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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Raman, Kobzeu. "Development of a Modern Personality Through Listening to and Perceiving Music." International Journal of Psychological and Brain Sciences 6, no. 6 (2021): 77. http://dx.doi.org/10.11648/j.ijpbs.20210606.11.
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Schweitzer, Carol L. Schnabl. "A Music Lesson on Resilience: Alice Herz-Sommer, Her Piano, and the Capacity to Survive." Interpretation: A Journal of Bible and Theology 71, no. 1 (December 20, 2016): 50–63. http://dx.doi.org/10.1177/0020964316670855.
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The life of Alice Herz-Sommer, a Holocaust survivor and concert pianist, illustrates how music has the potential to cultivate personality traits that lead to resilience. The act of listening to or making music serves to transport an individual to a peaceful, timeless, and wondrous place. Music, when incorporated into the art of pastoral care, can assist individuals to have a renewed sense of hope in the midst of struggle and trauma.
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Bulut, Mustafa Hilmi, Chi-Keung Victor Fung, Lisa J. Lehmberg, Yeliz Kindap Tepe, Patrick Hernly, Yusuf Özgül, Esmira Mehdiyev, and Zekeriya Kaptan. "Varied Musical Experiences and Openness of University Students in Turkey and the United States." SAGE Open 12, no. 4 (October 2022): 215824402211394. http://dx.doi.org/10.1177/21582440221139468.
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The personality trait of openness has been shown to contribute to a person’s ability to function effectively. Additionally, scholars have suggested that openness to experience and foreign language experience were related to music preference. Extending from earlier scholarship, this study examined the relationship between openness to experience and the various types of musical and language experiences reported by undergraduate music majors in Turkey and the United States. Participants ( N = 380) were surveyed using the Openness to Experience domain of the NEO-PI-R and an author-designed survey with questions about participants’ musical backgrounds and interests, foreign language abilities, age, and sex. Results showed that U.S. students rated significantly higher in four of the five dimensions of the Openness domain than their Turkish counterparts (Wilks’λ = .57; F(5, 374) = 55.37, p < .001). Factor analysis results showed that (a) experiences in foreign languages, (b) listening to Turkish traditional, pop, and folk music, and (c) listening to American (pop and folk) and Western classical music cumulatively explained 68.49% of the variance in openness. Correlation analyses suggested that listening to Western classical, American folk, and American pop music was associated with higher openness scores, and listening to Turkish traditional, folk, and pop music was associated with lower openness scores. Additionally, the number of foreign languages participants studied correlated with four of the dimensions. Results suggest that both groups could benefit from increased, broader, and deeper exposure to different musical genres from diverse cultures.
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Chung, Yu-Chi, Alinka E. Greasley, and Li-Yu Hu. "The relationship between musical preferences and Type D personality." Psychology of Music 47, no. 1 (October 24, 2017): 3–17. http://dx.doi.org/10.1177/0305735617733809.
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Emotion regulation is one of the main reasons that people listen to music, and personality traits have been shown to exert significant influence in shaping musical preferences. Type D personality is a psychological risk factor for adverse health outcomes. However, no music studies have yet examined the effect of Type D personality on musical preferences, which may provide some preliminary insight into clinical applications. Therefore, this study investigated the relationship between Type D personality and musical preferences. An online survey investigating musical preferences (Revised version of the Short Test of Musical Preferences [STOMP-R]) and Type D personality was administered. In total, 196 participants completed the survey, of which half were from an Eastern culture and half from a Western culture. Forty per cent of the participants were categorised as having Type D personality, and no significant association of gender or nationality with Type D classification was observed. However, the links between Type D personality and the Punk genre ( p = .047), and between non-Type D personality and the Jazz genre ( p = .008) were indicated. Moreover, differences were observed in the factor structure of STOMP-R. The exploratory results facilitate the understanding of links between personality traits and music listening and provide new insight into musical preference dimensions.
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Palimski, Cornelia. "Creativity in special music education." Univers Pedagogic, no. 3(71) (November 2021): 41–45. http://dx.doi.org/10.52387/1811-5470.2021.3.06.
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Today, the development of creative and innovative thinking has become an important task of the modern education system. Stimulating creativity is one of the main goals of music education, which involves important changes affecting both the teachers’ mentality and traditional teaching and training methods. In the process of music education, the primary task is to awaken the creative principle of students, to stimulate their interest not only in the result of the creative act, but also in the process of musical activity that reveals the creative nature of the personality, the ways of creating, interpreting, listening and perceiving musical art.
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Roese, Natalie Alexa, and Julia Merrill. "Consequences of the COVID-19 Lockdown in Germany: Effects of Changes in Daily Life on Musical Engagement and Functions of Music." International Journal of Environmental Research and Public Health 18, no. 19 (October 5, 2021): 10463. http://dx.doi.org/10.3390/ijerph181910463.
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The current study investigated how music has been used during the COVID-19 pandemic and how personal factors have affected music-listening behavior. During the shutdown in Spring 2020 in Germany, 539 participants took part in an online survey reporting on functions of music listening, attributes of listened music, and active engagement with music, retrospectively before and during the pandemic. Next to these implicit questions, participants were asked to describe the changes they explicitly noticed in handling music during COVID-19, their current worries, and their new everyday life during the pandemic as well as personality traits and stress reactivity. A logistic regression model was fitted, showing that people reduced their active engagement with music during the lockdown, and the function of killing time and overcoming loneliness became more important, reflecting the need for distraction and filling the silence. Before the lockdown, music was listened to for the function of motor synchronization and enhanced well-being, which reflects how people have lost both their musical and activity routines during the lockdown. The importance of in-person engagement with music in people’s lives became particularly evident in the connection between worries about further restrictions and the need for live music.
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Psheminska, Larysa. "BOLESLAV YAVORSKYI’S MUSICAL AND PEDAGOGICAL IDEAS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 186–91. http://dx.doi.org/10.36550/2415-7988-2021-1-195-186-191.
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The article is devoted to the research and generalization of Boleslav Yavorskyi's musical-pedagogical ideas, a famous pedagogue with encyclopedic knowledge, an organizer of musical education, a pianist, a composer, a musicologist, a conductor, a scientist, an author of the fricative rhythm, a developer of the unique methodological conception of the creative development of a personality. The analysis of B. Yavorskyi's pedagogical activity allows us to understand the significance of his contribution into the theoretical and practical development of mass musical education, allows to broaden the understanding of his experimental studies on the methodological conception of the creative education of a personality, which should be taught through performing and understanding of a music and its perception. In the course of the research the assertion that the introduction of the subject «listening to music» into the practice by B. Yavorskyi became a fundamental process in his system of music education was actualized. According to the scientist, listening to music has a significant impact on the consciousness and behavior of a personality. In the research the author defined and generalized the pedagogical ideas of B. Yavorskyi, which were aimed at the development of thinking and creative abilities of children through: 1) obligatory participation of an any-profile musician in the choir performance; 2) introduction of the subject «Listening to music» into the practice of all educational music establishments;3) acquaintance with the phase-epoch before analysing of the music composition; 4) analysis of the influence of music on the emotional condition of the pupil; 5) intonation and remembering of the main melody of the composition; 6) reproduction of the composition in the drawings and paintings, in literary activity and stagings or dramatizing, using the method of Art Synthesis; 7) selection of the best compositions for listening and analysis; 8) development of speech culture when expressing verbally one’s own impressions of the music composition;9) creation of personal compositions: musical (songs, miniatures for the piano), plastic, painting (drawings), literary (poems, small prose works). There has been made a conclusion that audio, motor, spoken and musical associations are laid into the basis of musical-pedagogical conception of B. Yavorskyi and that the creative approach of the pedagog to the organization of the lessons and the active role of young people in the different genres of art promotes formation of their intellect, outlook, aesthetic and ethical qualities. Summing up, it should be said that musical-pedagogical education at the beginning. XX century was enriched greatly innovative pedagogical ideas of B. Yavorskyi, whose creative method became the basis for the development of the musical-educational upbringing of children and young people in different countries of the world in particular in the pedagogical activity of M. Leontovych, who was a student and follower of B. Yavorskyi.
