Relevant bibliographies by topics / Music listening and personality

Academic literature on the topic 'Music listening and personality'

Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Music listening and personality"

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Hoshino, Etsuko. "Everyday listening to music among music students and their personality." Proceedings of the Annual Convention of the Japanese Psychological Association 79 (September 22, 2015): 2PM—009–2PM—009. http://dx.doi.org/10.4992/pacjpa.79.0_2pm-009.

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Vuoskoski, Jonna K., William F. Thompson, Doris McIlwain, and Tuomas Eerola. "Who Enjoys Listening to Sad Music and Why?" Music Perception 29, no. 3 (December 2011): 311–17. http://dx.doi.org/10.1525/mp.2012.29.3.311.

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although people generally avoid negative emotional experiences in general, they often enjoy sadness portrayed in music and other arts. The present study investigated what kinds of subjective emotional experiences are induced in listeners by sad music, and whether the tendency to enjoy sad music is associated with particular personality traits. One hundred forty-eight participants listened to 16 music excerpts and rated their emotional responses. As expected, sadness was the most salient emotion experienced in response to sad excerpts. However, other more positive and complex emotions such as nostalgia, peacefulness, and wonder were also evident. Furthermore, two personality traits – Openness to Experience and Empathy – were associated with liking for sad music and with the intensity of emotional responses induced by sad music, suggesting that aesthetic appreciation and empathetic engagement play a role in the enjoyment of sad music.
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Greb, Fabian, Jochen Steffens, and Wolff Schlotz. "Understanding music-selection behavior via statistical learning." Music & Science 1 (January 1, 2018): 205920431875595. http://dx.doi.org/10.1177/2059204318755950.

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Music psychological research has either focused on individual differences of music listening behavior or investigated situational influences. The present study addresses the question of how much of people's listening behavior in daily life is due to individual differences and how much is attributable to situational effects. We aimed to identify the most important factors of both levels (i.e., person-related and situational) driving people's music selection behavior. Five hundred eighty-seven participants reported three self-selected typical music listening situations. For each situation, they answered questions on situational characteristics, functions of music listening, and characteristics of the music selected in the specific situation (e.g., fast - slow, simple - complex). Participants also reported on several person-related variables (e.g., musical taste, Big Five personality dimensions). Due to the large number of variables measured, we implemented a statistical learning method, percentile-Lasso, for variable selection, which prevents overfitting and optimizes models for the prediction of unseen data. Most of the variance in music selection behavior was attributable to differences between situations, while individual differences accounted for much less variance. Situation-specific functions of music listening most consistently explained which kind of music people selected, followed by the degree of attention paid to the music. Individual differences in musical taste most consistently accounted for person-related differences in music selection behavior, whereas the influence of Big Five personality was very weak. These results show a detailed pattern of factors influencing the selection of music with specific characteristics. They clearly emphasize the importance of situational effects on music listening behavior and suggest shifts in widely-used experimental designs in laboratory-based research on music listening behavior.
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Gupta, Uma. "Personality, Gender and Motives for Listening to Music." JOURNAL OF PSYCHOSOCIAL RESEARCH 13, no. 2 (January 25, 2019): 255–73. http://dx.doi.org/10.32381/jpr.2018.13.02.1.

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Nave, Gideon, Juri Minxha, David M. Greenberg, Michal Kosinski, David Stillwell, and Jason Rentfrow. "Musical Preferences Predict Personality: Evidence From Active Listening and Facebook Likes." Psychological Science 29, no. 7 (March 27, 2018): 1145–58. http://dx.doi.org/10.1177/0956797618761659.

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Research over the past decade has shown that various personality traits are communicated through musical preferences. One limitation of that research is external validity, as most studies have assessed individual differences in musical preferences using self-reports of music-genre preferences. Are personality traits communicated through behavioral manifestations of musical preferences? We addressed this question in two large-scale online studies with demographically diverse populations. Study 1 ( N = 22,252) shows that reactions to unfamiliar musical excerpts predicted individual differences in personality—most notably, openness and extraversion—above and beyond demographic characteristics. Moreover, these personality traits were differentially associated with particular music-preference dimensions. The results from Study 2 ( N = 21,929) replicated and extended these findings by showing that an active measure of naturally occurring behavior, Facebook Likes for musical artists, also predicted individual differences in personality. In general, our findings establish the robustness and external validity of the links between musical preferences and personality.
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Lesiuk, Teresa, Alexander Pons, and Peter Polak. "Personality, Mood and Music Listening of Computer Information Systems Developers." Information Resources Management Journal 22, no. 2 (April 2009): 83–97. http://dx.doi.org/10.4018/irmj.2009040105.

