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Artykuły w czasopismach na temat "Music – Psychological aspects"
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Mirka, D. "Hearing in Time: Psychological Aspects of Musical Meter". Journal of Music Theory 48, nr 2 (1.01.2004): 325–36. http://dx.doi.org/10.1215/00222909-48-2-325.
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Jatmika, Ovan Bagus. "Musician Problem: Internal and External Aspects". Journal of Music Science, Technology, and Industry 3, nr 2 (21.10.2020): 103–23. http://dx.doi.org/10.31091/jomsti.v3i2.1151.
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Purpose: This paper explores various problems faced by music players in general and the solutions about the problems. Research methods: These problems are categorized into two, namely internal and external. Internal problems are related to technical and psychological problems, while external problems are related to communication capacity. Results and discussion: Internal problems can be experienced by all music players without considering the kind of their performances (solo or ensemble), external problems specifically only appear in the ensemble. The solution to the technical problems is trying to understand the score from the broadest possible perspective (accommodating at least three things: assumptions about the style of music, the intention of the composer, and the role of the player in interpreting the work) so that the player can construct sound imaginations without being overshadowed by technical constraints. Implication: Psychological problems can be mitigated by many things, but the most recommended method is cognitive behavior therapy, where musicians are taught to always bring positive thoughts in any situations
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Watt, Roger J., i Roisin L. Ash. "A Psychological Investigation of Meaning in Music". Musicae Scientiae 2, nr 1 (marzec 1998): 33–53. http://dx.doi.org/10.1177/102986499800200103.
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Music has a strong effect on people's mental state and behaviour. This effect can be at a simple motor level, or it can be at a more complex level of arbitrary association or it can be at a much more complex cognitive and representational level. This latter case is of specific interest because it implies that, to some degree, music can be said to have a content that is not musical. Thus, when music is taken to depict a rough sea, then something in the music causes that: the music contains something that is being taken to signify roughness-of-sea. The existence of a large, natural yet arbitrary vocabulary (as is demonstrably the case for language) to relate musical expressions to non-musical events/objects seems implausible. In this paper, the possibility is explored that the vocabulary of musical expression concerns psychological aspects of people. Thus music, it is hypothesised, can express male/female-ness and good/evil-ness and happy/sad-ness and so on. Data obtained in a novel paradigm designed to test this hypothesis are described. Substantial support for the hypothesis is found: the implications of this are discussed.
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Lin, Xiao. "Psychological and Educational Research on Physical Development in Music and Dance Education". Yixin Publisher 2, nr 2 (30.04.2024): 57–61. http://dx.doi.org/10.59825/jhss.2024.2.2.57.
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This article explores the psychological and educational significance of corporeality in the field of music and dance education, emphasizing that the body is not only a medium through which we perceive the world but also a crucial component of an individual’s psychological state. Body psychology, as an emerging branch that delves into the deep connections between the body and the psyche, reveals the distinction between “the body” and “corporeality.” The latter encompasses multiple dimensions including physiological, cultural, psychological, and meaning-making aspects, playing a decisive role in individual growth and personality development. Through a multidimensional analysis of the role of corporeality in artistic creation, performance, and perception, as well as its application in music and dance teaching methods, the article demonstrates how corporeality can enhance the expression of individual emotions and inner experiences, thereby influencing self-awareness and emotional development. Corporeality is a complex characteristic that integrates physical, psychological, biological, and spiritual aspects. It concerns not only physical health but is also a vital resource for an individual’s psychological well-being, having a profound impact on the psychological and emotional development of individuals in the field of music and dance education.
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ZHURAVLOVA, Natalia. "PSYCHOLOGICAL ASPECTS OF INTERACTION OF MUSICIANS-INSTRUMENTALISTS IN ENSEMBLE MUSIC MAKING". Fine Art and Culture Studies, nr 1 (2022): 65–70. http://dx.doi.org/10.32782/facs-2022-1-9.
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Zhao, Yiran. "The Effects of Music on Psychological Well-Being". Journal of Education, Humanities and Social Sciences 22 (26.11.2023): 71–76. http://dx.doi.org/10.54097/ehss.v22i.12289.
