Dissertations / Theses on the topic 'Music students Psychology'

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.

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.

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.

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.

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).

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.

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.

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.

This quasi-experimental research study examined the cognitive effects of background music used with middle school students during mathematics classes and mathematics testing. Eight schools, nine teachers, 23 classes, and 302 students participated in the project. A series of five compact discs of Mozart selections, a specifically selected composite of 12 CD albums, was used over a period of 10 class days and one testing day. The tests were teacher-designed for use during the regular regimen of testing for their specific classes. The conditions of music and no-music were reversed so students were their own controls. Results showed a nonstatistical gain overall; however, sixth grade females had a net music gain that superseded all other male and female groupings. In addition, an incremental gain was found with those who had played instruments. Other gains/losses were noted for these conditions: if students liked or did not like background music during classes and testing, if they liked or did not like listening to music while doing homework, if they liked singing or not, and whether they felt that the music was a help or hindrance to their attention, concentration, and/or distraction. The students' perspectives concerning the quasi-experiment were reported as supplemental qualitative data which included impressions about the experiment, opinions about the experience they had, and suggestions for future experiments.

This study examined the musical background characteristics, self-efficacy beliefs, and practice behaviors of string students auditioning for an all-region orchestra in one large South-Central district. Purposes of the study were: (1) to describe the musical backgrounds and self-efficacy beliefs of high school string students, (2) to measure the relationship between self-efficacy scores and performance achievement, and (3) to describe the practice behaviors and thoughts of high and low self-efficacy string students. Questionnaires were given to 101 high school string students; 65 competed in all-region orchestra. Descriptive data from the questionnaire revealed information such as how many took private lessons and that those who did tended to have a higher sense of perceived self-efficacy in relation to playing their string instruments. Other descriptive items asked questions such as whether or not students started in public school and how much they practiced outside of orchestra. The relationship of summed self-efficacy scores to a competition ranking was found to be statistically significant and inverse. For all string participants (n=65) Spearman's rho was, rs= -.37, (p=.001) with 14% of the variance explained (r2 =.14). This inverse relationship documents the linear trend for students with better rankings (lower ranking numbers) to also tend to have higher self-efficacy scores. Observation and interview data of 8 higher and 8 lower self-efficacy sub-group students were also analyzed. The higher self-efficacy sub-group students tended to use more cognitive practice strategies, while the lower self-efficacy sub-group tended to use dissimilar and less advanced strategies. Understanding string students' musical background experiences and characteristics and the possible relationship self-efficacy may have with practice and achievement could benefit certain students. Helping these students gain a higher sense of perceived self-efficacy in their musical endeavors, or obtain certain characteristics that successful students share, could possibly enable them to develop and understand more complex practice strategies and compete more confidently.

As rapid demographic change transforms American classrooms, incongruities between the ways culturally diverse students are accustomed to learning and those emphasized in educational institutions can present barriers to learning. This study investigated culturally responsive pedagogy (CRP), a teaching approach that seeks to ameliorate such incongruities by basing instruction upon students' cultural knowledge, frames of reference, and preferred learning, communication, and performance styles (Gay, 2002). To complement studies that examine teachers' perceptions of CRP, this study sought to illuminate student perspectives. Accordingly, the purpose of this study was to explore adolescent choral students' perceptions of culturally responsive teaching in an urban community children's choir. Research questions focused on how students perceived their choir experiences to be informed by cultural diversity, the barriers to CRP they identified, and how CRP influenced relationships between students' musical and cultural identities.

A multiple embedded case study design was used to investigate students' perceptions of CRP as practiced in three demographically contrasting choirs within an urban children's choir organization. Within each choir site, one teacher and three student participants framed the analysis. Data generation methods included semi-structured interviews, ethnographic field notes, autobiographical notes, and collection of material culture.

Students perceived their choral instruction to be culturally responsive in that their classroom experiences promoted understanding and appreciation of their own cultures while broadening their cultural, musical, and intellectual horizons. They identified three barriers to CRP: educators' lack of comfort teaching diverse music, the complexity of students' cultural identities, and the challenges involved in practicing CRP equitably given constraints on instructional time. In one site, experiences with diverse music were peripheral to a Eurocentric core curriculum and did not promote connections between students' musical and cultural identities. There, the discourses associated with Western classical singing defined students' identities and alienated some students from the belief that they were musicians. Two sites incorporated a greater range of discourse norms associated with singing diverse musics and featured greater responsiveness toward the cultural backgrounds of particular students. In those sites, CRP fostered intersections between students' musical and cultural identities by meaningfully bridging their musical experiences inside and outside of the classroom.

Music is used and can be found in everyday life and throughout society. With many studies pointing towards music being a motivating stimulus for exercise, it is plausible that music would positively affect the physical activity rates of junior high school students in physical education classes. Thus, the purpose of this study was to examine the effects of popular music on physical activity rates, via pedometry, and enjoyment levels of junior high physical education students. There were 305 junior high physical education students that participated in the study with 151 being male and 154 being female. This was a quasi-experimental study using a two conditions, with and without music, by two activities, basketball and volleyball, cross-over design. It is found that across all grades and gender, more steps were taken with music in both activities versus without music. No statistically significant differences are noted in time in activity between activities with music than without. When comparing the level of enjoyment of the activities with music versus without across genders and all grades, the level of enjoyment is higher with music than without, though the difference is not statistically significant. While statistically significant differences can be found and attributed to the very nature of the differences between volleyball and basketball, there are also several statistical significances found that can be described and attributed to the intervention of the use of music during that activity. Therefore, if teachers are looking for a way for their students to increase step counts and increase the level of enjoyment their students feel throughout an activity, adding music to the background of the activity will help teachers to achieve those goals.

With the large role that music and the media plays in our society today it, is necessary to examine the effects that they have on certain harmful behaviors. The current study was based upon the Cultivation and Social Cognitive theories. The purpose of this study was to further examine the relationship between music and risky sexual behaviors. A total of 715 participants from the University of Central Florida answered multiple questionnaires via the SONA system. Questionnaires included topics such as music listening/viewing habits, sexual behaviors, dating behaviors, and demographics. The sample was comprised of primarily Caucasian young adults, with an average age of 20.71. The study hypothesized that music is influential because listeners begin to think that the behaviors depicted via music lyrics and videos are normal, thereby influencing the sexual behaviors of listeners. A series of linear regression analyses were conducted using SPSS to determine how musical preference and listening habits relate to the sexual behaviors of participants. Data was also analyzed using a series of repeated measures analysis of variance (ANOVAs) to determine any significant differences in how participants viewed their sexual behaviors in comparison to their perceived sexual behaviors of peers and friends. Results of the repeated measures ANOVAs indicated that African American participants exhibited more of a cultivation effect of their sexual behaviors than Caucasian or Hispanic participants.
B.S.
Bachelors
Psychology
Sciences

The purpose of this heuristic study was to explore and describe conservatory-trained violin performance major students' perceptions of their lived experience in violin learning from childhood to the music schools in New York City. The seven participants were undergraduate, graduate-level violin major students selected from the three major music schools in New York City. The primary data was collected via face-to-face audiotaped interviews, which became the narrative data.

