Relevant bibliographies by topics / Music students Psychology

Academic literature on the topic 'Music students Psychology'

Author: Grafiati
Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Music students Psychology"

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Wenqin, Li. "Analysis of the Effectiveness of Music Therapy on Mental Health of College Students." Journal of Healthcare Engineering 2022 (January 25, 2022): 1–5. http://dx.doi.org/10.1155/2022/7288788.

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Music therapy is a relatively mature marginal subject at present, and it is also a relatively common treatment method. This kind of treatment can better help college students get rid of bad psychology and guide their psychology to develop in a healthy direction. Mental health is one of the important indicators to measure the comprehensiveness of human quality and plays an important role in the sustainable development of human beings. Music therapy plays a very important role in college students’ mental health education. As a marginal subject, music therapy combines music, medicine, and psychology, which is beneficial to alleviate students’ bad emotions and psychological problems, and helps college students form a sound personality. Using music therapy can let college students vent their emotions in a suitable environment and atmosphere and then guide them correctly. This paper introduces the effectiveness of music therapy in college students’ mental health education and then puts forward important measures to promote the implementation of music therapy in college students’ mental health education.
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Zheng, Ququ, and Vincent Lam. "Influence of Multiple Music Styles and Composition Styles on College Students’ Mental Health." Occupational Therapy International 2022 (July 12, 2022): 1–21. http://dx.doi.org/10.1155/2022/6167197.

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The purpose is to reduce students’ psychological pressure and improve their quality of study and life. Here, 400 language-impaired students in the public elective psychology course at Northwestern University and the undergraduate psychology class at Xi’an Foreign Studies University in the 2018-2019 academic year are randomly selected as the research objects for this music psychology experiment. The students were divided into different experimental groups using the Questionnaire Survey (QS) method to analyze the students’ psychological reactions to Baroque, classical, and romantic music styles. Then, it further discusses the students’ emotional response and audiovisual synaesthesia, as well as their recognition and choice of music style. The results show that there are significant differences in the same emotional response intensity of the subjects to different styles of music creation. The music expression is consistent with the actual feelings of the subjects. The tonality and color density of audiovisual synaesthesia vary with the style of music creation. Different music creation styles generate different associations in students’ minds, thus showing different psychological reactions. The QS results indicate that soft and soothing music can relieve students’ learning pressure most, while music with a strong sense of rhythm and vitality has no significant effect. Therefore, different music creation styles affect students’ learning pressure differently. This work discusses the influence of different music creation styles on the mental health of contemporary college students and provides a reference for music therapy to relieve students’ learning pressure in the future.
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Hou, Juncai. "Effective Ways for College Students’ Mental Health Education Based on Music Therapy." Journal of Healthcare Engineering 2022 (January 11, 2022): 1–5. http://dx.doi.org/10.1155/2022/3031064.

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Music therapy plays a very important role in college students’ mental health education. As a marginal subject, music therapy combines music, medicine, and psychology, which is beneficial to alleviate students' bad emotions and psychological problems and help college students form a sound personality. In the process of teaching in colleges and universities, it is necessary to choose teaching methods that are closer to students’ real life so as to promote the healthy development of college students’ psychology. From the relevant investigation and analysis, college students are interested in learning music, which provides an effective basis for college students to use music to treat psychological problems. Good policies, conditions, and a broad mass base are conducive to the application of music therapy in college mental health education. The application of music therapy in the field of college students’ mental health also broadens the application field of music. This paper analyzes the application of music therapy in college students’ mental health education and probes into the effective ways for college students’ mental health education.
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Spahn, Claudia, Sandra Strukely, and Andreas Lehmann. "Health Conditions, Attitudes Toward Study, and Attitudes Toward Health at the Beginning of University Study: Music Students in Comparison with Other Student Populations." Medical Problems of Performing Artists 19, no. 1 (March 1, 2004): 26–33. http://dx.doi.org/10.21091/mppa.2004.1005.

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This study investigated the prevalence of psychological and physical symptoms and subject–related health problems and attitudes toward health and study on the part of music, psychology, medical, and sports students at the beginning of their university studies. The study investigated 247 music students, 266 medical students, 71 psychology students, and 71 sports students in their first semester at the University of Freiburg in the winter semester 2002–03. Health conditions were ascertained by the Giessen Symptom Questionnaire (GBB) and the Hospital Anxiety Depression Scale (HADS); individual questions were posed with regard to the major subject (Epidemiological [EPI] Questionnaire). Health attitudes were ascertained by the Questionnaire on Health Locus of Control, and attitudes toward study were ascertained by the Questionnaire on Study-Related Patterns of Behavior and Experience (AVEM). Of the music students, 25% indicated current playing-related symptoms (EPI). On the GBB, the music students indicated significantly more physical symptoms (total score) than the medical and sports students. Psychology students did not differ significantly from music students regarding the severity of physical symptoms. Music students rated 8.4% in the HADS depression scale, and 33.5% on the anxiety scale, which was significantly more than the other students and placed them in the borderline or elevated range. According to the results of the AVEM, the music students’ identification with their major subject was stronger, with high significance, than that of the other student groups. The music students were more convinced than other students that they could exercise influence on their own health. The higher prevalence of health problems in music students compared with other students requires specific prevention and health promotion measures for music students. Prevention programs for music students should be tailored to the specific situation at the outset of their university studies.
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Faran, Muhammad, and Farah Malik. "Adaptation and Validation of Short Test of Music Preference Scale for Students With Music and Non-Music Majors." Vol. 36 No. 4 (2021) 36, no. 4 (December 31, 2021): 545–663. http://dx.doi.org/10.33824/pjpr.2021.36.4.36.