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Due to many reasons, such as increased pressure, a lot of people are now facing severe mental problems. In this case, music was thought of as one of the possible mitigation measures for people’s Psychological Well-Being (PWB). This review will discuss the beneficial effects of music on PWB. The factors relevant to the effects of music on PWB are too numerous to consider, but most of the significant ones will be introduced in this review. Additionally, only considering the impact of music on PWB may not be sufficient, because other aspects like self-awareness also play a role. It is crucial to the effectiveness with which music might affect listeners' PWB. A lot of findings will be presented in this paper, they are unquestionably good, but there are still far too many perspectives and factors to consider when looking at this topic because it is such a large field. To eventually arrive at a comprehensive conclusion, there are still many factors to take into account and many perspectives awaiting additional research and experimentation, such as the impacts the surrounding environment has on how effective music can be on PWB.
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Sabath, Brill Obed, i Ni Wayan Ardini. "The Influence of Music on Adolescent Psychology under Construction at Corpus Christi Lawang, Malang, East Java". Journal of Aesthetics, Creativity and Art Management 3, nr 1 (1.04.2024): 61–68. http://dx.doi.org/10.59997/jacam.v3i1.3702.
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This research aims to determine the influence of music on the psychological aspects of teenagers involved in coaching at Corpus Christi Lawang in Malang District, East Java, Indonesia. The research method used is a qualitative approach using observation, interview, and literature study data collection techniques. The findings of this study highlight that music influences various psychological aspects of adolescents, including mood, behavior, self-identity, and social interactions. The results of this research provide an in-depth understanding of the role of music in the development of the young generation in Corpus Christi Lawang. The practical implications of this research can help foundation administrators design more effective coaching programs by utilizing music's power to influence adolescent psychology positively. Music's influence on adolescent psychology at Corpus Christi Lawang aims to influence a person's emotions and provide calm to the subconscious (id) which can be controlled and build emotional, spiritual, and social structures in the rhythm of music when listening and expressing it.
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Bergeson, Tonya R. "Book Review: Hearing in Time: Psychological Aspects of Musical Meter". Psychology of Music 34, nr 3 (lipiec 2006): 405–7. http://dx.doi.org/10.1177/030573560603400309.
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ZHURAVLOVA, Natalia, i Irina KALENYK. "Psychological aspects of the concertmaster’s activity in the sphere of music art". Humanities science current issues 1, nr 36 (2021): 74–78. http://dx.doi.org/10.24919/2308-4863/36-1-10.
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Kasai, Shigeki, Kaito Kotorii, Ayumu Sano, Gakuto Nakazawa, Ryoshin Mihara i Daisuke Ando. "Effects of listening to different music on sprint performance and psychological aspects". Japanese Journal of Physical Fitness and Sports Medicine 72, nr 6 (1.12.2023): 387–98. http://dx.doi.org/10.7600/jspfsm.72.387.
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McDonald, Jennifer Ann. "Music and me : measuring and understanding real-life music preferences". Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608208.
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Kirsch, Simone Hillary. "Psychological aspects of one-on-one instrumental teaching at the tertiary level". Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17372.
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Thesis (M.Mus.)-- University of Stellenbosch, 2006.ENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these.
AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.
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Novak, Jennifer J. Doud. "Music Preferences 1980 Versus 1989 and Their Relationship With Selected Environment and Listener Variables". Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278214/.
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The purpose of this study was to determine differences between the same subjects' music preferences at the elementary and high school levels, and the relationship between these findings and the following variables: peer preferences, musical training, excerpt familiarity, grade, gender, and race.
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Marshall, Daniel N. "Music With and Without Lyrics Increases Motivation, Affect, and Arousal during Moderate-Intensity Cycling". Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011790/.
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Music is used to distract, energize, and entertain during exercise by producing positive psychological and physiological responses. Specifically, listening to music during exercise enhances performance, increases motivation, improves affect, and optimizes arousal. Researchers have identified several elements of music that may moderate this relationship, including lyrics. However, few studies to date have examined the influence of motivational lyrics on psychological and physiological states during exercise. Thus, the primary purpose was to investigate the effects of lyrics in music on motivation, affect, arousal, and perceived exertion during moderate intensity cycling. Thirty (Mage = 21.0 ± 2.9 years old) college-aged individuals performed three, 8-min acute bouts of moderate-intensity exercise on a cycle ergometer during music with lyrics (ML), music without lyrics (MNL), and no music control (MC) conditions. Measures of motivation, affect, arousal, and perceived exertion were taken before and after a 6-min warm-up, every 2-min during the exercise bout, and following a 2-min cool-down. For ML and MNL conditions, participants reported higher motivation, affect, and arousal during exercise relative to the MC condition. As expected, RPE increased throughout the exercise period, with no condition differences observed. Additionally, there were no differences in responses between the ML and MNL conditions. Collectively, these results suggest that music, regardless of lyrical content, can enhance psychological responses during exercise. The current findings may help address common exercise barriers and inform exercise practitioners on music selection to improve exercise adherence.
