Journal articles on the topic 'Music students Psychology'
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1
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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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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Shuter-Dyson, Rosamund. "Profiling Music Students: Personality and Religiosity." Psychology of Music 28, no. 2 (October 2000): 190–96. http://dx.doi.org/10.1177/0305735600282008.
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Freer, Elisabeth, and Paul Evans. "Psychological needs satisfaction and value in students’ intentions to study music in high school." Psychology of Music 46, no. 6 (October 20, 2017): 881–95. http://dx.doi.org/10.1177/0305735617731613.
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A major issue concerning music educators is declining participation in music over the school years. This study aimed to explain why students choose to study music at school. The theoretical lens of self-determination theory was used to examine how the satisfaction of basic psychological needs might lead to students valuing music and choosing to study it at school. Participants were 204 male students in an Australian high school. A structural equation model was evaluated, with elective intentions predicted by value, psychological needs satisfaction, and instrumental experience. The hypothesized model was supported and explained 65% of variance in elective intentions and 50% of variance in students’ valuing of music. Students with higher psychological needs satisfaction and value for music had stronger intentions to continue studying music. Psychological needs satisfaction explained a considerable proportion of why students valued music. Students with more experience learning an instrument were also more likely to choose music, but psychological needs satisfaction and value were far more influential. These findings extend existing research on Self-Determination Theory(SDT) in educational and music contexts, and suggest implications for teachers wishing to increase participation in school music education.
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Lesiuk, Teresa. "Personality and music major." Psychology of Music 47, no. 3 (March 27, 2018): 309–24. http://dx.doi.org/10.1177/0305735618761802.
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Early research investigating the personality of college-aged student and professional musicians examined traits of music performers, composers, and music teachers. Subsequent research studies followed with examinations of personality in university music programs, several of which employed the Myers-Briggs Personality Inventory (MBTI). The prevalence of MBTI types has not been examined amongst the diversity of music programs currently offered in many universities. The purpose of this study was to examine the prevalence of MBTI psychological type of university music students ( N = 217) across six different music majors (i.e., Music Business, Music Composition, Music Education, Music Engineering, Music Performance, and Music Therapy). The MBTI mental function of Intuitive–Feeling was found to be highly over-represented in the total music sample as compared to national norms, while several other personality preferences significantly dominated or were sparse in the music majors. The findings extend the personality and music research literature and have practical implications for music educators, academic counsellors, college-aged music students, and students who are considering music as a study and career.
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Freer, Elisabeth, and Paul Evans. "Choosing to study music in high school: Teacher support, psychological needs satisfaction, and elective music intentions." Psychology of Music 47, no. 6 (August 13, 2019): 781–99. http://dx.doi.org/10.1177/0305735619864634.
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High school students do not value music education highly, nor do they see it as a useful part of their academic pathways. When music becomes an elective subject, low enrolment in elective classes is seen as a challenge for music educators. This study aimed to further investigate this issue by examining the motivational climate of the music classroom, including the perceptions of the music teacher, in the development of student motivation for music. It also examined how these motivational factors influenced students’ intentions to take music as an elective subject. A hypothesized model based on self-determination theory was tested using structural equation modeling (SEM), based on survey data from N = 395 students from 11 schools. The hypothesized model fit the data well. Students’ basic psychological needs fulfillment was predicted by the perceived needs-supportive practices of their teachers. These in turn were predictive of students’ elective intentions. Using multi-group SEM analyses, findings were invariant across gender, school type, year at school, and socio-economic status, and the role of prior music learning was examined. The results indicate that an effective target for increasing students’ motivation and value for music at school may be the motivational climate of the music classroom.
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Yue, Teng. "Methods of teaching singing to children and to the youth subject to the requirements of educational psychology." Moscow University Pedagogical Education Bulletin, no. 2 (June 29, 2019): 96–102. http://dx.doi.org/10.51314/2073-2635-2019-2-96-102.
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Vocal music is a combination of artistic language and musical sound that create vivid melodic and poetic patterns. With the help of words and sounds romances and songs richly express people’s thoughts and feeling. Song is a special language of mankind, one of the most important genres in the art of music. The art of vocal music is of great interest and it does not depend on age. In particular, the age level of children who start learning music becomes lower. The high importance of the continuing education has resulted into the creation of additional requirements for educational institutions and education quality of singing teachers. The academic experience shows that voice instructors not only teach music and vocal skills but also conduct researches within the educational and developmental psychology.The purpose of the article is to analyze the process of teaching young students vocal music as a stimulating and teaching method including creation of effective training programs in the area of vocal music. Vocal courses should both attract students’ attention and enjoy them, therefor the teacher is supposed to be empathetic towards students in the process of teaching.
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Li, Dong. "Music Therapy in Mental Health and Emotional Diversion of Primary and Secondary School Students." Occupational Therapy International 2022 (July 8, 2022): 1–12. http://dx.doi.org/10.1155/2022/8370682.
