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Zhang, Edmond. "Kid's Music Box: A Digital Music Organizer Designed with Children for Children." The University of Waikato, 2007. http://hdl.handle.net/10289/2261.
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This thesis is an investigation of software development for children aged six to ten years old. This is a challenging area; despite the trend for children to be exposed to computer technology at an earlier age, they often struggle to utilize it effectively. Children are not merely miniature adults; they have their own needs which are often not met by traditional software. In particular, this thesis focuses on the task of music management: a task that children take much interest in but for which they are given few tools. We address this with the design of a new music management system: the Kid's Music Box. The development of Kid's Music Box is documented in four main parts: background research, requirements gathering, design and implementation, and evaluation. Background research identifies the strengths and weaknesses of conventional music organizers with respect to young users. Requirements gathering took the form of a focus group study, which aimed to overcome the distinct challenges of obtaining input from children. The design of Kid's Music Box builds on this work, by incorporating functionality, metaphors and design elements that suit the needs and capabilities of young children. Expert evaluations and formal evaluation from children users showed promising results, which concluded that Kid's Music Box is better than other organizers in terms of managing music for children.
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Mead, Robin S. "Children and Music: An Exploration of the Impact of Music on Children's Lives." Marietta College / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=marietta1208554391.
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Lum, Chee-Hoo. "Musical networks of children : an ethnography of elementary school children in Singapore /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11439.
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Cleary, Theresa Mary. "Music performance anxiety in children within the context of practical music examinations." Thesis, Ulster University, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646844.
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As part of their musical training, young musicians are often entered for practical music examinations. Many are anxious about performing in front of an examiner, sometimes to the extent that they do not perform to the best of their ability, which can result in a lower mark than anticipated. The present research was designed to explore Music Performance Anxiety (MPA) and possible interrelationships among gender, practice, self- esteem, music self-efficacy, perceived criticism (from family), music negative perfectionism, and performance (marks attained). Overall the thesis comprises of three studies. All employed quantitative research methods throughout. Study 1 included 194 participants and was designed to develop a new measure of Musical Performance Anxiety for young musicians. Principal component analyses revealed two components. The first component had 20 items and appeared to measure cognitive/somatic sensations. It was shortened to a 13 item scale (MPAI-C) to ensure that the measure was not too long for the young participants in this study. The new measure showed satisfactory reliability and provided evidence of good convergent and divergent validity with other measures employed in the study. The second component was labelled 'Negative Affect' (NA) and comprised of 9 items. Study 2 was designed to develop a new Music Perfectionism measure. Data from 186 participants were analysed. Principal component analyses identified three components. The first component had 10 items and appeared to measure "negative perfectionism". The second component had 6 items and appeared to measure "teacher pressure". The third component had 6 items and appeared to measure "parental pressure". The negative perfectionism subscale (MPI-C) showed a satisfactory reliability and provided evidence of good convergent and divergent validity. The purpose of study 3 was to test a proposed model of MPA and possible interrelationships between music negative perfectionism, perceived criticism (from family), music self-efficacy, self-esteem, practice, gender and performance. A revised model was established using path analyses with Mplus software. The data from 304 participants indicated that males were more affected by perceived criticism from family and did more practise than females. Practice and music self-efficacy revealed a positive direct association with performance, while MPA showed a negative direct association with performance. A direct positive relationship was found between music negative perfectionism and MPA, while a negative relationship was shown between music negative perfectionism and self-esteem. A positive association was found between self-esteem and music self-efficacy, which in turn had a direct negative association with MP A. The final model provided an insight into the effects of MPA and the associations between other factors in relation to performance in young musicians in practical music exams. The findings from the present study have implications for students, parents, music teacher training, and future policies regarding curriculum development within music education worldwide.
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Ouyang, Sining, and 欧阳斯宁. "Effect of music on children's cognitive development." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/193786.
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Background
Music as a part of our daily life, it can make people feel pleasure, peaceful, or exciting. Children as the future generation in our society are expected to have optimal development and growth. During childhood, cognitive development plays an important role in construction of thought processing ability and it is associated with physical development and nervous system development. As we know music is considered to be the efflorescence of human thought, this project aims to evaluate the effect of music listening and training on children’s cognitive development, as well as investigate effect of different types of music such as calm music, aggressive music, familiar music and unfamiliar music on cognitive development. The systematic review will identify and appraise the evidence of studies that related to our research question.
Methods
All relevant studies published from 1990 to 2013 were searched and identified when conducting an electronic literature search. There were 338 papers found through the database including Pubmed, SAGE and Google Scholar with a combination of specific keywords. After considering the inclusion and exclusion criteria, ten studies were found related to research questions and adopted for this systematic review.
Results
The ten studies were from four countries and included a total number of 8,836 subjects aged 4 to 12 years old. Randomized controlled trials, quasi-experimental studies, longitudinal studies, cross-sectional study were used in this systematic review. The studies included short-term and long-term effect of music listening and training on children. Most of the studies assigned participants to one group that had exposure to music and another group that had no exposure to music. For music listening groups, their performance of cognitive test was better than the group without music listing. Calm and pleasant music was more positive than aggressive music. Familiar music also had more impact on children’s cognitive ability. For music training groups, the effect of music gave impact on children’s cognitive development positively. Children received music training had increased cognitive ability.
Conclusions
Overall, the effect of different music listening and music training had been evaluated. The impact of music will be more effective if music is enjoyed by the listener. However, due to the publications of articles were only in English, not all of the studies design of articles were randomized control trials and some studies had small sample size such as thirty to seventy in this systematic review, further research is needed.published_or_final_version
Public Health
Master
Master of Public Health
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Ilari, Beatriz Senoi. "Music cognition in infancy : infants' preferences and long-term memory for complex music." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38490.
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The purpose of this study was to investigate infants' preferences and long-term memory for two contrasting complex pieces of music, that is, Prelude and Forlane from Le Tombeau de Couperin by Maurice Ravel (1875--1937). Seventy 8.5-month-old infants were randomly assigned to one of four experiments conducted on the Headturn Preference Procedure. The first experiment examined infants' preferences for Prelude and Forlane in piano timbre. The second experiment assessed infants' preferences for Prelude and Forlane in orchestra timbre. Infants' preferences for the Forlane in piano and orchestra timbres were investigated in the third experiment. The last experiment aimed at infants' long-term memory for complex music. Thirty infants were exposed to either the Prelude or the Forlane three times a day for ten consecutive days. Two weeks following the exposure, infants were tested on the HPP. It was predicted that these infants would prefer to listen to the familiar piece from the exposure over the unfamiliar one. Results suggested that 8.5-month-olds could tell apart two complex pieces of music in orchestra timbre and could discriminate between the piano and the orchestra timbres. Contrary to the belief that infants are ill equipped to process complex music, this study found that infants could encode and remember complex pieces of music for at least two weeks.Because infants rely on their caretakers to provide musical experiences for them, maternal beliefs and uses of music were also investigated. Mothers of participating infants were interviewed on musical background, listening preferences and musical behaviors and beliefs with their infants. The analysis of interview data yielded the following main results: (1) Singing was the primary musical activity of mothers and babies; (2) Maternal occupation and previous musical experiences affected their musical behaviors with their babies; (3) Most mothers held the belief that there is appropriate music for babies to listen to although there was no consensus as to what is appropriate music. Such beliefs reflect a conflict between maternal beliefs regarding infants' music cognition and the actual music-related perceptual and cognitive abilities of infants. Attempting to attenuate this conflict, suggestions for music educators, parents and researchers were proposed.