The first question addressed students' perceptions of one-to-one violin instruction regarding expectations and values. The findings suggested that (1) autonomous thinking, boosted confidence, and transcultural learning were invaluable gains from instruction; (2) a reciprocal relationship existed between the amount of new ideas gained and one's performance outcome in lessons, which connoted students' recognition of self-responsibility in determining the quality of lessons; and (3) an ideal teacher encourages independent thinking, provides honest feedback, and respects students' individuality.

The second question asked students' perceptions toward power relationship and degree of autonomy in decision-making. The findings suggested that (1) interpretive demands seemed to cause a stronger impact to student-autonomy when compared to repertoire and technique-related demands; and (2) students adopted different reactive patterns and conflict management strategies to deal with conflicts and power struggle in the violin studio.

The third question explored students' perceptions toward the helpfulness of other courses to violin performance. The findings suggested that while all students were adept at independent learning, some students reported music theory/history courses were helpful in empowering interpretive/performance autonomy.

The last question investigated students' perceptions toward the interrelationships among self, music, violin performance, and culture. The findings suggested that (1) students' self-concept of ability in violin playing might be correlated with degree of autonomy and self-perceived technical competency; (2) the meaning of violin performance was to attain self-fulfillment in two domains: personal and social; and (3) performance autonomy might be circumscribed by socio-cultural expectation and economic condition.

This study implies that students' continued participation in violin learning might be influenced by economic concern, competitive environment, and self-concept of ability in violin playing. Violin teachers may need to help students maintain a sound professional development.

The Recording Industry Association of America claims to lose millions of dollars each year from music piracy (RIAA, 2007). However, instead of causing loss, digital music piracy may activate norms of reciprocity in music pirates. When pirating music, people may feel some obligation to reciprocate by purchasing music or related merchandise. The theory of planned behavior was used to investigate such a possibility and to provide a framework for scale development. Reliable scales were developed for all measured constructs. Regarding piracy, the RIAAs claim may have some merit. Specifically, previous piracy was associated with decreased reported likelihood to purchase music. However, previous piracy was associated with increased intent to make future music-related purchases. Reciprocity partially mediated this relationship.

Piano proficiency students who are required to memorize music take different approaches in their learning process. They may not be aware of how they memorize or how these approaches are related to their learning style preferences. Seventeen test subjects (N=17) who volunteered from a private university in north central Indiana were _ tested for their learning style preferences and then were given a sample of music to memorize. A video camera recorded the memorization process for observation of the learning approaches each subject used while memorizing. In addition, each subject completed 1) a brief experience and task ease pretest, 2) an interview while observing the video of what took place during the memorization process, and 3) a posttest questionnaire on learning approaches used.The purpose of this study was to observe which learning approaches to memorization were being used by group piano students and which of these were most effective in short memorization tasks. Investigation of existing literature of piano pedagogy found that the most common ways in which pianists memorize are by using aural, visual, tactile and analytical approaches.Subjects who were observed for this research had a tendency-to memorize more from the visual and tactile approaches. Out of the 17 class piano students who were observed, 15 or 88% used visual and or tactile memory as their preferred approach. Students also assessed their own procedure of memorization by rating the approach as to how much they used it. Findings in this posttest questionnaire indicated that the aural and visual approaches to memory were rated by the students as being the preferred ways of memorizing. Thirteen subjects or 76% indicated that they preferred the aural and or visual memory approach to memory.The effectiveness of these approaches was indicated by the subjects receiving a memory performance rating. This research showed that there was more tendency for subjects using visual approach memory to receive the best memory scores (excellent, no errors). This study also indicated that students using the analytical approach to memory tended to have the highest percentage of best performance score (two of three received excellent/no errors scores).
School of Music

One hundred 9th-grade students were divided into four groups of 25 each through systematic sampling procedures. Each of the groups were tested, pre and post, by the Otis-Lennon Mental Ability Test, forms J and K. During the pretest for all groups, the background condition of silence was observed. During the posttest, one group was again tested in silence. The other three groups were each tested to one of three background conditions: pop music, hard rock music, and soft rock music. Pop music played was characterized as more mellow, more melodic, and less intense than rock music. Hard rock music played was characterized as the most intense form with the hardest-driving beat, as well as being the least melodic form of the three. Soft rock music played was characterized as similar to hard rock but somewhat less intense and hard-driving. A comparison was made, through a series of 12 t-tests, between pretest and posttest means of all subjects, all male subjects, all female subjects, and each of the four groups – intact, males only, and females only. No significant differences in mean scores were found at the .01 or .05 levels of significance. The only two groups whose mean scores approached significance were the groups that listened to pop music and the males only from the pop music group. Lower posttest scores for certain individuals were noted. More of these were found in the group that listened to pop music than in any other group.

Holland's theory of vocational personalities and work environments incorporates four theoretical constructs (congruence, consistency, differentiation and identity) which attempt to explain sources in variability of achievement and satisfaction among employed adults and college students. This study sought to: (1) investigate the relationship of Holland's constructs to academic achievement and educational satisfaction of undergraduate music majors; (2) investigate differences in all variables according to gender and degree major. Data were collected from undergraduate music majors (N = 100) enrolled at the University of North Texas using the Vocational Preference Inventory. Mv Vocational Situation. and the Music Major Satisfaction Questionnaire. Reliability for the Music Major Satisfaction Questionnaire was estimated at .92 using Cronbach's coefficient alpha. Pearson product-moment correlation coefficients indicated that: (1) congruence was significantly related to academic achievement and educational satisfaction; (2) identity was significantly related to academic achievement and educational satisfaction; (3) consistency was significantly related to academic achievement, but not to educational satisfaction; (4) differentiation was significantly related to academic achievement, but not to educational satisfaction. Multiple regression using a stepwise entry method indicated that: (1) the identity construct was the best predictor of educational satisfaction scores; (2) identity was the best predictor of academic achievement scores. The results of the study suggested: (1) it is unlikely that any single theory accounts for all dimensions of variability in achievement among college music majors. To arrive at a comprehensive model of achievement, it will be necessary to utilize constructs of several theories. Such a model should include Holland's constructs of identity, congruence, and possibly differentiation. (2) similarly, a comprehensive model of satisfaction should include Holland's constructs of identity and congruence. (3) Holland's classification system may distinguish among two traditionally held divisions of college music majors, performance majors and education majors. (4) music education majors and music performance majors differ on the social dimension of their vocational personalities.