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The purpose of this paper is to provide a group music therapy intervention for elementary and middle school students with mood disorders through music therapy. To explore the improvement of group music therapy on the dysphoria and state of adolescent patients with mood disorders and to explore the relationship with self-identity. A music activity-based mental health education curriculum was designed based on the results of the current survey, while two homogenous classes were selected as the experimental and control classes; subsequently, the experimental teaching of the music activity-based mental health education curriculum was conducted in the experimental class, and the regular school mental health education curriculum was conducted in the control class, and the pre- and postexperimental scale tests were used to analyze that the curriculum of this study had a positive effect of this study’s curriculum on elementary school students’ positive emotions analyzed through pre- and postexperimental scale tests. The music activity-based mental health education program had a significant positive effect on the overall level of positive emotions of elementary school students, especially in the positive emotion index, happiness index, mental toughness, goal focus, and interpersonal assistance factor. The positive psychology-oriented music activity-based mental health education curriculum is well suited for elementary and middle school students, especially for upper elementary and middle school students. The music activity-based mental health education curriculum realizes the value of applying positive psychology to mental health education efforts at the elementary school level and flexibly uses a variety of related theories to promote positive emotional experiences for elementary and middle school students.
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Studer, Regina, Brigitta Danuser, Horst Hildebrandt, Marc Arial, and Patrick Gomez. "Hyperventilation complaints in music performance anxiety among classical music students." Journal of Psychosomatic Research 70, no. 6 (June 2011): 557–64. http://dx.doi.org/10.1016/j.jpsychores.2010.11.004.
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Lamont, Alexandra. "University Students' Strong Experiences of Music: Pleasure, Engagement, and Meaning." Musicae Scientiae 15, no. 2 (July 2011): 229–49. http://dx.doi.org/10.1177/102986491101500206.
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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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Li, Jiawen. "A Study on the Application of Music Education to Improve College Students’ Mental Health in the Context of 5G." Wireless Communications and Mobile Computing 2021 (November 5, 2021): 1–12. http://dx.doi.org/10.1155/2021/5423459.
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This paper provides an in-depth study and analysis of music education to improve the mental health of college students in the context of 5G and for practical application. How to explore the ideas and methods of using music education to channel and resolve the psychological problems of this student group and then help them shape a healthy and upward psychological state, based on field research on the psychological and emotional health of contemporary higher education students, becomes an important issue that needs to be solved in front of most music educators. Musical emotions are not only related to the acoustic properties of music but also closely related to the age, gender, musical background, and social cognition of individuals. To explore the neural mechanisms by which musical rhythm affects emotional processing, it is necessary not only to achieve reasonable manipulation of rhythmic variables but also to effectively control for relevant additional variables, to clarify the relationship between rhythm and musical emotion from a theoretical perspective, and to provide operational guidance significance for bringing into play the mental health value of musical emotion. Discuss the commonalities and mutual assistance between the interactional music classroom and humanistic and positive psychology in terms of ideological connotations. Discuss the practical implications of humanistic psychology and its derivation of positive psychology in terms of self-actualization, student-centered view of education, associated integration and developmental educational values, psychological fluency experience, positive emotions, positive self, and positive motivation, which have common ideas with the philosophical theory of interaction, for the interactive music classroom. The characteristics and role of the music teacher in the interacting music classroom from a psychological perspective are described in terms of both teacher psychological construction and teaching attitudes. The enrichment of the ideas, psychological laws, and experiences in humanistic and positive psychology on the model of the interacting music classroom guided by the philosophical theory of interaction is discussed, divided into four subsections: suggestions for classroom goal setting, suggestions for teaching methods, teacher-student evaluation, and teaching fragment design, aimed at making teachers and students interact easily and happily and live soberly and creatively.
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Serrano, Telmo, and Helena Amaral Espírito-Santo. "Music, ballet, mindfulness, and psychological inflexibility." Psychology of Music 45, no. 5 (February 8, 2017): 725–38. http://dx.doi.org/10.1177/0305735616689298.
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Both music and dance training can be conceptualised as mindfulness-like practices due to their focus on the present moment. Mindfulness and music are associated with mental health. However, evidence from dance practice, especially among ballet students, shows an association with mental health problems. Psychological inflexibility involves cognitive fusion, which is an excessive involvement with internal events, leading to experiential avoidance. Since studies analysing these concepts are scarce in music and dance practice, we intended to examine their effects in young music and ballet students. This study involved 113 participants (9 to 16 years old), 64.4% girls, 34.5% with musical training, 29.2% with ballet training, and 36.3% with no training. All participants completed the Child and Adolescent Mindfulness Measure (CAMM) and the Avoidance and Fusion Questionnaire for Youth (AFQ-Y). AFQ-Y scores correlated with months of ballet training. Ballet students had greater psychological inflexibility than music students and students without any training. CAMM scores did not correlate with months of any practice, and did not distinguish between groups of practitioners. These data confirm prior findings that practice of ballet can have a potential impact on mental health by showing that young ballet students exhibit greater psychological inflexibility.
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Juslin, Patrik N., and Sara Isaksson. "Subjective criteria for choice and aesthetic judgment of music: A comparison of psychology and music students." Research Studies in Music Education 36, no. 2 (July 7, 2014): 179–98. http://dx.doi.org/10.1177/1321103x14540259.