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Peat, Richard. "Representing children in opera." Thesis, City, University of London, 2007. http://openaccess.city.ac.uk/17966/.
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This study is a survey of how composers have represented children in opera from the late nineteenth century onwards. Operatic roles for children are analysed from a primarily technical perspective, with those written specifically for children's voices presented alongside those intended for adults playing children; then the relative merits of each approach is considered. A chronological list of child roles can be found in the introduction. Chapter 1 evaluates the ways in which opera composers have approached writing for children's voices; extracts from monologues, dialogues, ensembles and solos with instrumental accompaniment are analysed. Chapter 2 explores methods by which composers have evoked notions of childhood; examples of songs, nursery rhymes, lessons, learning, scale, fantasy, and tantrums are discussed. Chapter 3 treats the musical representation of the notions of innocence and experience in children's roles. Chapter 4 offers the author's recent opera, I'm the King of the Castle. as a case study in its use of many of the notions explored in the preceding chapters.
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I, Made Satrya Rudana. "Kinect-based Music Application for Children with Severe Physical Disabilities : Kinect-based Music Application for Children with Severe Physical Disabilities." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-322535.
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Based on initial interviews with music teachers at Årstra SpecialSchool, Uppsala, it was found that each child in a music playing session has different preferences of type and sound of a musical instrument. However, most of them have combined cognitive and physical impairments, preventing them from playing the instrument that theymight like.Starting from this idea, we developed a music application using virtual instruments, so that various types of instruments and sound can be used during a single music playing session. As an input device, we used aKinect sensor developed by Microsoft, i.e., a camera based sensor thatdetects human gestures. Our application used this Kinect sensor capability to allow users to control and play the sound by just movingtheir arms in the air. Our study has shown promising results of this applicatio, such as the positive response from the participant towards the application and the ability to change the sound of an instrument to match the participant's preference easily. However there are still some things to consider before releasing it as a consumer product, for instance bettercalibration and accuracy.
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Winstone, Naomi E. "The perceptual restoration of music in young children." Thesis, University of Surrey, 2009. http://epubs.surrey.ac.uk/2225/.
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Ferrer, Damian Llopis. "Technology support for teaching music to kindergarten children." Thesis, University of Manchester, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.509681.
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Williams, Carol Joy. "Autonomy, sheltered street children and group music therapy." Diss., University of Pretoria, 2009. http://hdl.handle.net/2263/36765.
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The context of this study is a street shelter, situated in the inner city of Pretoria. This was the first time that music therapy sessions were conducted at the shelter. This study is conducted within a qualitative research paradigm. The primary data source is five video and one audio excerpt. The secondary data source is session notes. The data is coded, categorised and organised into emergent themes. The emergent themes highlight five aspects of group music therapy that enabled autonomy in a group of children living in the street shelter. These five emergent themes are the basis of the discussion addressing the two research questions of this study. This study shows that group music therapy is an effective and appropriate way in which these sheltered street children are able to experience autonomy, including improved self-esteem and feelings of achievement and mastery. To my knowledge, there has been no music therapy literature published with regards to group music therapy with sheltered street children within the South African context as well as internationally.Dissertation (MMus)--University of Pretoria, 2009.
gm2014
Music
Unrestricted
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Langeveldt, Mareli. "Music, music therapy and identity : investigating how South African children from socio-economically deprived communities identify with music." Diss., University of Pretoria, 2006. http://hdl.handle.net/2263/31443.
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This dissertation profiles the way in which primary school children from socio-economically deprived communities in South Africa, specifically Heideveld and Eersterust, identify with music. The purpose of the study is to investigate how these children do, think, feel and talk about music and to explore the implications thereof for music therapist working in these specific or similar South African communities. The sentence completion responses of the children conveyed two ways in which they view identifying with music. The first is identifying with music and the second is using music as a tool through which one can identify with others. The way in which the children identify with music or through music in music therapy sessions, influences the therapeutic relationship as well as clinical interventions of the music therapist. Therefore, music therapists need to be sensitive to the way in which clients identify with music.Dissertation (MMus (Music Therapy))--University of Pretoria, 2005.
Music
MMus (Music Therapy)
Unrestricted
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Sangiorgio, Andrea. "Collaborative creativity in music education : children's interactions in group creative music making." Thesis, University of Exeter, 2015. http://hdl.handle.net/10871/20648.
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This study intended to develop a theoretical framework for understanding children's collaborative creativity in music. The focus was on creative interactions and on how early primary children interact when they engage in creative group music making. Related questions were on: 1) the different communicative media employed, 2) the component aspects of group work influencing children's creative endeavours, 3) the meanings that children attribute to their creative experience, and 4) the educational and ethical values of creative interactions. The study was carried out in a private music school in Rome, Italy. A group of eight 5-7-year-old children participated over eight months in 30 weekly sessions of group creative activities in music and movement. I was the teacher researcher and worked with a co-teacher. This exploratory, interpretive inquiry was framed by sociocultural perspectives on learning and creativity. A qualitative research methodology was adopted, which combined methodological elements derived from case study research, ethnographic approaches, and practitioner research. Data collection methods included participant observation, video-recording of sessions, documentation, and strategies for eliciting children's meanings. Thematic analysis, both theory-driven and data-driven, was conducted in order to identify relevant issues. The findings of the study suggest that in creative collaborative work in music bodily interactions and musical interactions have a stronger significance than verbal interactions. A conceptual distinction was made between 'cooperative' vs 'collaborative' which helped to characterise the different degrees of interactivity in the group's creative work. The study identified a range of component aspects which influenced the quality and productivity of children's collaborative interactions. These included: children's characteristics, context and setting, pedagogical approach, task design, collaboratively emergent processes, underlying tensions in creative learning, reflection on and evaluation of creative work, and time. Children actively gave meaning to their group creative music making mostly in terms of imagery and narrative, though they were gradually shifting towards more purely musical conceptualisations. Creating music in groups had the potential to enhance their sense of competence, ownership and belonging, and supported ethical values such as promoting the person, freedom, responsibility, a multiplicity of perspectives, and democracy. Three meta-themes run throughout the findings of the study, which are in line with sociocultural perspectives: i) a systems perspective as necessary to gain a more comprehensive view of collaborative creativity; ii) creativity as an inherently social phenomenon, and iii) creativity as processual and emergent. The implications for pedagogical practice highlight the importance of including creative collaborative activities in the music curriculum.