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Quinn, Sandra. "The perception of time in music". Thesis, University of Stirling, 2005. http://hdl.handle.net/1893/17763.
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This thesis is concerned with the perception of time in music with emphasis on tempo, emotion and time perception in music. Three studies were conducted to assess whether listeners were able to make consistent judgements about tempo that varied from piece to piece. Listeners heard short extracts of Scottish music played at a range of tempi and were asked to make a two alternative forced choice of 'too fast' or 'too slow' for each extract. The responses for each study were plotted as proportion too fast responses as a function of tempo for each piece, and cumulative normal curves were fitted to each data set. The point where these curves cross 0.5 is the tempo at which the music sounds right to the listeners, referred to as the optimal tempo. The results from each study show that listeners are capable of making consistent tempo judgements and that the optimal tempo varies across extracts. The results also revealed that rhythm plays a role, but not the only role in making temporal judgements. In the previous studies, it is possible that listeners might be using an average tempo from previously heard extracts to make every subsequent response. We wanted to assess this by presenting a single stimulus per participant and therefore remove any effects of the context on participant's responses. Using this technique we shall show that listeners can make 'too fast' and 'too slow' responses that are independent of previously heard extracts. In addition the data reveal similar results to those found in the first experimental chapter. The 3rd chapter deals with the effect of changes in the tempo of music on the perception of happy and sadness. Listeners heard short extracts of music that varied in tempo and were asked to make a 2AFC of happy or sad for each extract. Separate psychometric functions were obtained for each extract of music, and the points where these crossed 83% and 17% happy were calculated, and treated as happy tempo and sad tempo respectively. The results show that most extracts can be perceived as both happy and sad just by varying the tempo. However, the tempo at which extracts become happy or sad varies widely from extract to extract. We show that the sad and happy tempi are related to the size of the intervals (pitch changes) in the extract. In considering what might be involved in the perception of time in music we wanted to assess what effect small changes to a stimulus would have on perceived duration. We presented 2 auditory stimuli and show that the perceived duration of the test stimulus with a change in pitch increased as the size of the pitch change increased. The results are explained in terms of event strength where strong events cause perceived duration to increase whilst weak events are perceived to be shorter by comparison.
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Chiu, Wing-sze Ivy, i 趙詠詩. "Effect of music on anxiety management during dental procedures". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45171695.
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Hutchins, Sean. "Implicit memory for music : factors affecting musical priming and their time courses". Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115889.
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This thesis investigates implicit memory for music, as measured by repetition priming: a processing benefit for previously encountered items. Although repetition priming has been documented in many domains, including language, visual perception, and environmental sounds, it has not yet been demonstrated in music, a domain replete with pitch repetition. A novel methodology is presented in which participants sang back the final tone of a short melody. Experiments presented in Chapter 2 show that participants were faster to sing back a target tone when it was a repetition of a previous melodic tone than when it was not, and this effect was greatest when the repetition was closest to the target. These studies also showed a benefit for expected tonic tones, which were manipulated independently of the repetition effect. Chapter 3 presents a new analysis method for measuring response latencies in sung tones. A time-frequency representation that optimizes the tradeoff between time and frequency for each point in time yielded a measurement of singers' time to reach a target frequency, which takes into account both speed and accuracy of the vocal productions. The time-frequency measurement, applied to the data presented in Chapter 2, showed longer times to reach target frequency for higher pitches, as well as larger effects of tonal priming than were attained through traditional response latency measures. The experiments in Chapter 4 examine the time course of the effects of repetition and tonality. The singing-back paradigm used in Chapter 2 also was used with the additional manipulation of stimulus tempo. These studies implicated interference rather than decay as the cause of the decreased repetition priming effect. Stimulus tempo manipulations showed separate time courses for repetition and tonal priming. Together, these studies provide the first evidence of repetition priming in music, document its interaction with other factors including tonality and pitch height, and describe its time course. The findings are discussed in terms of sensory and cognitive theories of priming.