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Music is a universal phenomenon however, despite its unified properties, the taste and preference of music may still vary as a function of ethnicity and culture. So, the present study aimed to adapt and validate the short test of music preference scale for music and non-music Pakistani students. In Phase I, the cultural adaption of the scale was carried out while the content validity index (Lawshe, 1975) was also established. However, in phase II, the Short test of Music Scale (STOMP) was validated, yielding confirmatory factor analysis. For the empirical evaluation, a sample of 561 students, including both 286 music and 275 non-music students of undergraduate level with the age range of 18-26 years were recruited. The psychometric evolution of STOMP turned into excellent validity and reliability estimates for first-order constructs. Moreover, strict measurement invariance was established for STOMP across music and non-music students. The validation of this scale would be a little effort to pave the way for music psychology to make research available to measure the construct indigenously.
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Li, Jiuchen. "Optimal Development Model of College Music Curriculum Based on Psychology and Big Data Analysis in a Quantitative Environment." Journal of Environmental and Public Health 2022 (September 16, 2022): 1–10. http://dx.doi.org/10.1155/2022/7455340.

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Psychology-based music education is an interdisciplinary field that incorporates pedagogy, psychology, and other academic fields. A stronger communication link between students and students can be created by incorporating music education psychology into college instruction. In order to provide a scientific foundation for the development of psychology of music education in colleges and universities, it is currently urgently necessary to break free from the constraints of methodology, give importance to both quantitative and qualitative research, and gradually develop diversified research methods. The study of positive psychology is still evolving. From the early psychological movement to the present, it has grown into a hugely significant profession. As a result, this essay presents the findings from research on psychologically based school music instruction reform and development remedies. In the end, Class B has more students with scores of 50 to 60, whereas Class A has more students with scores of 90 to 100, which is quite a contrast. The average grade for students in class A is 80.125, while that for students in class B is 71.45. The lowest Class B score is 51, the lowest Class A score is 58, and the maximum score in A is 98. It is clear that a crucial aspect is the sensible and appropriate use of psychiatric treatment.
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Lamont, Alexandra. "University students’ strong experiences of music." Musicae Scientiae 15, no. 2 (July 2011): 229–49. http://dx.doi.org/10.1177/1029864911403368.

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Research has begun to explore the nature of strong experiences of music listening, identifying a number of individual components from physiological through to psychological ( Gabrielsson & Lindström Wik, 2003 ), but this has not yet been considered in relation to mainstream theories of happiness. Drawing on positive psychology, Seligman’s (2002) framework for achieving balanced wellbeing includes the components of pleasure, engagement, and meaning. In the current study, 46 university students (median age 21) gave free reports of their strongest, most intense experiences of music listening. Accounts were analysed thematically using an idiographic approach, exploring the relevance of Seligman’s framework. Most strong experiences were positive, and occurred at live events with others. A wide range of mainly familiar music was associated with reported strong experiences, from classical through jazz and folk to old and new pop music, and experiences lasted for varying time periods from seconds to hours. Unexpected musical or non-musical events were sometimes associated with strong experiences. None of the accounts could be characterized by a single route to happiness: in addition to hedonism, engagement and meaning (particularly in terms of identity) were present in every description, and the findings thus emphasize the power of music to evoke a state of authentic happiness. The importance of taking account of the music, the listener, and the situation in order to fully understand these experiences is underlined.
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Pettijohn, Terry F., Greg M. Williams, and Tiffany C. Carter. "Music for the Seasons: Seasonal Music Preferences in College Students." Current Psychology 29, no. 4 (November 26, 2010): 328–45. http://dx.doi.org/10.1007/s12144-010-9092-8.

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Nawir, Mohammad, Mokh Ulil Hidayat, and Iskandar Iskandar. "MUSIK SEBAGAI MEDIA DAKWAH DALAM PEMBERDAYAAN SISWA TUNA GRAHITA NIPOTOWE PALU." Al-Mishbah | Jurnal Ilmu Dakwah dan Komunikasi 12, no. 2 (July 11, 2017): 233. http://dx.doi.org/10.24239/al-mishbah.vol12.iss2.72.