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Brooks, Alyse Marie. "The Benefit to Children of Studying Music and the Use of a Summer Vocal Camp to Introduce Children to Music Education Opportunities." University of Akron / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=akron1311197066.
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Chiang, Jenny Yu Kuan. "Music therapy for young children who have special needs : the music therapy experience from the perspectives of carers and professionals : a thesis submitted to the New Zealand School of Music, Wellington, New Zealand, in partial fulfilment of the requirements for the degree of Master of Music Therapy /." ResearchArchive@Victoria e-Thesis, 2008. http://hdl.handle.net/10063/1046.
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Rubensson, Andreas. "Visualization of Music Designed for Children with Severe Disabilities." Thesis, Uppsala universitet, Institutionen för informationsteknologi, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-334016.
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The children participating in the MUMIn-project at the special school Årstagrundsärskola are already developing their learning skills and creativity through music.Although they have a problem. They have not used a program that visualizes the music played in a way that is understandable and rewarding. In order to furtherdevelop their skills in cause-effect relationships, such a program is highly sought after. By creating an application designed to be run on a computer at the same time as thechildren are playing music on MIDI-instruments connected to the same computer, theproblem could be solved. The visualizations would be shown on a projected screen and display animations that were designed to be as easy to understand as possible butstill have room for further exploration if they would be too simple for some of the children. Even though the children were on different skill levels, how they played music along with the visualizations showed that the created application both helps thechildren to connect cause-effect relationships and also help develop other skills like for example motor skills. The created application could because of these results be avery useful learning tool in further work in the MUMIn-project.
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Mohd, Ghazali Ghaziah School of Music & Music Education UNSW. "Factors influencing Malaysian children???s motivation to learn music." Awarded by:University of New South Wales. School of Music and Music Education, 2006. http://handle.unsw.edu.au/1959.4/23000.
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Children???s attitudes towards music reflect the socializing practices of their family, parents, peers, school, and the society in which they live. The fact that the Malaysian school system has offered school music since 1983 with very few attempts to understand the impact of this subject among the children themselves highlights the need for investigations which can clarify the extent to which school music education has influenced children???s perceptions of learning music. The purpose of this dissertation was to examine the personal and external factors, which help shape Malaysian children???s valuing for the formal learning of music both in and out of school. Surveys of 1,060 primary school children aged 9 to 12, as well as interviews with a smaller sample of music learners, were undertaken to investigate children???s motivation to learn music. The Expectancy???Value theory of Jacquelynne Eccles and Allan Wigfield acted as a framework to investigate motivational constructs dealing with ttainment, intrinsic interest, and utility values, in addition to the cost factor related to learning music. In the first part of the analyses, survey results were categorized according to the three main ethnic groups in Malaysia, subdivided into five ethnic???religion groups (i.e., Malay Muslims, Chinese Buddhists, Chinese Christians, Indian Hindus and Indian Christians), musical experience (learners, non???learners and those who had ceased learning) and gender. The second part of the analyses focused on the responses of 20 music learners in order to enrich the data obtained in the first part of the analyses. Results revealed that most children, regardless of ethnicity, were intrinsically motivated to learn music in school. Moderately high perceptions of enjoyment and interest, as well as recognition for music???s utility value were prominent among all ethnic groups. However, most children, regardless of ethnicity, musical experience and gender did not perceive learning music in and out of school as having high attainment value, with a majority indicating moderately low responses for the importance of learning music. Differences among ethnic groups revealed that Chinese and Indian children perceived the utility value of musical training mor than Malay children, who were also more inclined to perceive learning music as difficult and involving more cost. Significant differences for gender also revealed that girls recognize more intrinsic and utility value of learning music bothin and outside school. An important implication arising from the study is the importance of music advocacy throughout Malaysian society. This thesis asserts the right of all Malaysian children to have access to a quality music education that assists in developin all of their potentials. However, it also recognizes that a great deal of work is needed in order to ensure that the discipline of music is more highly regardedwithin all sections of the Malaysian educational system.
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Butterton, Mary. "Music in the pastoral care of emotionally disturbed children." Thesis, University of Birmingham, 1991. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.435965.
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Carter, David. "Clever Children: The Sons and Daughters of Experimental Music." Thesis, Griffith University, 2009. http://hdl.handle.net/10072/367632.
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In the late 1990s critics, journalists and music scholars began referring to a loosely associated group of artists within Electronica who, it was claimed, represented a new breed of experimentalism predicated on the work of composers such as John Cage, Karlheinz Stockhausen and Steve Reich. Though anecdotal evidence exists, such claims by, or about, these ‘Clever Children’ have not been adequately substantiated and are indicative of a loss of history in relation to electronic music forms (referred to hereafter as Electronica) in popular culture. With the emergence of the Clever Children there is a pressing need to redress this loss of history through academic scholarship that seeks to document and critically reflect on the rhizomatic developments of Electronica and its place within the history of twentieth century music.
Clever Children: The Sons and Daughters of Experimental Music explores the relationship between the experimental music tradition and these Clever Children through the application of a mixed method Collective Case Study examining the work of Howard Bernstein (Howie B), Robin Rimbaud (Scanner) and Paul Miller (DJ Spooky). This research utilises an analytical framework comprising interview, document review and musical analysis to explore the artist and work under discussion in order to identify areas of congruence, confluence and difference with key musical and conceptual traits derived from an historical survey of the experimental music tradition and Electronica.
The key historical developments of the experimental music tradition and Electronica outlined in this research, though necessarily selective, provide an overview and context of the broad trends and concerns that have emerged in both traditions. This research identifies significant areas of confluence between the two and this suggests that some form of influence may have taken place. When examined in more detail however, this is revealed to be the result of parallel but distinct developments owing more to external factors than any direct or indirect influence. This is borne out to varying degrees within the Collective Case Study.
Case Study One examines the remix of Steve Reich’s Eight Lines by Howie B as one example of the congruence, confluence and lines of influence that have been drawn between minimalism and Electronica. This Case Study concludes that, while Bernstein’s work demonstrates strong similarities with the experimental music tradition, Bernstein has not engaged with Reich’s material in a manner that is outside the scope of his usual practice. Furthermore this Case Study suggests that key similarities between Bernstein’s remix and Reich’s original conform to the overlap between Electronica and the experimental music tradition.
