Дисертації з теми "Music listening and personality"
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Schäfer, Thomas. "The Goals and Effects of Music Listening and Their Relationship to the Strength of Music Preference." Universitätsbibliothek Chemnitz, 2016. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-201941.
Повний текст джерелаScheirer, Eric David. "Music-listening systems." Thesis, Massachusetts Institute of Technology, 2000. http://hdl.handle.net/1721.1/31091.
Повний текст джерелаIncludes bibliographical references (p. [235]-248).
When human listeners are confronted with musical sounds, they rapidly and automatically orient themselves in the music. Even musically untrained listeners have an exceptional ability to make rapid judgments about music from very short examples, such as determining the music's style, performer, beat, complexity, and emotional impact. However, there are presently no theories of music perception that can explain this behavior, and it has proven very difficult to build computer music-analysis tools with similar capabilities. This dissertation examines the psychoacoustic origins of the early stages of music listening in humans, using both experimental and computer-modeling approaches. The results of this research enable the construction of automatic machine-listening systems that can make human-like judgments about short musical stimuli. New models are presented that explain the perception of musical tempo, the perceived segmentation of sound scenes into multiple auditory images, and the extraction of musical features from complex musical sounds. These models are implemented as signal-processing and pattern-recognition computer programs, using the principle of understanding without separation. Two experiments with human listeners study the rapid assignment of high-level judgments to musical stimuli, and it is demonstrated that many of the experimental results can be explained with a multiple-regression model on the extracted musical features. From a theoretical standpoint, the thesis shows how theories of music perception can be grounded in a principled way upon psychoacoustic models in a computational-auditory-scene-analysis framework. Further, the perceptual theory presented is more relevant to everyday listeners and situations than are previous cognitive-structuralist approaches to music perception and cognition. From a practical standpoint, the various models form a set of computer signal-processing and pattern-recognition tools that can mimic human perceptual abilities on a variety of musical tasks such as tapping along with the beat, parsing music into sections, making semantic judgments about musical examples, and estimating the similarity of two pieces of music.
Eric D. Scheirer.
Ph.D.
Conocimiento, Dirección de Gestión del. "Music Online: Listening." Alexander Street, 2004. http://hdl.handle.net/10757/655363.
Повний текст джерелаJehan, Tristan 1974. "Creating music by listening." Thesis, Massachusetts Institute of Technology, 2005. http://hdl.handle.net/1721.1/42172.
Повний текст джерелаIncludes bibliographical references (p. 127-139).
Machines have the power and potential to make expressive music on their own. This thesis aims to computationally model the process of creating music using experience from listening to examples. Our unbiased signal-based solution models the life cycle of listening, composing, and performing, turning the machine into an active musician, instead of simply an instrument. We accomplish this through an analysis-synthesis technique by combined perceptual and structural modeling of the musical surface, which leads to a minimal data representation. We introduce a music cognition framework that results from the interaction of psychoacoustically grounded causal listening, a time-lag embedded feature representation, and perceptual similarity clustering. Our bottom-up analysis intends to be generic and uniform by recursively revealing metrical hierarchies and structures of pitch, rhythm, and timbre. Training is suggested for top-down un-biased supervision, and is demonstrated with the prediction of downbeat. This musical intelligence enables a range of original manipulations including song alignment, music restoration, cross-synthesis or song morphing, and ultimately the synthesis of original pieces.
by Tristan Jehan.
Ph.D.
Belcher, James D. "An Examination of the Influence of Individual Differences, Music-Listening Motives, and Music Selection on Post-Listening Music Discussion." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1277155907.
Повний текст джерелаCusano, Janice M. "Music specialists' beliefs and practices in teaching music listening /." Electronic version Electronic version, 2004. http://wwwlib.umi.com/dissertations/fullcit/3209909.
Повний текст джерелаComputer printout. Source: Dissertation Abstracts International, Volume: 67-03, Section: A, page: 0878. Adviser: Mary Goetze. Includes bibliographical references (leaves 205-223), abstract, and vita.
Stanley, Michael Brooke. "Participant music listening behaviours in interactive multimedia music instruction." University of Sydney. Music Education, 1999. http://hdl.handle.net/2123/361.
Повний текст джерелаO'Rourke, Michelle. "The ontology of generative music listening." Thesis, University of Newcastle upon Tyne, 2014. http://hdl.handle.net/10443/2764.
Повний текст джерелаLockhart, William. "Listening to the domestic music machine." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2012. http://dx.doi.org/10.18452/16646.