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This paper deals with the use of music as media of preaching in empowering the students of Tuna Grahita Nipotowe Palu. The questions are what kind of music is it? How to use music as media of preaching? The result showed that music as media of preaching has great benefits for the students. The benefits include making them comfortable, motivated, cheerful, and happy. Music makes them active in every activities given by the instructor. Music also improves their memories and influences their psychology. Furthermore, music helps to empower the students, makes them have effective communication, and can be made as therapy for the students.
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Naz, Summaira, Anila Kamal, Mussarat Jabeen Khan, and Humaira Bibi. "Music Preference Dimensions and Personality Traits Among University Students." Volume 36, Issue 3 36, no. 3 (September 30, 2021): 357–73. http://dx.doi.org/10.33824/pjpr.2021.36.3.20.

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The present study explored the relationship between music reference dimensions and personality trait. This study comprised of three stages. In Stage-I, adaptation of Short Test of Music Preference Scale (STOMP; Rentfrow & Gosling, 2003) was done. In Stage-II the psychometric properties of adapted STOMP Scale and NEO-PI-R (Costa & McCrea, 1992) were determined on a sample of 60 students (20-25 years). Stage-III involved measuring the relationship between music preference dimensions and personality traits on sample of 250 students age range of 20-25 years. Results revealed that extraversion, openness to experience, and agreeableness showed positive association with intense and rebellious music, upbeat and conventional music, and reflective and complex music. Whereas extraversion and openness to experience was negatively associated with energetic and rhythmic music. Additionally, neuroticism was negatively related with reflective and complex music, and agreeableness has negative relation with intense and rebellious music. Conscientiousness has negative relationship with reflective and complex, intense and rebellious, and upbeat and conventional; while exhibited positive relationship with energetic and rhythmic music. Future implications of the study were also discussed.
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Dissertations / Theses on the topic "Music students Psychology"

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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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Jimenez, Francesca M. "Music Performance Anxiety and Interventions in Conservatory and Liberal Arts Institution Music Students." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/779.

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Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.
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Miyamoto, Kiyoshi 1956. "Japanese high school students' motivation in band as it relates to the gender of the band directors and the student." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/284363.

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The purpose of this study was to examine Japanese high school students' motivation in band as it relates to the gender of the band director and the student. A total of 790 band students from 20 Japanese high schools (10 male and 10 female band directors) completed a modified version of the Academic Motivation Scale (AMS). The scale is based on Deci and Ryan's self-determination theory and was modified from the original so it could be used with Japanese music students. It consists of 28 items describing why students play in a band. The students indicated a level of agreement for each reason according to 7-points on a Likert-type scale. Reasons were categorized into three types intrinsic motivation, three types of extrinsic motivation, and amotivation. The score of JAMSM was used as parametric data and analyzed using a two-way multivariate analysis of variance (MANOVA) to find any significant (p < .05) main effects or interactions among variables when compared by gender of the director and gender of the student. The results of the study showed that there were no significant differences (p < .05) by gender of band directors for all of the motivational types. This result indicates the female band directors are as effective as male band directors in terms of motivating students to play in a band. Additional findings include (1) male students seem to be more extrinsically motivated than are female students, (2) friend related reasons and fondness for music and/or instruments are important reasons for students to play in a band, (3) public school students seem to be more intrinsically motivated than private school students whereas private school students seem to be more extrinsically motivated than public school students. Implications for music education and further research are discussed.
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Johnson, Daniel Clinton. "The effect of critical thinking instruction in music listening on fifth-grade students' verbal descriptions of music." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/290007.

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The purpose of this study was to determine the effect of critical thinking instruction on the music listening skills of fifth grade students as measured by written responses to music listening examples. It was hypothesized that music listening instruction including opportunities for critical thinking (Critical Thinking Instruction, CTI) would be more effective than parallel instruction without critical thinking instruction (Activity-Based Instruction, ABI). CTI consisted of four components: musical terms and concepts, repeated music listening examples, responding activities, and opportunities for critical thinking. In contrast, ABI consisted of three components: musical terms and concepts, repeated music listening examples, and responding activities; ABI did not include opportunities for critical thinking. Both CTI and ABI treatments were taught concurrently by the same music teacher at the same school in a series of sixteen (16) forty-five (45) minute lessons. Two intact classes of subjects were randomly assigned to the CTI and the ABI treatment groups (n = 41 and 40, respectively). "Thinking and Listening," a researcher-designed dependent measure, was administered as a pretest and a posttest. Subjects' written responses were classified into three categories (i.e. musical, affective, or associative) and scored by three independent judges. Additionally, the Musical Aptitude Profile (Gordon, 1967/1995) was administered as a covariate. Significant disordinal interaction effects in subjects' responses by test by treatment were found such that CTI subjects demonstrated greater gains in musical term, associative, and total response scores from pretest to posttest than did ABI subjects. Additionally, significant main effect differences between treatment groups were found such that CTI subjects demonstrated higher musical term, affective, associative, and total response scores than did ABI subjects. Significant main effect within group differences were also found such that CTI subjects demonstrated significantly higher musical term, affective, associative, and total response scores on the posttest as compared to the pretest, while no significant main effect differences were found in ABI subjects' response scores. The positive effects of the CTI treatment, however, should be interpreted with caution based on larger than expected standard deviations and departures from normal distributions. Implications include designing music listening instruction to incorporate critical thinking skills.
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Kteily-O'Sullivan, Laila Rose. "Freshman Music Students' Identification With Expected Tasks in the Music Theory Class as a Relevant Part of Becoming a Musician." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc1038826/.