Subsequently, this Case Study does not support assertions of direct influence by the experimental music tradition on Bernstein’s artistic practice...Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
Queensland Conservatorium
Arts, Education and Law
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Nicolosi, Cheryl Ann. "The effects of music on communication and behavior in children with autism." CSUSB ScholarWorks, 2006. https://scholarworks.lib.csusb.edu/etd-project/3107.
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The research demonstrates that music therapy is an effective tool in the area of communication and behavior with children with autism and children with other learning disabilities. The hypothesis of this thesis predicted that music would enhance communication and decrease inappropriate behaviors. Qualitative data were gathered from interviews with music therapists and observations of students diagnosed with autism and other disabilities including attention deficit disorder, cerebral palsy, Down's syndrome, and other levels of mental retardation. Results supported the hypothesis and also supported the research in the literature that music lowered the anxiety levels in all individuals, resulting in increased learning.
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Levinge, Alison. "Music therapy and the theories of Donald Winnicott." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.366728.
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Chen, Hsiao-Shien. "Effectiveness of the special music programs in Taiwan for educating talented and gifted young musicians /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120615.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 250-260). Also available for download via the World Wide Web; free to University of Oregon users.
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Woodward, Sheila C. "The transmission of music into the human uterus and the response to music of the human fetus and neonate." Doctoral thesis, Faculty of Humanities, 1993. https://hdl.handle.net/11427/31933.
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The aim of this study was to investigate whether music influences human life before birth. In order to determine the existence and character of music in the uterine acoustic environment, a study was conducted involving the insertion of a hydrophone through the cervix, next to the fetal head. The investigation was conducted on eight women in early labour. The average residual uterine sound of the eight subjects was measured at 65 dBA (A-weighted) re 20 µ.Pa in a 1 O KHz band, RMS averaged over 32-second records. Above this emerged the maternal voice, an external female voice and a male voice presented at approximately 65 dB (linear weighted). Pure tones between 50 Hz and 1 O KHz and orchestral music, all presented at 80 dB (linear weighted), were also shown to emerge above the residual uterine sound. Attenuation of external sound was observed to vary as a function of frequency, with less attenuation of lower frequencies. It was determined that the music was transmitted into the uterus without sufficient distortion to significantly alter the recognisable characteristics of the music. The fetal heart rate (FHA) response to a music stimulus (MS) and a vibroacoustic stimulus (VS) was measured in 40 subjects. Gestational age of the fetuses ranged from 32 to 42 weeks. The study included a control period with no acoustic stimulation; a period with the presentation of 5 music stimuli; and a period with the presentation of 5 vibroacoustic stimuli. A change in the FHA of 15 beats per minute or greater, lasting 15 seconds and occurring within 15 seconds of at least 2 of the 5 stimuli (or a tachycardia of greater than 15 beats per minute above the resting baseline, sustained for one minute or longer) was considered to be a positive response. The MS elicited a positive response in 35 of the fetuses (the 5 non-responses occurring in a period of low FHA variability) and all 40 fetuses responded to the VS (regardless of arousal state). In the third study, mothers attending childbirth education classes volunteered to listen to a prescribed music excerpt twice daily from the 34th week of pregnancy. Ten neonates (all clinically normal) were tested betw~en the 2nd and 5th day after birth. Investigators observed the effect of two music sti:Tiuli, the prescribed stimulus and a non-prescribed stimulus, on neonatal sucking of a non-nutritive nipple. A five-minute control period with no stimulation was compared with a ten-minute period during which two music stimuli were presented. By random allocation, either the prescribed music stimulus (PM) or the nonprescribed music (NM) was presented contingent upon sucking pressure. If a sucking burst was initiated, the PM stimulus was activated. On cessation of sucking, the NM stimulus was activated. Randomly, the procedure would be reversed for some of the subjects, where initiation of sucking activated the NM stimulus and cessation of sucking activated the PM stimulus. It was determined that the inter-burst intervals during the music period were significantly extended when coinciding with the PM stimulus and significantly shortened when coinciding with the NM stimulus.The studies indicated that music is transmitted into the uterus with insufficient distortion to alter the character of the music; that the normal fetus responds to a music stimulus from at least the 32nd week of gestation; and that the neonate alters the normal sucking pattern to activate longer periods of a music stimulus which has been repeatedly presented during the intrauterine stage and shorter periods of a novel music stimulus.
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Gang, Na-Hyun. "Action research : an exploration of a music therapy student's journey of establishing a therapeutic relationship with a child with autistic spectrum disorder in music therapy : a thesis submitted to the New Zealand School of Music in partial fulfilment of the requirements for the degree of Master of Music Therapy /." ResearchArchive@Victoria e-Thesis, 2009. http://hdl.handle.net/10063/1081.
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Dartt, Kevin Maurine Morrison George S. "Effects of background music on preschoolers' attention." [Denton, Tex.] : University of North Texas, 2009. http://digital.library.unt.edu/ark:/67531/metadc12114.
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Doughty, Judy A. "Inclusion and adaptation resources for general music teachers /." View online, 2009. http://repository.eiu.edu/theses/docs/32211131591844.pdf.
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Chan, Edmund Sze Shing. "Music teachers' concern of inclusive music teaching scale: development, validation and correlates." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/308.
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In view of the lack of an appropriate instrument to measure primary school music teachers' concerns about teaching music to students with special educational needs in inclusive classrooms in Hong Kong, this research intends to fill the research gap by developing and validating the Music Teachers' Concerns of Inclusive Music Teaching Scale (CIMTS) for addressing these concerns. Specifically, this study aims at: (1) Developing and validating the CIMTS, (2) Assessing its psychometric properties, (3) Exploring primary school music teachers' levels of concern about inclusive music teaching, and (4) Predicting their CIMTS scores with a number of psychological, personality, and environmental variables which are hypothesized to correlate with the CIMTS. Different methods with two samples of primary school music teachers were involved in the development, validation, and prediction of the CIMTS. Regarding development, sequential mixed method involving qualitative analysis was employed to generate, pilot-test, and refine the initial pool of question items. Concerning validation (N = 309), quantitative analysis using item analysis was conducted to evaluate and refine the CIMTS, assessing its internal consistency and construct validity. Specifically, Exploratory Factor Analysis, Confirmatory Factor Analysis, SEM estimation, and Multi-trait and Multi-method analysis were performed to establish evidence of convergent and discriminant validity. Referring to prediction (N = 224), hierarchical multiple regression analysis was conducted to examine if the chosen psychological, personality, and environmental variables in the hypothesized model were significant predictors of the scores on the CIMTS. Results indicated that the 25-item CIMTS possessed adequate evidence of validity as well as satisfactory reliability regarding the overall scale and its five factors (Learning Support, Learning Obstacle, Resource, Training, as well as Curricular Design and Assessment). While the level of primary school music teachers' concerns for the Resource factor was found to be the highest among the five factors, Openness-to-Experience and School Climate were shown to be the strongest predictors of their scores on the CIMTS in the hypothesized model. With the development and validation of the CIMTS, this research not only filled the research gap in inclusive music education, but also aroused policy-makers' and music educators' awareness of teachers' needs for formal training in special education and for resource allocated to inclusive music teaching. For future research, with addition of new items, the CIMTS could be expanded in its domain coverage, refined, and revalidated with different samples. Further exploration of possible correlates of the CIMTS should be pursued.