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Bannister, Scott. "A survey into the experience of musically induced chills: Emotions, situations and music." Psychology of Music 48, no. 2 (September 24, 2018): 297–314. http://dx.doi.org/10.1177/0305735618798024.
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Musically induced chills, an emotional response accompanied by gooseflesh, shivers and tingling sensations, are an intriguing aesthetic phenomenon. Although chills have been linked to musical features, personality traits and listening contexts, there exists no comprehensive study that surveys the general characteristics of chills, such as emotional qualities. Thus, the present research aimed to develop a broad understanding of the musical chills response, in terms of emotional characteristics, types of music and chill-inducing features, and listening contexts. Participants ( N = 375) completed a survey collecting qualitative responses regarding a specific experience of musical chills, with accompanying quantitative ratings of music qualia and underlying mechanisms. Participants could also describe two more “chills pieces”. Results indicate that chills are often experienced as a mixed and moving emotional state, and commonly occur in isolated listening contexts. Recurring musical features linked to chills include crescendos, the human voice, lyrics, and concepts such as unity and communion in the music. Findings are discussed in terms of theories regarding musical chills, and implications for future empirical testing of the response.
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Hennessy, Sarah, Matthew Sachs, Jonas Kaplan, and Assal Habibi. "Music and mood regulation during the early stages of the COVID-19 pandemic." PLOS ONE 16, no. 10 (October 20, 2021): e0258027. http://dx.doi.org/10.1371/journal.pone.0258027.
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Music listening can be an effective strategy for regulating affect, leading to positive well-being. However, it is unclear how differences in disposition and personality can impact music’s affective benefits in response to acute and major real-world stressful events. The COVID-19 pandemic provides a unique opportunity to study how music is used to cope with stress, loss, and unease across the world. During the first month of the spread of the COVID pandemic, we used an online survey to test if people from four different countries used music to manage their emotions during quarantine and if the functions of music depended on empathy, anxiety, depression, or country of residence. We found a positive relationship between the use of music listening for affect regulation and current well-being, particularly for participants from India. While people with stronger symptoms of depression and anxiety used music differently, the end result was still a positive change in affect. Our findings highlight the universality of music’s affective potency and its ability to help people manage an unprecedented life stressor.
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Truong, Thanh Phuong Anh, Briana Applewhite, Annie Heiderscheit, and Hubertus Himmerich. "A Systematic Review of Scientific Studies and Case Reports on Music and Obsessive-Compulsive Disorder." International Journal of Environmental Research and Public Health 18, no. 22 (November 10, 2021): 11799. http://dx.doi.org/10.3390/ijerph182211799.
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Obsessive-compulsive disorder (OCD) is a severe psychiatric disorder, which can be associated with music-related symptoms. Music may also be used as an adjunct treatment for OCD. Following the PRISMA guidelines, we performed a systematic literature review exploring the relationship between music and OCD by using three online databases: PubMed, the Web of Science, and PsycINFO. The search terms were “obsessive compulsive disorder”, “OCD”, “music”, and “music therapy”. A total of 27 articles were utilised (n = 650 patients/study participants) and grouped into three categories. The first category comprised case reports of patients with musical obsessions in patients with OCD. Most patients were treated with selective serotonin reuptake inhibitors (SSRIs) or a combination of an SSRI and another pharmacological or a non-pharmacological treatment, with variable success. Studies on the music perception of people with OCD or obsessive-compulsive personality traits represented the second category. People with OCD or obsessive-compulsive personality traits seem to be more sensitive to tense music and were found to have an increased desire for harmony in music. Three small studies on music therapy in people with OCD constituted the third category. These studies suggest that patients with OCD might benefit from music therapy, which includes listening to music.
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Wen, Huiying, N. N. Sze, Qiang Zeng, and Sangen Hu. "Effect of Music Listening on Physiological Condition, Mental Workload, and Driving Performance with Consideration of Driver Temperament." International Journal of Environmental Research and Public Health 16, no. 15 (August 2, 2019): 2766. http://dx.doi.org/10.3390/ijerph16152766.
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This paper presents the study on the association between in-vehicle music listening, physiological and psychological response, and driving performance, using the driving simulator approach, with which personality (temperament) was considered. The performance indicators considered were the standard deviation of speed, lane crossing frequency, perceived mental workload, and mean and variability of heart rate. Additionally, effects of the presence of music and music genre (light music versus rock music) were considered. Twenty participants of different personalities (in particular five, four, seven, and four being choleric, sanguine, phlegmatic, and melancholic, respectively) completed a total of 60 driving simulator tests. Results of mixed analysis of variance (M-ANOVA) indicated that the effects of music genre and driver character on driving performance were significant. The arousal level perceived mental workload, standard deviation of speed, and frequency of lane crossing were higher when driving under the influence of rock music than that when driving under the influence of light music or an absence of music. Additionally, phlegmatic drivers generally had lower arousal levels and choleric drivers had a greater mental workload and were more likely distracted by music listening. Such findings should imply the development of cost-effective driver education, training, and management measures that could mitigate driver distraction. Therefore, the safety awareness and safety performance of drivers could be enhanced.
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Gebhardt, Stefan, and Richard von Georgi. "The change of music preferences following the onset of a mental disorder." Mental Illness 7, no. 1 (February 24, 2015): 21–25. http://dx.doi.org/10.1108/mi.2015.5784.
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A psychiatric population (n=123) was examined on how music preferences had changed after the onset of a mental disorder. Most patients did not change their previous music preference; this group of patients considered music helpful for their mental state, showed more attractivity and enforcement as personality traits and used music more for emotion modulation. Patients who experienced a preference shift reported that music had impaired them during the time of illness; these patients showed less ego-strength, less confidence and less enforcement and used music less for arousal modulation. A third subgroup stopped listening to music completely after the onset of the mental disorder; these patients attribute less importance to music and also reported that music had impaired their mental state. They showed more ego-strength and used music less for emotion modulation. The results suggest that the use of music in everyday life can be helpful as an emotion modulation strategy. However, some patients might need instructions on how to use music in a functional way and not a dysfunctional one. Psychiatrists and psychotherapists as well as music therapists should be aware of emotion modulation strategies, subjective valence of music and personality traits of their patients. Due to the ubiquity of music, psychoeducative instructions on how to use music in everyday life plays an increasing role in the treatment of mental illness.
