There has been an increase in the number of music-based intergenerational programs conducted by music therapists as part of wellness and intergenerational music therapy programs. Research has shown that intergenerational music therapy programs have improved cross-age attitudes, interactions, and older adults' psychosocial well-being. Anecdotal evidence indicates that one of the challenges for creating music-based intergenerational programs is finding agencies that serve younger and older generations within close proximity to one another. We sought to remedy this problem with the integration of “virtual” technology. The purpose of this study was to examine changes in cross-age comfort, expectations after experiencing “virtual” exchanges, and preconceived notions of older and younger persons enrolled in a distance-based intergenerational project. A secondary purpose was to determine what intergenerational project factors were most enjoyable for older and younger participants. Eighteen older adults (61 through 79 years old) from an intact music-therapy choir along and 14 younger children from an intact community choir (9 through 14 years old) served as participants for the current study. All participants experienced the 4-week distance-based intergenerational program that consisted of: (a) two group “virtual” exchanges, (b) two reflective journals related to the “virtual” exchanges, (c) an in-person half-day music-therapy intergenerational workshop, and (d) a joint performance. Cross-age comfort, preconceived notions, expectations, and preference factors were examined through pre-test and post-test measurements. Results indicated an increase in older adults' comfort level collaborating with children after participation in the intergenerational music project. The majority of younger (64%) and older (69%) participants indicated that their preconceived notions about the other generation were different and positive from what they initially thought prior to the project. Both generations indicated an improvement in cross-age attitudes and interactions due to the collaboration process (“virtual” exchange, workshop, and joint-performance) and the cross-age interactions during the project. These findings suggest that music therapists can foster cross-age interactions and relationships between generations that are not within close proximity of one another by using a combination of “virtual” and “live” interactions as an intervention for enhancing the overall quality of life among older adults.

While a substantial body of research has explored purchasing and consumption behaviors of music consumers, relatively less attention has been devoted toward understanding these behaviors among specific populations of music enthusiasts and sound recording collectors. Using a researcher-designed survey, this exploratory study examined film music enthusiasts' purchasing and consumption behaviors regarding soundtrack albums. This research indicated no significant differences on whether soundtrack albums were purchased before or after viewing the film of the soundtrack (p > .05). Specifically, some of the most frequent factors reported for purchasing soundtrack albums among film music enthusiasts were based on the composer, watching the film, desire of owning the newly expanded/extended/remastered/reissued edition, and limited pressings/low quantities available for purchase. Findings suggest that film music enthusiasts seem to base soundtrack purchasing decisions on a variety of factors. These purchasing attributes, unique to film music enthusiasts and album collectors, will be discussed in relation to film music record producers', critics', and collectors' assumptive theories and perspectives.

The purpose of this study was to investigate the effects of projected film visuals on singers' expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments.In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as "Doh" and "Noo." Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition. Finally, participants listened to their audio-recorded performances and rated these for performance expressivity and personal preference. During Phase Three, choral experts (N = 8) rated performance expressivity and reported personal preference for each audio-recorded performance. iv A two-way ANOVA with repeated measures found significant main effects of both etude and film visual performance condition on participants' expressivity ratings (p < .001).

Conventional music learning in schools could benefit from the study of the music from films, television, and video games. This article offers practical applications for including film music as an outlet for analysis, an interdisciplinary compositional art form, a viable teaching tool, and an authentic performance/production experience. Music educators in both performance-based and non-performance-based settings will learn ways film music can serve as a tool for fostering rigorous critical thinking skills via analysis, broadening creativity through composition and production experiences, and offering a platform for artistic reflection. A list of print and online resources devoted to film music is included.

We examined decisions to include or exclude adolescent students in music performance ensembles as influenced by disability, task complexity, and biased information statements. Undergraduate music majors (N = 104) viewed video recordings presenting varied student profiles that included two disability types, two task complexity levels, and contrasting informational statements. Participants responded to “I would include this student” statements across an agree-disagree continuum using a Continuous Response Digital Interface device, and explained their decision in an exit survey. We found a significant effect for student profile on inclusion decisions, and also confirmed that the biased information statement presented last influenced these decisions, regardless of disability or task complexity. Participants reported that inclusion decisions were based on their perception of the student’s ability, whether the student would experience ensemble success, and on their self-confidence in accommodating the student. Findings provide insight into music majors’ inclusion decision processes and support using simulation procedures in music education college courses.