Massey Documents by Type

Permanent URI for this communityhttps://mro.massey.ac.nz/handle/10179/294

Browse

Subject: search.filters.subject.Music

Search Results

Now showing 1 - 10 of 30
  • Thumbnail Image
    Item
    The effect of emotional music on Just-About-Right and speeded-responses to chocolate
    (Elsevier Ltd, 2026-02-01) Wagner J; Poggesi S; Maggs R; Hort J
    Research has demonstrated effects of emotional music on sensory perception of food, with many findings supporting a more favourable evaluation of foods when eaten while listening to positive music over negative emotional music. As the food industry becomes more focused on testing in realistic environments, there is a greater need to investigate the effects of auditory input on consumer perception when captured with measurement tools used in consumer sensory research. Consumers attending an event in New Zealand, took part in a chocolate tasting where they consumed milk or dark chocolate in positive and negative emotional music conditions. Consumer responses included emotional and sensory associations to the samples using a speeded response task, liking and Just-About-Right evaluations. Findings showed liking of dark chocolate was significantly higher in the positive as compared with the negative emotional music condition, whereas sensory changes were restricted to milk chocolate for the sweetness attribute where it was rated as higher in the positive as compared with the negative emotional music condition. Speeded emotional and sensory associations were highly susceptible to the effects of emotional music. Furthermore, exploratory penalty analysis revealed that emotional music can impact consumer feedback on attribute importance. This study builds on current understandings of the effects emotional music can have on automatic consumer responses, specifically speeded self-reported responses and gives further clarity on how the relationship between attributes and their link with liking may change with emotional music. The findings of this study offer a new insight into how emotional music can influence consumer and sensory science study outcomes when speeded self-report and JAR are used.
  • Thumbnail Image
    Item
    Artists recreating our world with Rachmaninoff as a guide and partner
    (AccScience Publishing, 2024-03-04) Bathurst R
    This paper proposes that artists be at the forefront of community recovery in our post-COVID-19 world. To achieve this proposition, it delves into the early professional life of the renowned Russian composer and pianist Sergei Rachmaninoff (1873 – 1943), notably focusing on his sense of failure after the premiere of his first symphony and his subsequent recovery. It examines the importance of mentors who support professionals through early career mistakes, the significance of learning the limits of risk-taking, and the value of failure as guidance for development. Rachmaninoff’s contribution to humanity is profound, as evidenced by the enduring performance of his music in concert halls around the globe, making him an appropriate guide and partner in fulfilling the recovery agenda.
  • Thumbnail Image
    Item
    Kūkū : a re-imagined fangufangu developed through a Kakala Design Framework : a thesis is presented in partial fulfilment of the requirements for the degree of : Doctor of Philosophy in Design, Te Kunenga ki Pūrehuroa, Ngā Pae Mahutonga, Pōneke, Aotearoa | Massey University, School of Design, Wellington, New Zealand. EMBARGOED until 19 December 2025.
    (Massey University, 2024-09-23) Kaulamatoa, Rachael
    The fangufangu (nose flute) is a Tongan musical instrument that traces back hundreds of years. Each fangufangu possesses unique physical characteristics, contributing to its distinct sound. Highlighting its historical and cultural significance, one customary use was awakening nobility from slumber. Although rare today, practices of making and performing the fangufangu have been revitalized by Tongan communities in recent years. However, there is limited research on the fangufangu, particularly from a Tongan perspective. This practice-led creative research develops and applies a Kakala Design Framework to holistically and collaboratively explore possibilities of the fangufangu for modern musicians of the Tongan diaspora. The culmination of this research is embodied in Kūkū, a re-imagined fangufangu that enhances specific musical, tangible and visual aesthetics by harmoniously weaving notions of past, present and future. Through an analogue design approach, primary elements of form and material contribute towards enhancing instrument playability and sonic versatility to accommodate use across diverse musical environments and playing styles. Guided by an Indigenised industrial design process predicated on Tongan world-views and values, this exegesis reflects on the collaborative development of Kūkū with Tongan fangufangu practitioners.