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Kwok, Sylvia Y. C. L. "Integrating Positive Psychology and Elements of Music Therapy to Alleviate Adolescent Anxiety." Research on Social Work Practice 29, no. 6 (May 27, 2018): 663–76. http://dx.doi.org/10.1177/1049731518773423.
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Purpose: Incorporating the resource-oriented music therapy framework, the present study aims to examine the effectiveness of a designed protocol, integrating positive psychology, and elements of music therapy, in increasing the sense of hope and enhancing emotional competence, hence decreasing anxiety and increasing subjective happiness of the adolescents with anxiety symptoms. Method: Adopting a two-arm randomized controlled trial, 106 Grade 8 to Grade 9 students were recruited from three secondary schools in Hong Kong and randomized into experimental groups and no-treatment control groups. Results: Students in the experimental groups had significant increases in scores of hope, emotional competence, subjective happiness, and significant decrease in anxiety symptoms. Changes in hope were a significant mediator in the relationship between the intervention and decrease in anxiety symptoms and increase in subjective happiness. Discussion: The study provides evidence that integrating positive psychology and music therapy is effective in alleviating psychopathology and enhancing well-being of adolescents.
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Ismail, Md Jais, Loo Fung Chiat, and Azu Farhana Anuar. "LEARNING MUSIC THROUGH RHYTHMIC MOVEMENTS IN MALAYSIA." Malaysian Journal of Learning and Instruction 18, Number 1 (January 31, 2021): 241–63. http://dx.doi.org/10.32890/mjli2021.18.1.10.
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Purpose – Music class should function as a class that triggers joy and a platform for students to express their feelings. Based on observation, there are music teachers who teach singing and playing musical instruments traditionally based on teacher-centered approach. This has caused music classes to become passive and dull, with unexcited students that would cause them to be out of focus in the class. The purpose of this research is to investigate the application of rhythmic movements, using one of the components from Dalcroze’s Eurhythmics as an activity to develop active and fun music classes, hence to improve students’ music performance skills. Methodology – The study was carried out within the framework of a ten-week action-research design involving 35 primary school students at Putrajaya, Malaysia. Data collection was through group observation on students’ musical behaviours. Researchers also conducted an in-depth interview with rhythmic movement experts. Findings – Result shows that there is a significant changing of musical behaviours among primary students from week 8 to week 10. Experts agreed that rhythmic movement can create a meaningful music class with an active participation by students. There are three rhythmic procedures recommended by the experts to strengthen a music class pedagogy. Significance – Learning music through movements has turned music class into active and fun. Rhythmic movement activity makes this intention to become more meaningful. The study helps students to explore music through movements while they have the chance to play, communicate to each other, learn through observation and express their creativity in their own way. This intervention helps students to grasp almost all the music concepts while doing activities. This study also provides ideas for teachers to integrate rhythmic movements in music instructional process. Keywords: Dalcroze Eurhythmics, rhythmic movement, music education, qualitative, primary students, singing, playing percussion.
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Dobrota, Snježana, Martina Glavaš, and Dubravka Čubrić. "Musical Preferences of Students in Croatia and Bosnia and Herzegovina." European Journal of Language and Literature 8, no. 1 (May 26, 2022): 69. http://dx.doi.org/10.26417/982hit32.
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Musical preferences are an extremely complex phenomenon formed under the influence of many factors. The paper investigates whether there are gender- and age-related differences in the preferences of primary school students from Croatia and Bosnia and Herzegovina and whether there is a connection between music familiarity and preferences for certain musical excerpts. To examine students’ preferences for musical excerpts, a general data questionnaire and an assessment scale were administered to a sample of 253 participants, including second, third, seventh, and eighth grade primary school students from Croatia and Bosnia and Herzegovina. The results show gender- and age-related differences in the preferences for classical music, whereby female students, compared to male students, and younger students, compared to older students, show higher preferences for classical music. A significant interaction effect of gender and age on classical music preferences was found. Furthermore, the results show that male and female students do not differ in their preferences for world music, while age-related difference was observed, with younger students, compared to older students, showing greater preferences for this musical style. A significant interaction effect of gender and age on world music preferences was found. Finally, it was confirmed that students show higher preferences for familiar musical excerpts compared to unfamiliar musical excerpts. The obtained results represent a significant contribution to the study of musical preferences from the aspect of music psychology and music pedagogy.
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Atroszko, Paweł A., Wiktor K. Wróbel, Piotr Bereznowski, and Rafał Lawendowski. "The relationship between study addiction and examination stress among students of music academies." Roczniki Psychologiczne 22, no. 2 (January 10, 2020): 177–92. http://dx.doi.org/10.18290/rpsych.2019.22.2-5.