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Zelechowska, Agata, Victor E. Gonzalez Sanchez, Bruno Laeng, Jonna K. Vuoskoski, and Alexander Refsum Jensenius. "Who Moves to Music? Empathic Concern Predicts Spontaneous Movement Responses to Rhythm and Music." Music & Science 3 (January 1, 2020): 205920432097421. http://dx.doi.org/10.1177/2059204320974216.
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Moving to music is a universal human phenomenon, and previous studies have shown that people move to music even when they try to stand still. However, are there individual differences when it comes to how much people spontaneously respond to music with body movement? This article reports on a motion capture study in which 34 participants were asked to stand in a neutral position while listening to short excerpts of rhythmic stimuli and electronic dance music. We explore whether personality and empathy measures, as well as different aspects of music-related behaviour and preferences, can predict the amount of spontaneous movement of the participants. Individual differences were measured using a set of questionnaires: Big Five Inventory, Interpersonal Reactivity Index, and Barcelona Music Reward Questionnaire. Liking ratings for the stimuli were also collected. The regression analyses show that Empathic Concern is a significant predictor of the observed spontaneous movement. We also found a relationship between empathy and the participants’ self-reported tendency to move to music.
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Hereld, Diana Christine. "Music as a Regulator of Emotion: Three Case Studies." Music and Medicine 11, no. 3 (July 26, 2019): 183. http://dx.doi.org/10.47513/mmd.v11i3.644.
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This study explores music in the reduction of negative affect and emotion. Focusing on musical behavior in emotion regulation as it relates to trauma, this study investigates three questions: How do conscientious music listening practices impact the regulation of affect and self-harming impulses in individuals who experience trauma, mental illness, or self-destructive behavior? What aspects of musical intensity help alleviate anger, pain, sadness, despair, hopelessness, or suicidal ideation? How do participants use varied listening strategies to regulate and modulate negative affect and emotions?Three case studies of two American females and one male aged 18-26 with history of a diagnosis of general anxiety disorder, borderline personality disorder, prior self-harm or suicidality, complex trauma, and PTSD are presented using a combined ethnographic approach, including survey administration, interviews, and phenomenological exploration. Through the review and thematic analysis of behavior in response to musical interaction both during and following traumatic life events, this study shows music is a successful tool for modulating overwhelming negative emotion, fostering hope and resilience, and circumventing self-destructive impulses. These results reveal potential for future research investigating the role of musical affect-regulation in both trauma recovery and reducing self-destructive behavior.
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Dunn, Peter Gregory, Boris de Ruyter, and Don G. Bouwhuis. "Toward a better understanding of the relation between music preference, listening behavior, and personality." Psychology of Music 40, no. 4 (March 16, 2011): 411–28. http://dx.doi.org/10.1177/0305735610388897.
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NAKAMURA, Akira, and Yoichiro SAGARA. "Relationships between Personality traits and change of affective states caused by listening to music." Proceedings of the Annual Convention of the Japanese Psychological Association 76 (2012): 1PMD02. http://dx.doi.org/10.4992/pacjpa.76.0_1pmd02.
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Egermann, Hauke, and Stephen McAdams. "Empathy and Emotional Contagion as a Link Between Recognized and Felt Emotions in Music Listening." Music Perception 31, no. 2 (December 2012): 139–56. http://dx.doi.org/10.1525/mp.2013.31.2.139.
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Previous studies have shown that there is a difference between recognized and induced emotion in music listening. In this study, empathy is tested as a possible moderator between recognition and induction that is, on its own, moderated via music preference evaluations and other individual and situational features. Preference was also tested to determine whether it had an effect on measures of emotion independently from emotional expression. A web-based experiment gathered from 3,164 music listeners emotion, empathy, and preference ratings in a between-subjects design embedded in a music-personality test. Stimuli were a sample of 23 musical excerpts (each 30 seconds long, five randomly assigned to each participant) from various musical styles chosen to represent different emotions and preferences. Listeners in the recognition rating condition rated measures of valence and arousal significantly differently than listeners in the felt rating condition. Empathy ratings were shown to modulate this relationship: when empathy was present, the difference between the two rating types was reduced. Furthermore, we confirmed preference as one major predictor of empathy ratings. Emotional contagion was tested and confirmed as an additional direct effect of emotional expression on induced emotions. This study is among the first to explicitly test empathy and emotional contagion during music listening, helping to explain the often-reported emotional response to music in everyday life.
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Margulis, Elizabeth Hellmuth. "An Exploratory Study of Narrative Experiences of Music." Music Perception 35, no. 2 (December 1, 2017): 235–48. http://dx.doi.org/10.1525/mp.2017.35.2.235.
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Listeners frequently talk about music in terms of imagined stories, but little empirical research has investigated this tendency. In this study, 47 participants listened to eight 90-second musical excerpts—four of which featured programmatic music composed between 1857-1935 and were selected by music theorists to feature high contrast, and four of which featured Baroque and minimal music and were selected by music theorists to feature low contrast. After each one, they answered a variety of questions intended to assess their narrative engagement with the music. Brief assessments of personality and general listening tendencies were administered at the end of the session. Results showed qualified support for the notion that contrast makes people likelier to hear music in terms of narrative, with stylistic familiarity and enjoyment seeming to play a greater role. The most striking aspect of the results was the emergence of broad areas of consensus among the free descriptions of imagined narratives. People with high AIMS scores also tended to experience more narrative engagement with the music, as did people low in Extraversion and Conscientiousness.
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Starcke, Katrin, Richard von Georgi, Titta Marianne Tiihonen, Klaus-Felix Laczika, and Christoph Reuter. "Don't drink and chill: Effects of alcohol on subjective and physiological reactions during music listening and their relationships with personality and listening habits." International Journal of Psychophysiology 142 (August 2019): 25–32. http://dx.doi.org/10.1016/j.ijpsycho.2019.06.001.
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Huovinen, Erkki, and Kai Tuuri. "Pleasant Musical Imagery." Music Perception 36, no. 3 (February 1, 2019): 314–30. http://dx.doi.org/10.1525/mp.2019.36.3.314.
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This article introduces the notion of pleasant musical imagery (PMI) for denoting everyday phenomena where people want to cherish music “in their heads.” This account differs from current paradigms for studying musical imagery in that it is not based a priori on (in)voluntariness of the experience. An empirical investigation of the structure and experiential content in 50 persons’ experiences of PMI applied the elicitation interview method. Peer judgments of the interviews helped to bridge a phenomenological investigation of particular experiences with systematic between-subjects analysis. Both structural features of the imagery (e.g., Looseness of structure or Looping) and content features of the imagery (e.g., Embodied evocativeness and Object-directedness) showed significant associations with participants’ individual characteristics, personality, and/or cognitive style. The approach taken suggests a new paradigm for studying musical imagery—one that is based on tracing the interactional and enactive processes of “inner listening.”