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Rosenberg, Nora, David M. Greenberg, and Michael E. Lamb. "Musical Engagement is Linked to Posttraumatic Resilience: The Role of Gender, Personality, and Music Listening Styles After Childhood Trauma." Music & Science 4 (January 1, 2021): 205920432199373. http://dx.doi.org/10.1177/2059204321993731.

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Previous research on the links between music and posttraumatic resilience have typically relied on small sample sizes and case studies from clinical settings. To address this important gap, we conducted an online study to measure childhood trauma and adult musical engagement in everyday life in non-clinical contexts. The present study ( N = 634) investigated these links by administering online questionnaires about musical engagement, personality, and demographics to adult survivors of childhood trauma. Hierarchical regression analyses showed that social music listening predicted increased well-being in males while affective music listening predicted decreased well-being in males. Gender moderated the interaction between affective engagement and well-being: affective engagement was linked to increased well-being in females and a decrease in males. Furthermore, neuroticism moderated the interaction between narrative listening and well-being: narrative listening was linked to increased well-being for participants with low neuroticism and a decrease for those with high neuroticism. These findings may reflect general gender differences in coping styles: emotional reflection for females and emotional distraction for males, and suggest gender differences in attentional biases, rumination, and capacities for disassociation. Taken together, the results show that there are individual differences in musical engagement and posttraumatic resilience based on gender and personality. These findings are useful for the development of music-based coping strategies that mental health professionals can tailor for individual clients.
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Lesiuk, Teresa, Peter Polak, Joel Stutz, and Margot Hummer. "The Effect of Music Listening, Personality, and Prior Knowledge on Mood and Work Performance of Systems Analysts." International Journal of Human Capital and Information Technology Professionals 2, no. 3 (July 2011): 61–78. http://dx.doi.org/10.4018/jhcitp.2011070105.

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This research examined the effect of music use, personality and prior knowledge on mood and work performance of 62 Systems Analysts. Although the quality of the data modeling task did not appear to be affected by the experimental treatment of 10 minutes of music listening, the level of extraversion, modeling proficiency, and theoretical knowledge related to modeling showed significant effects. Nevertheless, the effects of music were demonstrated on several mood measures. The effect of music on negative and positive affect, along with their subscales, are presented. Finally, changes in the mood of participants who listened to the music are examined in the light of various demographic and personality variables.
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May Alcott, Louisa. "The use of music often has a crucial role in the everyday life of patients with mental disorders." Psychology and Mental Health Care 1, no. 3 (November 30, 2017): 01–07. http://dx.doi.org/10.31579/2637-8892/016.

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Background: Until now little has been known about the relationship between emotion modulation through music listening habits and personality dimensions, especially in patients with mental disorders. Objective: To explore relations between the use of music in everyday life and personality dimensions in patients with mental disorders. Methods: A population of patients suffering from mental disorders (n=190) was examined using one inventory on emotion modulation by music (IAAM) and another assessing personality dimensions (SKI). Results: Patients with high ego-strength used music less for relaxation, cognitive problem solving or for reduction of negative activity, similarly patients with high orderliness used it less for cognitive problem solving or for reduction of negative activity, but patients with high confidence used music more for fun stimulation. Patients who reported that they listened to music which improved their symptoms of mental illness showed more ego-strength and orderliness than patients who listened to music that worsened their emotional condition. Conclusions: The study suggests that the personality variables confidence, ego-strength and orderliness are variables for the use of music in a helpful way for emotion modulation.
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Živković, Vesna. "Listening to music in the context of developing and encouraging creative thinking in upper elementary school students." Norma 26, no. 2 (2021): 205–23. http://dx.doi.org/10.5937/norma2102205q.

