Relevant bibliographies by topics / Music psychology

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music psychology'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 March 2023

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Journal articles on the topic "Music psychology"

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Dudhale, Khaleda. "MUSIC AND MUSIC AND PSYCHOLOGY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3438.

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Music is a branch of psychology and musicology that aims to understand and explain musical behavior and musical experiences. At the same time, understanding how music is composed and how it reacts and how individuals adopt it in daily life.The psychology of morden music analyzes man's involvement with systemic observation. Its many areas are research and experimentation with execution (chamatvitundam) composition, education, criticism, medicine, etc. Music psychology helps in understanding social behavior by human intelligence, skill and functionality. संगीत मनोविज्ञान एवं संगीत शास्त्र की एक शाखा है जिसका लक्ष्य है संगीत व्यवहार और संगीत के अनुभवों को समझना और समझाना। साथ ही साथ यही समझना कि संगीत कैसे रचा जाता है और उसकी प्रतिक्रिया कैसी होती है और व्यक्ति उसे दैनिक जीवन में कैसे अपनाते है?माॅर्डन संगीत का मनोविज्ञान सिस्टेमेटिक अवलोकन से मनुष्य की भागीदारी का विश्लेषण करता है। इसके अनेक क्षेत्र हैं शोध व प्रयोग के साथ निष्पादन (चमतवितउंदबम) कम्पोजिशन, शिक्षा, आलोचना, चिकित्सा आदि। संगीत मनोविज्ञान मानव की बुद्धि, कौशल व क्रियात्मकता से सामाजिक व्यवहार को समझने में मदद करती है।
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Brindley, Erica. "Music, Cosmos, and the Development of Psychology in Early China." T'oung Pao 92, no. 1 (2006): 1–49. http://dx.doi.org/10.1163/156853206778553180.

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AbstractMusic plays an important role in the development of discourses on the body, and, in particular, on psychology. From the received and excavated textual record dating to the 4th and 3rd centuries B.C. we gain insights into the emergence of an elaborate logos of the psyche, or "psychology," as such a psychology relates to the cosmos. The article explores two orientations on the role of music in psychology. The first and earlier orientation outlines what the author terms a "psychology of influence," which provides a rationale for the beneficial effects of good music in self-cultivation and social order. The second and later orientation outlines what the author calls a "psychology of cosmic attunement," which identifies music with the harmony of the cosmos and speaks of sages who attune themselves to it. Through a close examination of these two perspectives on music, the article delineates how a triangular relationship among music, cosmos, and psyche develops in early China, essentially forming a new paradigm within which human relationship to music and cosmic order is understood. La musique joue un rôle important dans le développement des discours sur le corps, en particulier sur la psychologie. Grâce aux textes reçus ou exhumés datant des 3e et 4e siècles avant notre ère, il est possible d'obtenir des aperçus sur l'émergence d'un logos élaboré sur la psyché, soit une "psychologie", dans la mesure où cette psychologie est en relation avec le cosmos. L'article explore deux orientations dans le rôle de la musique en psychologie. La première, plus ancienne, décrit ce que l'auteur appelle une "psychologie de l'influence", qui fournit une explication aux effets bénéfiques de la "bonne" musique sur la culture de soi et sur l'ordre social. La seconde orientation, plus récente, décrit ce que l'auteur appelle une "psychologie de l'harmonisation cosmique", qui identifie la musique avec l'harmonie du cosmos et évoque les sages qui s'accordent sur elle. En examinant de près ces deux perspectives sur la musique, l'article suggère la façon dont une relation triangulaire entre la musique, le cosmos et la psyché s'est développée dans la Chine ancienne, formant essentiellement un nouveau paradigme à l'intérieur duquel comprendre la relation de l'homme à la musique et à l'ordre cosmique.
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Hallam, Sue. "Psychology of Music." Research Studies in Music Education 19, no. 1 (December 2002): 77. http://dx.doi.org/10.1177/1321103x020190010802.

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Cross, Ian. "Music and communication in music psychology." Psychology of Music 42, no. 6 (November 2014): 809–19. http://dx.doi.org/10.1177/0305735614543968.

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Frieler, Klaus, Daniel Müllensiefen, Timo Fischinger, Kathrin Schlemmer, Kelly Jakubowski, and Kai Lothwesen. "Replication in music psychology." Musicae Scientiae 17, no. 3 (September 2013): 265–76. http://dx.doi.org/10.1177/1029864913495404.