This thesis addresses a gap in research on collaborative creativity. Prior research has investigated how groups of professionals, young people and children work together to co-create work, but the distinctive contribution of this thesis is a socioculturally framed understanding of undergraduates’ interdisciplinary practices over an extended period. Guided by a socioculturally framed theory of creativity, this thesis observed 4 students creating a 10 minute performance piece, and presents a longitudinal analysis of the co-creation process which occurred through a total of 28 meetings recorded over the course of a twelve-week term (24 hours of recordings in total). Specific episodes were selected from the full set of recordings, constituting 2 hours of recordings for in-depth analysis. Sociocultural discourse analysis was used to examine how social and cultural contexts constituted an ecology of undergraduate practice in interdisciplinary creative collaboration. Offering a new methodology, this discursive approach for studying context (Arvaja, 2008) was combined with interaction analysis (Kumpulainen & Wray, 2002; Scott, Mortimer & Aguiar, 2006) to analyse how moment-by-moment creative developments and contexts were resourced and constituted through dialogue, artifacts and physical settings. With implications for theory and practice, the analysis showed how the students’ collaborative contexts were constituted through dialogue, and how their emerging co- creative practice was mediated through multiple social and physical settings. It further evidenced how common knowledge was constructed through the process of collaboration, the value of peer feedback for fostering confidence, and students’ need for ‘silent witnessing’; for space to reflect and contribute to a long-term cumulative conversation. The thesis also discusses how resourceful the students were, in terms of negotiating unfamiliar and unpredictable co-creating activities. Evidence is provided for the collaborative value of creating and appropriating new tools to develop common knowledge, and for the significance of imagination as a psychological resource for building common knowledge about hypothetical future activities, showing how technology-mediated co-creating can be seen as a complex interactional accomplishment.

The purpose of this study was to investigate the relationship between seventh, tenth, and twelfth graders' participation in school choir and their perceived levels of self-concept and social support. The problems of the study were to determine (1) if there were significant differences in perceived self-concept and social support levels of choir members and non-music students, and (2) if there were significant changes in self-concept and social support of choir members from grades seven to ten to twelve. A secondary concern was school activity involvement, to guard against attributing significant differences of self-concept and social support to choir participation alone.

The present study explored whether (a) positive or negative reinforcement would produce higher percentages of on-task student behavior at set timed intervals, (b) positive, negative, or total reinforcement would increase student attentiveness after reinforcement, and (c) if natural fluctuations in teacher approval/disapproval would have any bearing on percentages of student attentiveness. Findings of the 15-day study concluded that (a) positive reinforcement maintained significantly higher levels of student attentiveness over negative reinforcement, (b) negative reinforcement did not significantly lower percentages of student attentiveness, and (c) natural fluctuations in rates of teacher approval/disapproval had no apparent effect on the amount of on-task behavior in the beginning strings class.

Syftet med föreliggande studie är att undersöka instrumentalpedagogers förhållningssätt till fenomenet prestationsångest i musikundervisning. Tre instrumentalpedagoger, som är eller har varit aktiva som musiker, har intervjuats utifrån forskningsmetoden kvalitativa, halvstrukturerade intervjuer. Det teoretiska perspektiv som studien baseras på är prestationspsykologi. I resultatet presenteras instrumentalpedagogernas uppfattningar om fenomenet prestationsångest, där de intervjuade lyfter fram olika aspekter och faktorer som kan ligga till grund för prestationsångest samt hur ångesten påverkar den utövande. Det andra temat aktivt engagemang och bemötande gentemot elever belyser olika undervisningsstrategier som informanterna använder sig av för att bemöta elever i hänsyn till fenomenet prestationsångest. I sista temat metoder för att förebygga prestationsångest, förklarar informanterna vilka metoder som kan användas för att motverka ångesten eller påverka dess faktorer i rätt riktning. I diskussionsavsnittet diskuteras instrumentalpedagogernas förhållningssätt till prestationsångest i musikundervisning utifrån bakgrundslitteratur, tidigare forskning och det teoretiska perspektivet prestationspsykologi. Avsnittet fokuserar på följande aspekter; prestationsbaserad självkänsla, instrumentalpedagogens och miljöns betydelse, att medvetandegöra och acceptera sin ångest samt förberedelser och mental träning. Avslutningsvis reflekterar jag över arbetets betydelse och fortsatt forskning inom ämnet.
The purpose of this study is to investigate instrumental teacher’s approach to the phenomenon of performance anxiety in music education. Three instrumental teachers, who are or who has been active as musicians, have been interviewed by the method of science qualitative, semi-structured interviews. The theoretical perspective, which the study is based on, is performance psychology. The result presents instrumental teachers views to the phenomenon of performance anxiety, whereof the interviewed emphasizes different aspects and factors, which form the basis of performance anxiety and how anxiety affect performers. The second theme active interest and treatment towards the students highlights a variety of teaching strategies, which the informants use to treat the students regarding to the phenomenon of performance anxiety. In the last theme methods to prevent performance anxiety, the informants illustrate the methods which could be used to discourage anxiety and work on the factors in a correct manner. The discussion focuses on following aspects; performance based self-esteem, the importance of teacher and environment, to raise awareness and accept any anxiety and also preparations and mental training. At last I analyze the importance of this study and further research in this topic.

The aim of this thesis is to obtain a deeper understanding of students’ approaches to musical knowledge as it is distributed through one-to-one tuition in higher music education (HME). With a cultural-psychological perspective according to Bruner, the project was designed as a longitudinal, qualitative study of eight students in the performance program that concludes with a Bachelor of Arts degree in music. Two main musical genres were represented: Western classical music, and jazz and contemporary music. The students had one-to-one tuition on violin, classical guitar, saxophone and electric guitar, and were observed at three consecutive lessons per semester during one academic year. Many-sided data were collected: video recordings of instrumental lessons, semi-structured interviews with students and teachers, and the participants’ diary notes in connection with the observed lessons. In the analysis, the students’ approaches to knowledge of music cultural tools were focused. The results show that the students use three main approaches in relation to one-to-one tuition: adaptation, reflected navigation and indifference. These approaches vary and overlap, and are connected to the local cultural situations that are being studied, as well as to differences by instrument and genre. The different strategies used by the students are discussed in relation to apprenticeship in higher music education, and in relation to the consequences for students’ musical learning and knowledge development. The results are also connected to the Bologna process and the development of research-based teaching in HME. Methodological considerations and suggestions for further research are put forward.
Genom projektet, Instrumenatlisters musikaliska kunskapsutveckling. Finansierat av Vetenskapsrådet
Genom projektet, Vem äger lärandet? Finansierat av Myndigheten för nätverk och samarbete inom högre utbildning

Critical topics of teaching music continue to undergo philosophical evolution as unique concepts and perspectives are introduced by a variety of experts both in and out of the field. One concern among many is the role of the secondary music educator in the ideal classroom for student learning, part of which is impacted by teacher-student rapport. Teacher-student rapport is defined in this paper by the author as an adaptation of the general definition of rapport by Carey et al. (1986a): the quality of relationship between teacher and student that is characterized by communication and mutual, emotional understanding. The following questions were explored through content analysis of an education practitioner journal as well as literary analysis: how are teacher-student rapport-building strategies informed by the behaviorist, cognitivist, constructivist, and humanist schools of psychology; how can the information garnered from a literary analysis guide the transformation of teacher disposition policy; what are best practice techniques for teachers to build rapport in the secondary instrumental ensemble as implied by the data? It is with the data and discussion of this study that the author hopes to support teachers’ positive rapport-building efforts with students in the secondary instrumental classroom through the avenues of immediate classroom application, and policy transformation.