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The subject Music Culture, and especially the subject area Listening to Music, with its carefully designed procedures, methods, and activities, enables the enrichment of the spiritual aspect of the student's personality, as well as its harmonious development. Music is a source of positive emotions, pleasure and aesthetic experience, and is one of the favorite student activities. The paper discusses the problem of whether listening to music encourages and develops creative thinking in students. The sample included students in the fifth, sixth, and seventh grades of primary school (N = 108). Creative thinking was measured by a modified Torrance test of creative thinking. During the testing, the experimental group was exposed to the influence of auditory examples provided by the curriculum, while the control group performed the test without the presence of an auditory stimulus. The results of the research showed statistically significant differences between the control and experimental groups, which confirms that listening to music encourages and develops creative thinking in students.
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Dissertations / Theses on the topic "Music listening and personality"

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Schäfer, Thomas. "The Goals and Effects of Music Listening and Their Relationship to the Strength of Music Preference." Universitätsbibliothek Chemnitz, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-201941.

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Individual differences in the strength of music preference are among the most intricate psychological phenomena. While one person gets by very well without music, another person needs to listen to music every day and spends a lot of temporal and financial resources on listening to music, attending concerts, or buying concert tickets. Where do these differences come from? The hypothesis presented in this article is that the strength of music preference is mainly informed by the functions that music fulfills in people’s lives (e.g., to regulate emotions, moods, or physiological arousal; to promote self-awareness; to foster social relatedness). Data were collected with a diary study, in which 121 respondents documented the goals they tried to attain and the effects that actually occurred for up to 5 music-listening episodes per day for 10 successive days. As expected, listeners reporting more intense experience of the functional use of music in the past (1) had a stronger intention to listen to music to attain specific goals in specific situations and (2) showed a larger overall strength of music preference. It is concluded that the functional effectiveness of music listening should be incorporated in existing models and frameworks of music preference to produce better predictions of interindividual differences in the strength of music preference. The predictability of musical style/genre preferences is also discussed with regard to the present results.
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Scheirer, Eric David. "Music-listening systems." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/31091.

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Thesis (Ph.D.)--Massachusetts Institute of Technology, Dept. of Architecture, 2000.
Includes bibliographical references (p. [235]-248).
When human listeners are confronted with musical sounds, they rapidly and automatically orient themselves in the music. Even musically untrained listeners have an exceptional ability to make rapid judgments about music from very short examples, such as determining the music's style, performer, beat, complexity, and emotional impact. However, there are presently no theories of music perception that can explain this behavior, and it has proven very difficult to build computer music-analysis tools with similar capabilities. This dissertation examines the psychoacoustic origins of the early stages of music listening in humans, using both experimental and computer-modeling approaches. The results of this research enable the construction of automatic machine-listening systems that can make human-like judgments about short musical stimuli. New models are presented that explain the perception of musical tempo, the perceived segmentation of sound scenes into multiple auditory images, and the extraction of musical features from complex musical sounds. These models are implemented as signal-processing and pattern-recognition computer programs, using the principle of understanding without separation. Two experiments with human listeners study the rapid assignment of high-level judgments to musical stimuli, and it is demonstrated that many of the experimental results can be explained with a multiple-regression model on the extracted musical features. From a theoretical standpoint, the thesis shows how theories of music perception can be grounded in a principled way upon psychoacoustic models in a computational-auditory-scene-analysis framework. Further, the perceptual theory presented is more relevant to everyday listeners and situations than are previous cognitive-structuralist approaches to music perception and cognition. From a practical standpoint, the various models form a set of computer signal-processing and pattern-recognition tools that can mimic human perceptual abilities on a variety of musical tasks such as tapping along with the beat, parsing music into sections, making semantic judgments about musical examples, and estimating the similarity of two pieces of music.
Eric D. Scheirer.
Ph.D.
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Conocimiento, Dirección de Gestión del. "Music Online: Listening." Alexander Street, 2004. http://hdl.handle.net/10757/655363.

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Jehan, Tristan 1974. "Creating music by listening." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/42172.