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Chin, G. J. "PSYCHOLOGY: Unintentional Music Sharing." Science 311, no. 5763 (February 17, 2006): 919a. http://dx.doi.org/10.1126/science.311.5763.919a.

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Colwell, Richard. "Music Teaching: Cognitive Psychology." Clearing House: A Journal of Educational Strategies, Issues and Ideas 65, no. 4 (April 1992): 196–98. http://dx.doi.org/10.1080/00098655.1992.10114199.

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Krumhansl, Carol L. "Music Psychology and Music Theory: Problems and Prospects." Music Theory Spectrum 17, no. 1 (April 1995): 53–80. http://dx.doi.org/10.2307/745764.

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Krumhansl, Carol L. "Music Psychology and Music Theory: Problems and Prospects." Music Theory Spectrum 17, no. 1 (April 1995): 53–80. http://dx.doi.org/10.1525/mts.1995.17.1.02a00030.

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Hodges, Donald A. "Music Psychology and Music Education: What's the connection?" Research Studies in Music Education 21, no. 1 (December 2003): 31–44. http://dx.doi.org/10.1177/1321103x030210010301.

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Dissertations / Theses on the topic "Music psychology"

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Rana, Shabbir Ahmad. "The positive psychology of music." Thesis, University of Leicester, 2006. http://hdl.handle.net/2381/31234.

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This thesis concerns the importance, uses and effects of music in everyday life. The first study investigated the importance of music for 1000 Pakistani students. Results indicated that the great majority enjoyed listening to music, which was preferred to most of the other indoor and outdoor activities considered, and listening to and playing music had different perceived benefits. The second study used a variant of the experience sampling method to investigate the uses and experiences of music in the course of everyday life among 200 Pakistanis. Results indicate that the importance of several functions of music depends particularly upon with whom the participant was with and the place where the music was heard. The third study investigated the relationship between listening to music, health and happiness among 301 British and 594 Pakistani students. Results indicated that there were significant positive relationships between time spent listening to music and each of health and happiness. The fourth study investigated the effect of religious music on mental health among 175 Pakistanis hospitalized with psychotic depression. The results indicated that, relative to other types of psychosocial support materials, religious music led to the greatest decrease in depression levels. A fifth study used qualitative methods to investigate the musical peak experiences of six white British and six Pakistani participants. Several similarities were noted in the musical peak experiences of these two groups, suggesting that musical peak experiences may be a universal phenomenon. The sixth study investigated the relationship between musical peak experiences and the general health and level of happiness among 105 British and 115 Pakistani students. Results indicate that peak experiences of music were related positively to health and happiness and that these effects were not mediated by ethnicity.
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Brown, Steven Caldwell. "The psychology of music piracy." Thesis, Glasgow Caledonian University, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.680228.

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Digital music piracy is a divisive contemporary issue which continues to dominate public debate on civil liberties, emphasising the far-reaching impact of the digital revolution on everyday music listening. To date, conventional approaches to curbing music piracy have largely failed. The collective knowledge produced by economists, criminologists, and lawyers, broadly depicts music pirates as immoral deviants who show no concern for the implications of their behaviours. Yet, there is little evidence to suggest that music piracy poses any major threats to the recorded music industry. This thesis explores the psychology of music piracy in order to gain a fuller understanding of why individuals engage in this activity, and what it means for the recorded music industry. Further to a comprehensive multidisciplinary Literature Review, eight empirical studies were conducted which adopted a suitably diverse mixedmethodological approach to match varied research questions. Findings from quantitative research find unique personality traits as predictors of pro-piracy attitudes. Results also suggest that individuals favouring music piracy are less fair than those who do not, with follow-up research failing to find that such individuals are immoral. Preference for digital music was also found to be a predictor of pro-piracy attitudes, with young males noted as principally engaged in music piracy. Findings from qualitative research centred on the justifications for engaging in music piracy, including rationalisations and neutralisations, as well as suggesting an imperfect understanding of commercial realities; such findings highlight that music piracy is easily justified in the absence of evidence to show that it poses real threats to the recorded music industry.
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Nagari, Benjamin. "Music as image : an analytical-psychology approach to music in film." Thesis, University of Westminster, 2013. https://westminsterresearch.westminster.ac.uk/item/8z0zx/music-as-image-an-analytical-psychology-approach-to-music-in-film.