  • Thumbnail Image
    Item
    He Hauora! He Hauoro! : the use of taonga pūoro in hauora Māori : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Public Health at Massey University, Palmerston North, New Zealand
    (Massey University, 2023-11-05) Solly, Ruby
    Taonga pūoro, often referred to as the traditional musical instruments of the Māori, hold a deeper significance beyond their musicality. Before colonisation, taonga pūoro were integral to Māori wellbeing and health practices. However, during the period of the Tohunga Suppression Act from 1907 to 1962, taonga pūoro were banned and forced underground. The 1980s saw a revival of taonga pūoro, marking the beginning of a renaissance phase. This resurgence has increased their use by clinicians without whakapapa Māori or those with limited experience in their use. This research aims to explore these factors in greater depth, recognising the dangers associated with the professionalisation of taonga pūoro in the context of hauora. A kaupapa Māori approach was used to examine the uses, philosophies, histories, and practitioners of taonga pūoro within hauora to create a framework of models for Māori hauora practitioners and relevant groups. This qualitative design utilised mātauranga Māori as epistemology and whakapapa as ontology, acknowledging the interconnected nature of te ao Māori and the discipline. The first study, ‘Ngā Pou o Pūoro,’ involved interviews with important figures within taonga pūoro ki hauora. Key themes from this study were te taiao (the environment), pūoro as a means of communication, the role of wāhine as kaitiaki pūoro, and the significance of tīpuna and whakapapa. The findings from this study were translated into the ‘He Hauora! He Hauoro!’ framework for taonga pūoro ki hauora. This framework consists of five models, each focusing on different knowledge areas within taonga pūoro ki hauora, such as practitioner safety, mana wāhine, environment, and experimentation. The framework was then applied in the second study, ‘Taonga Pūoro ki Waihao,’ within a marae-based community context during a wānanga series for whānau. Themes of mana wāhine and wāhine as kaitiaki of taonga pūoro were found to be crucial, along with the relationship with the environment and Indigenous joy. Implications of this research include the use of the ‘He Hauora! He Hauoro!’ framework by Māori and Māori health organisations, including the inclusion of taonga pūoro ki hauora practitioners within hospitals and other public health services as part of the integration of rongoā Māori into healthcare. Recommendations include further research to explore how taonga pūoro can support those with specific health conditions and better enhance overall hauora needs. The research also advocates for increased measures to safeguard taonga pūoro practices for Māori. It is suggested that a form of school or kura be developed to assist with disseminating this knowledge for all Māori, focusing on wāhine, and assisting practitioner development.
  • Thumbnail Image
    Item
    Violins, venues and vortexes : interrogating pre-reflective relationality in orchestral work : a thesis presented in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Management at Massey University, Manawatū Campus, Palmerston North, New Zealand
    (Massey University, 2022) Gilling, David
    This thesis explores the social structures of organising through an analysis of pre-reflective relationality in orchestral performance across three exemplary settings. These are: the opening stanza of a performance by the orchestra in which I play; a highly regarded performance by a well-known orchestra and conductor; and a concert performed under the shadow of COVID-19. Within these contexts, the player’s relationship with instrument and score, the role of the conductor, relations between conductor and player, and the player’s relations with audience, artifact and colleague are discussed. The study draws on autoethnography and the descriptive phenomenological method of Giorgi (2012). This framework allows work practices that are specialized, tacit, and entrenched to be interrogated through the theoretical lens of Merleau-Ponty’s (1968) late ontology as represented by the constructs of reversibility, écart, and Flesh. The research contributes to organisational knowledge on three dimensions. The contribution to theory is made through the interrogation of the pre-reflective relational bonds in symphony orchestras, first between individuals and artifacts, and then between individuals and colleagues, which shape the inter-collegial ‘between space’ (Ladkin, 2013) where the organizing of performance – the music-making itself – happens. The contribution to method is made in the exploration of specialized personal experience for research purposes through Giorgi’s framework and Merleau-Ponty’s constructs, while the contribution to practice builds on this foundation by using Merleau-Ponty’s ideas to acknowledge the inanimate alongside the human and so offer a fresh starting point for the understanding of organizational relationality. This approach also allows orchestral performance to emerge as a primordially interwoven, inherently reversible meshwork of relational connectivity harnessed in pursuit of a collective purpose. As organizations look beyond COVID-19 to a world where the virtual and hybrid must be accommodated alongside the longstanding and traditional, holistic approaches such as the one offered here will resonate with researchers and managers alike as they come to terms with relational structures and organizational contexts transformed by the combined effects of pandemic-related disruption and technological change.