Data reveals that articles in the Journal of Educational Psychology examining positive rapport-building elements most comprehensively cite principles of the constructivist school, and the top three cited psychologists are Albert Bandura, Abraham Maslow, and Jean Piaget. Recommendations for teacher disposition policy transformation are suggested to help preservice teachers cultivate positive rapport-building practice, and they include standards for promoting socio-cultural investment, positive expression, student discourse recognition, reflective practice, empathy, and effective communication. Examples of potential applications in the secondary instrumental music classroom include, but are not limited to, engaging in students’ referential (Reimer, 2010) connections to rehearsed repertoire and permitting exploration of expressive interpretation of said connections; consistently raising standards of musicianship and community in response to achievement through promotion of reflective processes and demonstrations of exemplary performance; recognizing and utilizing students’ abilities to think critically and abstractly about the expression and artistic merit of class repertoire. Other implications of best practice are refined from Bandura’s (1986) self-efficacy, Maslow’s (1943 & 1971) hierarchy of needs, and Piaget’s (1952) schema and genetic epistemology theories. Finally, potential operations in chamber music are presented in relation to constructivist principles.

“Aural training” forms a vital component of conventional music education and practice and has done so for a considerable amount of time, yet it remains a difficult area with regards to student engagement in its practice and application both at school and university level. Apart from extensive scholarly debates on approaches to and methodology of aural education, a crucial issue in need of addressing deals with the student experience on a cultural, environmental and psychological plane. Despite a long-standing history of approaches, methods and concepts having been proffered in advancing aural education, their success rests on the student being reachable, engageable, willing, autonomously motivated and possessing an effective set of problem-solving strategies. This study investigated student perception, motivation and problem-solving strategies in the aural courses at the South African College of Music, University of Cape Town. A mixed methods approach was adopted including semistructured interviews, a questionnaire-based survey and a brief comparative statistical analysis of student aural and theory marks over a five-year period. The theoretical framework adopted for this study consist of merging Embodied Cognition Theory, Dynamic Systems Theory and Self-determination Theory. Participants included current students enrolled in the Aural Intro, Aural I and Aural II courses as well as current tutors, former tutors and other professionals in this field. Findings with possible relevance outside of this demarcated study range from the variance in music education background of incoming students to a lack of problem-solving strategies, exercising various degrees of influence over student perception and motivation and thus directly impacting the effectiveness of an aural education system.

Les compétences auditives musicales développées, en partie, pendant les cours de formation auditive (FA),sont essentielles à la formation des musiciens afin d'accroître l'écoute intérieure (Rogers, 1984). Plusieurs auteurs s'accordent sur l'importance d'un bon développement de l'oreille comme base de tout progrès et activité musicale, telles que l'écoute et l'interprétation (Elliot 1993; Hallam et Bautista, 2012; Karpinski, 2000; King et Brook, 2016; Lake, 1993; Langer; 1953; McPherson, Bailey et Sinclair, 1997; Rogers, 1984; Rogers 2013; Upitis, Abrami, Varela, 2016). La transcription d'une dictée musicale étant l'un des moyens les plus utilisés pour développer l'écoute intérieure s'avère un défi pour de nombreux étudiants en difficulté (Cruz de Menezes, 2010;Hedges, 1999; Hoppe, 1991). Malgré l'importance de cette tâche, les processus sous-jacents à leur résolution ne sont pas encore bien compris, en particulier ceux reliés à la dictée de basse chiffrée. Cela pose un défi constant aux enseignants. Une meilleure compréhension des processus mentaux des apprenants engagés lors des tâches de dictée de basse chiffrée et de la façon dont les élèves les déploient pourrait apporter des solutions aux enseignants. De tels connaissances pourraient indiquer les approches pédagogiques à privilégier et les stratégies s'avérant efficaces pour aider les élèves à surmonter leurs difficultés. Afin de combler les lacunes dans ce domaine, cette recherche a été élaborée pour atteindre six objectifs principaux: a) énumérer les stratégies utilisées par les étudiants au début de leur formation universitaire; b) catégoriser les stratégies; c)identifier les stratégies les plus utilisées et les plus efficaces; d) analyser d'autres facteurs cognitifs qui peuvent influencer l'utilisation des stratégies, tels que la capacité de mémoire de travail auditive musicale et non musicale; e) analyser l'incidence de l'utilisation des stratégies et d'autres variables sur le degré de performance des dictées; f) vérifier si les stratégies et les résultats des dictées changent après une session de cours de FA. Pour atteindre ces objectifs, 66 étudiants débutant leur cours de musique universitaire ont participé à cette étude. Ils ont décrit les stratégies utilisées lors de la résolution de dictées harmoniques, passé deux tests de mémoire (musical et non musical) et répondu à un questionnaire afin de récolter des informations de base telles que leur sexe, leur instrument, leur style musical et la durée de leurs études musicales. D'une part, cette recherche a permis de répertorier et de catégoriser les stratégies utilisées pour résoudre les dictées de basse chiffrée de manière approfondie. D'autre part, à l'aide de corrélations, analyses de variances et de covariance, régressions et tests-t, cette étude a permis de comprendre le lien qui existe entre les stratégies et le degré de performance pour la résolution de dictées de basse chiffrée et de vérifier si l'utilisation des stratégies et les résultats des dictées ont changé dans le temps, après avoir suivi des cours de FA universitaire. De plus, nous avons vérifié la relation qui existe entre le degré de performance pour ce type de dictées et les capacités des mémoires auditives (musicale et non-musicale) et avec d'autres variables telles que l'instrument et l'âge de début des études musicales. Cette thèse est organisée en quatre chapitres : le chapitre 1 présente une revue de la littérature; Chapitre 2, la méthodologie; Chapitre 3, toutes les analyses qualitatives et quantitatives effectuées en réponse aux questions de recherche; et le dernier chapitre, discussion des résultats et conclusion.
Music aural skills, partly developed during ear training (ET) courses, are fundamental to musicians' training in order to develop inner audition (Rogers, 1984). Authors agree about the importance of a good ear development as the basis for all musical progress and activities, such as listening and performing (Elliot 1993; Hallam & Bautista, 2012; Karpinski, 2000; King & Brook, 2016; Lake, 1993; Langer; 1953; McPherson, Bailey & Sinclair, 1997; Rogers, 1984; Rogers 2013; Upitis, Abrami, Varela, 2016). Musical dictation transcription, being one of the most used ways to develop inner audition is a challenge to be faced by many students in difficulty (Cruz de Menezes, 2010; Hedges, 1999; Hoppe, 1991). Despite the importance of this task, the underlying processes are not yet fully understood, especially those related to figured bass dictation. This poses an abiding challenge for teachers. A better understanding of students' mental processes engaged during dictation tasks, and how students deploy such processes, could provide teachers with solutions. Results might suggest which pedagogical approaches to privilege, and which strategies might be effective to help students overcome their difficulties. To fill the gap in this field, this research was elaborated with six main objectives: a) list and count the strategies used by students at the beginning of their university education; b) categorize strategies; c) identify the most used and the most effective strategies; d) analyze other cognitive factors that may influence the use of strategies, such as musical and non-musical auditory memory span; e) analyze the impact of strategy usage and other variables on dictation performance levels; f) evaluate whether the dictation strategies and dictation results change after one ET course session. To reach these objectives, 66 students starting first year university music courses participated in this study. They described their strategies used during figured bass dictations, took two memory tests (musical and non-musical) and answered a questionnaire to indicate their gender, instrument, musical genre, and details about the duration of their musical studies. Firstly, this research allowed us to list and categorize the strategies used to solve figured bass dictations in a thorough way; Secondly, using correlations, analyses of variance and covariance, regressions, and T-tests, this study enabled us to understand the relationship of strategies to performance in harmonic dictation; and to verify if the use of strategies and performance in dictation changed over time, after taking university ear training courses. Moreover, we verified the relation between the performance in dictation and auditory capacities, as well as other variables such as instrument and age at start of musical studies. This thesis is organized into four chapters: Chapter 1 presents a literature review; Chapter 2, the methodology; Chapter 3, all qualitative and quantitative analyses done in response to the research questions; and at last, the discussion of results and conclusion.