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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2005.
Includes bibliographical references (p. 127-139).
Machines have the power and potential to make expressive music on their own. This thesis aims to computationally model the process of creating music using experience from listening to examples. Our unbiased signal-based solution models the life cycle of listening, composing, and performing, turning the machine into an active musician, instead of simply an instrument. We accomplish this through an analysis-synthesis technique by combined perceptual and structural modeling of the musical surface, which leads to a minimal data representation. We introduce a music cognition framework that results from the interaction of psychoacoustically grounded causal listening, a time-lag embedded feature representation, and perceptual similarity clustering. Our bottom-up analysis intends to be generic and uniform by recursively revealing metrical hierarchies and structures of pitch, rhythm, and timbre. Training is suggested for top-down un-biased supervision, and is demonstrated with the prediction of downbeat. This musical intelligence enables a range of original manipulations including song alignment, music restoration, cross-synthesis or song morphing, and ultimately the synthesis of original pieces.
by Tristan Jehan.
Ph.D.
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Belcher, James D. "An Examination of the Influence of Individual Differences, Music-Listening Motives, and Music Selection on Post-Listening Music Discussion." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1277155907.

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Cusano, Janice M. "Music specialists' beliefs and practices in teaching music listening /." Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3209909.

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Thesis (Ph. D.)--Indiana University, 2004.
Computer printout. Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0878. Adviser: Mary Goetze. Includes bibliographical references (leaves 205-223), abstract, and vita.
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Stanley, Michael Brooke. "Participant music listening behaviours in interactive multimedia music instruction." University of Sydney. Music Education, 1999. http://hdl.handle.net/2123/361.

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While emerging technologies such as interactive multimedia are increasingly being employed in computerised music instruction, understanding of participant music listening behaviours in interactive multimedia music instruction is currently very limited. With the aim of elucidating music listening behaviour, the central concern of this work is to identify and explain participant interactions with the audio components of interactive multimedia music instruction. The investigation employs a novel documentation procedure, which extends the application of digital audio recording technology, to provide a finely calibrated analysis of the audio activity of a sample of 20 undergraduate music education majors during individual sessions with two commercially-available interactive multimedia music instruction programs. Graphically-based Sound Activity Profiles, which the researcher developed specifically for the current investigation, characterise and summarise participant interactions with audio components, while an analysis of questionnaire responses and follow-up interview transcripts provides supplementary information that further explains participants' music listening behaviours. The results of the investigation show that music listening behaviours during the study sessions were highly variable. While extensive participant interaction with music examples occasionally reflected attentive music listening behaviours, many study sessions were characterised by brief, fragmentary music excerpts and lengthy periods of silence. Participants spent as little as five percent of their session time listening to music and as much as 88 percent of the session time in silence. A substantial number of the study cohort frequently interrupted the music examples they had activated. Participants' perceptions of the extent of their interaction with music examples were frequently inaccurate, as subjects often substantially overestimated the amount of session time they had spent listening to music. The study findings suggest that many interactive multimedia music instruction participants would benefit from interventions that elicit more extensive and prolonged interaction with music examples. Accordingly, recommendations include a call for research to develop and test software designs that incorporate automated monitoring of session audio activity so that dynamic on-screen information about music listening behaviour can be provided to interactive multimedia music instruction participants. Such information may encourage participants to modify inappropriate music listening behaviours.
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O'Rourke, Michelle. "The ontology of generative music listening." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2764.