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Previous studies have shown that study addiction is related to worse academic performance among music academy students as well as in the general population of students, suggesting that excessive examination stress may impair their performance on exams. The aim of this study was to investigate the relationship between the newly developed concept of “study addiction” and examination stress among students of music academies. Study addiction has been defined within the framework of theory and research on work addiction as a potential behavioral addiction. A cross-sectional correlational study was conducted, with a sample of 132 students of music academies in Poland. The Bergen Study Addiction Scale, assessing seven core addiction symptoms related to studying, was administered together with a commonly used measure of personality and single-item measures of examination stress and learning engagement. Multiple hierarchical regression analysis showed that study addiction was related to higher examination stress above and beyond personality traits. What is more, while study addiction showed a positive relationship with examination stress, learning engagement showed a negative association with examination stress. The results suggest that, among music academies students, study addiction is related to higher stress during exams and that study addiction and learning engagement are different constructs. Taking into account the relationship of study addiction with higher stress in situations of being evaluated, future studies are warranted that would link study addiction to music performance anxiety, which is one of the most widely studied phenomena in the psychology of music.
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Burg, Micah, and David Lester. "Predicting Suicidal Ideation in High School Students." Psychological Reports 89, no. 2 (October 2001): 283–84. http://dx.doi.org/10.2466/pr0.2001.89.2.283.
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Stramkale, Ligita. "MEMORIZING SONG LYRICS IN PRIMARY EDUCATION DURING THE MUSIC LESSON." Journal of Education Culture and Society 11, no. 1 (June 27, 2020): 273–80. http://dx.doi.org/10.15503/jecs2020.1.273.280.
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Aim. The aim of the study is to identify what techniques students use to memorise song lyrics, how much time is needed to do that, and whether and in what way their parents help them learn the song. The theoretical part of the study analyses previous researches on memorisation in the context of general psychology, age-related psychology, and music psychology.
Method. The empirical study involved 47 (N=47) second-grade students of the comprehensive school (25 girls and 22 boys). Three study questions are raised in this paper: what techniques do students use to learn how to memorise song lyrics? How much time does a student need to learn singing a song by heart? Do parents help students memorise the song lyrics and in what way? To answer these questions, after having sung a song by memory each student was asked to write an essay about his/her thoughts on how he/she had learned this song at home. The content analysis was used in order to process the information contained in the essays and thus obtain a concise and detailed description of the song memorising techniques.
Results. As a result of the obtained data analysis, it was determined that the most commonly used memorising techniques were: reading the song lyrics, singing the lyrics, and repeating them several times. The study also revealed that slightly more than half of the students did not get any parental assistance to learn a song by heart.
Conclusion. The students who learn to sing a part of a song by heart during music lessons need less time to learn the whole song at home when compared with those students who do not learn parts of the songs in class.
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Commodari, Elena, and Jasmine Sole. "Music education in junior high school: Perception of emotions conveyed by music and mental imagery in students who attend the standard or musical curriculum." Psychology of Music 48, no. 6 (March 21, 2019): 824–35. http://dx.doi.org/10.1177/0305735619832962.
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The ability to perceive emotions conveyed by music and recognize multiple and mixed emotions improves with age. Several studies have found that mental imagery is one of the mechanisms that underlie emotional reactivity to music, and music has a facilitating effect on mental imagery. In particular, researchers have hypothesized a relationship between the perception of emotions expressed by music, visual imagery, and musical training. However, the results of previous studies are not homogenous. This study investigated the ability to perceive emotions in music in 130 students in their final year of junior high school and analyzed the contribution of musical training in visual imagery performances. Each student listened to one of two musical tracks, which were arranged to convey positive and negative emotions, respectively. After listening, the students reported the emotions they perceived and completed a visual imagery test. The results showed that the students could recognize simple, multiple and mixed emotions conveyed by the music. Moreover, the musically-trained students showed higher visual imagery ability.
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Tran Huong, Giang. "Using active teaching methods when designing learning activities for ordinary music contents in order to develop students’ quality and capactity." Journal of Science Educational Science 66, no. 4 (September 2021): 80–85. http://dx.doi.org/10.18173/2354-1075.2021-0111.
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Music Subject has first time expanded and contributed in the 2018 General Education Program (High School). One of its content branch that are spread throughout grades 1 to 12 is Ordinary music. This learning content is mainly theoretical, and it is hard to attract students in the teaching process. So while designing learning activities, teachers have to chose teaching methodes and teaching organizations in order to: agree with contents, objectives and age psychology; develop students’ activtities and creativeness; develop students’ common qualities, abilities and subject capacity.
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dos Santos-Luiz, Carlos, Lisete S. M. Mónico, Leandro S. Almeida, and Daniela Coimbra. "Exploring the long-term associations between adolescents’ music training and academic achievement." Musicae Scientiae 20, no. 4 (August 1, 2016): 512–27. http://dx.doi.org/10.1177/1029864915623613.