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Ma, Duan-yang, i 馬端陽. "Music and emotions reconsidered : towards a holistic approach to understanding musical experience". Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/193468.
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The relationship between music and emotions has been the focus of the study of musical experience. However, previous studies have focused in particular on what psychologists understand as the "basic emotions", which are rigorously defined. This thesis argues that the focus on basic emotions has indeed limited our understanding of what we feel when we listen to music.
A narrative review of the recent literature has been carried out to closely examine the existing findings and limitations of previous studies have been revealed. In addition, a positive tendency is observed in listeners' responses to music. Participants' ratings of happiness were overwhelmingly high among different music excerpts. This suggests that listeners tend to feel positive when they listen to music regardless of the specific emotions aroused by music (e.g. happiness and sadness).
The high level of happiness observed in the review may actually point to the experience of pleasure. Taking this as a starting point, this study moves on to introduce the psychological notion of pleasure and how it can be applied to the study of musical experience. The experience of pleasure involves an evaluation process and is not necessarily tied up with particular emotions. The relationship between pleasure and musical expectations is also explored. An explorative empirical study has been carried out to investigate listeners' experiences of pleasure and emotions when they listen to music. Participants listened to several music excerpts and they had to report the affective response induced by the excerpts in them. They also gave ratings to the level of pleasure they experienced with the music excerpts. Results show that different excerpts induced different responses in the participants, but the levels of pleasure they experienced towards different excerpts were not significantly different. Taken together, this study suggests that pleasure is commonly experienced when we listen to music and it is a psychological experience independent of emotions. A better understanding of musical pleasure can lead to a more comprehensive understanding of our musical experience.published_or_final_version
Music
Master
Master of Philosophy
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Cherry, Harriet Rose. "Music-a structural way of thinking". Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23939.
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Vines, Bradley W. "Seeing music : integrating vision and hearing in the perception of musical performances". Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86058.
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This thesis investigates cross-modal interactions in auditory and visual perception, focusing on the perception of expressive musical performances. A primary aim of the work is to advance knowledge pertaining to how and when musicians' body movements influence an observer's overall experience. Three studies, comprising two multi-factor experimental investigations and one theoretical contribution, explore the multi-modal experience of musical performance. The two empirical chapters investigate, respectively, (1) the real-time experience of musical structure and musical emotion, comparing unimodal and multimodal conditions, and (2) the multidimensional structure of affective responses to musical performance, as a function of sensory modalities and performance intentions. The theoretical chapter develops a class of quantitative models for studying real-time phenomena in music (in particular) and time-series data (in general). An original contribution of this thesis is to quantify the ways in which the auditory and visual components of musical performance contribute singly and in interaction with one another to overall experience. The studies show that seeing a musician performing can augment, complement and interact with the auditory component to significantly influence music perception. These results are relevant to, and inform theories on, multi-sensory integration, emotion, and music cognition, as well as performance practice and audio-video media.
Książki na temat "Music – Psychological aspects"
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L, Harwood Dane, red. Music cognition. Orlando: Academic Press, 1986.
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Gabrielsson, Alf. Strong experiences with music: Music is much more than just music. Oxford: Oxford University Press, 2011.
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Kramer, Richard. Unfinished music. New York: Oxford University Press, 2007.
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Radocy, Rudolf E. Psychological foundations of musical behavior. Springfield, Illinois: Charles C. Thomas, 2012.
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Willems, Edgar. Psychological foundations of musical education. Wyd. 4. Provo, Utah: BYU Creative Works, 2012.
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Clarke, Eric F. Music and mind in everyday life. Oxford: Oxford University Press, 2010.
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Clarke, Eric F. Music and mind in everyday life. Oxford: Oxford University Press, 2010.
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C, Sebald David, red. Music in the human experience: An introduction to music psychology. New York, NY: Routledge, 2011.
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Jähnichen, Gisa, i Julia Chieng. Music and memory. Serdang: Universiti Putra Malaysia Press, 2012.