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The purpose of the study was to investigate freshman music students' identification with expected tasks in music theory class including aural, written, and performance requirements. The second research problem compared students' descriptions with actions in class to determine the presence of role taking (the conscious adherence to a set of behaviors) or role playing (the unconscious assumption of a set of behaviors).
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Oklan, Ari M. "Reauthoring Narratives with Alternative Education Students Using Recorded Music Expressive Arts." Thesis, Alliant International University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10278105.

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Alternative education students face many interacting challenges that put them at significant risk of dropping out of school (Carver & Lewis, 2010), as well as deleterious health and psychological outcomes, and intergenerational cycles of sociopolitical disadvantage (Laird, Kienzel, Debell & Chapman, 2007). Despite the persistent national epidemic of school dropout, few studies have investigated treatments for alternative education students, often characterized as “difficult to reach” given the chronic substance abuse, low motivation, and poor attendance typical of this population (Rumberger & Lim, 2008).

This study investigated the effectiveness of a novel music therapy intervention, Recorded Music Expressive Arts (RMEA), with alternative education students. The purpose of RMEA in this context was to engage students in a potentially motivating, culturally relevant treatment that satisfies identified provisions to ameliorate dropout (Kim & Taylor, 2008). RMEA employs narrative therapy concepts as a framework for treatment, and integrates songwriting, music production, and recording into psychotherapy. Through the song-creation process, participants were encouraged to “tell their story” to re-author problem-saturated personal narratives and discover more self-affirming ways of being (White & Epston, 1990).

Participants were 10 adolescent boys, age 14–18, attending an alternative education school in the San Francisco Bay Area. Ten 60-minute individual RMEA sessions were delivered twice weekly over 7–19 weeks. Pre/post data was analyzed using Vargha-Delaney’s A. Large effect sizes were found for a) coping (problem focused engagement, cognitive restructuring, problem solving, and emotional expression); b) substance misuse (decreased marijuana use) and co-occurring psychological disturbances (decreased school and behavior problems); c) increased contemplation and action readiness to respond to intervention; d) behavior (decreased internalizing, behavior, learning problems, and suspension rates); and e) attendance (increased attendance for RMEA sessions and days on which RMEA was delivered). Overall, the results indicate that RMEA is a viable and effective treatment for alternative education high school students. Analysis of participant interviews and song content further support results, as well as RMEAs proposed therapeutic mechanisms of action, including narrative therapy concepts. Findings highlight the need for replication studies with larger sample sizes, inclusion of adolescent girls, and other alternative education school settings.

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Huang, Wei-Lin. "An investigation into Taiwanese music college students' self-management of musical performance anxiety." Thesis, Royal College of Music, 2018. http://researchonline.rcm.ac.uk/383/.

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Taiwan has many high-level music colleges that prepare students for performance and teaching careers. These music colleges are competitive environments in which students are potentially learning to cope with musical performance anxiety (MPA). MPA has been widely researched in recent years. Studies have found that college musicians use their own unique coping strategies or rely on past experiences of coping with MPA to manage it. Nevertheless, literature that focuses on MPA self-management is still limited. The aim of this thesis is to fill this gap by investigating the ways in which MPA is self-managed by Taiwanese college musicians (TCMs). The research questions are: 1) How do TCMs define and perceive MPA? 2) How do TCMs self-manage MPA? 3) What strategies for managing MPA do the TCMs believe they will use with their students when they carry out teaching as part of their future portfolio careers? Fifty-three undergraduates were recruited from a music college in Taiwan. Each participant was interviewed before all of their performances taking place in one semester: formal concert, exam, and graduate recital. The data was analysed through a qualitative approach by using thematic analysis in order to examine the strategies used and the process of managing MPA. The findings are presented as four themes: 1) Strategies used in preparation for different types of performance, during different time periods of preparation and performance. 2) Strategies in context: people and places. 3) Understanding the strategies: metacognition in musical learning and managing MPA. 4) MPA self-management and the teaching-learning cycle. Results revealed that it is possible for TCMs to self-manage their MPA through developing metacognitive processes with support networks in the conservatoire environment and with various external resources. However, information on MPA-coping strategies are like pieces of a puzzle that are scattered rather than being coherently fitted together. Therefore, recommendations for further research and applications to practice are made.
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He, Yinglan. "The Impact of Music Relaxation on Affect and Relaxation of Stressed Female College Students." Ohio University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1524172499066518.