Повний текст джерелаKeyboard arrangement was central to both the performing and the listening habits of the nineteenth-century non-professional musician. Not only did it respond to the desperate need for a cheap technology of musical circulation, but its immense popularity helped create a commercial musical publishing industry of an unprecedented scale. This thesis reconstructs for the first time the many faces of the keyboard arrangement by analysing it simultaneously as a musical work, an economic commodity and the object of a number of critical discourses. As a musical work, arrangement is shown to be a collection of practices, rather than, and as has been previously assumed, a self-contained product. Walter Benjamin''s theory of translation is combined with an analysis of the first extant keyboard arrangement in the Robertsbridge Codex of 1360 to construct a model which suggests that arrangements should be understood as resurrections of the material of their originals. The economic significance of keyboard arrangement is demonstrated through a computer-aided statistical analysis which shows that on average practices of arrangement appeared in 30 percent of the keyboard music published in German-speaking countries from 1829 to 1900. Significant attention is given to an attempt to reconstruct the critical discourses by which arrangements were assessed: in particular, musical dictionaries are used to produce a Begriffsgeschichte of several key terms relating to the production of arrangements. Finally, throughout the thesis, emphasis is placed on the extent to which the kinds of listening experience that arrangement engendered show similarities with those offered by popular musical styles of today, thereby opening up new avenues for research.
Krause, Amanda Elizabeth. "Research about listening: everyday music interactions." Thesis, Curtin University, 2014. http://hdl.handle.net/20.500.11937/314.
Повний текст джерелаZikanov, Kirill. "Listening to Russian Orchestral Music, 1850-1870." Thesis, Yale University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10957348.
Повний текст джерелаThe following dissertation combines reception history and technical analysis in a revisionist account of Russian orchestral music from 1850 to 1870. Through close readings of a wide range of reception materials, I recover little-known historical perspectives on this repertory, focusing particularly on ways in which Russian musicians engaged with transnational musical trends. These historical perspectives inform my analyses of compositions by Mikhail Glinka, Mily Balakirev, Alexander Dargomyzhsky, and Anton Rubinstein. In these analyses, I elucidate formal, harmonic, and orchestrational features that nineteenth-century Russian listeners found notable, such as Balakirev's disintegrating recapitulations, Dargomyzhsky's ubiquitous augmented triads, and Glinka's timbrai crescendos. This analytical approach allows me to reimagine this repertory as a variegated network of musical works, where each new composition is a reaction to existing ones, to domestic reception, and to pan-European aesthetic currents.
Chapter 1, entitled "Glinka's Three Models of Instrumental Music," traces the organicist discourse surrounding Glinka's orchestral fantasias, links the origins of this discourse to the writings of Adolf Bernhard Marx, and articulates the musical features that distinguish the three fantasias. Chapter 2, "Formal Disintegration in Balakirev's Overtures," portrays Balakirev's attempts to distinguish himself from Glinka as well as from established formal conventions of the time, primarily through creative reinterpretations of formal strategies employed by Robert Schumann, Hector Berlioz, and Franz Liszt. Chapter 3, "Satire,
Zane, Frank. "Effects of dichotic listening on aerobic performance." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/561.
Повний текст джерелаGraham, Brittany Shauna. "Mechanisms supporting recognition memory during music listening." Thesis, Georgia Institute of Technology, 2011. http://hdl.handle.net/1853/42848.
Повний текст джерелаConocimiento, Dirección de Gestión del. "Guía de acceso para Music Online: Listening." Alexander Street, 2021. http://hdl.handle.net/10757/655363.
Повний текст джерелаFay, David. "Faith in listening : passion music and the construction of meaning in listening communities." Thesis, University of Bristol, 2016. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.702174.
Повний текст джерелаFisher, Sarah Lynn. ""The Mind is Listening": Listening for Meaning in Steve Reich's 'The Desert Music'." Thesis, The University of Arizona, 2007. http://hdl.handle.net/10150/193300.
Повний текст джерелаGarcía, Quiñones Marta. "Historical Models of Music Listening and Theories of Audition. Towards an Understanding of Music Listening Outside the Aesthetic Framework." Doctoral thesis, Universitat de Barcelona, 2016. http://hdl.handle.net/10803/363914.