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Nelson, Peter. Exploring music through neuroscience. Basingstoke: Taylor & Francis, 2009.
Znajdź pełny tekst źródłaCzęści książek na temat "Music – Psychological aspects"
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Greenberg, Yeshaya David M. "7. From the Sacred to the Ordinary through the Lens of Psychological Science". W Music and Spirituality, 139–58. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0403.07.
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Spiritual elements of music have been interwoven into the very fabric of human existence of millennia, and arguably at the foundation of musical experience. Yet there is next to no empirical research on the spiritual nature of music in any of the social or biological sciences. Here the author presents initial findings from an ongoing research program that consists of five empirical research studies aimed mapping the role of spirituality in musical experiences. From situations that are sacred to the ordinary, the findings converge to show that aspects of spirituality are infused within individual and group experiences of music, from music-making and singing to passive listening and personal preferences. Further, the findings point to universal elements underpinning the links between music and spirituality and its ability to cross cultures, including serving as a bridge to bond conflicting cultures together. This research program lays an empirical foundation on which future research can build.
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Habe, Katarina, i Michele Biasutti. "15. Theoretical and Practical Challenges in Dealing with Music Performance Anxiety". W Psychological Perspectives on Musical Experiences and Skills, 323–50. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.15.
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Of all the psychological problems faced by musicians, music performance anxiety (MPA) is the most prevalent at all levels. MPA emerges at early ages with a fear of performing in front of others that can persist throughout life; even some elite musicians regularly cope with it. In this chapter, we discuss terminology, contemporary models, and contributions to the understanding of MPA offered by studies in the Western Balkans. MPA is a complex, multifaceted issue that contains several aspects and challenges. We address prevention and intervention approaches, reconsidering MPA as pre-performance excitement that can contribute to optimal flow states. Developmental and educational perspectives on coping with pre-performance sensations (bodily, cognitive, and emotional) are highlighted. The importance of a continuous process in building psychological skills for optimal music performance as a regular part of the music education curriculum is emphasised.
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Jovanović Milanović, Olja, Ana Altaras Dimitrijević, Dejana Mutavdžin i Blanka Bogunović. "13. The Lived Experience of Radical Acceleration in the Biographical Narratives of Exceptionally Gifted Adult Musicians". W Psychological Perspectives on Musical Experiences and Skills, 281–304. Cambridge, UK: Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0389.13.
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Although acceleration is fairly common in the education of musically gifted individuals, it has not been studied as much in this population as in the academically gifted. Little is known about the effects and experience of acceleration from the perspective of the musically gifted adult. Seeking to address this gap in the literature, this chapter explores the lived experience of acceleration of four adult musicians, all of whom (a) originated from Serbia, (b) were judged as exceptionally musically gifted in childhood and (c) underwent radical acceleration, eventually entering the music conservatory three or more years ahead of their study cohort. Conducting semi-structured interviews and employing interpretative phenomenological analysis, we uncover how these individuals experienced two critical developmental transitions―deciding to study music at the university level and starting a career as a professional musician―given that they made these transitions at a very young age. We learn that rather than being merely an ‘educational intervention’, radical acceleration has shaped numerous aspects of our participants’ lives, not limited to their professional careers and artistry, but also affecting their social, emotional and identity development.
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Hettich, Katja. "Can You Hear the Love Tonight? Creating Cinematic Romance with Diegetic Songs". W When Music Takes Over in Film, 203–24. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_11.
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AbstractThis chapter argues that ‘romance’ as a film genre is best conceived of as an affective experience provided not only by narrative but also by stylistic means. Against this background, it explores a particular type of musical moment in non-musical films: scenes that portray, reflect and shape conceptions of romantic love and create various forms of cinematic romance through the diegetic use of popular songs. Drawing from research on the physical and psychological effects of listening to music, the chapter points out in which aspects songs are placed in a special relationship with romance. Based on the assumption that diegetic song moments can be considered as communicative acts, it proposes starting points for analysing different forms of diegetic song moments. Using examples from films of the last decades, it shows how different narrative set-ups, ways of integrating diegetic songs, performance styles and diegetic audiences influence the shape of cinematic romance.