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Generative music, manifesting a perpetually new music which transcends the temporal limitations of both live and recorded music, presents us with continuously new possibilities and perspectives which in turn enable new modes of being. As specific compositional choices are automated, the sonic possibility space thus becomes the operative creative field. The new concern with structural possibilities as they come to presence yields a new listening ontology. Brian Eno’s specific manifestation of generative music has evolved along a distinctly technological trajectory of creativity. Through his own liminal position between popular and avant garde musical cultures, his ambient aesthetic has found a new mode of expression and materialization. The music is environmentally utilized as an absent presence rather than as an object of focus, and this position is preserved and mirrored textually in this inquiry; the music is not directly treated as an object of scrutiny but rather informs the text as a background, ambient presence. The experience of listening to generative music carries with it the possibility of transcending the duality of the subject–object relationship and its impedance of the transformative power of the aesthetic experience in its traditional aesthetic conception. Generative music thus inherently evades both traditional methods of analysis and traditional modes of aesthetic commentary. As the music foregrounds the moment in which reception occurs, while simultaneously existing as a background presence, it elicits a transformation in the way in which we perceive and conceptually order the sound, the environment, and our subsequent relation between the two. Generative music itself becomes a structure through which one can engage with a new way of being through listening, one in which we apprehend our creative capacity through being receptive to alterity. In this way, listening itself has an ontology, one which can only be revealed through new forms of textual engagement. Ontologically, Heidegger provides the language to explore a music that reorients us at the level of being. Phenomenologically, he examines and reveals the structures of being which manifest our earth and world, our very possibilities of and for being, and these structures are precisely those which are technologically represented in generative music. Aesthetically, Heidegger views the artwork as almost a generative system in itself—one which sets truth to work as it manifests a dynamic between revealing and concealing. Art and technology, and thus poiesis and techne respectively, are examined as orientations of being which have an ideal configuration for Heidegger that manifests at the level of thought. Thus, Heidegger’s specific philosophic configuration which is pre-eminently concerned with ontological structures and coming to presence provides a structure through which generative music can emerge and find resonance. Heidegger’s philosophy evolves and unfolds in new generative iterations through his student Hans Georg Gadamer, who extends the hermeneutic nature of being to include the process of mediation. This enables an exploration of the temporality of the moment of the aesthetic encounter—a point of convergence at which the perceiver or listener undergoes self-transcendence through entering the unifying and structuring force of play. Play manifests sonically in generative music, during which the preexisting temporal and subjective structures are reconfigured and transformed through technological mediation. Similarly, Emmanuel Levinas reveals new variations on Heidegger’s ontology as he explores notions of alterity and the ways in which these are formative of our subjectivity. As he delineates the moment of encounter with the Other, we recognize its constitutive elements as they play out technologically within the generative music listening encounter. As the notion of infinity is played out sonically through each passing generative iteration, it manifests a constant overflowing of itself in both thought and presence. This process arises through a dynamic movement between interiority and exteriority, in which an internal desire for the Other is ignited and perpetuated by the external, radical Other. This simultaneously internal and external encounter with alterity situates a fundamentally radical passivity, one which reflects our ontological situation which comes to be mirrored in the technological, generative manifestation of the same structural relations. The philosophical approach of the present inquiry is not a commentary on generative music; it is a demonstration of its genesis—embodying the generative motion between being and becoming which comprises generative music, rather than engaging with traditional textual commentary about music. Between the textual presence and musical absence, a space arises in which music can emerge not as an object but as a way of being into which we enter. In this way, the subject–object structure of traditional aesthetics is transcended in a move toward a new aesthetic which encompasses the larger truth at issue—that the process of configuration, combination, juxtaposition and subsequent emergence is the very point of the genesis of meaning, or the origin of truth. Thus, generative music embodies not only a technological but also a textual path to this moment in which we engage with the origins of our own ontological possibilities.
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Lockhart, William. "Listening to the domestic music machine." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16646.