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There is a positive relationship between learning music and academic achievement, although doubts remain regarding the mechanisms underlying this association. This research analyses the academic performance of music and non-music students from seventh to ninth grade. The study controls for socioeconomic status, intelligence, motivation and prior academic achievement. Data were collected from 110 adolescents at two time points, once when the students were between 11 and 14 years old in the seventh grade, and again 3 years later. Our results show that music students perform better academically than non-music students in the seventh grade (Cohen’s d = 0.88) and in the ninth grade (Cohen’s d = 1.05). This difference is particularly evident in their scores in Portuguese language and natural science; the difference is somewhat weaker in history and geography scores, and is least pronounced in mathematics and English scores ( η2 p from .09 to .21). A longitudinal analysis also revealed better academic performance by music students after controlling for prior academic achievement ( η2 p = .07). Furthermore, controlling for intelligence, socioeconomic status and motivation did not eliminate the positive association between music learning from the seventh to the ninth grade and students’ academic achievement ( η2 p = .06). During the period, music students maintained better and more consistent academic standing. We conclude that, after controlling for intelligence, socioeconomic status and motivation, music training is positively associated with academic achievement.
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Oudejans, Raôul R. D., Anne Spitse, Elmer Kralt, and Frank C. Bakker. "Exploring the thoughts and attentional focus of music students under pressure." Psychology of Music 45, no. 2 (July 28, 2016): 216–30. http://dx.doi.org/10.1177/0305735616656790.
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Musicians often play under circumstances in which pressure may lead to anxiety and performance deterioration. Theories suggest that a drop in performance is due to a shift in focus of attention towards task-irrelevant information. In this study, we asked music students to report what they think and where they focus attention in three situations: when they play under pressure (Study 1; n = 81), the moment just before choking under pressure and when they try to recover after a mistake (Study 2; n = 25). Focus of attention was examined using retrospective verbal reports and point-spread distributions. Besides a notable focus on music-related information (36.9%), music students reported a considerable number of worries and disturbing thoughts (26.1%) during playing under pressure (Study 1). Just before choking, they showed even more worries and disturbing thoughts (46.4%) at the cost of music-related focus (21.1%) (Study 2), as also confirmed by the point-spread distributions. During recovery after a mistake, attention was mainly focused on music-related information (53.0%) and less on thoughts that give confidence (18.5%) and physical aspects (16.6%). It is advisable to help music students with improving their performance, for example, by attentional control training or providing training with elevated levels of anxiety.
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Yan, Fei. "Music Psychological Meta-Analysis and Real-Time Measurement Algorithm Based on Nonlinear Dynamic Incremental Internal Model Algorithm." Scientific Programming 2022 (May 11, 2022): 1–11. http://dx.doi.org/10.1155/2022/6096377.
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As an important part of aesthetic education, music is the artistic expression of human emotions. It has a crucial impact on the cultivation of individual music perception ability, music aesthetic ability, music creation ability, etc. The degree of influence of emotions and values in music runs through the individual. This study introduces a method to independently design a predictive controller using the theoretical framework of the state-space method. Since the same results as DMC can be derived, it can be regarded as an understanding of DMC in the time domain. We take the asymptotically stable object of SISO as the model and use the step response coefficient to directly model, but this method makes the control uncontrollable, so we use the method of adding the correction parameter to make the observable process more effective. The advantages of one-time online optimization can reduce the amount of calculation and greatly enhance the robustness in the control process. In order to study the dynamic characteristics of the system, an internal model control system is introduced. By studying the closed-loop stability of the internal model system, the internal model structure of the dynamic matrix control system is studied, and its dynamic characteristics are further studied. When analyzing the dynamic characteristics, we can know that the dynamic characteristics of the system only depend on the object characteristics and control strategies, and have nothing to do with the model length. This study introduces the basic structure, main properties, and design method of the internal model controller. On the basis of conventional internal model control, an enhanced internal model control method is introduced. Through the analysis of the sensitivity function and the complementary sensitivity function, the robust performance and robust stability of the enhanced internal model control system are studied. Music learning psychology is related to the effect of music teaching. Since individual psychological development is dynamic and controllable, by grasping students’ music learning motivation and music psychological ability, we can well practice the concept of contemporary new curriculum standards and implement high-quality music courses. This study mainly discusses the music learning psychology itself, the analysis of real-time measurement results, and the analysis of teaching countermeasures, and does some research on music theory and teaching practice. Through real-time measurement research, it can be concluded that the real-time measurement results are relatively optimistic, which shows that teachers can maintain students’ learning well as long as they use teaching methods that conform to students’ learning psychology. The nonlinear dynamic incremental internal model algorithm can improve students’ various music psychological abilities and achieve the expected music teaching goals.
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Zarza-Alzugaray, Francisco Javier, Santos Orejudo, Oscar Casanova, and Lucía Aparicio-Moreno. "Music Performance Anxiety in adolescence and early adulthood: Its relation with the age of onset in musical training." Psychology of Music 46, no. 1 (February 1, 2017): 18–32. http://dx.doi.org/10.1177/0305735617691592.