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Poh, Tse-tse Jennifer. "The use of music therapy in the treatment of autistic children with special reference to Hong Kong /." Hong Kong : University of Hong Kong, 1997. http://sunzi.lib.hku.hk/hkuto/record.jsp?B19470356.
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Sun, Derjen Jeney. "Teaching young children compositional concepts to enhance music learning in a computer learning environment." Connect to resource, 1993. http://rave.ohiolink.edu/etdc/view.cgi?acc%5Fnum=osu1244216827.
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Stanutz, Sandy. "Pitch discrimination and melodic memory in children with autism." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86728.
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Objective: The current research indicates that those with autism have an excellent memory for pitch. Persons with autism have better pitch discrimination and memory for individual notes. The purpose of this study was extend this research in school aged children, comparing pitch discrimination and melodic memory of children with autism to that of typically developing children.Method: Twenty-five children with autism between the ages of 8-12 and 25 typically developing children within the same age range participated in the study. Children completed pitch discrimination tasks in two differing contexts. In one context, children were asked to indicate whether two pitches were the same or different when the two pitches were either the same or one note of the pair had been altered so that it was 25, 35, or 45-cents sharp or flat. In the other context, children were asked to discriminate whether two melodies were the same or different when the leading tone of each melody was either the same or had been altered so that it was 25, 35, or 45-cents sharp or flat. In addition, children were also asked to recall melodies one week after they were paired with pictures during a familiarization task. All the tasks in the study were formatted on computer.
Results: Children with autism outperformed typically developing children in both pitch discrimination contexts. Children with autism were superior to typically developing children when remembering melodies one week after they had been paired with animal pictures.
Conclusion: Children with autism demonstrated better pitch discrimination and melodic memory than typically developing children. These abilities may be genetic, as the majority of the participants in the study had limited music training. Alternatively, these abilities could be reflective of a different developmental process in the auditory modality of children with autism whereby developmental differences in auditory perceptions may be adaptive in some musical contexts.
Objectif: Les recherches actuelles démontrent que les personnes autistiques discernent mieux la hauteur des sons et ont une meilleure mémoire des sons individuels. La présente étude vise à étendre la recherche aux enfants d'âge scolaire en comparant, chez les enfants autistiques par rapport aux enfants qui se développent normalement, le discernement de la hauteur des sons et la mémoire mélodique.
Méthodologie: Vingt-cinq enfants autistiques ainsi que 25 enfants ayant un développement normal, tous âgés de 8 à 12 ans, ont participé à l'étude. Placés dans deux contextes différents, les enfants ont effectué des tâches faisant appel à leur capacité de discerner la hauteur des sons. Dans le premier contexte, les enfants devaient indiquer si deux sons étaient semblables ou différents lorsque les deux sons étaient les mêmes ou lorsque l'un d'eux avait été modifié pour être plus aigu ou plus bas de 25, 35, ou 45-cents. Dans l'autre contexte, les enfants devaient dire si deux sons mélodies étaient les memes ou si elles étaient différentes lorsque chacune des melodies étaient la mêmes ou si elles étaient différentes lorsque la sensible de chacune des melodies étaient soit la même, soit qu'elle avait été modifiée pour être plus aigue ou plus basse de 25, 35, ou 45-cents. En outre, les enfants devaient aussi se remémorer des mélodies qui, la semaine précédente, avaient été associées à des images d'animaux au cours d'une tâche de familiarsation. Toutes les tâches accomplies par les enfants au cours de l'étude ont été effectuées sur ordinateur.
Résultats: Les enfants autistiques ont mieux réussis que les enfants ayant un développement normal et, cela, dans les deux contextes de discernment de la hauteur des sons. Ils ont aussi été supérieurs lorsqu'il a fallu se remémorer des melodies une semaine après qu'elles eurent été associés à des images d'animaux.
Conclusions: Les enfants autistiques ont démontré que leur jugement de la hauteur des sons et et leur mémoire mélodique étaient meilleurs que ceux des enfants ayant un développement normal. Ces habiletés pourraient être innées étant donné que la majorité des participants á l'étude avaient une formation musicale limitée. Par ailleurs, ces habiletés pourraient être le signe d'un processus développemental different des attributs auditifs des enfants autistiques, ces différences développementales des perceptions auditives pouvent comporter une capacité d'adaptation à certains contextes musicaux.
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Merz, Elisabeth Ann Robb Sheri L. "Music therapy for abused and neglected children a survey study /." Diss., UMK access, 2007.
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Thesis (M.A.)--Conservatory of Music. University of Missouri--Kansas City, 2007."A thesis in music therapy." Typescript. Advisor: Sheri L. Robb. Vita. Title from "catalog record" of the print edition Description based on contents viewed dec. 18, 2007. Includes bibliographical references (leaves 75-79). Online version of the print edition.
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Rosenfield, Betty. "Using Music to Increase Reading Comprehension in Children With Autism." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cmc_theses/662.
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Children with autism spectrum disorder (ASD) exhibit deficits in reading comprehension. Previous research indicates that music increases attention span, as well as increases auditory discrimination, memory and verbal skills in children with ASD. This study attempts to increase the reading comprehension of three children with autism by implementing a musical modality approach to learning. To assess the effects of musical presentation on reading comprehension a multiple baseline design across children was used. In baseline each child was told to read a story silently to themselves and then answer standard reading comprehension recall questions (who, what, where, when). In treatment the children were presented stories read to them (speaking modality) or sung to them (singing modality) and again asked standard recall questions. Results found that all three participant’s reading comprehension scores increased in relation to baseline, and one out of three participants reading comprehension scores increased in the signing modality condition as compared to the baseline and speaking modality conditions.