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Klavierbearbeitungen waren für die Aufführungs- sowie Hörgewohnheiten des nichtprofessionellen Musikers des neunzehnten Jahrhunderts entscheidend. Nicht nur deckten sie den dringenden Bedarf an einer kosteneffektiven musikalischen Verbreitungstechnologie sondern ihre immense Popularität verursachte eine mit großen Umfang kommerzielle musikalische Verlagsindustrie. Diese Dissertation stellt zum ersten Mal die viele Seiten des Klavierarrangements wieder her, indem es als musikalisches Schaffen, als Konsumware und als Objekt vieler kritischen Diskurse analysiert wird. Es wird gezeigt, dass Arrangement---als musikalisches Schaffen---eine Methodensammlung statt einer in sich geschlossenen Technik ist. Walter Benjamins Übersetzungstheorie wird mit einer Analyse der ersten, in dem Robertsbridge Codex aus 1360 sich befindenden, Klavierbearbeitung verbunden, um vorzuschlagen, dass Arrangements als eine Auferstehung ihrer Originale gesehen werden sollen. Die wirtschaftliche Wichtigkeit der Klavierbearbeitung wird durch einer vom Computer errechneten statistischen Analyse dargestellt, indem es gezeigt wird, dass Arrangementmethoden in 30 Prozent der in deutschsprachigen Ländern zwischen 1829 und 1900 publizierten Klaviermusik vorkommt. Die kritischen Diskurse mit denen den Wert eines Arrangements geschätzt wurde werden auch rekonstruiert: Musikalische Lexika werden benutzt, um eine Begriffsgeschichte mehrerer Schlüsselbegriffe zu schreiben. Letztlich werden die Ähnlichkeiten des Hörgewohnheiten der Hörer des neunzehnten und des einundzwanzigsten Jahrhunderts betont, damit neue Forschungsperspektiven eröffnet werden können.
Keyboard arrangement was central to both the performing and the listening habits of the nineteenth-century non-professional musician. Not only did it respond to the desperate need for a cheap technology of musical circulation, but its immense popularity helped create a commercial musical publishing industry of an unprecedented scale. This thesis reconstructs for the first time the many faces of the keyboard arrangement by analysing it simultaneously as a musical work, an economic commodity and the object of a number of critical discourses. As a musical work, arrangement is shown to be a collection of practices, rather than, and as has been previously assumed, a self-contained product. Walter Benjamin''s theory of translation is combined with an analysis of the first extant keyboard arrangement in the Robertsbridge Codex of 1360 to construct a model which suggests that arrangements should be understood as resurrections of the material of their originals. The economic significance of keyboard arrangement is demonstrated through a computer-aided statistical analysis which shows that on average practices of arrangement appeared in 30 percent of the keyboard music published in German-speaking countries from 1829 to 1900. Significant attention is given to an attempt to reconstruct the critical discourses by which arrangements were assessed: in particular, musical dictionaries are used to produce a Begriffsgeschichte of several key terms relating to the production of arrangements. Finally, throughout the thesis, emphasis is placed on the extent to which the kinds of listening experience that arrangement engendered show similarities with those offered by popular musical styles of today, thereby opening up new avenues for research.
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Krause, Amanda Elizabeth. "Research about listening: everyday music interactions." Thesis, Curtin University, 2014. http://hdl.handle.net/20.500.11937/314.

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The aim of this PhD is to better understand the place that music occupies in everyday, modern life. Specifically, the three sections of this thesis address the most notable aspects of music is experienced as a consequence of the digital revolution, namely [1] how music fits in with other contemporaneous activities; [2] how music is accessed and selected; and [3] a focus on music practices on social media.
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Books on the topic "Music listening and personality"

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Listening to music. 4th ed. Belmont, CA: Thomson/Schirmer, 2004.

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Listening to music. 2nd ed. St. Paul/Minneapolis: West Pub. Co., 1996.

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Zorn, Jay D. Listening to music. Englewood Cliffs, N.J: Prentice Hall, 1991.

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Sousa, Chris De. Listening to music. London: Marshall Cavendish Corp., 1989.

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Wright, Craig M. Listening to music. 3rd ed. Australia: Wadsworth/Thomson Learning, 2000.

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Zorn, Jay. Listening to music. 2nd ed. Englewood Cliffs, N.J: Prentice Hall, 1995.

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Hoffer, Charles R. Music listening today. 5th ed. Boston, MA: Cengage Learning, 2012.

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Wright, Craig M. Listening to music. 2nd ed. St.Paul/Minneapolis: West, 1996.

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Hoffer, Charles R. Music listening today. 4th ed. Boston, MA: Schirmer Cengage Learning, 2010.

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Listening to music. St. Paul: West Pub. Co., 1992.

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Book chapters on the topic "Music listening and personality"

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Ottum, Josh. "Compost Listening." In Producing Music, 87–103. New York, NY : Routledge, 2019. | Series: Perspectives on music production series: Routledge, 2019. http://dx.doi.org/10.4324/9781315212241-6.

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Green, Ben. "Listening together." In Peak Music Experiences, 90–103. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003093244-6.

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Zubillaga-Pow, Jun. "Symbolic listening." In Music—Psychoanalysis—Musicology, 151–63. Abingdon, Oxon; New York, NY: Routledge, 2018.: Routledge, 2017. http://dx.doi.org/10.4324/9781315596563-9.