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Cahill, Clark Jennifer L. "String student self-efficacy and deliberate music practice examining string students' musical background characteristics, self-efficacy beliefs, and practice behaviours /." connect to online resource, 2008. http://digital.library.unt.edu/permalink/meta-dc-9116.

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Rinsema, Rebecca Marie. "Listening in Action: Students' Mobile Music Experiences in the Digital Age." Scholar Commons, 2012. http://scholarcommons.usf.edu/etd/4396.

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Since the introduction of the iPod in 2001, portable music listening devices that play or stream compressed music files have steadily become the standard devices used to listen to music. Despite this, few music education researchers have investigated the role that such devices have in shaping students' music listening experiences. This dissertation is meant to fill that gap in the literature and contribute to the existing sociological and psychological literature on music listening in everyday life. Phenomenology served as the theoretical framework for the design of the study. 10 college students from three institutions underwent iterative interviews and were asked questions developed from McCarthy and Wright's (2004) Deweyan method for investigating user experiences with technology. The questions fell into five categories: sensual, emotional, compositional, spatio-temporal, and the sense-maker. The participants' responses were digitally recorded, transcribed, and analyzed using grounded theory methods. The following four axial codes emerged from the data and were used to divide the dissertation into chapters: "Embodying the Experience," "Organizing the Experience," "Navigating Real and Virtual Spaces," and "Developing the Self." The main finding articulated in the chapter entitled "Embodying the Experience" is that the participants located the music in their heads while listening to music on their devices using headphones or earbuds. In contrast, participants consistently reported that, when listening to music through open-air speakers, they experienced the music as being located everywhere or in their whole bodies. The main finding in the chapter entitled, "Organizing the Experience," is that participants exercised agency in their music listening experience by creating playlists. Typically, playlists were created by the participants to be used in conjunction with other activities such as exercising, studying, commuting, and so forth. I used these findings to develop the concept of "Integration in Consciousness" which models the participants' simultaneous engagement with the music and other activities. In the chapter entitled "Navigating Real and Virtual Spaces," I explore how the participants simultaneously navigated the spatial aspects of the music listened to on their players and the spatial aspects of the physical spaces within which their activities naturally occurred. In doing so, I provide an example of how the participants experienced music and activities as "Integrated in Consciousness." In chapter seven, "Developing the Self," I explore how the participants' uses of their devices reflect their development as adolescents. In addition, I propose that participants' uses of their devices may be constitutive of their adolescent development. Finally, in chapter eight, I explore the ways in which music teachers can utilize the findings of this study in the development of their own classroom pedagogies. Among other things, I propose that music teachers can use the "Integration in Consciousness" model to help their students communicate about their music listening experiences in the classroom. In the use of this model, music teachers can tailor their pedagogies specifically for the technology rich, "post-performance" world within which they teach.
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Books on the topic "Music students Psychology"

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Kuprina, Elena. Co-creation in music and music education. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1019193.

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The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles. In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In music education operates a pedagogy of co-creation, manifesting the specifics through professional, psychological, reflective, and educational facets. Presented to the organizational form of the pedagogy of co-creation, from the perspective of information approach given the findings of a study of the influence of pop on the sensory system of the student of a musician-performer (the performer). Can be used in courses of the disciplines of the history of music, music psychology and music pedagogy, pedagogy of co-creation. Addressed to students of music schools, teachers, musicians of all disciplines, musicologists and cultural studies, researchers, creative processes, and a wide circle of curious readers.
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Vogt, Heide. Die Persönlichkeit des Instrumentalschülers im Einzelunterricht. Fernwald: B. Muth, 1994.

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Vogt, Heide. Die Persönlichkeit des Instrumentalschülers im Einzelunterricht. Fernwald: Musikverlag Burkhard Muth, 1994.

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Hall, Barbara. The music teacher. Waterville, Me: Wheeler Pub., 2009.

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Shapiro, Howard. The stereotypical freaks. Pittsburgh, PA: Animal Media Group, 2012.

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The music teacher: A novel. Chapel Hill, N.C: Algonquin Books of Chapel Hill, 2009.

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Kamenskaya, Valentina, and Leonid Tomanov. The fractal-chaotic properties of cognitive processes: age. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1053569.