Acompanha: Material didático, p. 117
A música está presente atualmente no ambiente escolar, principalmente, por meio do uso de dispositivos móveis (smartphone, aparelho celular, MP3, MP4) pelos estudantes. Este trabalho de mestrado foi desenvolvido por se acreditar que a música possa ser usada em atividades de ensino para o processo de ensino aprendizagem em Química. Espera-se que esse estudo possa contribuir para a construção de um processo de ensino de Química significativo. Para tanto, a primeira etapa foi conhecer com maior profundidade as contribuições da música para o ensino por meio de um estudo sobre a inter-relação Química e Música. Publicações recentes das duas áreas serviram como base de investigação sobre cognição musical. A pesquisa em artigos de periódicos nacionais e internacionais referentes às áreas de Ensino de Química e Música também compôs os alicerces do estudo. Assistiu-se a palestras relacionando os temas ensino aprendizagem, música, afetividade, tecnologias e cognição, os quais se constituíram de orientação na busca para ampliar os conhecimentos da cognição musical e fazer a transposição didática desse conhecimento para o ensino aprendizagem em Química. Para que a voz de professores e estudantes fizesse parte desse estudo, questionários foram aplicados a alunos e professores de escolas públicas do estado do Paraná com o intuito de verificar como eles percebem as tecnologias, em especial o aparelho celular, no ambiente escolar e como professores e estudantes percebem a música o ensino de Química. Dessas investigações, foi possível perceber que a música pode ser uma estratégia para o ensino aprendizagem em Química, pois motiva o estudante a se engajar no processo de construção do conhecimento, apresentando muitas possibilidades de uso como estratégia didática. Essas possibilidades incluem a construção de paródias e músicas originais - favorecendo a aprendizagem significativa, a análise de letras de músicas nacionais e internacionais - possibilitando a interdisciplinaridade, a realização de jogos e brincadeiras musicais - que favorecem a afetividade entre discente e docente e entre discentes. Para que o resultado desse trabalho pudesse efetivamente ser utilizado pelos professores, facilitando a elaboração de suas aulas, foram produzidas atividades de ensino divulgadas por eio de um site da internet, que pode ser acessado por computadores, tablets e smartphones, para que professores e estudantes possam empregar essas ferramentas didáticas, utilizando as músicas no processo de ensino aprendizagem em Química.
The music is currently present in the school environment, mainly through the use of mobile devices (Smartphone, mobile phone, MP3, MP4) by students. This master thesis was developed because we believe that music can be used in educational activities for the teaching learning process in chemistry. It is hoped that this study will contribute to building a significant Chemistry teaching process. Therefore, the first step was to seek to know more deeply the contributions of music for teaching through a study of the interrelationship Chemistry and Music. Recent publications of the two areas were the basis of research on music cognition. The research articles in national and international journals on the areas of Chemistry and Music Education also composed the foundations of the study. Lectures relating the themes education learning, music, affection, technologies and musical cognition were assisted and consisted of guidance in seeking to increase their knowledge of music cognition and make the didactic transposition of this knowledge for the teaching and learning in chemistry. So that the voice of teachers and students were part of this study, questionnaires were administered to students and teachers of public schools in the state of Paraná in order to verify how they perceive technologies, especially mobile device, at school and how teachers and students perceive music in teaching Chemistry. These investigations, it was revealed that music can be a strategy for teaching and learning in chemistry because motivates the student to engage in the process of knowledge construction, with many possibilities of use as a teaching strategy. These possibilities include building parodies and original songs - favoring the significant learning, analysis of letters of national and international music - enabling interdisciplinary, playing games and music games - that favor the affection between students and teachers and between students. For the outcome of this work could be used effectively by teachers, facilitating the development of their classes, teaching activities were produced publicized through a web site that can be accessed by computers, tablets and smartphones, for teachers and students can employ these teaching tools using the songs in teaching and learning in chemistry.

abstract: Stress is an arguably universal phenomenon that has maladaptive effects on individuals’ mental health (i.e., depression). Individuals traditionally deal with stress through various coping strategies that fall under three coping styles: emotion-oriented coping, avoidance/disengagement coping, and problem-oriented coping. Furthermore, numerous studies have focused on the stress-reducing properties of music, but the literature lacks an examination of the use and effectiveness of music as a coping strategy. The current thesis examined the moderating role of music as a coping strategy in the link between stress and depression. Based on existing research, the author predicted that for participants who endorsed music coping as emotion-oriented or avoidance /disengagement-oriented, there would be an exacerbation of the stress-depression link. However, for participants who endorsed music coping as problem-oriented, there would be an attenuation of the stress-depression link. In an online survey-based study of 207 students attending Arizona State University, the author found that emotion-oriented music coping and avoidance/disengagement music coping exacerbated the relationship between stress and depression. The author, however, did not find support for the prediction that higher endorsement of problem-oriented music coping would buffer the effect of stress on depression. These results suggest that music coping may parallel alternative coping strategies in some respects but not others. Overall, the study findings support the further examination of music as a coping strategy in order to replicate emotion-oriented coping as the primary use of music.
Dissertation/Thesis
Masters Thesis Psychology 2017