  • Thumbnail Image
    Item
    An investigation of groups composing music in a computer learning culture using micro-processor based midi systems : a thesis presented in partial fulfilment of the requirements of the degree of Master of Education, Massey University
    (Massey University, 1991) Pegler, Philip
    Composing music appears to have been marginalised in many secondary school music programmes. Music research on composition and student learning fares no better. The advent of information processing technologies and knowledge based systems offer powerful compositional tools with the potential for transforming the face of music education. However, if the context for this change is overlooked these tools may be wasted. By themselves micro-processor based MIDI systems can do nothing. When viewed as part of a learning culture, computers, teachers and students interact together to enhance student learning. Cognitive gains may depend on the type, extent, and quality of interaction taking place within the computer learning culture which surrounds the use of educational software tools. The role of the teacher is to create socially interactive and reflective learning environments. This study explores how groups compose music with computers in such an environment. It aims to observe what happens - or can be made to happen - under natural conditions where powerful roles are played by the cultural, social, and institutional contexts. The emotional aspects of student learning, attribution theory and metacognition are discussed in more depth. It is not enough, however, to simply use composition tools in the classroom. Effective thinking and learning should be accompanied by direct teaching of efficient strategies and problem solving techniques. Recently several researchers have drawn attention to the importance of social factors in the development of thinking skills. The following research follows this line of enquiry.
  • Thumbnail Image
    Item
    A study of automatic transcription of music using a standard PC
    (Massey University, 2001) Poon, Victor
    This thesis describes using a Personal Computer to identify notes that are played by a musical instrument. Several groups have been doing this work with more sophisticated laboratories and equipment with only moderate success. We have found the waves created by musical instruments vary, between instruments, a great deal in their stability and inherent vibration. It was more difficult to identify notes with very low frequencies than those with more central frequencies. We found it was very important to choose the correct starting point for the analysis with Fourier Transform otherwise we would not be analysing the stable stage of the wave. We tried simple strategies to initially reduce the number of computer operations, and memory requirements, with marginal success. We followed with more complex subtraction strategies which were much more successful. The most useful technique involved creating a "calculated percentage multiple" which was almost 100% successful in identifying single notes. For multiple notes we were surprised to find that a group of five different instruments from MIDI were a better source of "known" notes to compare with the "unknown" notes than the MIDI equivalent of the real instrument playing the music. These methods were developed using midi instruments but were verified using a real grand piano. We suggest some further lines of enquiry that may make this technique more successful.
  • Thumbnail Image
    Item
    From Tin Pan Alley to the Royal Schools of Music : the institutionalisation of classical and jazz music : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Sociology at Massey University [at Albany]
    (Massey University, 2000) Ubeda, Patricia Rosalind
    This thesis argues that the development of both classical and jazz music has been influenced by motivating conditions which have existed within differing and changing religious, social and political regimes. It argues also that the motivating conditions have been generated and regenerated by social forces and factors in society. Presently, a breakdown of these former modes of regulation, which created a gulf between classical and jazz music, is taking place as both genres come under one institutional administrative locus, the Associated Board of the Royal Schools of Music. A focus has been made on new opportunities for the teaching and the learning of jazz piano music generally as presented by this institution. An implication is made that a break-down of attitudes, identified within social class, which previously kept classical and jazz music apart is taking place. This theoretically driven narrative locates both classical and jazz music against their respective historical backdrops. From this perspective, the ideas of various theorists have been drawn upon in order to make an understanding of how the motivating conditions are perpetuated. Attitudes, opinions and experiences from local classical and jazz music teachers and pupils, past and present, among others, are drawn on to solidify the theoretical arguments made in this thesis. Whilst an institutional wedding of classical and jazz music has taken place, philosophical artistic difference and intellectual development of each genre based on socialisation, it is argued, will remain.