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In the monograph the literature information about the nature of stochastic processes and their participation in the work of the brain and human behavior. Established that the real cognitive processes and mental functions associated with the procedural side of external events and the stochastic properties of the internal dynamics of brain systems in the form of fluctuations of their parameters, including cardiac rhythm generation and sensorimotor reactions. Experimentally proved that the dynamics of the measured physiological processes is in the range from chaotic regime to a weakly deterministic — fractal mode. Fractal mode determines the maximum order and organization homeostasis of cognitive processes and States, as well as high adaptive ability of the body systems with fractal properties. The fractal-chaotic dynamics is a useful quality to examine the actual physiological and psychological systems - a unique numerical identification of the order and randomness of the processes through calculation of fractal indices. The monograph represents the results of many years of experimental studies of the reflection properties of stochastic sensorimotor reactions, as well as stochastic properties of heart rate in children, Teens and adults in the age aspect in the speech activity and the perception of different kinds of music with its own frequency-spectral structure. Designed for undergraduates, graduate students and researchers that perform research and development on cognitive psychology and neuroscience.
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Chbosky, Stephen. The Perks of Being a Wallflower. 7th ed. New York: Pocket Books, 2009.

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Chbosky, Stephen. Las ventajas de ser invisible. México D.F., México: Alfaguara, 2014.

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Chbosky, Stephen. The Perks of Being a Wallflower. 6th ed. New York: MTV Books, 2012.

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Book chapters on the topic "Music students Psychology"

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Pozo, Juan Ignacio. "The Psychology of Music Learning." In Learning and Teaching in the Music Studio, 47–83. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0634-3_3.

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AbstractIf we asked any music teacher or even any student what you must actually learn to be a good musician or, specifically, to play an instrument well, we would perhaps find there was some agreement that you have to learn to technically master musical language and the actual instrument in question.
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Pozo, Juan Ignacio. "The Psychology of Music Learning." In Learning and Teaching in the Music Studio, 47–83. Singapore: Springer Nature Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0634-3_3.

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AbstractIf we asked any music teacher or even any student what you must actually learn to be a good musician or, specifically, to play an instrument well, we would perhaps find there was some agreement that you have to learn to technically master musical language and the actual instrument in question.
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Kuhn, Will, and Ethan Hein. "Understanding Student-Led Groups." In Electronic Music School, 247–59. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190076634.003.0014.

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Moving beyond traditional education structures to build a lasting electronic music school movement requires more than charismatic teachers and compelling outcomes. It requires a generation of students who feel ownership of their work, and their work has to make a meaningful impact on the school and the community of students at large. This chapter discusses the teacher’s role in such groups, as a facilitator rather than director. The chapter explains the organizational psychology behind creative teams and gives methods for helping students work in groups that highlight their strengths and that match projects to their abilities and interests. The text outlines the facilitator’s responsibility to motivate productivity, to provide logistical support and resources, and to act as a proxy for the audience. Finally, the chapter shows how these methods can expand beyond music projects to encompass film, TV shows, and other multimedia production.
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Woody, Robert H. "The Teacher." In Psychology for Musicians, 221–39. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546598.003.0010.

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Most accomplished musicians can readily identify music teachers whose encouragement and instruction were instrumental in their skill development. Just as musicians must acquire a diverse set of skills to be succeed as performers, music teachers must develop their own range of specialized skills to be successful. Psychological research offers no support to the old saying that “Those can, do; those who can’t, teach.” Rather, those who can teach well typically do possess a skill set that is that differs from that of other musicians. This chapter explores the variety of factors that influence how effective musicians’ instructional efforts are. It explains the importance of building respectful relationships with students, planning instruction around specific learning objectives, and deliberately teaching generalizable music concepts. The chapter encourages teachers to support learner autonomy as to empower their students to have musically rich lives beyond the confines of their educational experience.
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Hultberg, Cecilia. "Making music or playing instruments: secondary students’ use of cultural tools in aural- and notation-based instrumental learning and teaching." In A Cultural Psychology of Music Education, 115–42. Oxford University Press, 2010. http://dx.doi.org/10.1093/acprof:oso/9780199214389.003.0006.

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Hammel, Alice M., and Ryan M. Hourigan. "Preparing to Teach." In Teaching Music to Students with Special Needs. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195395402.003.0009.

