Unfamiliar Music May Help People Chat at Parties

If you want your guests to be particularly sociable at an upcoming party, make sure you play music they probably haven’t heard before.

To explore how background music affects the way we     1     conversations, researchers Jane Brown and Gavin Bidelman conducted a study analyzing the brain activity of 31 individuals aged21 and 33. During the experiment, participants listened to 72 minutes of an audiobook (有声读物), which the pair used as a replacement for     2     on someone talking, while background music was accompanied by the audiobook for most of the time.

For half of the experiment, the participants were asked to focus on2-minute parts of an unfamiliar audiobook read by a man. The rest of the time, they were told to focus on four background songs, which were similarly     3     for2 minutes at a time. This     4     in voices aimed to assess participants’ ability to shift attention between two distinctly different voices.

During the experiment, all the participants wore     5     caps to monitor the electrical activity taking place in their brains. This     6     of electrical activity was the key. It allowed Brown and Bidelman to discover how efficiently these individuals could focus on either the audiobook or the music when     7     to do so. The finding revealed that the participants could     8     turn their attention to the audiobook if the background music was unfamiliar to them.

Following the task, the participants completed a music perception survey evaluating their musical skills, such as the capacity to     9     whether a pair of similar-sounding tunes are the same. Notably, those with lower musical scores demonstrated slower attentional shifts between songs and audiobooks, suggesting a(n)     10     link between musical ability and attention management skills.

6 . Issues such as global warming and sustainability have become passionate concerns for many of the concert industry’s fans and increasingly for the musicians. Coldplay, a pop band whose members scored their first big hit in 2000 with a song called Yellow, announced in November that it wouldn’t go on tour to promote its latest album, Everyday Life, until it could find a way to make concerts more sustainable and greener to the environment.

It’s not always easy to walk the talk. A growing number of artists, including Peggy Gou, have environmental demands built into their contracts when they tour, such as bans on plastic tableware. But there’s almost no way of avoiding carbon emissions produced by a tour, which involves moving hundreds of people and tons of equipment across large distances.

Lisa Pomerantz, who books travel for acts says that real change will require action by venue owners, concert promoters, and the fans. Major acts like Coldplay can afford to stop touring while figuring out how to lessen their environmental impact. But lesser-known artists can’t stay off the road, since streaming earnings haven’t been able to compensate (弥补) for the collapse in CD and downloaded music sales. Even when concerts are aggressive about being more sustainable, the impact of audience travel can easily swamp (淹没) their efforts. For bigger acts, this can represent as much as 80% of the carbon footprint, according to a 2015 study. Another analysis showed that roughly a third of the tour’s carbon footprint came from a venue’s power consumption.

Still, even the most green-conscious bands must balance their desire to be more sustainable against the financial necessity of touring. “I absolutely think you can go on tour and have a concern about the environment. It’s a matter of just keeping our carbon footprint as low as possible,” says Flavian Graber, lead singer of We Invented Paris.

8 . Nick Rose-Stamey is a lot like Jack Black’s character in School of Rock- a guitarist who discovers a passion for making music accessible to children. Working in the nonprofit arts education sector over the last 10 years raised his awareness of the lack of music programs in public schools, and later inspired his nonprofit, Band in a Bus. “The original idea was to take an old school bus and turn it into the best band class on wheels,” he says.

In fact, activities of Band in a Bus don’t actually happen on a bus. It provides instruments, courses, and staffing to students. Kids 18 and under can also participate in enriching summer programs through Band in a Bus, such as Bucket Brigade, five weekly classes where grades K-4 learn rhythm (节奏) and STEAM (science, technology, engineering, arts, mathematics) principles through contemporary music. There are also teen bands for grades 7-12 where kids learn to play pop music and develop social and team work skills.

When schools went virtual during the COVID-19 period, Rose-Stamey thought it was a shame that instruments were left sitting on shelves instead of in the hands of kids. So he created and distributed more than 1,000 “Band in a Box” DIY kits. Each kit contains small noise makers like kazoos, drumsticks, and shakers, with the intention of introducing a modernized music class experience that meets kids where they are.

“It is reported that if a kid has 30 minutes of a performing arts or creative elective every singleday, then that’ll help them develop their social, emotional and leadership skills, because there’s a lot of team work when it comes to making music. You have to learn how to work well with others,” Rose-Stamey says.

In the last year, Band in a Bus has worked directly with more than 500 students. “Music is a win-win for everybody,” Rose-Stamey says. “I just hope that someday we can stop making it the first kid out in the dodge ball (躲避球) game.”

Beethov-hen’s first symphony

On a grey Friday morning at a Hawke’s Bay farm, members of New Zealand’s symphony orchestra dressed in black to perform their latest composition in front of a large crowd.

The music contained many marks of traditional classical music, but as it began, the instruments started to make loud, rough sounds more commonly     1     (hear) in chicken coops than in an auditorium.

However, no feathers were angered by this departure from tradition,     2     the audience that gathered to listen to the concert last week was, in fact, a couple of thousand chickens.

The piece of music – Chook Symphony No.1 –     3     (create) specifically for the birds out of an unlikely partnership between the orchestra and an organic free-range chicken farm which wanted a piece of chicken-friendly music to enrich its flocks’ lives.

“We’ve been playing classical music for the chickens for some years now because     4     is well researched that the music can calm the chickens down,” says Ben Bostock, one of the two brothers who     5     (own) the Bostock Brothers farm.

Research has shown animals can respond positively to classical music, and chickens are particularly responsive to baroque (巴洛克风格), according to some studies.

The composer, Hamish Oliver,     6     used the baroque tradition as a starting point and drew inspiration from composers such as Corelli, Bach, and Schnittke, wanted the piece to be playful by including sounds from a chicken’s world. “The trumpet imitates the chicken… the woodwind instruments are the cluckiest, especially if you take the reeds off.”

The early stages of composition were spent     7     (test) out which instruments and sounds the chickens responded to best.

“They didn’t like any big banging,” Bostock said, adding that when the birds respond positively to the music, they tend     8     (wander) farther among the trees. Bostock now hopes chicken farmers around the world will use the piece of music to calm their own birds.

For Oliver, having input from the farmers about     9     the chickens were responding to particular sounds and instruments was a highlight of the project.

The symphony has searched exhaustively     10     any other examples of orchestras making music specifically for chickens and believes this to be a world-first, says Peter Biggs, the orchestra’s chief executive.