Groove is a popular and widely used concept in the field of music. Yet, its precise definition remains elusive. Upon closer inspection, groove appears to be used as an umbrella term with various connotations depending on the musical era, the musical context, and the individual using the term. Our aim in this article was to explore different definitions and connotations of the term groove so as to reach a more detailed understanding of it. Consequently, in an online survey, 88 participants provided free-text descriptions of the term groove. A thematic analysis revealed that groove is a multifaceted phenomenon, and participants’ descriptions fit into two main categories: music- and experience-related aspects. Based on this analysis, we propose a contemporary working definition of the term groove as used in the field of music psychology: “Groove is a participatory experience (related to immersion, movement, positive affect, and social connection) resulting from subtle interaction of specific music- (such as time- and pitch-related features), performance-, and/or individual-related factors.” Importantly, this proposed definition highlights the participatory aspect of the groove experience, which participants frequently mentioned, for example describing it as an urge to be “involved in” the music physically and/or psychologically. Furthermore, we propose that being immersed in music might be a prerequisite for other experiential qualities of groove, whereas the social aspect could be a secondary quality that comes into play as a consequence of musical activity. Overall, we anticipate that these findings will encourage a greater variety of research on this significant yet still not fully elucidated aspect of the musical experience.
In recent years, music technology in the classroom has relied on general devices such as the iPad. In the current study, we used a mixed-methods approach to examine the learning performance, learning experience, and behavior of two class groups of primary school music students (N = 42), using established music technology (i.e., the iPad with the Keyboard Touch Instrument app) and novel music technology (KAiKU Music Glove). Results show a significant difference of change in test scores during learning (p = <.01) and a medium effect-size is found (d = .75), indicating use of the iPad and Keyboard Touch Instrument app contributed to increased learning when compared to the KAiKU Music Glove. Perceived ease of use ratings of both technologies and observable levels of concentration exhibited by the students are also discussed in the paper. Implications provide insights into the usage and development of embodied music technology in the music classroom.
Neglect is typically experienced after suffering from a stroke. Despite various rehabilitative interventions used in treatment for neglect, there is no consensus about the most effective intervention or treatment. Virtual Reality (VR) combined with music therapy practices may offer a promising intervention for use during neglect rehabilitation. This review summarises evidence of existing interventions and assessments used for post-stroke and neglect rehabilitation on patients in VR and music therapy research. Non-systematic searches of the PubMed and PsycINFO databases were conducted to retrieve relevant articles. Overall, literature found in small studies suggests promising findings for symptom reduction during neglect rehabilitation through the use of VR and Musical Neglect Training interventions. This was coupled with a demonstration of feasibility and safety. Novel evidence is found in stimulation of specific neurological regions in neglect patients during exposure to a VR intervention. However, larger trials with consistent assessments are needed to arrive at generalisations. Based on the evidence reviewed, the article explores intersections of VR and music therapy interventions with the purpose of neglect rehabilitation.
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