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Kirliauskienė, Rasa. "Importance of Intuition in Music Education." Pedagogika 115, no. 3 (September 10, 2014): 208–20. http://dx.doi.org/10.15823/p.2014.038.
Full textAbstract:
Communication of music is firstly based on intuitive intonational thinking. Thus, according to Z. Rinkevičius (2009), it is quite natural that appropriate use of music may efficiently stimulate intuitive thinking, reserves of unknown to us subconsciousness, and through them, those of consciousness. Therefore, music facilitates improvement of spiritual powers and intellect more than any other kinds of art.
Research object: importance of intuition in music education.
Research aim: to reveal importance of intuition in music education.
Methods of research and sample: analysis of scientific literature sources, interview.
Qualitative research data are described applying content analysis. The scheme of categorization was not planned in advance and it was devised on the basis of the received data. The research was carried out in October 2013 and January 2014. The people related to the analysed problem (key informants) were chosen in the first stage of the research: 3 teachers with sufficient pedagogical experience working at school. The semi-structured (oral) interview was employed. The focus of this stage of research was on subjective opinion of the informants about importance of intuition in music education. They also were asked in what way, according to the informants, intuition is manifested in their work as a phenomenon. Attempts were also made to identify the musical activities, where use of intuition is evidenced. The second stage of the research included 28 fourth year (full-time and part-time) students. The semi-structured interview (written) was used in this stage. The question about importance of intuition in musical education was not presented to future teachers of music with the acquired sufficient knowledge of pedagogy, psychology and other theories, speciality - related abilities and skills of observational and performance practices. They were asked to express their opinion about the content of the role of a contemporary music teacher. The question about significance of intonation was not presented to the informants making attempts to envisage the vision of the young generation (i.e., music teachers to be) about what a school teacher should be like and then the researcher searched for certain links to substantiate own theory.
Conclusions
• The research revealed that music teachers frequently act under influence of intuition, change plans when new ideas emerge and get overwhelmed with an impulse of creativity. According to them, manifestations of intuition in music activities are mostly expressed in music creation, listening to music, music playing and musical thinking.
• The research data identified the content of the role of a music teacher pointing out its 5 aspects: educator (education for humanity: humanity, communication, playing music together); authority (competent specialist: example for school learners, profound knowledge of study subject, universality); importance of teacher’s personality (aspects of teacher’s personality: ability to arouse learners’ interest, ability to be a friend, teacher’s charismatic personality, flexibility); creativity (manifestations of creativity: teacher’s creativity, ability to develop students’ creativity, improvisation, revelation of students’ personality through creative expression) and value-based aspects (enlightener of students’ souls, nurturer of beauty of life, provision of sense to new impressions, expression of emotions).
• The content of the role of a contemporary music teacher revealed during the research substantiates possibilities of intuition in music education and expands its boundaries.
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Heathers, James A. J., Kirill Fayn, Paul J. Silvia, Niko Tiliopoulos, and Matthew S. Goodwin. "The voluntary control of piloerection." PeerJ 6 (July 30, 2018): e5292. http://dx.doi.org/10.7717/peerj.5292.
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Autonomic nervous systems in the human body are named for their operation outside of conscious control. One rare exception is voluntarily generated piloerection (VGP)—the conscious ability to induce goosebumps—whose physiological study, to our knowledge, is confined to three single-individual case studies. Very little is known about the physiological nature and emotional correlates of this ability. The current manuscript assesses physiological, emotional, and personality phenomena associated with VGP in a sample of thirty-two individuals. Physiological descriptions obtained from the sample are consistent with previous reports, including stereotypical patterns of sensation and action. Most participants also reported that their VGP accompanies psychological states associated with affective states (e.g., awe) and experience (e.g., listening to music), and higher than typical openness to new experiences. These preliminary findings suggest that this rare and unusual physiological ability interacts with emotional and personality factors, and thus merits further study.
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de Fleurian, Rémi, and Marcus T. Pearce. "The Relationship Between Valence and Chills in Music: A Corpus Analysis." i-Perception 12, no. 4 (July 2021): 204166952110246. http://dx.doi.org/10.1177/20416695211024680.
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Chills experienced in response to music listening have been linked to both happiness and sadness expressed by music. To investigate these conflicting effects of valence on chills, we conducted a computational analysis on a corpus of 988 tracks previously reported to elicit chills, by comparing them with a control set of tracks matched by artist, duration, and popularity. We analysed track-level audio features obtained with the Spotify Web API across the two sets of tracks, resulting in confirmatory findings that tracks which cause chills were sadder than matched tracks and exploratory findings that they were also slower, less intense, and more instrumental than matched tracks on average. We also found that the audio characteristics of chills tracks were related to the direction and magnitude of the difference in valence between the two sets of tracks. We discuss these results in light of the current literature on valence and chills in music, provide a new interpretation in terms of personality correlates of musical preference, and review the advantages and limitations of our computational approach.
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Juslin, Patrik N., Simon Liljeström, Petri Laukka, Daniel Västfjäll, and Lars-Olov Lundqvist. "Emotional Reactions to Music in a Nationally Representative Sample of Swedish Adults: Prevalence and Causal Influences." Musicae Scientiae 15, no. 2 (July 2011): 174–207. http://dx.doi.org/10.1177/102986491101500204.
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Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A self-administered mail questionnaire was sent to a random and nationally representative sample of 1,500 Swedish citizens between the ages of 18 and 65, and 762 participants (51%) responded to the questionnaire. Thirty-two items explored both musical emotions in general (semantic estimates) and the most recent emotion episode featuring music for each participant (episodic estimates). The results revealed several variables (e.g., personality, age, gender, listener activity) that were correlated with particular emotions. A multiple discriminant analysis indicated that three of the most common emotion categories in a set of musical episodes (i.e., happiness, sadness, nostalgia) could be predicted with a mean accuracy of 70% correct based on data obtained from the questionnaire. The results may inform theorizing about musical emotions and guide the selection of causal variables for manipulation in future experiments.
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Juslin, Patrik N., Simon Liljeström, Petri Laukka, Daniel Västfjäll, and Lars-Olov Lundqvist. "Emotional reactions to music in a nationally representative sample of Swedish adults." Musicae Scientiae 15, no. 2 (July 2011): 174–207. http://dx.doi.org/10.1177/1029864911401169.
Full textAbstract:
Empirical studies have indicated that listeners value music primarily for its ability to arouse emotions. Yet little is known about which emotions listeners normally experience when listening to music, or about the causes of these emotions. The goal of this study was therefore to explore the prevalence of emotional reactions to music in everyday life and how this is influenced by various factors in the listener, the music, and the situation. A self-administered mail questionnaire was sent to a random and nationally representative sample of 1,500 Swedish citizens between the ages of 18 and 65, and 762 participants (51%) responded to the questionnaire. Thirty-two items explored both musical emotions in general (semantic estimates) and the most recent emotion episode featuring music for each participant (episodic estimates). The results revealed several variables (e.g., personality, age, gender, listener activity) that were correlated with particular emotions. A multiple discriminant analysis indicated that three of the most common emotion categories in a set of musical episodes (i.e., happiness, sadness, nostalgia) could be predicted with a mean accuracy of 70% correct based on data obtained from the questionnaire. The results may inform theorizing about musical emotions and guide the selection of causal variables for manipulation in future experiments.