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Sound and music, both independently and inside film are sometimes considered to be secondary to the visual. Some disciplines wish to classify them as triggers to neurological systems while some others will emphasise their affect-inflicting capacity; in both cases these remain as secondary functions and in the case of film as nothing but accompanying elements. Yet, observed psychologically sound and music have a unique and wholesome function in the human psyche. Carl Gustav Jung’s analytical psychology opens the door for the understanding of both as images, far beyond the consensual acceptance of image being of a visual faculty only. Understanding music as image puts music in a different position inside a film as well as a stand-alone phenomenon in the every-day life. Analytical psychology, in both original Jungian and contemporary Post-Jungian versions, using the core ideas of archetype, opposites, functions of the psyche and image - supports the very concept of music/sound as image. This thesis will approach the consequent understanding of the role of music in film beyond the decorative-accompaniment task attributed to it and as an image on its own right. The work is divided into three main parts: Part I will introduce general Jungian aspects to build the case of a Jungian psychological account of the music-image. Part II will attempt to combine theory with practice in analysing how the auditory image (mainly music) works (or sometimes clashes) with the visual (picture) to create the ‘film as a whole’ experience. Part III will implement a specific understanding of three individual film cases of different genres, eras and styles as psychologically scrutinised ‘case histories’.
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Waters, Andrew J. "The psychology of music reading : an expertise approach." Thesis, University of Nottingham, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.241507.

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Lonsdale, Adam. "The social psychology of music and musical taste." Thesis, Heriot-Watt University, 2009. http://hdl.handle.net/10399/2275.

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This thesis is concerned with the social psychology of music and musical taste. It deals with four main research questions: (1) Why do people listen to music? (2) Do stereotypes of musical taste influence how individuals judge other people and themselves? (3) Do people exhibit in-group favouritism towards those who share their musical taste? and (4) Do stereotypes of musical taste influence how individuals perceive other people? The findings of this thesis serve to highlight musical taste as an important socio-cultural construct that is likely to influence social cognition, perception and intergroup behaviour. The thesis also provides further insight as to why people listen to music, and why it is so important to them. This thesis serves to highlight the potential for music psychologists to use well-established theories from mainstream social psychology to understand musical behaviour.
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Young, James A. (James Alan) 1968. "Brief Symptom Inventory : Music and Non-Music Students." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc500917/.

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The present study is a comparison of music and non-music students with respect to their response patterns on the Brief Symptom Inventory as well as several demographic questions. The sample consisted of 148 non-music students and 141 music students at three levels: (1) freshmen/sophomore; (2) juniors/seniors; and (3) graduate students. Music students consisted of volunteers from several different music classes and non-music students were volunteers from non-music classes. There were no significant differences found among or between groups for the BSI subscales. However, music students were significantly less likely to have gone to counseling in the past and to seek professional counseling for future problems. Recommendations for psycho-educational interventions with musicians are discussed as well as suggestions for future research.
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Hiew, Alexandra T. "Towards a Pedagogical Reference Work for Violinists Informed by Current Music Psychology ResearchTowards a Pedagogical Reference Work for Violinists Informed by Current Music Psychology Research." University of Cincinnati / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=ucin1380619860.

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Loehr, Janeen. "Temporal coordination in music performance." Thesis, McGill University, 2010. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=95043.