A rapidly growing body of evidence in sport psychology attests to the importance of psychological attributes in the achievement of optimal performance outcomes. Interventions designed to teach athletes these psychological skills have long been utilized, and with well-documented success. The impact of peak performance training, sometimes also called psychological skills training, has been chiefly researched in athlete populations, largely ignoring other highly competitive domains. Yet there is every reason to believe that performers in other highly competitive domains may also derive benefits from psychological skills training interventions relevant to their domains. This thesis presents the results of a project with two core objectives: 1) to design a custom academic peak performance intervention for tertiary student musicians; 2) to measure the efficacy of that intervention to determine the extent to which the intervention influenced participant scores and perceptions on key psychological variables associated with superior achievement. Prior to the development of the intervention, a sample of elite musicians was surveyed to gather information about the specific needs of tertiary and advanced student musicians. Confidence recalibration, the development of optimally effective work habits, strategies to deal with music performance anxiety, self-regulation skills, and stress-management training, were all identified as potentially beneficial interventions in fostering peak performance outcomes in tertiary music students. A later study compared student and staff (assessment panel) perceptions of performance quality immediately following student assessment recitals. This study found a negative relationship between state anxiety and state confidence in student participants. Both variables were dynamic in the performance situation. The study also found that students were better able to predict the grade they would be awarded than the extent to which they had achieved a professional performance standard in their recitals. The academic intervention presented in this thesis was strongly endorsed by participants and data from its delivery in 2011 suggests that the intervention was effective. Comparison of baseline versus post-intervention scores revealed statistically significant increases in self-confidence and coping ability, a stronger internal locus of control, and significantly improved work habits, with impressive effect sizes on all these variables. Participants also reported perceptions of higher self-confidence, a greater sense of personal control over their outcomes, an improved ability to deal with criticism, more realistic expectations, improved work habits, and a strengthened ability to cope with setbacks. Hardiness and goal-commitment were found to be significant predictors of high overall peak performance scores. There was no significant decrease in music performance anxiety arising from the intervention, although this was a key dependent variable in the efficacy study. It is possible that the structure of the academic semester - such that baseline measures were taken when performance assessments were months away, while the post-intervention measure was taken when performance assessments were imminent - affected this result. Overall, the intervention effectively achieved its objectives.

M.A. (Clinical Psychology)
This study primarily investigates the content and subtypes of stereotypes that Black students hold towards Black students who listen to Rock music. The secondary aim of this study was to explore ethnic group differences in music listenership, especially with regard to Rock and Rap/Hip-Hop genres, which are associated with White youth culture and Black youth culture respectively. Using a Likert type scale, participants indicated the frequency with which they listened to Rock, Rap/Hip-Hop, Country, and Classical music genres. Results indicated that most Black respondents either rarely or never listened to Rock while most White respondents listened to Rock either occasionally or most of the time. Rap/Hip-Hop was the most popular genre among all respondents. Further results of this study also indicated the presence of a measureable stereotype consisting of 31 stereotypic attributes that Black students hold towards other Black students who listen to Rock music. The specific stereotype, identified by this study, of Black students who listen to Rock music contained two subtypes, namely the Sociable Unique Artistic, Free-spirits subtype and the Odd Deviant and Boisterous subtype. The Sociable Unique Artistic, Free-spirits subtype included attributes that were more positive in comparison to the Odd Deviant and Boisterous subtype which contained negative stereotypes. Suggestions of how future research can build on or extend the information gained from the present study were also made.

abstract: There is a lack of music therapy services for college students who have problems with depression and/or anxiety. Even among universities and colleges that offer music therapy degrees, there are no known programs offering music therapy to the institution's students. Female college students are particularly vulnerable to depression and anxiety symptoms compared to their male counterparts. Many students who experience mental health problems do not receive treatment, because of lack of knowledge, lack of services, or refusal of treatment. Music therapy is proposed as a reliable and valid complement or even an alternative to traditional counseling and pharmacotherapy because of the appeal of music to young women and the potential for a music therapy group to help isolated students form supportive networks. The present study recruited 14 female university students to participate in a randomized controlled trial of short-term group music therapy to address symptoms of depression and anxiety. The students were randomly divided into either the treatment group or the control group. Over 4 weeks, each group completed surveys related to depression and anxiety. Results indicate that the treatment group's depression and anxiety scores gradually decreased over the span of the treatment protocol. The control group showed either maintenance or slight worsening of depression and anxiety scores. Although none of the results were statistically significant, the general trend indicates that group music therapy was beneficial for the students. A qualitative analysis was also conducted for the treatment group. Common themes were financial concerns, relationship problems, loneliness, and time management/academic stress. All participants indicated that they benefited from the sessions. The group progressed in its cohesion and the participants bonded to the extent that they formed a supportive network which lasted beyond the end of the protocol. The results of this study are by no means conclusive, but do indicate that colleges with music therapy degree programs should consider adding music therapy services for their general student bodies.
Dissertation/Thesis
M.M. Music Therapy 2013

碩士
國立臺灣師範大學
音樂學系
93
Abstract The purpose of this study is to investigate the effect of junior high school music teachers who emphasize psychology of learning and classroom management on students’ learning behavior. It combines all the surveys of documentations in order to conclude more efficient ways to conduct classroom management, which can be the reference to music teachers to conduct classroom management and to change the way of learning. This research uses inquiry of documentations, questionnaire, and interview surveys. Findings and conclusions of this study are as following: 1. The ideas of the classroom management and the cognition of the psychology of learning for a music teacher: A. A music teacher should have the cognition for psychology and the skill of counseling in order to conduct classroom management effectively. B. A music teacher should provide more opportunities for students to participate classroom activities or public affairs. That makes students develop the spirit of teamwork, their abilities of dealing with difficulties and the senses of responsibility. C. The classroom management should focus on the development of moral integrity, the fundamental skills, and the admittance of the life combining arts and humanities. D. Teachers should respect every individual’s diversity and use various teaching methods to inspire student’s suitable development. E. The modernized classroom management should emphasize on the integration of electronic technology of learning and managing process. 2. The methodology of classroom management for a music teacher A. A music teacher should use various methodologies to catch the students’ attention toward the contents. B. The musical pedagogy should have diversity, creativity, and entertaining elements to reinforce the students’ learning motivation. C. The pedagogical contents should be based on the students’ cognitive development and combine their former experiences. That would produce enthusiasm and the voluntarism in students’ attitudes. D. The music teacher should value students’ learning demands. Besides, the music teacher should promote students’ voluntarism and the ability to communicate with people by cooperative learning. E. A music teacher should use immediate reinforcement, intermittent reinforcement, and continuous reinforcement to promote the students’ learning interests, reinforce and maintain their good behaviors. F. The encouragement and the punishment for students should be made efficiently. Encouragement should be more than punishment, and it should guide the students to self-constraint. G. A music teacher should break the traditional limitation for learning space. He should dedicate himself to the design of the learning environment by using creative ideas, and he should allow students to participate in arranging and decorating the classroom in order to influence and change the students unobtrusively. H. A music teacher should care about the students with respect, acceptability, and understanding. He should create intimate interaction between teachers and students, and he should create mutual communication between teachers and parents. He could co-work with parents to reduce students’ behavioral and academic problems. According to this research, a music teacher should aware of the changes of the pedagogical environment, the tendency of the pedagogical innovation, the skills for classroom management, and the ability to adjust his methodology according to practical pedagogy to have remarkable instruction.