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Honing, Henkjan. "Listening and learning." In Music Cognition, 138–41. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003158301-13.

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Honing, Henkjan. "First listening experiences." In Music Cognition, 3–16. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003158301-1.

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Fallin, Jana R., Mollie Gregory Tower, and Debbie Tannert. "Listening." In Using Music to Enhance Student Learning, 71–89. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9780429504525-7.

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Karch, Marziah. "Listening to Music." In Android Tablets Made Simple, 275–90. Berkeley, CA: Apress, 2011. http://dx.doi.org/10.1007/978-1-4302-3672-6_21.

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Bonde, Lars Ole. "Embodied Music Listening." In The Routledge Companion to Embodied Music Interaction, 269–77. New York ; London : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315621364-30.

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Cornelius, Steven, and Mary Natvig. "Listening to Music." In MusicA Social Experience, 17–36. 3rd ed. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003155812-3.

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Hugill, Andrew. "Listening to Music." In The Digital Musician, 43–55. Third edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9780203704219-3.

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Conference papers on the topic "Music listening and personality"

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Stramkale, Ligita. "The Independence of Primary School Students in Learning Music at a Distance during Covid-19 Pandemic." In 14th International Scientific Conference "Rural Environment. Education. Personality. (REEP)". Latvia University of Life Sciences and Technologies. Faculty of Engineering. Institute of Education and Home Economics, 2021. http://dx.doi.org/10.22616/reep.2021.14.022.

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As a result of the Covid-19 pandemic, the primary school students were forced to study at a distance of two and a half months starting from mid-March 2020. There was a situation where students had to learn music independently more than they had done so far. The study aims to determine 2nd and 3rd grade students’ perspectives on independent distance learning of music during the Covid-19 pandemic. To achieve the aim of the study, previous researches on this issue were analysed, as well as an empirical study was carried out. The study involved 105 (N=105) primary school students in grades 2-3 and occurred in the second term of the 2019/2020 school year in a public primary school located in Riga. A questionnaire consisting of 20 statements was conducted to determine students’ perspectives on music distance learning independently. The twenty statements were divided into four groups: students’ independence, provision of technical aids, difficulties and attitude. The study revealed that the students’ skills to find and complete the tasks that are given by the teacher in the E-class are at a middle level. The students assessed their ability to learn to sing songs and perform music listening tasks independently at a high level. The students mostly used computers or mobile phones when they learned music at a distance. However, the majority of students faced a lack of technical aids. The study found out that complete music listening task was the easiest for the students, but a little harder was learning to sing songs. The most difficult part of learning for students was to complete a writing task because the possibility of printing it was limited. The students rated their attitude towards music distance learning independently at a middle level. Many students missed the presence of their teachers and longed for social activities in the classroom. The study concluded that there is a significant difference between 2nd and 3rd grade students’ skills to find independently the tasks sent by the teacher. Moreover, the 3rd grade students wanted to learn music independently at a distance more than the 2nd grade students did. The study provides evidence-based data on primary school students’ readiness to learn music independently at a distance.
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Шерстобитова, Светлана Николаевна, and Владислав Алексеевич Дмитриев. "METHODS AND TECHNIQUES FOR DEVELOPING EMOTIONAL RESPONSIBILITY IN CHILDREN OF OLDER PRESCHOOL AGE IN THE PROCESS OF ACTIVE LISTENING TO MUSIC." In Сборник избранных статей по материалам научных конференций ГНИИ «Нацразвитие» (Санкт-Петербург, Август 2022). Crossref, 2022. http://dx.doi.org/10.37539/aug331.2022.25.50.002.

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Эмоциональное развитие дошкольника является одним из приоритетных направлений становления детской личности. В статье рассматриваются пути развития эмоциональной отзывчивости у дошкольников посредством активного слушания музыки. Определены методы и приемы, способствующие развитию эмоциональной отзывчивости детей старшего дошкольного возраста. The emotional development of a preschooler is one of the priority areas for the formation of a child's personality. The article discusses the ways of developing emotional responsiveness in preschoolers through active listening to music. The methods and techniques that contribute to the development of emotional responsiveness of children of senior preschool age are determined.
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Chowdhury, Nabila, Celine Latulipe, and James E. Young. "Listening Together while Apart: Intergenerational Music Listening." In CSCW '21: Computer Supported Cooperative Work and Social Computing. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3462204.3481765.