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Bernats, Guntars, and Irena Trubina. "Collective Music Making – Challenges and Perspectives." Journal of Pedagogy and Psychology "Signum Temporis" 9, no. 1 (December 20, 2017): 1–6. http://dx.doi.org/10.1515/sigtem-2017-0005.
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Abstract Over the past decade professionally oriented music education in Latvia has undergone a series of reforms, which significantly affects the collective musical place and role. Aim of the present study: explore the theoretical basis and the further development of collective musical promotion. Materials and methods: The study was conducted in several stages. Originally analyzed scientific literature and training programs for Latvian cultural institutions to develop a theoretical basis 1 - 4th grade professional orientation of Instrument program content creation. Researched were study programs in Latvian universities, which acquired music pedagogy. The next stage of the research were interviewed employers, music teachers and students - future music teachers and, based on the survey results, the creation of new qualifications and new courses in a number of higher education programs. Conclusions: 1. Involving learners in the collective musical process, they are provided (ensured) the ability to comprehensively develop the musical, both in general and also the movement of psychophysiological abilities. 2. Collective musical process develops the essential skills such as socialization, cooperation partners and listening skills. 3. Learners are formed as a personality by acting in musical collective, they develop different skills. 4. Students learning motivation creation and promotion is very important. Musical collective process involved not only contributes to motivation, but creates opportunities for self-realization, without which one can not become filled and self-contained.
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Alekseieva, Natalia. "THE INFLUENCE OF MUSIC ART ON SPEECH DEVELOPMENT OF ELEMENTARY SCHOOL STUDENTS." Problems of Modern Teacher Training, no. 2(26) (September 22, 2022): 111–17. http://dx.doi.org/10.31499/2307-4914.2(26).2022.267727.
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The author substantiates the role and importance of music in encouraging child’s speech and language development. The purpose of this article is to determine the effect of music presence in learning process, analyse the changes in speech development of elementary school students through musical interaction and justify the need for computer music technologies.This paper highlights the importance of developing the foundational skills (reading, writing, listening, speaking) and sub-skills (grammar, stylistic, pronunciation and vocabulary) by using a wide range of music technologies. The use of computer music technologies stimulates brain function that leads to an improvement students’ mental health and well-being, increasing cognitive function (concentration, attention, imagination, memory and thinking), developing important social skills.The article defines the use of logarithmics in preparation child's breathing, an auditory analyzer and speech production system for child's speech and language activity. Logopedic rhythmics is an effective method of development of mental cognitive processes, internal sense of rhythm, gross and fine motor skills, improving coordination and the personality spheres. Logarithmics is a correctional technique, which include speech and motor exercises, psychogymnastics and dance-rhythmic exercises. It was recommended to use this method not only in the treatment for children with speech disorders, psychomotor poverty or intellectual disability.The author has been making recommendations aimed at creating a positive psychological microclimate, activation of cognitive activity of children, engaging in creative self-expression and exploration of their capabilities, which help to accelerate the language development.
Keywords: language development; music art; music computer technologies; speech development; speech skills; logarithmics; psychogymnastics; dance-rhythmic exercises; elementary school students; speech production system.
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Vilkelienė, Aldona, and Eglė Kondrotienė. "Music Activity as a Communication Tool for Young Autistic Adolescents." Pedagogika 117, no. 1 (March 5, 2015): 185–97. http://dx.doi.org/10.15823/p.2015.077.
Full textAbstract:
Music and its influence on personality was for a long time under research and still is contextualized. The task of this work was to disclose possibilities of various music activities and to find out their positive influence for young autistic adolescents’ communication and interaction activities. It was also very important to find the answer to the question, if music interaction is possible for autistics as this disorder prevent ability to communicate and to get into contact with other people. Theoretical part of this piecework deals with the reasons for autistic disorder, manifestations of autism and specifics of communication. Also, here are presented approaches of view of different authors what concerns the music and various music activities in the context of musical methods. On the basis of this theoretical context was executed empirical research with autistic people where, according to the chosen music and usage of it’s methodology, was formulated task to try to reach (cultivate) social communication and socialization capabilities.
Empirical research revealed that for young autistic adolescents the most stimulating music activities are music activities: improvisation, singing, also listening to music and movement. Music activities revealed interpersonal relation between young autistic adolescent and pedagogue through more active eye contact; young autistic adolescents started more actively communicate with gestures and body language. Empirical research also displayed that the right choice of the musical method is directly related with the process of education and ensure its success. Also, it was proved that the success of the development of disabled people with communication disorders greatly depends on teamwork, – cooperation among young autistic adolescents, their parents, special educators and social workers. This teamwork cooperation helps to develop communication and cooperation abilities. Research results show that music activities could be (can be) natural process of communication and affiliation for young autistic adolescents.
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Muhamad, Farhang Muzzafar. "The role of children’s literature in the patriotism, and the upbringing of Kurdish children." Review of Nationalities 7, no. 1 (December 1, 2017): 355–73. http://dx.doi.org/10.1515/pn-2017-0011.
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Abstract Children’s literature, despite being a relatively young branch of literature in general, is an important factor in the upbringing of children. Its basic aims have been obvious but not simple to achieve – to develop a child’s personality, provide educational experiences and encourage him to read. Along with areas such as art, theater, puppetry, music, movement and field trips, literature is also an object of children’s attention. Moreover it provides an opportunity to gain experience and learn a lesson, as children are usually open to fairytale-like content. Because of that, a magic world of adventures usually becomes a part of the educational process, imparting moral patterns and exposing them to various experiences, values and attitudes. Listening to stories told by parents, nannies, and teachers, which are later read by children themselves, is an activity beloved by children from all over the world. This research focuses especially on Kurdish experiences in terms of children’s literature and its role in bringing up a child. It indicates essential differences between contents, aims and circumstances upon which certain stories occurred. It provides an explanation of their role in developing a mature personality and patriotism41 upbringing among Kurdish children.
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Saraieva, Irina. "ARTISTIC AND CREATIVE ACTIVITIES IN WORKING WITH PRESCHOOL CHILDREN." Continuing Professional Education: Theory and Practice, no. 1 (2021): 56–63. http://dx.doi.org/10.28925/1609-8595.2021.1.7.
