The purpose of this investigation was to determine the characteristics of relaxing music for anxiety control. Undergraduate students (N=84) were instructed to imagine themselves in an anxiety producing situation while listening to a selection of 30 music compositions. For each composition, level of relaxation, the factors that either enhanced or detracted from its relaxing potential and the emotional labels attached were assessed. Participants were also asked to state which music components (e.g., tempo, melody) were most conducive to relaxation. Additional information was obtained through the use of a focus group of 6 undergraduate music students. This paper presents details on the characteristics of relaxing-music for anxiety control and emotional labels attached to the relaxing compositions. Furthermore, an importance value has been attached to each of the music components under scrutiny, thus providing an indication of which music components should receive greatest attention when selecting music for anxiety control.
This article explores aspects of identity which underlie compositional processes in James MacMillan's music. This is not intended as a critical discourse on identity as such, since this highly contested area is subject to ‘extensive and intensive controversy about how identity should be conceptualised in the wake of various anti-foundational critiques to which it has been subject’. Since in the course of this article I will use the essential concepts of ‘Scottish identity’ and ‘Catholic identity’ in particular as points of reference, it is necessary to show on what basis these terms have been conceived in relation to MacMillan.
McGregor is known for his work on the music of Peter Maxwell Davies and has written a number of major articles on the composer's works such as: the middle symphonies; compositional techniques of the 1980s; Davies's use of plainsong and other source material; the ballet Salome; parody/pastiche in Davies's music; on the decoding of Davies's personal alphabet; and Mr Emmet Takes a Walk. He has also written on the work of James MacMillan including: studies of Veni Veni Emmanuel and O Bone Jesu; an interview with MacMillan and critical commentary; and an article on MacMllan's musical identity. In addition, he wrote a major study of Rihm's Chiffre cycle following on from work undertaken while the recipient of a stipendium at the Sacher Stiftung in Basle. As well as these composer studies he has written and spoken on music and spirituality, agency, identity and inspiration. Compositions include: Sarajevo 583 for string orchestra, 'I am the Rose of Sharon' for solo, SSA and strings, '…Greeks bearing gifts' for two pianos, Three Mediaeval Love Lyrics for women's voices, Tableaux for 2 pianos, and Madrigales (texts by Lorca).
Do w nlo a d e d fro m: h t t p://i n si g h t. c u m b ri a. a c. u k/i d/ e p ri n t/ 5 5 9 2/ U s a g e o f a n y i t e m s f r o m t h e U n i v e r s i t y o f C u m b r i a' s i n s t i t u t i o n a l r e p o s i t o r y 'I n s i g h t' m u s t c o n f o r m t o t h e f o l l o w i n g f a i r u s a g e g u i d e l i n e s .Any it e m a n d it s a s s o ci a t e d m e t a d a t a h el d in t h e U niv e r si ty of C u m b ri a 's in s ti t u tio n al r e p o si t o ry In si g h t (u nl e s s s t a t e d o t h e r wi s e o n t h e m e t a d a t a r e c o r d) m a y b e c o pi e d, di s pl ay e d o r p e rfo r m e d, a n d s t o r e d in lin e wi t h t h e JISC fai r d e ali n g g ui d eli n e s (av ail a bl e h e r e ) for e d u c a tio n al a n d n o t-fo r-p r ofit a c tiviti e s6 K. Walton, 'I'd much rather listen to James MacMillan's music than his views', The Scotsman, 17 November 2009: www.scotsman.com/lifestyle/i-d-much-rather-listen-to-james-macmillan-s-music-thanhis-views-1-768161 (accessed 28 August 2018). 7 Some theologians and other commentators consider The Reproaches to be anti-Semitic: see H.
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