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Packer, Yvonne Mary. "Music and the therapeutic education of children in EBD schools." Thesis, UCL Institute of Education (IOE), 1992. http://eprints.ioe.ac.uk/7446/.
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In this study I seek to evaluate the effect of music education on the personal and social development of disturbed children and to ascertain the feasibility of incorporating such teaching into the curriculum of EBD day schools. Apart from the author's own professional practice there was little observable practice and this, combined with the difficulties of actually observing teachers working with disturbed children, placed restrictions on the scope of empirical study. Within this limitation, action research was combined with interviews, case studies and questionnaires to determine the attitude of pupils to music. Analysis of the impact of music education on the behaviour of disturbed children indicates that it has some potential to benefit their social and emotional readjustment and, at the same time, demonstrates the marked effect of pupil behaviour on the curricular intentions of the teacher. It becomes apparent that it is not feasible to work within the confines of a prescribed, developmental syllabus and that, whilst the overall aim may be to encompass much of the mainstream syllabus, the inroads to that syllabus in this context will be apparently random reflecting the child's lack of sustained concentration and fleeting moments of interest. This changing emphasis brings about a re-evaluation of the concept of music teaching and a comparison is made with music therapy in an attempt to discern which is the nearest model to therapeutic education. A retrospective view of general educational provision for disturbed children includes consideration of causation, the special skills required of teachers and an analysis of classroom problems. Problems for the researcher working in this field are diverse but in spite of the restraints, limited findings emerge which constitute the central focus of this thesis - they being that music education can be successfully incorporated into the curriculum of EBD day schools and that it may positively effect the personal development and interpersonal relationships between disturbed children. These findings are central to the recommendations made for future research and curricular development.
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Mullen, Philip. "Challenging perceptions : community music practice with children with behavioural challenges." Thesis, University of Winchester, 2017. http://repository.winchester.ac.uk/686/.
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Over the past decade, and particularly since the publication of The National Plan for Music Education (DfE, 2011), there has been increasing opportunity for community musicians in England to work with young people with challenging behaviour in Pupil Referral Units (PRUs) and in Emotional and Behavioural Difficulties (EBD) Units. This study identifies and discusses six key elements that influence community music delivery in these settings. These elements are: what the children bring, organizing structures, ideas and materials, focus and energy, reflection and reflexivity and the intentions of the leader. These elements emerged from the data collected through the study. This study combined action research and grounded theory. It employed a number of data collection methods, including participant observation, semi-structured interviews, focus group work and a literature review. The environment of PRUs and EBD Units are based on formal schooling but are both volatile and academically ineffective (Taylor, 2012). Community musicians, who frequently work outside the curriculum, need insights and understandings beyond traditional educational practice if they are to be successful in engaging children in these environments. Community music practice addresses not only musical but also personal and social development. This, and the nature of PRUs, and of the children within them, makes the work complex. Through understanding the role all six elements can play in shaping the child’s experience, the community musician can use this knowledge to develop programmes that address these children’s complex needs, allow them to place themselves at the centre of their own learning and encourage their ownership of their own creative expression. This can give them a sense of meaning for their own often troubled histories and may offer them a pathway to reconstructing their own self concept away from conferred negative identities as excluded children towards seeing themselves as learners and musicians.
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McDonald, Courtney. "The effect of adapted musical instruments on the participation of children with severe and multiple disabilities : a mixed methods study." Scholarly Commons, 2011. https://scholarlycommons.pacific.edu/uop_etds/790.
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Erasmus, Suzanne. "’n Ondersoek na twintigste-eeuse musiek vir kinders en die pedagogiese waarde daarvan vir onderrig in Suid-Afrikaanse laerskole." Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/80346.
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Thesis (MMus)--Stellenbosch University, 2013.ENGLISH ABSTRACT: When twentieth century music composed specifically for children is discussed, Sergei Prokofiev’s Peter and the Wolf and occasionally Benjamin Britten’s The Young Person’s Guide to the Orchestra are the two examples most often mentioned, as if they represent the sum total of works in this genre. It seems then that there is a general lack of awareness of the actual existence of a rich variety of twentieth century music for children. Consequently the conclusion seems justified that most music educators in South African primary schools do not include this music in their repertoire nor has it been specifically recommended for use in the 2005 or 2011 syllabi. The question that prompted the current study is whether this repertoire of contemporary children’s music can be exploited to a much larger extent in South African primary schools than has been the case up until now. In the educational system of 2005, where ‘subjects’ have been replaced by ‘learning areas’, the former subject, Class Music, has been integrated into a new learning area consisting of four components (music, drama, dance and visual arts). However, this more comprehensive learning area has been implemented without actually making provision for more time on the time table than was formerly allocated to Class Music. With the implementation of CAPS in the Foundation Phase (Gr R – 3) in 2011 and in the Intermediate Senior Phase (Gr 4 - 9) in 2013, extra time allocated proves to still be insufficient for continual, thorough teaching of music. Although strong concern had been expressed previously about the fragmentation of subject content and the low status of music education in South African schools, this concern was not really addressed in both the curricula of 2005 and 2011, and subject content within the components is still scaled down to compensate for lack of time. This has also had serious consequences for the training of teachers. Requirements of the curriculum are only given in the form of general guidelines and teachers with no musical education, who have to teach the musical component, have no clearly defined examples to go by. For that reason a catalogue is included in this study by which teachers can gain access to relevant examples of twentieth century music. In the main section of this study music for children is examined in its historical context, it is defined and categorised. Strategies by which composers attempt to find access to a child’s world are also examined. While it may be assumed that children are familiar with the tonal idiom of folk, sacred and popular songs, composers of twentieth century music see themselves challenged to introduce children to a modern musical idiom, not compromising accessibility and a child friendly approach. In addition to the general discussion of the extensive repertoire of twentieth century music for children, four examples are selected to examine more specifically how composers go about when composing such music. These are: Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) and The little sweep (Benjamin Britten). (Die Weinachtsgeschichte was translated into the Griqua dialect by Prof Hans du Plessis especially for the purpose of this study). The educational potential of twentieth century music for children is vast. Even with minimal teaching time it can be an efficient and time saving medium of tuition that at the same time opens up an exciting contemporary sound world to the young learner.