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The development of children’s creativity is an urgent problem of modern pedagogy. The main goal of the educational system is to educate the younger generation of a creative approach to transform the world around them, active and independent thinking, to contribute the achievement of positive changes in the life of society. The formation of the child’s personality serves as a direction of the pedagogical process, which creates favorable emotional conditions for each child, ensures spiritual development and contributes to the formation of artistic and creative abilities of preschool children. The article deals with the problem of the development of children’s creativity by means of musical and theatrical art. The importance of cognition of musical art by preschool children is given. The structure of musicality and the ways of its research are revealed. It is noted that the child develops in the process of musical activity under the influence of the values of musical art, communication between music and adults. It was found that listening to music contributes to the development of artistic taste and the formation of value judgments. Exactly music enables the child to see the world around him in a new way because the diverse content of musical works arouses imagination, develops memory, perception, creativity, and enriches vocabulary. The article presents classification of one of the specific types of children’s activity. It is theatrical activity associated with dramatization and play, contains a creative principle and is a kind of artistic activity. Theatrical activity reveals the creative potential of the child, fosters a creative personality, teaches the child to notice interesting ideas in the world around him and to impersonate them, to create his own artistic image. It is noted that theatrical-play activity contributes to the child’s study of human feelings, fosters will, develops dreams, ideas, initiative of speech, creates a positive attitude, relieves stress, teaches how to solve conflict situations due to play. These types of art education’s activities in preschool age form the personality of the child, develop his creative abilities, direct the child’s manifestations to evaluative and control actions intuitively.
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Okely, Judith A., Ian J. Deary, and Katie Overy. "The Edinburgh Lifetime Musical Experience Questionnaire (ELMEQ): Responses and non-musical correlates in the Lothian Birth Cohort 1936." PLOS ONE 16, no. 7 (July 15, 2021): e0254176. http://dx.doi.org/10.1371/journal.pone.0254176.
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There is growing evidence of the potential effects of musical training on the human brain, as well as increasing interest in the potential contribution of musical experience to healthy ageing. Conducting research on these topics with older adults requires a comprehensive assessment of musical experience across the lifespan, as well as an understanding of which variables might correlate with musical training and experience (such as personality traits or years of education). The present study introduces a short questionnaire for assessing lifetime musical training and experience in older populations: the Edinburgh Lifetime Musical Experience Questionnaire (ELMEQ). 420 participants from the Lothian Birth Cohort 1936 completed the ELMEQ at a mean age of 82 years. We used their responses to the ELMEQ to address three objectives: 1) to report the prevalence of lifetime musical experience in a sample of older adults; 2) to demonstrate how certain item-level responses can be used to model latent variables quantifying experience in different musical domains (playing a musical instrument, singing, self-reported musical ability, and music listening); and 3) to examine non-musical (lifespan) correlates of these domains. In this cohort, 420 of 431 participants (97%) completed the questionnaire. 40% of participants reported some lifetime experience of playing a musical instrument, starting at a median age of 10 years and playing for a median of 5 years. 38% of participants reported some lifetime experience of singing in a group. Non-musical variables of childhood environment, years of education, childhood cognitive ability, female sex, extraversion, history of arthritis and fewer constraints on activities of daily living were found to be associated, variously, with the domains of playing a musical instrument, singing, self-reported musical ability, and music listening. The ELMEQ was found to be an effective research tool with older adults and is made freely available for future research.
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Lee, Mindy, Karen Murphy, and Glenda Andrews. "Using Media While Interacting Face-to-Face Is Associated With Psychosocial Well-Being and Personality Traits." Psychological Reports 122, no. 3 (April 23, 2018): 944–67. http://dx.doi.org/10.1177/0033294118770357.
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Positive face-to-face human interactions are known to benefit well-being. Drawing upon previous work regarding the interference of media (via technological devices or print) in social interaction, the aim of this study was to identify whether using media during face-to-face interaction could potentially limit the positive effect of interaction on well-being. Participants were 437 university students who completed an online survey which assessed media multitasking behaviors, well-being (trait depression, trait anxiety, social anxiety, empathy, and psychological well-being), and personality traits (Big-5 and narcissism). Face-to-face interaction was positively associated with well-being. However, when media use during face-to-face interaction was considered, there was a negative relationship with well-being (more depression, more anxiety, and less psychological well-being). Those who used certain media types, such as phone or video chatting, listening to music, and gaming, while interacting with others, also had lower scores on measures of empathy. Regression analyses showed significant contributions by these media types to empathy levels, even after controlling for age, gender, and personality traits. Face-to-face media multitasking was related to higher levels of narcissism and neuroticism, and lower levels of agreeableness, conscientiousness, and openness. This study provides insight into the possible role of media multitasking during face-to-face interaction on psychosocial outcomes.
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Wang, Xia. "FUNCTIONS OF ARTISTIC-PERFORMANCE SELF-EFFICIENCY OF A TEACHER OF MUSIC ART IN THE PEDAGOGICAL PROCESS." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 164–67. http://dx.doi.org/10.36550/2415-7988-2021-1-195-164-167.
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The article considers the problem of the functions of artistic and performing self-efficacy of a music teacher in the pedagogical process. It is proved that the identification of the functions of performing and artistic self-efficacy plays a significant role in determining the theoretical and practical principles of improving the professional activity of a music teacher in modern conditions. Important functions of artistic and performing self-efficacy of a music art teacher are defined as: presentative-communicative, cognitive-evaluative, stimulating-developmental, constructive-transforming, reflexive-hedonistic. The presentative-communicative function is aimed at achieving the success of the teacher's professional activity, in particular the impact of his performance on the aesthetic education of students. The essence of this function is to demonstrate the teacher's creative personality while communicating with the student audience. In this sense, the artistic and performance presentation of the teacher is an important factor in achieving successful artistic and creative contact with students. Cognitive-evaluative function involves the teacher's ability to assess their performance, as well as the nature of the impact of music on the artistic and creative development of children. The stimulating-developmental function involves providing the teacher with the influence of art on the spiritual, aesthetic, musical development of students' personalities. The constructive-transforming function of the teacher's performance self-efficacy is to select a performance repertoire that would correspond to the teacher's artistic individuality, as well as correlate with pedagogical tasks. The reflexive-hedonistic function is focused on the teacher’s ability to objectively assess his performance skills, the ability to develop students ’listening abilities, and to enjoy communication with art. It is proved that the definition of the functions of artistic and performing self-efficacy of a teacher creates a theoretical basis for the development of methods of its formation at the art faculties of pedagogical universities
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Fernández Lozano, M., I. Santos Carrasco, B. Rodríguez Rodríguez, N. Navarro Barriga, M. J. Mateos Sexmero, T. Jiménez Aparicio, C. De Andrés Lobo, et al. "Psychosis: Risk Factors and Prognosis." European Psychiatry 65, S1 (June 2022): S313. http://dx.doi.org/10.1192/j.eurpsy.2022.797.