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There are varying degrees of undergraduate and graduate preparation for students with special needs. Music educators may have had a general special education class or the opportunity to study topics regarding students with special needs embedded within a music methods course. The topic of students with special needs may have been included in an educational psychology course, or a teaching music to students with special needs course that was part of the curriculum (Heller, 1994, York & Reynolds, 1996). More often than not, music educators have little or no background or instruction in this area (Wilson & McCrary, 1996). Therefore, music educators must be resourceful in gaining insight into the skills, strategies, and understandings that accompany the experience of teaching a student with special needs. Music teacher educators often have little or no preparation as to how to educate future music educators regarding the inclusion of music students with disabilities or how to plan, implement, and assess lessons in self-contained and inclusive music classrooms. Oftentimes, this lack of understanding results in either glossing over the topic or ignoring it altogether. Licensure requirements can leave little room for “special” topics in the methods classroom. Fieldwork and engagement with special education faculty and staff in a variety of environments can assist music educators in finding ways to reach students with special needs. This chapter may appear to be designed for the music teacher educator. However, practicing music educators are encouraged to utilize the observation protocols and other strategies to obtain on-the-job and authentic experience through self-imposed fieldwork, observation, and discussion within the special education framework. This may be beneficial to music educators in understanding the subculture of students, parents, educators, and administrators that surround a student with special needs. This fieldwork may need to be conducted during preparation/planning time or through permission from an administrator. For music teacher educators, this chapter is designed as a guide to develop fieldwork opportunities for pre-service music educators. Included in this chapter will be strategies for engagement in self-contained classrooms, resource rooms, inclusive settings, and summer enrichment programs.
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Woody, Robert H. "Motivation." In Psychology for Musicians, 46–65. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546598.003.0003.

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Although musicians may know what they need to do to improve their skills, it is quite another thing to actually do it. Similarly, it is easy for a teacher to write down a list of exercises to be practiced but much more difficult to get students to carry them out. Although a great many people get involved with music as children and set out to become musicians, relatively few of them achieve a satisfying level of proficiency. Building musical skill necessarily involves effort. A better understanding of motivation may allow musicians to approach the required effort with a positive perspective, so as to keep their musical lives sufficiently rewarding and enjoy the fruits of their labor. This chapter considers the multiple ways that people are effectively motivated toward meaningful achievement in music. It discusses how music is intrinsically motivating, as well as the most important sources of extrinsic motivation. Special attention is given to how young musicians’ beliefs—about music and about themselves—can greatly affect their motivation going forward.
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Baklanova, Elena Alekseevna, and Olga Nikolaevna Stepanova. "Metod lingvokul'turologicheskogo polia v obuchenii russkomu iazyku studentov-inostrantsev nefilologicheskikh spetsial'nostei." In Questions of Education and Psychology, 113–39. Publishing house Sreda, 2021. http://dx.doi.org/10.31483/r-100069.

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The purpose of the work is to describe the method of the linguoculturological field (LCF), the features of its application in RFL classes and to demonstrate its capabilities in the aspect of professionalization. The theoretical substantiation of the method is given, the principles of LCF formation in the didactic aspect are formulated and models of three linguistic and cultural fields are presented. The following research methods were used in the work: the method of controlled selection, conceptual analysis, synthesis, field modeling. The authors noted the need for the formation of non-philological specialties among foreign students along with the professional competence of linguistic and cultural competence. This approach can greatly facilitate the process of entry of foreign students into the field of professional language, and also gives them the opportunity to get acquainted with Russian culture at the same time. The latter, in turn, will contribute to the formation of communicative competence, which is necessary for successful study in Russia. It is possible to achieve the simultaneous development of these three competencies by applying the LCF method. As a result, a key concept corresponding to their professionalization develops in the minds of students. For medical students it is a "Russian doctor", for military school students it is a "Russian warrior", for music students it is a "Russian musician". The article traces the connection of linguoculturology, linguistics and professional language. The concept of the linguoculturological field, its structure and units (linguoculturemes) is given. These units are, among other things, vocabulary located at the junction of the mentioned disciplines. Three linguistic and cultural fields have been formed, each of which contains 5 lists of linguistic units: 1) frequently used words; 2) sample contexts; 3) prominent figures in the field; 4) fiction and non-fiction texts; 5) quotes and sayings. These units generally cover the center, periphery and cultural component of each simulated field. It is proposed to organize RCT training, moving from the center to the periphery of the field according to educational centers united by the corresponding cultural theme. Brief recommendations on the implementation of the training center in the thematic plan are also given.
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Sinitska, O. L. "Formation of the readiness students of a professional music college for research activities in a higher educational institution." In THE ROLE OF PSYCHOLOGY AND PEDAGOGY IN THE SPIRITUAL DEVELOPMENT OF MODERN SOCIETY, 347–50. Izdevnieciba “Baltija Publishing”, 2022. http://dx.doi.org/10.30525/978-9934-26-228-9-94.

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Brown, Judith C., Kara Gardner, and Daniel J. Levitin. "Multimodal Communications and Effective Communication." In Building the Intentional University. The MIT Press, 2017. http://dx.doi.org/10.7551/mitpress/9780262037150.003.0005.