AFRIKAANSE OPSOMMING: Wanneer daar oor twintigste-eeuse musiek vir kinders gepraat word, word daar dikwels spontaan na Sergei Prokofjef se Pieter en die Wolf en miskien na Benjamin Britten se The Young Person’s Guide to the Orchestra verwys, asof dit die ‘somtotaal’ van die genre uitmaak. Hieruit blyk dit dat daar oor die algemeen ‘n onbewustheid ten opsigte van die beskikbaarheid van ‘n ryke verskeidenheid van werke in hierdie genre bestaan. Dit blyk ook dat die meeste musiekopvoeders in Suid-Afrikaanse laerskole nie hierdie musiek by hul repertorium insluit nie en dat dit ook nie in die sillabusse van 2005 en 2011 spesifiek gepropageer word nie. Die vraag wat aanleiding gee tot die huidige ondersoek is of die pedagogiese waarde van sodanige eietydse musiek nie baie beter in Suid-Afrikaanse skole ontgin kan word as wat tans die geval is nie. Met die 2005-onderwysbedeling waar ‘vakke’ met ‘leerareas’ vervang is, is Klasmusiek in die vier-komponent-leerarea Kuns en Kultuur, met musiek, drama, dans en visuele kuns as spesialis-onderafdelings, geïntegreer. Die Kuns en Kultuur leerarea, wat inhoudsgewys meer omvattend as Klasmusiek was, is sonder ‘n ruimer tydstoekenning ingestel. Met die implementering van KABV in die Grondslagfase (Gr R-3) (2012), en in 2013 by die Intermediêre en Senior Fase (Gr 4 – 9) is die tydstoekenning marginaal verruim, maar steeds onvoldoende vir volgehoue, deeglike onderrig van musiek. Hoewel sterk kommer oor die dilemma van onder meer voortdurende fragmentasie van inhoude asook die lae, kwynende status van musiekopvoeding in Suid-Afrikaanse skole reeds voorheen uitgespreek is, is hierdie kommer nie werklik in die leerplanne van 2005 of 2011 aangespreek nie. In teendeel, die vakinhoud binne die onderskeie komponente is steeds ontoereikend, omdat daar nie genoeg tyd beskikbaar is om werksinhoud deeglik te onderrig nie. Die nuwe bedeling hou verder ook implikasies vir die opleiding van opvoeders in, deurdat vereistes binne die skoolkurrikulum uit breë riglyne ten opsigte van vakinhoud bestaan. Die dilemma van ‘n opvoeder sonder musiekopleiding wat die musiekkomponent moet aanbied, is dus duidelik. Daarom word, as hulpmiddel vir opvoeders, ‘n katalogus by hierdie studie ingesluit om die leemtes in die kurrikulum te help ondervang. In die hoofdeel van hierdie studie word musiek vir kinders in ‘n historiese konteks geplaas, gedefinieer en gekategoriseer. Verder word die middele ondersoek waarmee komponiste van hierdie musiek toegang tot die leefwêreld van die kind probeer verkry. Terwyl aanvaar kan word dat kinders vandag vertroud is met die tonale idioom soos dit in volks-, gewyde of populêre liedere voorkom, kom komponiste van twintigste-eeuse musiek voor die uitdaging te staan om kinders met die moderne musiektaal vertroud te maak sonder om toeganklikheid en kindervriendelikheid prys te gee. Bykomstig tot die algemene bespreking van die omvangryke repertoire van twintigste eeuse musiek vir kinders word vier werke gekies om meer spesifiek te bepaal hoe komponiste te werk gaan wanneer hulle sodanige musiek komponeer, te wete Wir bauen eine Stadt (Paul Hindemith), l’Histoire de Babar (Francis Poulenc), Die Weihnachtsgeschichte (Carl Orff) en The little sweep (Benjamin Britten). (Vir hierdie studie is Die Weihnachtsgeschichte spesiaal deur Prof Hans du Plessis in die Griekwa-dialek vertaal). Twintigste-eeuse musiek vir kinders het veelsydige gebruiksmoontlikhede. Met minimale onderrigtyd kan dit ’n doeltreffende, tydsbesparende medium van onderrig wees, en terselftertyd ’n opwindende, eietydse klankwêreld vir kinders oopsluit.
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DeBeus, Roger J. (Roger John). "The Effects of Music Training on Electroencephalographic Coherence of Preschool Children." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278071/.
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The purpose of this study was to examine the effects of music training on electroencephalographic (EEG) coherence of preschool children. EEG coherence is a measurement of brain wave activity that reflects anatomical and neurophysiological parameters and functional connectivity between areas of the brain. Participants were 4- to 6-year-old children divided into two groups: one received music training for 20 minutes twice a week for 10 weeks while the other group served as controls. Nineteen channels of EEG data were collected from each child pre- and post-training. Data were collected from three conditions: eyes-open resting, listening to music, and performing the Object Assembly subtest of the Weschler Preschool and Primary Scale of Intelligence - Revised (1989). The hypothesis was that the music training group would show increased EEG coherence as compared to controls. The EEG data was reduced into seven bandwidths and analyzed separately for each condition. Multiple ANCOVAs were used to factor out pre-test variability and to maximize connectivity changes between the two groups. The dependent measures were the post-QEEG electrode pairs and the covariates were the pre-QEEG electrode pairs. Results indicated the eyes-open and listening to music conditions showed more significant changes between the groups than the Object Assembly condition. Overall, each condition showed increased connectivity for the music training group versus controls. The eyes-open condition differentiated children with and without music training during a resting condition, and showed similar patterns as those identified by other researchers comparing musicians versus nonmusicians. The listening to music condition identified connections including a topographical pattern of auditory analysis, increased working memory activation, increased activity between musically sensitive areas, and increased interhemispheric activity. Findings with the Object Assembly condition were not as robust as expected. However, patterns of increased connectivity associated with visuospatial processing were found with the music training group.
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Wurgler, Pamela Sewell. "A perceptual study of vocal registers in the singing voices of children." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1273516240.
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Robinson, Nathalie Gail. "An examination of the influence of visual feedback, aural feedback and reflection time on the pitch and duration characteristics of 9-year-olds' musical compositions :." Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11792115.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.Typescript; issued also on microfilm. Sponsor: Lenore Pogonowski. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 235-239).
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Stiller, Barbara. "Erlebnisraum Konzert : Prozesse der Musikvermittlung in Konzerten für Kinder /." Regensburg : ConBrio, 2008. http://d-nb.info/986203424/04.
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Beegle, Amy C. "Children at work in their musical expression : a classroom-based study of small group improvisation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11204.
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Lin, Pei-Ying. "Development of curriculum materials to teach American children about the culture of Taiwan through Taiwanese children's songs." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4315.
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Thesis (M.A.)--University of Missouri-Columbia, 2005.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Includes bibliographical references.
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Bascom, Cathleen Chittenden. "Jesus and George Harrison's gift preaching with the Children of the Beatles /." Theological Research Exchange Network (TREN) Access this title online, 2005. http://www.tren.com.
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Rechel, Lynn Marie. "The effect of singing tempo during specific song acquisition of preschool aged children." Thesis, University of Hartford, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3559858.