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Introduction There are life events that may increase the possibilities of suffering some kind of Psychopathology. The most validated model for understanding the aetiology of psychosis is based on genetic and environmental risk factors and their interaction, likely involving epigenetic mechanisms. It is necessary to consider those events as risk factors for Mental Health. Objectives Study of risk and prognostic factors in psychosis. Methods Review of scientific literature based on a relevant clinical case. Results We present the case of a 28-year-old male patient from Peru, currently living in Germany. History of sexual abuse in childhood. He started taking drugs at the age of 8. In the emergency department, he reports that since the beginning of the pandemic, after listening to a speech by the Pope, he begins to interpret signals about situations occurring around him. He begins to read about mystical-religious subjects, changes the style of music he listens to and recognises changes in his personality. He says for months he has been feeling watched, persecuted and expresed someone wants to kill him. He says hears voices and that they communicate with him through bodily sensations. Conclusions Childhood trauma, immigration and cannabis use are significantly associated with an increased risk of functional psychosis. A neurotic personality also independently contributes to this risk. The accumulation of these factors increases vulnerability to mental disorders and leads to a worse prognosis and evolution of these pathologies. These findings could help to improve the prevention of psychosis and the development of specific treatment strategies in this particular population. Disclosure No significant relationships.
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Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (March 1, 2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.
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Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a musicological point of view, despite the fact that it is an important opus, which inaugurates the genre of the orchestral lied at the end of the 19th century and the beginning of last century. In this study, we set out to compose as complete as possible an image of this work, both from an analytic-stylistic point of view by stressing the text-sound correspondences and, above all, from the perspective of its reception at a didactic level, by promoting the score in the framework of listening sessions commented upon as part of the discipline of the history of music. In what follows, I shall argue that the cycle of orchestral lieder Les nuits d´été by Hector Berlioz represents a work of equal importance to established opera.
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Macenka, S. Р. "Literary Portrait of Fanny HenselMendelssohn (in Peter Härtling’s novel “Dearest Fenchel! The Life of Fanny Hensel‑Mendelssohn in Etudes and Intermezzi”)." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 195–212. http://dx.doi.org/10.34064/khnum2-17.13.
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Background. Numerous research conferences and scholarly papers show increased interest in the creativity of German composer, pianist and singer of the 19th century Fanny Hensel-Mendelssohn. What is particularly noticeable is that her life and creativity are subject of non-scholarly discussion. Writers of biographical works are profoundly interested in the personality of this talented artist, as it gives them material for the discussion of a whole range of issues, in particular those pertaining to the phenomena of female creativity, new concepts of music and history of music with emphasis on its communicative character, correlation between music and gender, establishment of autobiographical character of musical creativity, expression and realization of female creativity under conditions of burgher society. Additional attention is paid to family constellations: Robert and Clara Schumann, brother and sister Felix Mendelssohn Bartholdy and Fanny Hensel-Mendelssohn. A very close relationship between Felix Mendelssohn and Fanny HenselMendelssohn opens a new perspective on the dialogical history of music, i. e. the reconstruction of music pieces based on close personal and critical contact in the Mendelssohn family. All these ideas, which researchers started articulating and discussing only recently, found their artistic expression in the biographical novel “Dear Fenchel! The Life of Fanny Hensel-Mendelssohn in Etudes and Intermezzi” («Liebste Fenchel! Das Leben der Fanny Hensel-Mendelssohn in Etüden und Intermezzi», 2011) by the German writer Peter Härtling (1933–2017). Peter Härtling was attracted to the image of Fanny Hensel primarily because she was working in the Romantic aesthetics, which the writer considered the backbone of his own creativity. While working on the novel about Fanny Hensel, Peter Härtling was constantly reading her diaries and listening to her music as well as the music by her brother Felix Mendelssohn. He discovered “a fascinating composer” who was creating music “bravely” through improvisation, even more so, who improvised her own life in a similar fashion. Her “courageous steps” into “female reality” struck the biography writer. Objectives. The research aims at studying the literary image of Fanny Hensel using the ideas of contemporary music scholars regarding creativity of this still little researched artist. Literary reflection of the life and creativity of musician based on combination of fiction and real life is a productive addition to her creative image. Methods. Since the research is centered on the image of a female composer, in many respects it is following the theoretical premises of music gender studies. The complexity of literary recreation to the personality and creativity of composer in the novel was required the sophisticated narrative situation and structure, that justifies the use of narratology as a method of literary criticism’ analysis. Results. Peter Härtling is a well-known master of biographical novel, who has his own creative concept of re-construction the life story of famous artists. When creating a biographical novel, the writer walks on the verge of reality and fiction, rediscovering and creating. The artistic element serves the purpose of amplification and image-creation; it helps to reveal distinctive properties, characteristics and elements of personality of the biographic novel hero. Gaps in documented materials help the narrator behave freely, give a chance for open associations and subjective vision. When outlining the personality lineaments, the narrator follows chronology of the most important events. Yet, plot development in an autobiographical novel is based on separate motifs. Certain life stages and events of a person’s life are depicted in detail in specific chapters and are shown more accurately within the general plot. By running ahead and looking back, the narrator makes it clear that he is above the narrative situation and arranges the depicted events according to the principle of their development. The narrator plays the role of an accompanying of a person portrayed, helping the writer approach to latter in order to understand him. Peter Härtling defines the key narrative principle in the following way: the narration is centered on the relationship of the talented brother and sister, as well as the motives of a mothering care and self-assertion, which are creating the backdrop for the biography of Fanny Mendelssohn. As such, we can see the ways that helped a talented young woman stand against her competitor-brother and get out of his shadow. The author claims that since childhood, the brother and the sister got along with the help of music and it was music that created a tie between them. The novel pays close attention to their discussions of music and the Sunday concerts, which took place at their house. As it is known from letters, it was very important for Felix Mendelssohn to include music into private communication forms. Researchers emphasizes that it made hard for him to be involved in social processes, in which such form of communication was impossible. Based on what Felix Mendelssohn himself said, it is possible to conclude that he was making an opposition between private musical communication as “the world of music” and social music life “as the world of musicians”. Fanny Hensel was not the embodiment of “detached musical practice” of autonomous art for him; on contrary, her creativity was directly linked to real life. Inside the bourgeois home and amid “private circulation of texts”, Fanny Hensel’s music was directly connected to communication, holidays and family rituals, in which the roles of music performer and music listener were “not cemented”, presupposing active inclusion of “amateurs” into music. Private musical practice meant the successful musical communication, the direct communication in music, which was not possible in anonymous publicness. Composer individuality had a chance of growing without being stripped of meaning and understanding. Inside the burgher house and within her immediate circle, Fanny Hensel was the symbol of “illusion of non-detached music”. Peter Härtling attests to autobiographical character of Fanny Hensel’s musical writing. Conclusions. Peter Härtling’s novel shows a cultural change, which stipulated an extended understanding of music as a dynamic process of human activity in a specific, historically varied cultural field. In this respect, Fanny Hensel’s literary portrait touches upon important aspects of female music creativity, actualizing its achievements in contemporary cultural space. Approaching the talented artist in literature is a special combination of art and life, fictitious and real, past and present.
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Сейткожоева, Замира. "РОЛЬ КНИГИ В ВОСПИТАНИИ ПОЛИКУЛЬТУРНОЙ ЛИЧНОСТИ." Vestnik Bishkek Humanities University, no. 50 (January 15, 2020): 58–60. http://dx.doi.org/10.35254/bhu.2019.50.44.
