Gianna Cassidy | Glasgow Caledonian University (original) (raw)
Papers by Gianna Cassidy
Scandinavian Journal of Psychology, 2010
There is an established and growing body of evidence highlighting that music can influence behavi... more There is an established and growing body of evidence highlighting that music can influence behavior across a range of diverse domains (Miell, MacDonald, & Hargreaves 2005). One area of interest is the monitoring of ''internal timing mechanisms'', with features such as tempo, liking, perceived affective nature and everyday listening contexts implicated as important . The current study addresses these issues by comparing the effects of self-selected and experimenter-selected music (fast and slow) on actual and perceived performance of a driving game activity. Seventy participants completed three laps of a driving game in seven sound conditions: (1) silence; (2) car sounds; (3) car sounds with self-selected music, and car sounds with experimenter-selected music; (4) high-arousal (70 bpm); (5) high-arousal (130 bpm); (6) low-arousal (70 bpm); and low-arousal (130 bpm) music. Six performance measures (time, accuracy, speed, and retrospective perception of these), and four experience measures (perceived distraction, liking, appropriateness and enjoyment) were taken. Exposure to self-selected music resulted in overestimation of elapsed time and inaccuracy, while benefiting accuracy and experience. In contrast, exposure to experimenter-selected music resulted in poorest performance and experience. Increasing the tempo of experimenter-selected music resulted in faster performance and increased inaccuracy for high-arousal music, but did not impact experience. It is suggested that personal meaning and subjective associations connected to self-selected music promoted increased engagement with the activity, overriding detrimental effects attributed to unfamiliar, less liked and less appropriate experimenter-selected music.
Research Studies in Music Education, 2013
Music-games present a highly pervasive new platform to create, perform, appreciate and transmit m... more Music-games present a highly pervasive new platform to create, perform, appreciate and transmit music through peer and online communities (e.g., Peppler, Downton, Lindsay, & Hay, 2011). While learners are increasingly engaged with such digital music participation outside the classroom, evidence indicates learners are increasingly disengaged with formal music education (e.g., Abril & Gault, 2008; Dillon, 2003; Lamont & Maton, 2008). The challenge for music educators is to utilize digital music participation as a tool to create new opportunities to inspire and engage learners with music in formal and informal learning contexts (see Hargreaves, Marshall, & North, 2003). The music-game synergy presents a unique, yet relatively untapped, platform to investigate the processes and outcomes of both music and video game participation in a comprehensive context. On one hand, previous research highlights the power of music education to enrich intellectual, social and personal development (e.g., Hallam, 2010), while on the other a growing body of work highlights the educational potential of digital-games to scaffold and enrich learning (e.g., Wastiau, Kearney, & Van den Berghe, 2009). This warrants investigation of the potential of game-based technology to promote engagement with music, and the wider benefits of music-game participation in the lives of learners. In this light, we present a single exploratory case study of a learner’s encounter with Rock Band 3, addressing the learner’s attitudes toward music-games and the music-game experience. It is asserted that music-games are a valuable vehicle to connect formal and informal music participation in the 21st century, embodying fundamental musical concepts in gameplay and authenticating formal participation to the wider musical world of the learner.
Psychology of Music, 2008
Psychology of Music Psychology of Music Copyright © 2008 Society for Education, Music and Psychol... more Psychology of Music Psychology of Music Copyright © 2008 Society for Education, Music and Psychology Research vol 36(3): 389–390 [0305-7356 (200807) 36:3; 389–390] 10.1177/0305735608095003 http://pom.sagepub.com ... Trygve Aasgaard Mayumi Adachi Aleksandar Aksentijevic Eckart Altenmuller Michael Apter Richard Ashley James Austin Freya Bailes Jeanne Bamberger Margaret Barrett Nancy Barry Emmanuel Bigand Warren Brodsky Karen Burland Pam Burnard Rosie Burt Charles Byrne George Caldwell Patricia Campbell Gianna Cassidy Roger Chaffin Tomas ...
Annals of the New York Academy of Sciences, 2012
A common long-term consequence of stroke is impaired arm function, which affects independence and... more A common long-term consequence of stroke is impaired arm function, which affects independence and quality of life in a considerable proportion of stroke survivors. There is a growing need for self-management strategies that enable stroke survivors to continue their recovery after rehabilitation has ceased. Interventions with highintensity, repetitive task training and feedback are most likely to improve function. Achieving the required amount of self-practice is challenging, however. Innovative approaches are required to translate therapies into rewarding activities that can be undertaken independently. This paper describes the key principles and development of a novel intervention that integrates individuals' preferred music with game technology in upper limb rehabilitation. The "tap tempo" paradigm, which uses rhythmic auditory cueing, provides repetitive upper limb task training, which can be tailored to individual goals and progress (e.g., in terms of movement range and complexity), while providing sensitive quantitative feedback to promote skill acquisition and enhance self-management.
Abstract Music emotion classification algorithms seek to classify music files automatically by me... more Abstract Music emotion classification algorithms seek to classify music files automatically by means of audio signal analysis. An overview of these methods is given, and an emotion classification algorithm is applied to the preferred music choices made by test subjects ...