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Bowen, Meirio. "Aspects of Belief". W Tippett on Music, 237–44. Oxford University PressOxford, 1995. http://dx.doi.org/10.1093/oso/9780198165415.003.0020.
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Abstract Although I speak now as an individual person hoping to convey to you what J believe, and though I must indeed speak with my own particular voice recognizably different from all the other fifty million or so voices of my countrymen; yet it is obvious that I am only a person whose individual characteristics and beliefs are embedded in a tremendous background of given racial and cultural traditions, of special aptitudes and disabilities I share with all the thousands of my musical colleagues, and of particular ways of thinking and feeling forced on me by my psychological type.
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Norton, Naomi. "Ensemble musicians’ health and wellness". W Together in Music, 200–209. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198860761.003.0025.
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Relationships between music, health, and wellness are complicated: music can promote health and wellness, but musicians are vulnerable to problems caused or exacerbated by musical activities. With a view towards preventing such problems and promoting musicians’ health and wellness, researchers have mostly focused on individual musicians’ physical and psychological capabilities; however, insights from behavior change science indicate that it is vital to consider the extent to which environmental factors affect musicians’ opportunities to engage in health-promoting behaviors. This chapter focuses on four aspects of ensemble environments that can affect performers’ biological, psychological, and social health and wellness: (1) venue characteristics and configurations; (2) rehearsal organization, goals, and flow; (3) ensemble culture and social norms; and (4) social support and competition. Recommendations for addressing these aspects are presented, based on studies conducted with professional, pre-professional, and amateur ensemble musicians performing instrumental and vocal music from a range of genres.
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Bernstein, Zachary. "Poetic Form and Psychological Portraiture in Babbitt’s Early Texted Works". W Thinking In and About Music, 125–95. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190949235.003.0005.
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In five early texted works—“The Widow’s Lament in Springtime,” Du, Two Sonnets, Vision and Prayer, and Philomel—Babbitt uses a variety of means to project both poetic form and the psychological life of the characters represented. Trichordal derivation is used to model metaphors of reference, dependency, and layers of psychological action. Divergences between voice and accompaniment can also create layers of agency and implication. In several instances, Babbitt’s desire to reflect the meaning of texts leads him to musical structures that depart from the practice and principles he develops in his instrumental work. Moreover, in all five of these pieces, poetic form—the sonic, syntactic, and visual aspects of poetry—is projected in numerous ways; this is shown to derive from Babbitt’s youthful career in musical theater. Some ways involve the coordination of serial and poetic articulation, and some involve non-serial musical dimensions.
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Higgins, Kathleen. "Ethics and Music". W The Oxford Handbook of Ethics and Art, 407—C26P105. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197539798.013.27.
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Abstract Many ethical issues related to the arts in general apply to music, but the focus in this chapter is on the specific aspects of music that give it ethical power for good or ill. After considering some of music’s physiological and psychological impacts, the author considers three ways in which it can contribute to moral education. Specifically, it can model good interpersonal interaction, help develop virtues useful to constructing good relationships, and provoke feelings of affinity that can motivate pro-social attitudes and dispositions. The musical mechanisms that encourage solidarity, however, can also be exploited for unethical projects. Although sometimes moral criticism is more aptly directed at texts and uses than at music itself, music tends to acquire associations that are hard to eliminate, and responses often reference the composite. To make morally responsible choices regarding music such associations should be considered, particularly those that link specific music with particular groups of people.
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Huang, Chih-Fang, Chih-Hsiang Liang i En-Ju Lin. "A Study on Emotion Releasing Effect with Music and Color". W Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability, 23–31. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4490-8.ch003.
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Music is considered a remedy for the body body, psychological therapy, and a mental release. During World War Two, health medical professionals held concerts to appease the wounded soldiers’ emotions and to initiate the research and discussion of music and emotion applied to various fields in academia. This chapter attempts to use the music emotion model as the media to introduce the possible emotional response during music listening via music structure, listener’s background, and surroundings, to do the research for human physical and psychological influence by automatic generated electronic sound, and to discuss the emotional releasie effect of music. This chapter also discusses various emotional responses derived by various colors applied to the music emotion model to break the limitation of the existing music forms and to develop the possible music color synesthesia applied to all aspects, in order to lay the foundation for next generation users.