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Аннотация: В статье обращено внимание на исключительную роль книги в жизни человека, воспитание молодежи. Книга сопровождает человека всю жизнь. Однако в последние годы замечается снижение интереса к чтению книг. Отдается предпочтение компьютеру, играм, телевизору, слушанию музыки через наушники. Во избежание деградации личности, в воспитании грамотной, гуманной, толерантной личности необходимо приучать подрастающее поколение к вдумчивому чтению книг. Значительное место в развитии личности занимает внеклассное чтение, к которому нужно прививать интерес еще во время учебы в младшем возрасте. В мире особая роль принадлежит межличностным отношениям, формированию такой личности, которая могла бы жить в согласии с носителями разных культур. Для формирования поликультурной личности важная роль принадлежит культурному наследию, основу которого составляют книги. Ключевые слова: роль книги, гуманная личность, толерантная личность, библиографические материалы, указатели библиографических данных, справочная литература, поликультурная личность, внеклассное чтение, информатизация, интерес к чтению. Аннотация: Макалада адамдын жашоосундагы жаштарды тарбиялоодогу китептин өзгөчө мааниси, ролуна өзгөчө көңүл бурулган. Бир эле мезгилде, соңку жылдарда китептерибизге болгон адамдардын кызыгууларды төмөндөп бараткандыгы байкалган.Учурда поли- же ар кандай оюндарга, телевизор көрүүгө, кулакчын аркылуу модалуу музыка угууга, артыкчылык берилип жатат. Билимдүү, гумандуу толеранттуу инсанды тарбиялап чыгууга да, анын деградацияга кабылышынан сактап калыш үчүн, өсүп келе жаткан муундарды өзүнүн айкалыштыра алуусу менен китептерди берилип жана ой жүгүртүп алууга үйрөтүү- өтө зарыл талап болуп эсептелет. Инсандын онүгүндө окуудан тышкаркы окуунун маанилүү орду бар. Мындай окууга буга кызыгуусун өркүндөтүүнун башталгыч каласстардан тарта үйрөтүү абзел. Инсандар аралык байланыштар дүйнөдө өзгөчө орун ээлейт, алар башка маданий өкүлдөрү менен макулдуктулукта жашоого даяр. Полимаданиятту инсандын калыптанышына ар маданияттын мурасы өтө чоң ролду ойнойт, анын негизин китептер түзөт. Түйүндүү сөздөр: китептин мааниси жана ролу, гумандуу инсан, толеранттуу инсан, библиографиялык материалдар, библиографиялык маалыматтарды көрсөтүү сурантыла билүү адабияты, полимаданиятуу инсан, окуудан тышкаркы окуу,маалымдуулук, окууга кызыгуу The article draws attention to the exceptional role of the book in human life, education of young people. The book accompanies a person all his life. However, in recent years, there has been a decline in interest in reading books. Preference is given to a computer, games, TV, listening to music through headphones. In order to avoid degradation of the personality, it is necessary to accustom the younger generation to thoughtful reading of books. a significant place in the development of personality takes extracurricular reading, to which you need to instill interest even while studying at a younger age. In the world a special role belongs to interpersonal relationship, the formation of such a personality, who could live in harmony with speakers of different cultures. To form a multicultural personality an important role belongs to cultural heritage, the basis of which are books Keywords: the role of the book, humane personality, tolerant personality, bibliographic materials, indexes of bibliographic data, reference literature, multicultural personality, extracurricular reading, informatization, interest in reading.
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Sickinger, Mira Magdalena. "Musicians (Don't) Play Algorithms. Or: What makes a musical performance." KRITERION – Journal of Philosophy 34, no. 3 (September 1, 2020): 1–22. http://dx.doi.org/10.1515/krt-2020-340302.
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Abstract Our private perception of listening to an individualized playlist during a jog is very different from the interaction we might experience at a live concert. We do realize that music is not necessarily a performing art, such as dancing or theater, while our demands regarding musical performances are conflicting: We expect perfect sound quality and the thrill of the immediate. We want the artist to overwhelm us with her virtuosity and we want her to struggle, just like a human. We want to engage with the musical expression and rely on visual and physical cues. Considering that the ears of today's listeners are used to technologically mediated music, in this paper I explore the unique qualities of musical live performances and examine if our conception allows for new mechatronic inventions, in particular robotic musicians, to participate in this art form. Some of Godlovitch's main thoughts expounded in his work on "musical performance" [11] serve as a reference and starting point for this investigation. His concept of `personalism', which deprives computer-/program-based musical performances from expressive potential and creative accomplishment is an issue that I want to challenge by pointing out new approaches arising from a reective discourse on technology, embodiment and expression. The enquiry conducted illustrates, how in reasoning about machine performers and algorithmic realization of music, we also examine the perceptual, physical and social aspects of human musicianship, reconceptualizing our understanding of a musical live performance.
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Shevchenko, Anastasiia, and Olga Lobova. "Methodology of the formation of the teen-agers’ vocal and jazz culture at classes on pop singing." Scientific bulletin of South Ukrainian National Pedagogical University named after K. D. Ushynsky 2019, no. 2 (127) (August 29, 2019): 80–87. http://dx.doi.org/10.24195/2617-6688-2019-2-12.
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The importance of the development of individual’s general culture as a factor of his / her harmonious education stipulates the relevance of the study. The purpose of the article is to describe the methods enabling the formation of teen-agers’ vocal and jazz culture at classes on pop singing (in musical schools and during extra-class activities in institutions of general secondary education). Methods of systematization and generalization of scientific sources, theoretical modelling, pedagogical experiment and so on have been used to achieve this goal. The scientific approaches (systemic-structural, personality-developmental, activity-oriented, competence-based, cultural ones) and didactic principles facilitating the formation of the vocal and jazz culture (the principles of systematicity, visual aids, unity of artistic-emotional, technical and complex development of the vocal and jazz culture) have been determined. The stages (motivational-stimulating, cognitive-developmental, performing-creative) as well as pedagogical conditions for the formation of the teen-agers’ vocal and jazz culture have been outlined: construction of educational process taking into account the children’s capabilities to perceive vocal and jazz music; systematic complex development of all the components of the vocal and jazz culture consistently emphasizing them at different stages of the training; giving the opportunities for vocal and creative self-realization, diversification of the experience of jazz musical performing activities. General vocal and pedagogical methods have been revealed to be the leading ones (concentric, search-oriented, phonetic, imaginary or internal singing methods, comparative analysis); special methods enabling the formation of the teen-agers’ vocal and jazz culture have been determined: “a listening-jazz collecting box”, technical vocal and jazz exercises, creative vocal and jazz drills, etc. The experimental verification of the developed methodology has proved its effectiveness at classes on singing variety music at establishments of general secondary education. Keywords: teen-agers’ vocal and jazz culture, developing methods, scientific approaches and didactic principles, stages, pedagogical conditions and methods, classes on vocal and jazz singing.
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McCaffrey, Ruth. "Music Listening." Journal of Psychosocial Nursing and Mental Health Services 46, no. 10 (October 1, 2008): 39–44. http://dx.doi.org/10.3928/02793695-20081001-08.
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