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This thesis investigates temporal coordination in music performance. Previous investigations of temporal coordination have focused on people's coordination of simple movements with experimenter-controlled stimulus sequences or with other people performing similar movements. The research presented here focuses instead on coordination of the rhythmically and sequentially complex sequences required of music performance. The study presented in Chapter 2 shows that musicians adapt the timing of their movements relative to a stimulus sequence in response to sensory information that occurs in the intervals between stimulus events. The amount of adaptation depends on the modality of the sensory information, but adaptation is evident whether the sensory information arises from the performer or from an external source. The experiments presented in Chapter 3 show that musicians are better able to adapt the timing of their movements when coordinating them with a stimulus sequence that decreases rather than increases in rate. This work also shows that musicians' coordination performance better matches the predictions of an oscillator model of temporal coordination than a timekeeper model. The influence of individual differences in musical experience on coordination performance is also demonstrated. Chapter 4 investigates interpersonal coordination between pairs of pianists. This work shows some evidence that each performer in a pair activates mental representations of his or her co-performer's actions during temporal coordination. This study also shows that differences between performers' preferred performance rates influence the accuracy of the temporal coordination between them, and that performing with a partner influences individual performers' subsequent performance rates. Together, this work sheds light on the influence of sensory information and events occurring at multiple temporal levels on coordination performance, elucidates the mechanisms underlying adaptation to
Cette thèse explore la coordination temporelle nécessaire à la performance musicale. Les études sur la coordination temporelle se sont jusqu'à maintenant principalement intéressé à la coordination de mouvements simples faits par des individus en réponse à des séquences de stimuli contrôlées par l'expérimentateur ou à des mouvements exécutés par d'autres individus. Les travaux de recherche présentés ici se concentrent plutôt sur la coordination de séquences rythmiquement et séquentiellement complexes requise durant la performance musicale. L'étude présentée dans le Chapitre 2 démontre que les musiciens adaptent le rythme de leurs mouvements à une séquence de stimuli en réponse à l'information sensorielle disponible durant les intervalles séparant les stimuli. La magnitude de l'adaptation dépend de la modalité de l'information sensorielle, mais l'adaptation a lieu que l'information sensorielle provienne de l'interprète ou d'une source externe. Les études présentées dans le Chapitre 3 démontrent que les musiciens adaptent le rythme de leurs mouvements plus facilement lorsqu'ils les coordonnent à une séquence de stimuli diminuant plutôt qu'augmentant en vitesse. Ces travaux démontrent aussi que la performance de coordination des musiciens est mieux expliquée par un modèle oscillatoire que chronométrique. L'influence des différences individuelles en termes d'expérience musicale sur la coordination est aussi démontrée. Le Chapitre 4 s'intéresse à la coordination interpersonnelle au sein de paires de pianistes. Ces travaux suggèrent que chaque interprète active une représentation mentale des actions de leur co-interprète pendant la coordination temporelle. Cette étude démontre aussi que les différences de préférence individuelles en termes de rapidité de performance au sein d'une paire d'interprètes influencent la précision de leur coordination. Elle démontre que la performance au sein d'une paire influenc
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Wranning, Joel, and Johan Wetterin. "Openness to experience and a preference for atonality : How does the personality trait “openness to experience” correlate to enjoyment of atonal harmony, as opposed to tonal harmony?" Thesis, Högskolan i Skövde, Institutionen för informationsteknologi, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:his:diva-20092.

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This study addresses a specific gap in research concerning personality type and aesthetic preference. The goal of this study was to assess the following question: is there a positive correlation between an enjoyment of atonal harmony and the personality trait dimension known as “openness to experience”? A survey was crafted, and a number of musical pieces with various degrees of tonality and atonality were composed for this study. Respondents of the survey answered a personality test, listened to the musical pieces and ranked their enjoyment of them. What was found is that not all people who are open to experience enjoy atonal harmony, but a majority of the enjoyers of atonal harmony are open to experience. Potential avenues for future research are discussed, including how knowledge of the relationship between music and the mind can help composers and music theoreticians, as well as game developers.

Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.

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Torrance, Tracy A. "Music Ensemble Participation: Personality Traits and Music Experience." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7100.

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The personality of musicians, artists, and other creative persons is of considerable interest to researchers and educators who seek to identify traits associated with musical behaviors. Personality traits can influence music behaviors such as instrument choice, ensemble choice, practice habits, and musical experience, which may contribute to continued music participation. The purpose of this study is to explore the relationships between personality type, music ensemble section, instrument choice (vocal or instrumental), and musical experience in college students and individuals who choose to continue participation after college. Few studies have concentrated on personality characteristics of ensemble members at the collegiate level and after formal education ceases. This is particularly relevant as personality characteristics may not be stable with age. This study examined the following questions: 1) To what extent do personality traits (Agreeableness, Conscientiousness, Extroversion, Neuroticism, and Openness to Experience) relate to ensemble choice (instrumental, vocal no musical ensemble participation) and gender?; and 2) To what extent do personality traits (Agreeableness, Conscientiousness, Extroversion, Neuroticism, and Openness to Experience) relate to ensemble section (e.g., brass, alto voice)? Participants were given a survey containing demographic questions and the Big Five Personality Inventory IPIP (Goldberg, 1992). Results showed that vocalists scored higher in Extroversion and Agreeableness compared to instrumentalists, and Instrumentalists scored higher in Neuroticism than vocalists. These results are consistent with previous research findings. This study has many implications for ensemble directors, such as rehearsal structure and repertoire choice. Music educators could also benefit from this knowledge when developing lesson plans and group assignments. Understanding different personality traits would also help ensemble members with communication within the ensemble.
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Books on the topic "Music psychology"

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Diana, Deutsch, ed. The psychology of music. 2nd ed. San Diego: Academic Press, 1999.