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Linek, Stephanie B., Birgit Marte i Dietrich Albert. "Background Music in Educational Games". W Developments in Current Game-Based Learning Design and Deployment, 219–30. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-1864-0.ch016.
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Most game-designers likely stick to the assumption that background music is a design feature for fostering fun and game play. From a psychological point of view, these (intuitive) aspects act upon the intrinsic motivation and the flow experience of players. However, from a pure cognitive perspective on instructional design, background music could also be considered to be redundant information, which distracts from learning. The presented study investigated the influence of background music (present vs. not present) within an educational adventure game on motivational (intrinsic motivation, experienced flow) and cognitive variables (cognitive load, learning success). The results suggest a high motivational potential of background music. However, neither positive nor negative effects on learning were detected. Thus, background music can be considered as a motivating design element of educational games without negative side-effects on learning.
Streszczenia konferencji na temat "Music – Psychological aspects"
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Izbyshev, S. I. "The Impact of Musical Texts on Foreign Language Learning: Psychological, Theoretical, and Practical Aspects". W Scientific and Technical Creativiy of Youth - 2024. Siberian State University of Telecommunications and Information Systems, 2024. http://dx.doi.org/10.55648/nttm-2024-1-39.
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The article explores the influence of musical texts on the process of learning a foreign language. The authors discuss the psychological, theoretical, and practical aspects of using music in the educational process, as well as the role of music in developing various language skills.
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ROMAN, Diana. "The Actor, Between the Self from Theatre and the Other from Music". W The International Conference of Doctoral Schools “George Enescu” National University of Arts Iaşi, Romania. Artes Publishing House UNAGE Iasi, 2023. http://dx.doi.org/10.35218/icds-2023-0021.
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The worlds of music and theatre have been brought together under the sign of scenic creation since the origins of the appearance of the theatre, the interdisciplinary artistic dialogue between the two arts sharing common aesthetic, psychological, psycho-social landmarks. The interactions between these worlds gave birth, finally, going through different forms and long searches, to the most original and popular theatre genre, the Musical. At the same time with technology and the digital revolution, live music, the orchestra, the musicians present on the stage of the theatre, were replaced with recordings, original stage music faces increasingly rare performance in theaters. The amazing intersection of theatre and music must be seen as a matter of course. My research will focus on the analysis of the fragile relationship between identity and alterity in the case of a few artists at the congruence between theatre and music (Ada Milea – A lost letter in concert, The Explorer, Chirița in concert, Răzvan Mazilu – Cabaret, Maria de Buenos Aires, Bobo Burlăcianu – Cats, The City, Metamorphosis, Alexander Hausvater – The Machine. Musical, Ada Lupu-Hausvater – Hamlet, Tibor Càri – The little prince). If a few years ago shows like Rocky Horror Show by Alexander Hausvater were considered original or controversial precisely because they skilfully crossed the boundaries between theatre and music, today we realize that the hybrid genre is also on an upward trend in terms of public taste (proof is The Young Actor`s Gala 2022 theme) and dramaturgy (Eugen Rotaru – Musical Theatre Plays), and of actors with professional training in both fields, tempted by the border between the arts. The cocreation experiences between the actor and the musician also bring with them important pedagogical aspects, resulting in an improvement of the work of each individual artist. The requirement to constantly search for new ways of artistic expression remains important, wich inevitably brings together artists from different art forms.
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Milić, Ivana. "VEŽBE DISANjA U FUNKCIJI RAZVIJANjA POJMA PRIRODNIH BROJEVA". W Metodički aspekti nastave matematike. University of Kragujevac, Faculty of Education in Jagodina, 2021. http://dx.doi.org/10.46793/manm4.225m.
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Today, there are many pedagogical-psychological and methodological research studies which highlight the importance of music education for the further development of preschool children. The goals of music education in preschool institutions, in addition to envisaging the harmonious development of each child and the engagement of his/her entire personality, greatly contribute to the creation of a basis for later musical education. These goals determine the role of music education, which must be multifunctional and achieved through specific activities in integration with other disciplines. Therefore, the paper presents examples of integrating content of music ed- ucation and initial mathematical concepts. Considering that singing children’s songs is one of the most common forms of work in music education, and that is necessary to prepare children’s singing apparatus at the beginning of each activ- ity, the paper presents breathing exercises as a tool for developing the concept of natural numbers.