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The purpose of this study was to investigate the effect of singing tempo during specific song acquisition of preschool aged children. The study had two research questions: 1. What is the effect of slow and fast singing tempos on preschool children’s performance of musical components (melody, rhythm, and text, individually and combined) of a duple major song over time? 2. Will children’s performance tempo be the same as or similar to the presented instructional tempo?
Participants were randomly assigned by classroom to Tempo Group A (120 beats per minute) or Tempo Group B (60 bpm). A three week pilot study ( N = 14) validated the teaching procedures, recording procedures, and the scoring rubric. During the six week main study, participants ( N = 50) were exposed to the song 30 times. Three judges evaluated individual performance recordings from the pilot study and the individual midpoint and final performances from the main study in three dimensions: melody, rhythm, and text.
Interjudge reliabilities were calculated using a Pearson product moment reliability. Data analysis used a two-way Multiple Analysis of Variance (MANOVA) with repeated measures for the individual components and an Analysis of Variance (ANOVA) with repeated measures for the composite score. The melodic scores, the rhythmic scores, the text scores, and the composite scores showed statistically significant growth for both groups from the week three recordings to the week six recordings. There was no statistically significant difference between the instructional tempo groups.
The mean of complete performances for both tempo treatment groups moved toward the center of the tempo range (60–120 bpm) Using a t -test, the change in performance tempo from instructional tempo was statistically significant. Further research is needed for specialized groups (English as a Second Language, developmental delays, and different tonalities/meters).
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Heyming, Lucy Ellen. "The effect of graphomotor exercises and music on normal children and children with attention deficit hyperactivity disorder." CSUSB ScholarWorks, 2003. https://scholarworks.lib.csusb.edu/etd-project/2442.
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Although drug therapy is the more common treatment of ADHD (attention deficit hyperactivity disorder), and has been shown to reduce symptoms, the benefits of the theraputic drugs are temporary, and the therapy can have adverse side effects. For these reasons, many prefer not to use drug therapy for ADHD. Alternative treatments have been shown to have some efficacy, especially when used in conjunction with drug therapy. Dynamic Systems theory suggests that an intervention which combines graphomotor exercises with music may have a positive effect on a child's behavior and attention. A 2 x 2 pretest-posttest design tested the hypothesis that both children diagnosed with ADHD as well as children without ADHD would significantly improve on measures of attention, behavior inhibition and handwriting when those children received the graphomotor and music intervention. The intervention was designed according to the instructions in the handbook "Training the Brain to Pay Attention the Write Way" authored by Farmer and published by Writebrain Press in Denver, Colorado in 1993.
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Lehmann, Sharon Fincher. ""Wiggles and Volcanos": an Investigation of Children's Graphing Responses to Music." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278601/.
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The purpose of this study was to investigate changes in selected children's Graphing Response Patterns to elemental changes in compositions in theme and variation form. The research problems were (1) to determine points and degrees of elemental change in the compositional structure of the musical examples; (2) to determine number, degree, and nature of changes in subjects' graphing response pattern to aurally presented musical examples; (3) to determine percentages of agreement between changes in graphing response patterns and points of elemental change within the compositional structures; (4) to determine the relationship of changes in subjects' graphing response pattern to the quality and magnitude of elemental change within the compositional structure. Twenty second- and fourth-grade children were individually videotaped as they listened to and graphed a series of aurally-presented musical examples. Each musical example was analysed according to such parameters as timbre, range/interval size, texture, tempo/meter, attack/rhythmic density, key/mode, dynamic level, and melodic presentation. Change in each parameter was scored using an interval scale reflecting change/no change and degree of change. Changes in graphing response pattern were determined by an interval scale which reflected the presence of change/no change and amount of change, using as analytical units speed, size, shape, type, and pause. The following conclusions were made: findings showed an observable, quantifiable relationship between changes in children's graphing response patterns and elemental changes in music parameters. This relationship encompassed not only change/no change judgements but also magnitude of response. Overall, frequency and magnitude/degree of student response was proportionate to the frequency and magnitude of change in the music parameter/s. Results indicated the existence of high-ranking correlations between student response and certain parameters regardless of the degree-of-change/points-of-change ratio. Findings showed that one degree of change in a single music parameter was not sufficient to cause an observable change in the attention of the young listener.
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Ueba(Kasuya), Yuka. "The Effect of Music Intervention on Attention in Children: Experimental Evidence." Doctoral thesis, Kyoto University, 2021. http://hdl.handle.net/2433/263587.
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Ouyang, Leyi. "Designing mobile and tangible interaction for music education with young children." Thesis, Queensland University of Technology, 2021. https://eprints.qut.edu.au/213018/1/Leyi_Ouyang_Thesis.pdf.
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This thesis investigated how music educators can employ digital technology in early childhood education. Based on a technology review and music workshops with children, this thesis showed that digital technology can promote music education through collaboration, challenges, fantasy, and curiosity. Based on these findings, this thesis presents three new digital technology designs and recommendations for design researchers and educators.
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Noguchi, Laura Kayoko. "The effect of music versus non-music on focus of attention in pediatric injection patients." Scholarly Commons, 2004. https://scholarlycommons.pacific.edu/uop_etds/593.
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Receiving vaccinations is a part of growing up in the United States; however, as necessary as vaccinations are, many children find the process to be frightening and painful. A review of literature indicates that non-pharmacological interventions, such as distraction, are generally effective in reducing pain and anxiety in children receiving injections. Music has been examined as a potential distraction during pediatric medical procedures, but research findings have been mixed, due, in part, to the way in which music was used: the children were primarily instructed to merely "listen to the music." It has been noted that individuals tend to maintain their attention on music more successfully when they are asked to listen for specific elements. The present study sought to determine if a focus of attention activity (pointing at pictures) involving music would affect levels of distress and perceptions of pain in pediatric injection patients. Sixty-four 4- to 6 1/2-year old children receiving routine immunizations were randomly assigned to one of three conditions: musical story, spoken story, or standard care control. Children in the two treatment conditions listened to a recorded story on headphones and pointed at corresponding pictures before, during, and after their injections. Observational data on distress and pain were collected, in addition to the child's self-rating of pain. Participants in the musical story condition tended to be less distressed and report less pain than participants in the spoken story and control conditions, although these differences were not statistically significant. Subsequent analysis indicated that children who received more injections tended to benefit more from the music intervention, in terms of their perceived pain. Implications of the findings are discussed, along with recommendations for future research in the area.
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Pollard, Anné Francoisé. "Group music therapy in a paediatric oncology ward working with a wide open group in a wide open space /." Pretoria : [s.n.], 2007. http://upetd.up.ac.za/thesis/available/etd-10072008-132209/.
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