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Dias, Ricardo, Manuel J. Fonseca, and Daniel Gonçalves. "Music listening history explorer." In the 2012 ACM international conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2166966.2167013.

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Kostek, Bozena. "Listening to Live Music: Life Beyond Music Recommendation Systems." In 2018 Joint Conference - Acoustics. IEEE, 2018. http://dx.doi.org/10.1109/acoustics.2018.8502385.

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Petružálek, Jan, Denis Šefara, Marek Franěk, and Martin Kabeláč. "Scene perception while listening to music." In ETRA '18: 2018 Symposium on Eye Tracking Research and Applications. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3204493.3204582.

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Dias, Ricardo, Manuel J. Fonseca, and Daniel Gonçalves. "Interactive exploration of music listening histories." In the International Working Conference. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2254556.2254637.

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Ferwerda, Bruce, Marko Tkalcic, and Markus Schedl. "Personality Traits and Music Genres." In UMAP '17: 25th Conference on User Modeling, Adaptation and Personalization. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3079628.3079693.

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Liu, Jen-Yu, and Yi-Hsuan Yang. "Inferring personal traits from music listening history." In the second international ACM workshop. New York, New York, USA: ACM Press, 2012. http://dx.doi.org/10.1145/2390848.2390856.

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Knees, Peter, Markus Schedl, and Rebecca Fiebrink. "Intelligent music interfaces for listening and creation." In IUI '19: 24th International Conference on Intelligent User Interfaces. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3308557.3313110.

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Reports on the topic "Music listening and personality"

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Білоус, О. С. Український фольклор як засіб морально-естетичного становлення особистості школяра. ПДПУ ім. К. Д. Ушинського, 2002. http://dx.doi.org/10.31812/123456789/3317.

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The article deals with the meaning of folklore as the means of a moral-aesthetic making of a pupil’s personality. The author’s conclusions are based on the opinions of famous pedagogues and musicians. The curriculum in Music analysis, the recommendations concerning the broadening of a used repertoire of a folk music creative work in the practice of a compulsory school at the expense of introduction of the material of an folk creative work are given.
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Mayas, Magda. Creating with timbre. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.686088.

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Unfolding processes of timbre and memory in improvisational piano performance This exposition is an introduction to my research and practice as a pianist, in which I unfold processes of timbre and memory in improvised music from a performer’s perspective. Timbre is often understood as a purely sonic perceptual phenomenon. However, this is not in accordance with a site-specific improvisational practice with changing spatial circumstances impacting the listening experience, nor does it take into account the agency of the instrument and objects used or the performer’s movements and gestures. In my practice, I have found a concept as part of the creating process in improvised music which has compelling potential: Timbre orchestration. My research takes the many and complex aspects of a performance environment into account and offers an extended understanding of timbre, which embraces spatial, material and bodily aspects of sound in improvised music performance. The investigative projects described in this exposition offer a methodology to explore timbral improvisational processes integrated into my practice, which is further extended through collaborations with sound engineers, an instrument builder and a choreographer: -experiments in amplification and recording, resulting in Memory piece, a series of works for amplified piano and multichannel playback - Piano mapping, a performance approach, with a custom-built device for live spatialization as means to expand and deepen spatio-timbral relationships; - Accretion, a project with choreographer Toby Kassell for three grand pianos and a pianist, where gestural approaches are used to activate and compose timbre in space. Together, the projects explore memory as a structural, reflective and performative tool and the creation of performing and listening modes as integrated parts of timbre orchestration. Orchestration and choreography of timbre turn into an open and hybrid compositional approach, which can be applied to various contexts, engaging with dynamic relationships and re-configuring them.
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Listening to music reduces pain and anxiety for patients having surgery. National Institute for Health Research, October 2015. http://dx.doi.org/10.3310/signal-000138.

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Functional Music Use at Physical Culture Lessons During The Process of Personality Self-Development Mechanism Formation. Anatoly A. Opletin, December 2016. http://dx.doi.org/10.14526/01_1111_158.

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