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Music Performance Anxiety (MPA) is one of the major emotional problems affecting music professionals and music students; it can only be addressed on a professional basis if a more profound knowledge of determining factors is acquired. This study examines one of these factors, scarcely investigated until now: the age at which an individual began music training. The relation of age of onset with MPA is examined here in two separate samples of music students/pupils in Spain: one of 437 advanced music students (mean age = 22.64 years) and another one consisting of 209 pupils enrolled in music schools (mean age = 12.09 years). The first sample was tested with the Spanish version of the Kenny Music Performance Anxiety Index (KMPAI), and the second sample was tested with the Performance Anxiety Questionnaire (PAQ) elaborated by Cox and Kenardy (1993). These two independent samples, tested with different evaluation tools, yield results that indicate a significant relation between the age of musical training onset and the individual’s currently perceived level of MPA. Those students/pupils who started at the age of 7 or younger report lower levels of MPA. The article concludes with a discussion of these results’ potential implications on a theoretical and practical level.
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Maidlow, Sarah. "The Experiences, Attitudes and Expectations of Music Students from a Feminist Perspective." British Journal of Music Education 15, no. 1 (March 1998): 37–49. http://dx.doi.org/10.1017/s0265051700003752.
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Attempting to explain the mis-match between women's low profile in most music professions and females' success in formal music education, I looked for differences in the attitudes, experiences and expectations of music students. This was done by using repertory grids with relatively small numbers of A-level and undergraduate music students, and postgraduate student teachers with music degrees. Constructivist psychology, of which repertory grid technique is a practical example, offers approaches in harmony with feminist preferences for the meaning people attach to their situation and the usefulness of their interpretation over notions of truth. Thus participants' responses dictate any groupings to emanate from analysis, rather than their being placed in pre-determined categories.The outcomes of the study suggested, however, that little differentiates female and male musicians, as represented by these music students. Conversely, the results implied that the sexes are inclined to think similarly, insofar as likenesses in their attitudes could be associated with their instrument, and, crucially, that each sex tended to look to mo dels I mentors who reflected their sex as well as instrument. The sexes' inconsistency of achievement might then be explained by differences between sex-role models.
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Shi, Junyan, and Qinliang Ning. "Research on the Innovation of Music Teaching in Universities Based on Artificial Intelligence Technology." Security and Communication Networks 2022 (May 30, 2022): 1–9. http://dx.doi.org/10.1155/2022/3140370.
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At present, music education in colleges is in a period of rapid development in China. At the same time, music education in universities is facing innovation and reform of teaching modes. How to improve music education in colleges and universities has become an important issue for music teachers in colleges. Music teaching and management activities for students in general universities can enrich students’ talents and expand their knowledge. It can also help them develop a positive emotional psychology and develop positive and healthy character characteristics, both of which are vital for college students’ healthy development. Innovation and modification in music teaching and management activities for students is the only way to increase the quality and effectiveness of music teaching for nonarts students and to promote the overall quality of students. Based on this, this paper proposes an innovative research method of college music teaching based on artificial intelligence technology. The method introduces a fuzzy evaluation algorithm to establish a two-level teaching evaluation index system and calculates the weights of each index based on fuzzy mathematical theory. In data processing, the SVM algorithm in the field of data mining is used to classify all collected teaching evaluation data in advance through supervised learning, which significantly improves the efficiency of data processing. The experimental results show that the model in this paper can well assess the quality of music teaching in colleges and universities and play a role in promoting the progress of music teaching in colleges and universities.
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Schreiber, Elliott H. "Influence of Music on College Students' Achievement." Perceptual and Motor Skills 66, no. 1 (February 1988): 338. http://dx.doi.org/10.2466/pms.1988.66.1.338.
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Stanton, Harry E. "Reduction of Performance Anxiety in Music Students." Australian Psychologist 29, no. 2 (July 1994): 124–27. http://dx.doi.org/10.1080/00050069408257335.
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Bailes, Freya. "The prevalence and nature of imagined music in the everyday lives of music students." Psychology of Music 35, no. 4 (August 16, 2007): 555–70. http://dx.doi.org/10.1177/0305735607077834.
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VanderArk, Sherman D., and Daniel Ely. "Biochemical and Galvanic Skin Responses to Music Stimuli by College Students in Biology and Music." Perceptual and Motor Skills 74, no. 3_suppl (June 1992): 1079–90. http://dx.doi.org/10.2466/pms.1992.74.3c.1079.
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The purpose of this study was to examine biochemical and physiological responses to musical stimuli. Specifically, university music and biology students' plasma levels of norepinephrine, endorphin, and Cortisol, and their galvanic skin responses were measured before and after listening to two different musical selections in an anechoic chamber and during controlled silence. The results indicated that biochemical variables changed significantly in both groups during listening to music but were not different during the controlled silence. These data suggest that music majors may listen more analytically to music. GSR responses were significantly higher for music majors than biology majors, and plasma Cortisol increased in music students but decreased in biology students. Music which elicits specific emotions induces physiological changes which may be beneficial to relaxation and behavioral therapies.
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McLaughlin, T. F., and J. L. Helm. "Use of Contingent Music to Increase Academic Performance of Middle-School Students." Psychological Reports 72, no. 2 (April 1993): 658. http://dx.doi.org/10.2466/pr0.1993.72.2.658.
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The present research evaluated the effects of contingent access to music on the academic performance of two junior high school students with disabilities. The use of response contingent music increased the number of correct problems completed in mathematics. A replication of baseline conditions resulted in a decrease in performance. Practical applications of the procedure were discussed.
