentfrow and Gosling 2013, and Interpersonal Reactivity Index IRI by Davis 1980 was used to measure respondents rsquo empathy. The result of this research showed that there is a significant correlation between eclectic music preference and empathy r 0,164 p 0.002, significant at L.o.S 0.01. Suggestions for further research is to notice respondents rsquo characteristics, such as respondents rsquo background at music education or performing, consider other measurement method, and carry out deeper elicitation about the developing music culture at the current time."

"Whether you listen to Bach or Bono, music has a significant role in your life--even if you never realized it. Why does music evoke such powerful moods? The answers are at last becoming clear, thanks to revolutionary neuroscience and the emerging field of evolutionary psychology. Both a cutting-edge study and a tribute to the beauty of music itself, this book unravels a host of mysteries that affect everything from pop culture to our understanding of human nature, including: Are our musical preferences shaped in utero? Is there a cutoff point for acquiring new tastes in music? What do PET scans and MRIs reveal about the brain's response to music? Is musical pleasure different from other kinds of pleasure? Neuroscientist and former recording engineer Levitin explores music across cultures, brain disorders and developmental levels to unlock deep secrets about how nature and nurture forge a uniquely human obsession"

"Penelitian ini bertujuan untuk mengetahui perbandingan subjective well-being antara musisi dan non-musisi. Sampel penelitian ini merupakan musisi dan non-musisi yang dibagi berdasarkan aktivitas musikal yang dilakukan sepanjang hidupnya (Hanna-Plady & MacKay, 2011) berusia 18 ? 40 tahun yang berjumlah 123 orang. Musisi merupakan individu yang sudah memiliki pengalaman bermain musik selama 10 tahun secara teratur dan pernah mengikuti pendidikan musik formal berjumlah 55 orang. Nonmusisi merupakan individu yang tidak bisa bermain musik, tidak bisa membaca not balok, dan tidak pernah menerima pendidikan musik secara formal berjumlah 68 orang. Subjective well-being diukur menggunakan Satisfaction with Life Scale (SWLS) yang dikembangkan oleh Diener, Emmons, Larsen, dan Griffin (1985) untuk mengukur evaluasi kognitif dan Positive Affect Negative Affect Scale (PANAS) yang dikembangkan oleh Watson, Clark, dan Tellegen (1988) untuk mengukur evaluasi afektif. Hasil penelitian menunjukkan bahwa musisi memiliki tingkat subjective wellbeing yang lebih tinggi secara signifikan dibandingkan non-musisi.

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The objective of this study is to know the subjective well-being comparison between musician and non-musician. Participants of this study is musician and non-musician which is divided based on the musical activity throughout their lifespan (Hanna-Pladdy & MacKay, 2011) aged 18 - 40 years with the amounts of 123 participants. Musician is a person who had played a musical instrument on a regular basis for at least 10 years and joined formal musical training with the amounts of 55 participants. Non-musician is a person who had never played music, cannot read music notes, and never received formal musical training with the amounts of 68 participants. Subjective well-being was measured using the Satisfaction with Life Scale (SWLS) developed by Diener, Emmons, Larsen, and Griffin (1985) to measure cognitive evaluation and Positive Affect Negative Affect Scale (PANAS) developed by Watson, Clark, and Tellegen (1988) to measure affective evaluation. The result showed that the musicians have a higher level of subjective well-being significantly than non-musicians."