Scandinavian Journal of Psychology, 2010
There is an established and growing body of evidence highlighting that music can influence behavi... more There is an established and growing body of evidence highlighting that music can influence behavior across a range of diverse domains (Miell, MacDonald, & Hargreaves 2005). One area of interest is the monitoring of ''internal timing mechanisms'', with features such as tempo, liking, perceived affective nature and everyday listening contexts implicated as important . The current study addresses these issues by comparing the effects of self-selected and experimenter-selected music (fast and slow) on actual and perceived performance of a driving game activity. Seventy participants completed three laps of a driving game in seven sound conditions: (1) silence; (2) car sounds; (3) car sounds with self-selected music, and car sounds with experimenter-selected music; (4) high-arousal (70 bpm); (5) high-arousal (130 bpm); (6) low-arousal (70 bpm); and low-arousal (130 bpm) music. Six performance measures (time, accuracy, speed, and retrospective perception of these), and four experience measures (perceived distraction, liking, appropriateness and enjoyment) were taken. Exposure to self-selected music resulted in overestimation of elapsed time and inaccuracy, while benefiting accuracy and experience. In contrast, exposure to experimenter-selected music resulted in poorest performance and experience. Increasing the tempo of experimenter-selected music resulted in faster performance and increased inaccuracy for high-arousal music, but did not impact experience. It is suggested that personal meaning and subjective associations connected to self-selected music promoted increased engagement with the activity, overriding detrimental effects attributed to unfamiliar, less liked and less appropriate experimenter-selected music.
Research Studies in Music Education, 2013
Music-games present a highly pervasive new platform to create, perform, appreciate and transmit m... more Music-games present a highly pervasive new platform to create, perform, appreciate and transmit music through peer and online communities (e.g., Peppler, Downton, Lindsay, & Hay, 2011). While learners are increasingly engaged with such digital music participation outside the classroom, evidence indicates learners are increasingly disengaged with formal music education (e.g., Abril & Gault, 2008; Dillon, 2003; Lamont & Maton, 2008). The challenge for music educators is to utilize digital music participation as a tool to create new opportunities to inspire and engage learners with music in formal and informal learning contexts (see Hargreaves, Marshall, & North, 2003). The music-game synergy presents a unique, yet relatively untapped, platform to investigate the processes and outcomes of both music and video game participation in a comprehensive context. On one hand, previous research highlights the power of music education to enrich intellectual, social and personal development (e.g., Hallam, 2010), while on the other a growing body of work highlights the educational potential of digital-games to scaffold and enrich learning (e.g., Wastiau, Kearney, & Van den Berghe, 2009). This warrants investigation of the potential of game-based technology to promote engagement with music, and the wider benefits of music-game participation in the lives of learners. In this light, we present a single exploratory case study of a learner’s encounter with Rock Band 3, addressing the learner’s attitudes toward music-games and the music-game experience. It is asserted that music-games are a valuable vehicle to connect formal and informal music participation in the 21st century, embodying fundamental musical concepts in gameplay and authenticating formal participation to the wider musical world of the learner.
Psychology of Music, 2008
Psychology of Music Psychology of Music Copyright © 2008 Society for Education, Music and Psychol... more Psychology of Music Psychology of Music Copyright © 2008 Society for Education, Music and Psychology Research vol 36(3): 389–390 [0305-7356 (200807) 36:3; 389–390] 10.1177/0305735608095003 http://pom.sagepub.com ... Trygve Aasgaard Mayumi Adachi Aleksandar Aksentijevic Eckart Altenmuller Michael Apter Richard Ashley James Austin Freya Bailes Jeanne Bamberger Margaret Barrett Nancy Barry Emmanuel Bigand Warren Brodsky Karen Burland Pam Burnard Rosie Burt Charles Byrne George Caldwell Patricia Campbell Gianna Cassidy Roger Chaffin Tomas ...
Annals of the New York Academy of Sciences, 2012
A common long-term consequence of stroke is impaired arm function, which affects independence and... more A common long-term consequence of stroke is impaired arm function, which affects independence and quality of life in a considerable proportion of stroke survivors. There is a growing need for self-management strategies that enable stroke survivors to continue their recovery after rehabilitation has ceased. Interventions with highintensity, repetitive task training and feedback are most likely to improve function. Achieving the required amount of self-practice is challenging, however. Innovative approaches are required to translate therapies into rewarding activities that can be undertaken independently. This paper describes the key principles and development of a novel intervention that integrates individuals' preferred music with game technology in upper limb rehabilitation. The "tap tempo" paradigm, which uses rhythmic auditory cueing, provides repetitive upper limb task training, which can be tailored to individual goals and progress (e.g., in terms of movement range and complexity), while providing sensitive quantitative feedback to promote skill acquisition and enhance self-management.
Abstract Music emotion classification algorithms seek to classify music files automatically by me... more Abstract Music emotion classification algorithms seek to classify music files automatically by means of audio signal analysis. An overview of these methods is given, and an emotion classification algorithm is applied to the preferred music choices made by test subjects ...
Abstract Music-games are increasingly pervasive to the formal and informal musical activity and... more Abstract
Music-games are increasingly pervasive to the formal and informal musical activity and creativity of learners. While learners are more and more engaged with such digital music participation outside the classroom, evidence indicates learners are increasingly disengaged with formal music education. In this chapter the authors address this challenge by exploring current notions of 'creativity' and ‘performativity’ in music and musical performance in the light of the different kinds of interactions, experiences and expressions that music-based games facilitate. They discuss currently available games and ways in which these may foster a creative artistic engagement for gamers. This lead to an evaluation of opportunities for further developments in music-based gaming, including the future of music-game design and potential to embed music-based gameplay into pedagogical contexts whether school or conservatoire. The chapter also reviews existing creative engagements with music-game software and hardware, and emerging forms of music and music participation these have been brought forth.
Keywords
Music-games, performance, creativity, interaction, play, music education, digital learning, flow, motivation, identity, well-being