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Kharzhevskaia, Anna A. "The Research of the Relationship of Preferred Musical Styles and Personal Features of Music Teachers." Musical Art and Education 7, no. 2 (2019): 41–56. http://dx.doi.org/10.31862/2309-1428-2019-7-2-41-56.
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The present article researches the relationship of musical preferences of adolescence (pop, rock and rap) and modernity (classical, pop, rock, music lovers) with the display of personal features, such as empathy, emotional exhaustion, state and trait anxiety, pedagogical style and coping strategies. The musical genres and trends are considered as musical preferences and precedential musical phenomenon revealed empirically during the self-analysis by the subjects. The experimental study was carried out on the basis of Moscow Pedagogical State University and consisted of 4-5th-year students of Music Department. The connections between personal features and preferred musical styles of modernity were detected. The students considering classical music to be their favorite musical direction having a high level of personal resources. These results display the positive influence of classical music to the personal resources of future music teachers. This phenomenon demands further investigations and using in the field of musical education psychology. These results highlight necessity of detailed consideration on classical music relationship and personal features of bachelor students musical department during the educational process.
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GRIGORYEVA, V. "PSYCHOLOGICAL PROVISION OF PROFESSIONAL TRAINING OF FUTURE MUSIC ART TEACHERS DURING MASTER'S EDUCATION (ON THE EXAMPLE OF THE DISCIPLINE «MUSIC PSYCHOLOGY»)." Scientific papers of Berdiansk State Pedagogical University Series Pedagogical sciences 1, no. 2 (October 6, 2022): 74–80. http://dx.doi.org/10.31494/2412-9208-2022-1-2-74-80.
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The article raises the issue of psychological professional training provision of future music art teachers during their master's studies at a pedagogical institution of higher education. The relevance of this problem is determined by the need for the disciplines of the psychological and pedagogical cycle in the general professional and creative training of masters, solving the main task – the training of highly qualified specialists in musical art who meet the standards and requirements of a modern specialist. The article proves the necessity of studying the discipline «Music Psychology» in preparing masters of education for the qualitative implementation towards the professional functions of a performer and musical art teacher in the system of general and additional music education. The author's approach to the content and teaching methods during the study of the specified discipline is highlighted. It is emphasized that the construction of the thematic material of the course is based on a dynamic approach, which most accurately reflects the specifics of the mental processes of an individual interacting with music. This approach is implemented through the sequence that is most often found in general psychology: the nature of sound, cognitive processes, the emotional and volitional sphere, individual characteristics of the personality, the specificity of artistic creativity. It is emphasized that the construction of the thematic material of the course is based on a dynamic approach, which most accurately reflects the specifics of the mental processes of an individual interacting with music. This approach is implemented through the sequence that is most often found in general psychology: the nature of sound, cognitive processes, the emotional and volitional sphere, individual characteristics of the personality, the specificity of artistic creativity. Attention is focused on the author's vision of the discipline content, supported by 15 years of experience in teaching the course «Psychology of Art» for students of art specialties of a pedagogical high educational institution. The article outlines a logical presentation of the course material aimed at making master's students about following the importance of psychological training at the university, forming their professional motivation. To reinforce the last day of the entrance questionnaire on the specified questions. The article presents the main issues about meaningful modules as indicative and sufficient for the formation of competencies and learning outcomes regarding education seekers, determined by the educational and professional program. Examples of exercises for use in practical classes are given in order to make master's students aware towards the specifics of the course and its differences from traditional psychological disciplines. Key words: music psychology, professional training of masters, cycle of professional training, entrance questionnaire, psychological and pedagogical disciplines.
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Ma, Rui. "Stimulating students' learning motivation: A case study of music education and pedagogy course based on flipped classroom." Psychology and Education Journal 58, no. 2 (February 4, 2021): 109–14. http://dx.doi.org/10.17762/pae.v58i2.1059.
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This study reports the results of a case study that investigated the impact of music education and pedagogy course based on flipped classroom on music major students in Beijing City University. The main findings from this study indicated that flipped classroom had a positive impact on stimulating students' learning motivation, which is related to three main themes: student-centered, peer motivation and deep learning. Although some of these impacts were not always clearly distinguished from the more general experience of higher music education, some effective practical paths had been identified in teaching that link to these three themes in some interrelated contexts. This study raises some important questions, that is, how to stimulate students' learning motivation in the distinctive music discipline, and discusses the direction of further reform of this course based on flipped classroom.
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Posluszna, Joanna, Agnieszka Burtowy, and Robert Palusinski. "Music Preferences and Tobacco Smoking." Psychological Reports 94, no. 1 (February 2004): 240–42. http://dx.doi.org/10.2466/pr0.94.1.240-242.
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This study investigated the association of music preferences with tobacco smoking in a group of 152 high school and college students. Both the questionnaire and the listening survey indicated a higher preference for music associated with anxiety and depressed mood among smokers. These findings may reflect a common etiology of tobacco addiction and a specific type of music preferences. To elucidate this phenomenon further studies are needed.