"This is a book about the importance of music in human evolution and its continued relevance to modern-day human society-how, from the very beginning of our species, musical communication has been a key component of prosocial, cooperative behaviors, acting as a counterweight to the other, newly evolved human communication system-language. It is about why music continues to be an essential part of human cognitive well-being in the twenty-first century. Early chapters review the amusia and neuroimaging literature to describe music processing in the brain, contrasting this with how the brain processes language. The time-course and possible drivers of human evolution, in particular the evolution of the human brain and its unique cognitive abilities, are discussed, with proposals as to why humans evolved two distinct communication systems from a presumed precursor, including hypotheses concerning the possible evolutionary benefits to the species of cooperative music-making (and dance). Two chapters then focus on a review of the neuroimaging literature and the links between music, altruism, and social cooperation. Areas of the brain that are active when performing mutually cooperative tasks are also active when listening to familiar and emotionally rewarding music, music that reinforces empathy and the sharing of affective states. Levels of the hormone oxytocin, known to enhance trust and prosociality, are also increased during group music-making. It is proposed that music played a key role in fostering trust and cultural cohesion in evolving modern humans. Finally, it is argued that music should form an essential part of education and should be more widely used as a therapeutic tool in clinical practice and rehabilitation."

"Banyak anggapan bahwa musik hip-hop adalah salah satu bentuk hiburan gelap karena sifatnya yang transgresif seperti yang ditunjukkan melalui penggunaan lirik yang ekspresif dan agresif dalam lagu-lagunya. Artikel ini bertujuan untuk mengeksplorasi lebih jauh hubungan antara musik hip-hop dan hiburan gelap ini melalui analisis tekstual dan visual pada lagu-lagu hip-hop terpilih. Secara khusus, artikel ini menganalisis lirik dan video musik dari lagu-lagu hip-hop terpilih dengan kerangka teoretis psikoanalisis yang dirancang oleh Sigmund Freud. Temuan penelitian menunjukkan bagaimana lagu hip-hop yang dipilih, 1-800-273-8255 oleh Logic dan Darkness oleh Eminem, memberikan perspektif baru untuk mengatasi masalah yang sangat topikal melalui penggunaan berbagai aspek psikoanalitik seperti dinamika Id, Ego, Super-ego, Defense Mechanism, dan teori Object Relations. Menanggapi karya-karya ilmiah yang ada tentang masalah ini, artikel ini menyerukan interpretasi hip-hop yang lebih objektif dan mendalam untuk merefleksikan bagaimana budaya hip-hop berpotensi dapat digunakan untuk mengevaluasi diskursus sosial kontemporer.

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Many have argued that hip-hop music is a form of dark leisure because of its transgressive nature as shown through the use of expressive and aggressive lyrics. This article aims to further explore this connection between hip-hop music and dark leisure by conducting a textual and visual analysis on the selected hip-hop songs. In particular, this article analyses the lyrics and music videos of selected hip-hop songs through the theoretical frameworks of psychoanalysis designed by Sigmund Freud. Research findings have shown how the selected hip-hop songs, Logic's 1-800-273-8255 and Eminem's Darkness, offer new perspectives to address a very topical issue through the use of various psychoanalytical aspects such as the Id, Ego, Super-ego dynamic, Defence Mechanism, and Object Relations theories. In response to existing scholarship on the issue, this article calls for a more objective and in-depth interpretation of hip-hop to reflect on how the hip-hop culture can be used to evaluate contemporary social discourse."

"What type of practice makes a musician perfect? What sort of child is most likely to succeed on a musical instrument? What practice strategies yield the fastest improvement in skills such as sight-reading, memorization, and intonation? Scientific and psychological research can offer answers to these and other questions that musicians face every day. In The Science and Psychology of Music Performance, Richard Parncutt and Gary McPherson assemble relevant current research findings and make them accessible to musicians and music educators. This book describes new approaches to teaching music, learning music, and making music at all educational and skill levels. Each chapter represents the collaboration between a music researcher (usually a music psychologist) and a performer or music educator. This combination of expertise results in excellent practical advice. Readers will learn, for example, that they are in the majority (57%) if they experience rapid heartbeat before performances; the chapter devoted to performance anxiety will help them decide whether beta-blocker medication, hypnotherapy, or the Alexander Technique of relaxation might alleviate their stage fright. Another chapter outlines a step-by-step method for introducing children to musical notation, firmly based on research in cognitive development. Altogether, the 21 chapters cover the personal, environmental, and acoustical influences that shape the learning and performance of music."