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Minerva’s Multimodal Communications cornerstone course brings together theory and findings in rhetoric, linguistics, philosophy, psychology, neurobiology, and design theory and applies them both to new forms of communication--made possible by the technological revolution of the last few decades--and traditional forms of expression, such as speech, gestures, music, and art. The aim of the course is to teach our students to become persuasive communicators who will have an impact in the world. The tools they hone in the course provide them with essential skills they can apply to careers in the sciences, humanities, business, the arts and in their everyday lives. This chapter summarizes the highly interactive and iterative approaches we use in the course to cultivate the core competency of effective communication, which students must master in order to meet their potential to become leaders and innovators.
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Conference papers on the topic "Music students Psychology"

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Corum, Kimberly, Kara Melike, Emma Talbot, and Tatiana Ilina. "An analysis of students’ mathematical models for Music." In 42nd Meeting of the North American Chapter of the International Group for the Psychology of Mathematics Education. PMENA, 2020. http://dx.doi.org/10.51272/pmena.42.2020-146.

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Sa'adati, Tatik Imadatus. "The Influence of Instrumental Music and Relaxation towards Information Retrieval on Students." In 3rd ASEAN Conference on Psychology, Counselling, and Humanities (ACPCH 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/acpch-17.2018.27.

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"THE INFLUENCE OF HOUSE MUSIC ON FRUSTRATION TOLERANCE AND PERFORMANCE MOTIVATION AT PSYCHOLOGY STUDENTS." In Psiworld 2016. Romanian Journal of Experimental Applied Psychology, 2017. http://dx.doi.org/10.15303/rjeap.2017.si1.a75.

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"Analysis on the Integration of Music Education in Primary and Middle Schools and College Students' Quality Education." In 2018 International Conference on Education, Psychology, and Management Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icepms.2018.128.

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Soenaryo, Siti Fatimah, Beti Istanti Suwandayani, and Reni Dwi Susanti. "Implementation of Traditional Music Tools in Cultural and Art Learning for Mentally Disabled Students." In Proceedings of the International Conference on Educational Psychology and Pedagogy - "Diversity in Education" (ICEPP 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200130.120.

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Iftayani, Itsna, and Cahyana Nursidiq. "Design of Integrated Experiential Learning Model with Music to Improve Entrepreneurship Intention of Vocational High School Students." In Proceedings of the International Conference on Educational Psychology and Pedagogy - "Diversity in Education" (ICEPP 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200130.098.

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Kamada, Kouki, Anna Endo, Naoki Takahashi, Takashi Sakamoto, and Toshikazu Kato. "Analysis of How Impressions are Fixed After One Week of Listening to Music Using Subjective Evaluation and Brain Activity Measurement." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1001763.

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In advertising and marketing, information is often repeatedly presented to consumers to increase their interest and sensitivity. This method is based on what is known in psychology as the ‘mere exposure effect’. In contrast, there is a growing interest in "neuromarketing," the application of brain science ideas to marketing, and the relationship between various psychological effects and brain activity in marketing. Brain measurements have also been used to study the mere exposure effect.However, although there have been various neuroscientific studies and verifications of the mere exposure effect, there have been few experiments that involve multiple exposure to stimuli across days. Therefore, we measured brain activity to investigate the effect of stimulus presentation across multiple days on impressions.In this study, we conducted an experiment in which subjects listened to music every day for a week. On the first day, when the subjects listened to the music for the first time, we conducted subjective evaluations of liking and brain function measurements. The next day, they listened to the music once every day, at home, for five days. On the last day, six days after the first day, we conducted the same subjective evaluation and brain function measurements as on the first day. To create music stimuli that the subjects had never perceived before, an automatic music creation tool was used.During brain activity measurement using optical topography, we focused on the change in the impression of likeability. In optical topography, the change in the concentration of Oxy-Hb in the brain blood flow was measured as a time-series data volume based on functional near-infrared spectroscopy (fNIRS). In the human brain, the amount of Oxy-Hb in specific activity areas increases with time. By measuring the increase and decrease in Oxy-Hb, we can understand how the subject responds to stimuli.We experimented with 10 healthy right-handed undergraduate and graduate students in their 20s (8 men and 2 women, average age 22.6 years) who provided informed consent, following the rules of the Ethics Committee of Chuo University.Consequently, the verification of impression evaluation, which is a subjective evaluation, showed that the impression evaluation increased significantly from the first day to the last day. At this point, it can be said that the mere exposure effect occurred through repeated listening. An analysis of the brain blood flow data showed that the prefrontal cortex became more active during the processing of negative impressions. In particular, the activity of the DLPFC may be deeply involved in the judgment of impressions. Although this was considered a hypothetical event in the previous study, it was clarified in this study without contradicting the data. The results also suggest a new possibility that the brain activity of first impressions can be used to estimate how impressions change in the future. These results may be useful in the field of neuromarketing for predicting long-term advertising effects.
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Besedová, Petra. "Student´S Attitude To Music In Foreign Language Lessons." In 8th International Conference on Education and Educational Psychology. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.10.8.

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