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Vanderark, Sherman D., and Daniel Ely. "Cortisol, Biochemical, and Galvanic Skin Responses to Music Stimuli of Different Preference Values by College Students in Biology and Music." Perceptual and Motor Skills 77, no. 1 (August 1993): 227–34. http://dx.doi.org/10.2466/pms.1993.77.1.227.
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The purpose of this study was to examine biochemical and galvanic skin responses to music stimuli. Specifically, 30 university biology and 30 music students' plasma levels of norepinephrine and cortisol and their galvanic skin responses were measured before and after listening to two different musical selections, one of which was preferred (liked) by the music students and not preferred (disliked) by the biology students. The music-listening sessions and the controlled silent sessions were done in an anechoic chamber. 30 biology majors and 30 music majors were in the experimental groups; 14 biology and 17 music majors comprised the control group. Analysis indicated that the Cortisol levels and galvanic skin responses were significantly higher for the music majors than the biology majors. The data indicate that music majors listen more critically and analytically to music than biology majors, and Cortisol levels are associated with this as increases in music majors and decreases in biology majors after the music.
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Jia, Nan, and Chongze Yang. "The approaches and methods of music psychology in the relationship between music emotion and cognition in music teaching activities." Frontiers in Psychology 13 (October 4, 2022). http://dx.doi.org/10.3389/fpsyg.2022.1011249.
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In order to further improve the effect of music teaching, more music psychology should be applied in music teaching to assist teaching, and students should better understand the emotional elements reflected in music through music emotion and cognitive teaching. This essay starts from the relationship between music emotion and cognition, to deeply explore the application of music psychology in teaching activities, through the construction of music education psychological regulation function model to explore the effect of the application of psychology in music teaching. The results showed that the scores of positive emotions were significantly improved, while the scores of negative emotions were significantly decreased. The difference between the improvement and reduction of positive emotions was significant (p < 0.01, p < 0.01). The results show that psychology based on the relationship between emotions and people is helpful to improve the effectiveness of music teaching. And on this basis put forward the music teaching activity innovation path.
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Duerksen, George L. "MUSIC FOR EXCEPTIONAL STUDENTS." Focus on Exceptional Children 14, no. 4 (April 2, 2018). http://dx.doi.org/10.17161/fec.v14i4.7442.
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Cai, Haiqin, and Guangliang Liu. "Exploring the Learning Psychology Mobilization of Music Majors Through Innovative Teaching Methods Under the Background of New Curriculum Reform." Frontiers in Psychology 12 (January 21, 2022). http://dx.doi.org/10.3389/fpsyg.2021.751234.
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The research expects to explore the psychological mobilization of innovative teaching methods of Music Majors under the new curriculum reform. The relevant theories of college students’ innovative teaching methods are analyzed under deep learning together with the innovation and construction of music courses. Thereupon, college students’ psychological mobilization is studied. Firstly, the relationship between innovation and entrepreneurship teaching and deep learning is obtained through a literature review. Secondly, the music classroom model is designed based on the deep learning theory, and the four dimensions of the music curriculum are defined to innovate and optimize the music teaching model. Finally, the Questionnaire Survey (QS) is used to analyze the design classroom model. Only 15% of the 180 respondents understand the concept of deep learning, 32% like interactive music learning, and 36% like competitive comparative music classroom learning. And the students who study instrumental music have higher significant differences in learning motivation than those who study vocal music. In addition to classroom learning, 16% of people improve their music skills through music equipment. College students like interactive music classes and competitive comparison classes that can give more play to their subjective initiative. After the new curriculum reform, the music curriculum based on deep learning can stimulate students’ interest in learning and participate in the mobilization of students’ learning psychology. Therefore, in the future of music education and teaching, there is a need to pay more attention to students’ psychological status. The research results can provide references and practical significance for the innovative teaching activities of music classrooms after the new curriculum reform.
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Antonini Philippe, Roberta, Céline Kosirnik, Esther Ortuño, and Michele Biasutti. "Flow and music performance: Professional musicians and music students’ views." Psychology of Music, August 10, 2021, 030573562110309. http://dx.doi.org/10.1177/03057356211030987.
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Performing music at the highest levels involves great competitiveness. When each performance represents a major personal challenge, success is no longer solely dependent on a high level of technical mastery: the psychological aspects of the performance also have a decisive impact. The concept of flow is presented as a phenomenon associated with significant improvements in the musician’s performance and well-being. This work explores musicians’ positive experiences in performance situations and studies the factors that promote the emergence of flow during competitions. Eleven musicians, both professionals and students, were interviewed to consider ways of promoting the emergence of flow that help them to produce high-quality performances. Our analysis revealed several different factors promoting the emergence of flow: social standing, performance preparation, connection to one’s body, awareness of skills and self-confidence, intrinsic motivation, attentional focus, and transcendence. These findings enhance our understanding of the conditions influencing the emergence of flow. We consider work pathways which might facilitate the emergence of flow experiences and thus help musicians to produce high-quality performances while protecting them from the harmful effects of stress and anxiety.