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A, Hodges Donald, ed. Handbook of music psychology. 2nd ed. San Antonio: IMR Press, 1996.

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The developmental psychology of music. Cambridge [Cambridgeshire]: Cambridge University Press, 1986.

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An objective psychology of music. 3rd ed. Malabar, Fla: R.E. Krieger Pub. Co., 1985.

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Hargreaves, David J. The developmental psychology of music. Cambridge: Cambridge University Press, 1990.

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1948-, Hargreaves David J., and North Adrian C, eds. The social psychology of music. Oxford: Oxford University Press, 1997.

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Music, thought, and feeling: Understanding the psychology of music. Oxford: Oxford University Press, 2008.

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Kenny, Dianna T. The psychology of music performance anxiety. Oxford: Oxford University Press, 2011.

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Susan, Hallam, Cross Ian, and Thaut Michael 1952-, eds. The Oxford handbook of music psychology. New York: Oxford University Press, 2009.

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C, Sebald David, ed. Music in the human experience: An introduction to music psychology. New York, NY: Routledge, 2011.

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Book chapters on the topic "Music psychology"

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Kieswetter, Vivia Kay. "Music." In Encyclopedia of Critical Psychology, 1209–11. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4614-5583-7_194.

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Kurth, Ernst. "The dynamism of sound." In Music Psychology, 171–94. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315307916-17.

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Kurth, Ernst. "The problem of the image of motion [Bewegungsbild]." In Music Psychology, 104–13. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315307916-11.

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Kurth, Ernst. "Psychic and physical energy." In Music Psychology, 114–27. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315307916-12.

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Kurth, Ernst. "Chordal motion." In Music Psychology, 195–228. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315307916-18.

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Kurth, Ernst. "Basic psychic functions in melodic formation." In Music Psychology, 235–66. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315307916-21.

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Kurth, Ernst. "The musical phenomenon of space." In Music Psychology, 128–42. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315307916-13.

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Kurth, Ernst. "The matter-illusion." In Music Psychology, 143–46. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315307916-14.

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Kurth, Ernst. "Energy from a psychological perspective." In Music Psychology, 97–103. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315307916-10.

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Kurth, Ernst. "Initial consideration." In Music Psychology, 39–55. London: Routledge, 2022. http://dx.doi.org/10.4324/9781315307916-6.

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Conference papers on the topic "Music psychology"

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"Psychology behind Music and Architecture." In Eminent Association of Pioneers. Eminent Association of Pioneers (EAP), 2016. http://dx.doi.org/10.17758/eap.eap816425.

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Stoltz, Brae, and Alex Aravind. "MU_PSYC: Music Psychology Enriched Genetic Algorithm." In 2019 IEEE Congress on Evolutionary Computation (CEC). IEEE, 2019. http://dx.doi.org/10.1109/cec.2019.8790099.

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Chen, Junyi. "On the Expectation of Music Teachers in Music Psychology Education." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.110.

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Dibben, Nicola. "Emotion and music: A view from the cultural psychology of music." In 2009 3rd International Conference on Affective Computing and Intelligent Interaction and Workshops (ACII 2009). IEEE, 2009. http://dx.doi.org/10.1109/acii.2009.5349474.

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"Application of Music in Class Management——Crazy for Music." In 2018 International Conference on Education, Psychology, and Management Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icepms.2018.236.

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Ji, Yi. "Music in Advertising and Research Methods in Psychology." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.59.

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Svitlovska, O. V. "PSYCHOLOGICAL FEATURES OF MUSIC PERCEPTION." In MODERN SCIENTIFIC DEVELOPMENTS IN PEDAGOGY AND PSYCHOLOGY. Izdevnieciba “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-259-3-13.

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Korsakova-Kreyn, Marina. "EMBODIED COGNITON IN MUSIC." In XV International interdisciplinary congress "Neuroscience for Medicine and Psychology". LLC MAKS Press, 2019. http://dx.doi.org/10.29003/m441.sudak.ns2019-15/236-237.

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Kováříčková, Marie. "Application Of Current Trends In Finnish Music Education Within Czech Music Education." In 9th ICEEPSY - International Conference on Education and Educational Psychology. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.01.70.

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"Strategies for Inheritance of Regional Music Culture in Music Education in Primary and Middle Schools." In 2018 International Conference on Education, Psychology, and Management Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icepms.2018.237.

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Reports on the topic "Music psychology"

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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Abstract:
The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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