Thesis (Ph.D.)--University of Nebraska-Lincoln, 2009.
Title from title screen (site viewed July 21, 2009). PDF text: ix, 301 p. : ill. ; 4 Mb. UMI publication number: AAT 3350454. Includes bibliographical references. Also available in microfilm and microfiche formats.

Extensive research on the psychological benefits of psychological skills training in sport has been conducted in Sport Psychology, with unambiguous positive results. However, psychological skills training has not yet been fully applied in the Psychology of Music. Mindfulness training, and specifically the mindfulness, acceptance and commitment (MAC) approach, has been applied in sport, but thus far no MAC intervention on musicians has been published. The combination of Psychological Skills Training (PST) and mindfulness (the MAC approach) training is more rare and has not yet been used in music studies. The configuration of mindfulness (MAC) and PST has been applied in a sport setting, but has never been tested in a proper intervention programme for music students. This study fills this gap. The primary aim of this research was to implement and evaluate the effect of PST, in combination with mindfulness, on undergraduate music students. The second aim was to determine whether the intervention programme had an impact on the students’ psychological well-being and the management of music performance anxiety. The third aim was to evaluate whether the students’ psychological skills and mindfulness have improved. The fourth aim was to determine whether the combination of PST and mindfulness training was successful. The fifth aim was to evaluate whether the cross-over from Sport Psychology to the Psychology of Music in terms of the knowledge base, intervention PST protocols and psychometric measuring instruments was meaningful. The sixth aim was to determine whether the correlations between the psychological constructs (subscales) of the pre-intervention test measurements on all the respondents were meaningful. A convenience sample of 36 undergraduate music students from the Department of Music at the University of Pretoria was selected. The students were asked to participate voluntarily. The experimental group consisted of 21 students, and the remaining 15 students formed the control group. A quasi-experimental design was implemented in this research to address problems that might occur because of the voluntary selection method employed. Voluntary participation was adopted to ensure that the participants were fully engaged in and committed to this study. The aspects of motivation and commitment were essential prerequisites for this research to be successful, because full commitment and maximum attendance of the intervention sessions were crucial to be able to determine the impact of this intervention programme. The results indicated a significant improvement in positive relationships with others within the experimental group, as measured by Ryff’s Psychological Well-being Scale. Pre- and postintervention test results within the experimental group indicated a statistically significant improvement in all three subscales of the Competitive State Anxiety Inventory-2 (cognitive state anxiety, somatic state anxiety and self-confidence). A statistically significant improvement on five of the seven subscales of Bull’s Mental Skills Questionnaire (self-confidence, anxiety and worry management, concentration ability, relaxation ability and levels of motivation) were reported, and on the Five Facet Mindfulness Questionnaire, the subscales of “describe” items and “non-judge” items improved significantly from the pre-intervention test to the postintervention test in the experimental group. Interestingly, the growth mindset within the experimental group also increased significantly, while the fixed mindset decreased significantly. This significant positive increase in the scores of the experimental group might be an indication that the intervention programme had a moderately significant impact on important psychological dimensions of the participating undergraduate music students.
Dissertation (MA)--University of Pretoria, 2013.
gm2014
Psychology
unrestricted

Sometimes students struggle to interpret literary texts because some of these texts do not lend themselves to the deduction of the interpretative processes with which they are familiar, but the same is not true when students pull interpretations from songs. Is it possible that students’ familiarity with songs might enable them to connect a song with a book and aid interpretation that way? This study attempted to explore the possibility of bridging songs to literary texts in my Community College English classroom, to ascertain if or how the use of song can support or extend students’ interpretive strategies across different types of texts. I investigated how songs might work as a bridge to other texts, like novels, and, if the students use songs as texts, to what extent do the students develop and hone their interpretative skills? Because of this, how might including songs as texts in English writing or English Literature curriculum contribute to the enhancement of students’ writing? The students’ responses disclosed that the songs appealed to their cognition and memories and helped them to interpret and write about the novels they read. Moreover, the students’ responses revealed that pairing or matching songs with novels strengthened interpretation of the book in a plethora of ways, such as meta-message deduction, applying contexts, applying comparisons, and examining thematic correlations. When a novel is bridged or paired with a song, interpretation can also be derived by examining different perspectives, characterizations, personal connections, and life experiences. Exploring emotional connections as well as signs and symbolism can also enable interpretation. Another way to deduce interpretation, according to the students, is to locate a reoccurring issue or thread in a song and transfer the analysis from the song to the novel. However, although a few students might not use songs to interpret literary texts, they might still be able to recognize that the possibility exists to grasp meaning that way.

Thesis (M.S.) -- Central Connecticut State University, 2010.
Thesis advisor: Kimberly Kostelis. "... in partial fulfillment of the requirements for the degree of Master of Science in Physical Education." Includes bibliographical references (leaves 27-28). Also available via the World Wide Web.

Previous researchers have found that although music is a highly valued subject, it is not one in which most students are enrolled. For music educators facing recruitment and retention challenges, a study was needed to better understand students' motivation to participate in various musical contexts. Expectancy-value theory provides a framework under which their motivations can be analyzed. A questionnaire was administered to students (N = 372) from one median SES district and one high SES district in the NJSMA region of New Jersey. Students rated their values and expectancies for various musical activities, including band, chorus, orchestra, a cappella, musical theater, informal student-directed groups, individual lessons, non-performance music subjects, and music technology. Results indicated differentiation between various contexts. Musical theater and individual lessons were the highest valued musical contexts. Students also rated their expectancies for success highest for individual lessons. Background factors influenced values and expectancies. Students in the high SES district reported higher values for music than did those in the median district. Female students generally reported higher values and expectancies for vocal music contexts, whereas male students found music technology to be less difficult than did females. Consistent with expectancy-value theory, these values were predictive of the choice to participate.