  • Thumbnail Image
    Item
    Creativity in Jazz : a thesis submitted to Massey University and Victoria University of Wellington in fulfilment of the requirements for the degree of Doctor of Philosophy [in Music]
    (Massey University, 2014) Meehan, Norman Lawrence
    Common discourses around jazz generally acknowledge the centrality of creativity to the music, but scholarship on what precisely creativity is in jazz, and how it might best be enhanced isn't well developed. While the work of some scholars, for example Ed Sarath and R. Keith Sawyer, does critically address these questions to some extent, they are in the minority. In this thesis, I first investigate the extensive scholarly literature on creativity, drawing predominantly from social science and education contexts, and then apply some of the most relevant frameworks to jazz. These frameworks draw several key aspects of jazz practice into sharp relief, in particular the respective roles of individuals and ensembles and the ways they work in common, and the provenance of musical materials in creative jazz practice. With these key ideas acting as a theoretical lens, I view the historical practice of three unquestionably creative jazz musicians: Ornette Coleman, Miles Davis and Duke Ellington. The choice of these musicians in particular is important because their example, when understood through the lens of creativity, reveals creative practice to be attributable to understandable procedures that are available to all accomplished musicians. My conclusions call into question more traditional modes of jazz history and criticism, which while acknowledging the music’s collective nature, tend to emphasise the roles of individuals as primary in jazz. Instead, my research suggests that creativity is best achieved in group contexts where diversely gifted participants work collaboratively in egalitarian, interactive, improvised settings. Individuals do make significant contributions to this mix, and in terms of creative advances in jazz – and in terms of achieving meaningful self-expression – the most important quality individual musicians can pursue is the development and expression of unique musical voices. In addition to improvised interactivity among unique individual voices, the adoption of musical materials from outside of jazz and their transformations (along with similar transformations of musical materials already common currency among jazz musicians) can be shown to serve both the expressive goals of musicians and propel jazz in creative and potentially fruitful directions. It is the improvised colloquy of such individual voices, transforming received and newly acquired musical materials in the service of self-expression that contributed to the lasting allure of the music attributed to Ornette Coleman, Miles Davis and Duke Ellington. Saxophonist Jan Garbarek is proposed as a contemporary musician who has made use of all of these strategies in forging jazz music that demonstrates fidelity to the core processes of jazz while only provisionally embracing some of the style features of earlier forms of the music – style features that common jazz discourses have tended to emphasise at the expense of the processes that gave rise to them.
  • Thumbnail Image
    Item
    How does widespread copyright violation, as facilitated by networked telecommunications, impact upon artistic practice and industry in New Zealand? : a thesis presented in partial fulfilment of the requirements for the degree of Master of Arts in Media Studies at Massey University, Manawatū, New Zealand
    (Massey University, 2016) Jurgens, Timothy Carl
    The culture of artistic content creation is changing. Once upon a time cultural products, and the ability to dictate how they were used and consumed, could be easily controlled via virtue of the difficulty of working with analogue formats in regards to modification, mass duplication or sampling. The widespread adoption of digital technologies, and the Internet serving as a global vector of seemingly endless information exchange, has rendered these hindrances to content duplication, distribution, and manipulation irrelevant in the wake of a globally distributed network of techno-cosmopolitan media content consumers. With the widespread normalisation of illegal online file-sharing, consumers of entertainment can essentially source anything they desire at a non-existent cost, whilst simultaneously excluding themselves from traditional economic channels of distribution. This research, partially presented as a documentary, investigates the opinions of artists (photographers, filmmakers, and musicians) working and living in New Zealand regarding the prevalence and impact of online copyright infringement. How has this new digital ecosphere impacted their work/practice as an artist and the industry generally? Is the fact that content gains far greater proliferation via these networks an advantage to media creators? Or does the reduction in scarcity and/or effort to obtain said art remove much of the associated value and thus the need to pay? A consumer can steal art considerably more easily now, but an artist can also source material for inspiration or reappropriation in ways largely unavailable in the past. In what ways (and with how much success) have content creators adapted to this new paradigm? How do these viewpoints correlate with variables such as medium, time spend in the industry and level of professional/economic involvement? And, indeed, how should both the creators, and the consumers, of media content think about art in a new world where it can be digitised so easily?