This investigation aims to explore the attitudes of adolescents towards learning music and to gauge the extent of their involvement in the activities of playing, singing, creating and listening to music. It also seeks to determine the views of adolescents on attributions for success in various activities, including music. Beliefs about selfconcept, or self-identity, and their relationships to academic achievement and musical involvement are explored. The review of literature spans various facets of self-perception, including selfconcept, self-esteem, self-efficacy, self-regulation, and self-concept development, and considers the role of music in self-concept development. The impact of self-perceptions on motivation, which is central to learning, achievement and engagement, is also considered. The basic principles of learning, and their application to learning in music, provide the foundation for specific aspects of music learning, namely, music literacy, learning to play a musical instrument, singing, music technology and informal learning. The relationship between music learning and academic achievement is reviewed. The particular importance of music in adolescence, and adolescent attitudes to school music, provide a backdrop to the analysis of the wide-ranging factors involved in self-concept development, motivation and learning principles, thus leading to an overview of the various approaches which can facilitate the engagement of adolescents in learning in general, and in high school music in particular. A researcher-designed Survey of Musical Experiences and Self-concept was administered to Year 9 and 10 students in three high schools in metropolitan Adelaide, South Australia. Data from the survey, along with academic results, were collected from the 282 participants in the study. The data provide background information about each participant, along with their perceptions about perceived areas of strength and reasons for success in these areas. Information about involvement in musical activities was collated for all students, with approximately half of the students not studying music at school. Measures for self-esteem (Rosenberg, 1965) and perceived competence (Chan, 1993) were included in the survey. Using a mixture of qualitative and quantitative methods, the data were analysed in relation to the extent of involvement in music, attitudes to learning music, students’ attributions for success, and strengths of the relationships between musical involvement, self-concept and academic achievement. Conclusions can be drawn based on the survey data and the literature review, and these emphasise the importance of the social nature of learning and of providing opportunities for creative work in classroom activities. The most outstanding finding to be highlighted from the study was the aspect of enjoyment as a reason for achievement which appears to feature prominently in students’ responses, yet it is less widely recognised in the literature.
http://proxy.library.adelaide.edu.au/login?url= http://library.adelaide.edu.au/cgi-bin/Pwebrecon.cgi?BBID=1321529
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

This investigation aims to explore the attitudes of adolescents towards learning music and to gauge the extent of their involvement in the activities of playing, singing, creating and listening to music. It also seeks to determine the views of adolescents on attributions for success in various activities, including music. Beliefs about selfconcept, or self-identity, and their relationships to academic achievement and musical involvement are explored. The review of literature spans various facets of self-perception, including selfconcept, self-esteem, self-efficacy, self-regulation, and self-concept development, and considers the role of music in self-concept development. The impact of self-perceptions on motivation, which is central to learning, achievement and engagement, is also considered. The basic principles of learning, and their application to learning in music, provide the foundation for specific aspects of music learning, namely, music literacy, learning to play a musical instrument, singing, music technology and informal learning. The relationship between music learning and academic achievement is reviewed. The particular importance of music in adolescence, and adolescent attitudes to school music, provide a backdrop to the analysis of the wide-ranging factors involved in self-concept development, motivation and learning principles, thus leading to an overview of the various approaches which can facilitate the engagement of adolescents in learning in general, and in high school music in particular. A researcher-designed Survey of Musical Experiences and Self-concept was administered to Year 9 and 10 students in three high schools in metropolitan Adelaide, South Australia. Data from the survey, along with academic results, were collected from the 282 participants in the study. The data provide background information about each participant, along with their perceptions about perceived areas of strength and reasons for success in these areas. Information about involvement in musical activities was collated for all students, with approximately half of the students not studying music at school. Measures for self-esteem (Rosenberg, 1965) and perceived competence (Chan, 1993) were included in the survey. Using a mixture of qualitative and quantitative methods, the data were analysed in relation to the extent of involvement in music, attitudes to learning music, students’ attributions for success, and strengths of the relationships between musical involvement, self-concept and academic achievement. Conclusions can be drawn based on the survey data and the literature review, and these emphasise the importance of the social nature of learning and of providing opportunities for creative work in classroom activities. The most outstanding finding to be highlighted from the study was the aspect of enjoyment as a reason for achievement which appears to feature prominently in students’ responses, yet it is less widely recognised in the literature.
Thesis (Ph.D.) -- University of Adelaide, Elder Conservatorium of Music, 2008

Orientação: Joana Brites Rosa
A presente investigação tem como principal objetivo estudar a relação entre as Preferências Musicais e a Personalidade, Ajustamento Emocional e Estados de Humor, em estudantes universitários. Neste estudo participaram 700 sujeitos: 133 do sexo masculino (19%) e 567 do sexo feminino (81%), com idades compreendidas entre os 17 e os 67 anos, com uma média de 23,94 (DP=7,02). Os principais instrumentos utilizados foram: Short Test of Music Preferences Revised, (STOMP-R) (Rentfrow & Gosling, 2009); Big Five Inventory (BFI) (John & Srivastava, 1999); Depression Anxiety Stress Scale (DASS) (Lovibond & Lovibond, 1995) e Profile of Mood States (POMS) (McNair, 1971). Este trabalho de investigação permitiu confirmar que, uma maior preferência por música: Energética e Rítmica está associada a maiores níveis de Extroversão; Reflexiva e Complexa está relacionada com maior índice de Amabilidade, Conscienciosidade e Abertura à Experiência, assim como a música Intensa e Rebelde; Otimista e Convencional está associada a maior índice de Extroversão, Neuroticismo e Abertura à Experiência. O sexo feminino prefere música Energética e Rítmica, enquanto o sexo masculino prefere mais o estilo de música Intenso e Rebelde e Reflexivo e Complexo; e os sujeitos com formação musical e que tocam/tocaram algum instrumento musical apresentam maior preferência por música Reflexiva e Complexa.
This research aims to study the relationship between Music Preferences and Personality, Emotional Adjustment and Mood States in College Students. In this study participated 700 subjects: 133 males (19%) and 567 females (81%), aged 17 to 67 years, with an average of 23.94 (SD = 7.02). The main instruments used were: Short Test of Music Preferences Revised, (STOMP-R) (Rentfrow & Gosling, 2009); Big Five Inventory (BFI) (John & Srivastava, 1999); Depression Anxiety Stress Scale (DASS) (Lovibond & Lovibond, 1995) and Profile of Mood States (POMS) (McNair, 1971). This research work confirmed that a higher preference for music: Rhythmic and Energetic is associated with higher levels of Extroversion; Reflective and Complex is related to higher Agreeability , Conscientiousness and Openness to Experience, as well as Intense and Rebel music; Conventional Optimistic is associated with increased Extroversion, Neuroticism and Openness to Experience. Females prefer Energetic and Rhythmic music, while males prefer more the style of music Intense and Rebellious and Reflective and Complex; and subjects with musical training and practice of a musical instrument have a higher preference for Reflective and Complex music.