Повний текст джерелаAquesta tesi situa els discursos sobre la història de l’escolta musical en el context del camp, relativament recent, dels estudis de so (sound studies). Els tres primers capítols es proposen il·luminar la contigüitat entre els estudis de so i l’anomenat “gir sensorial” (sensory turn), que es va introduir en les ciències humanes i socials a partir dels anys 80. La investigació parteix de la historicitat de les nocions que fem servir habitualment per descriure l’estructura de la psique humana; nocions utilitzades per estudiosos i no estudiosos, com ara “sensació” i “percepció”, que sovint s’invoquen per explicar la diferència entre “sentir” i “escoltar”. Els capítols 1 i 2 s’ocupen del desenvolupament històric de la noció de “construcció cultural dels sentits”, que ha estat tan important dins del “gir sensorial”, i en aquest context expliquen l’emergència de l’antropologia dels sentits i les emocions, fent referència també a les crítiques formulades des de l’antropologia del cos i la fenomenologia. La narrativa d’aquests capítols subratlla el paper dins d’aquest procés històric d’autors, nocions i elaboracions teòriques relacionades amb l’audició i formulades des d’una comprensió d’aquesta. El capítol 3 repassa l’aparició en la història europea d’una consciència de la historicitat dels sentits i les emocions, a partir sobretot de les aportacions de l’escola francesa dels Annales. Tracta també alguns problemes teòrics i metodològics que planteja la historiografia dels sentits i les emocions, en especial les dificultats per establir-ne una periodització, també en el cas de l’audició. Els capítols 4, 5 i 6 formen el nucli històric de la tesi, que se centra sobretot en la modernitat, des del segle XV fins a la segona meitat del XIX, és a dir, fins a la publicació de l’obra de Helmholtz Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (1863), un text clau en la història de l’acústica i la fisiologia, que va posar també en qüestió la relació entre l’aproximació científica i estètica a la música i l’audició. Aquests tres capítols volen connectar la història de l’estètica i la història de la ciència combinant diferents línies temàtiques: la història de la investigació anatòmica i fisiològica sobre l’oïda i l’audició, la història de l’acústica i l’arqueologia de les tecnologies auditives, i els discursos històrics, en clau estètica, sobre l’escolta musical.
Esta tesis sitúa los discursos sobre la historia de la escucha música en el contexto del campo, relativamente reciente, de los estudios de sonido (sound studies). Los tres primeros capítulos se proponen iluminar la contigüidad entre los estudios de sonido y el llamado “giro sensorial” (sensory turn), que se introdujo en las ciencias humanas y sociales a partir de los años 80. La investigación parte de la historicidad de las nociones que utilizamos habitualmente para describir la estructura de la psique humana; nociones utilizadas por estudiosos y no estudiosos, tales como “sensación” y “percepción”, que precisamente se invocan a menudo para explicar la diferencia entre “sentir” y “escuchar”. Los capítulos 1 y 2 se ocupan del desarrollo histórico de la noción de “construcción cultural de los sentidos”, que tan importante ha sido dentro del “giro sensorial”, y en este contexto explican la emergencia de la antropología de los sentidos y las emociones, haciendo referencia también a las críticas formuladas desde la antropología del cuerpo y la fenomenología. La narrativa de estos capítulos subraya el papel dentro de este proceso histórico de autores, nociones y elaboraciones teóricas relacionadas con la audición y formuladas desde una comprensión de la misma. El capítulo 3 repasa la aparición en la historia europea de una conciencia de la historicidad de los sentidos y las emociones, a partir sobre todo de las aportaciones de la escuela francesa de los Annales. Trata también algunos problemas teóricos y metodológicos que plantea la historiografía de los sentidos y las emociones, en especial las dificultades para establecer una periodización, también en el caso de la audición. Los capítulos 4, 5 y 6 forman el núcleo histórico de la tesis, que se centra sobre todo en la modernidad, desde el siglo XV hasta la segunda mitad del XIX, es decir, hasta la publicación de la obra de Helmholtz Die Lehre von den Tonempfindungen als physiologische Grundlage für die Theorie der Musik (1863), un texto clave en la historia de la acústica y la fisiología, que puso también en cuestión la relación entre la aproximación científica y estética a la música y la audición. Estos tres capítulos pretenden conectar la historia de la estética y la historia de la ciencia combinando diferentes líneas temáticas: la historia de la investigación anatómica y fisiológica sobre el oído y la audición, la historia de la acústica y la arqueología de las tecnologías auditivas, y los discursos históricos, en clave estética, sobre la escucha musical.
Torrance, Tracy A. "Music Ensemble Participation: Personality Traits and Music Experience." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7100.
Повний текст джерелаRutledge, Kate Laura. "A Music Listening Questionnaire for Hearing Aid Users." Thesis, University of Canterbury. Communication Disorders, 2009. http://hdl.handle.net/10092/3194.
Повний текст джерелаShank, Jennifer Sue. "THE EFFECT OF VISUAL ART ON MUSIC LISTENING." UKnowledge, 2003. http://uknowledge.uky.edu/gradschool_diss/397.
Повний текст джерелаSproat, Brittany Anne. "Music Listening Behavior, Health, Hearing, Otoacoustic Emission Levels." Miami University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=miami1399303027.
Повний текст джерелаViel, Massimiliano. "Listening patterns : from music to perception and cognition." Thesis, University of Plymouth, 2018. http://hdl.handle.net/10026.1/11809.
Повний текст джерелаAnderson, William Todd. "THE EFFECT OF MINDFUL LISTENING INSTRUCTION ON LISTENING SENSITIVITY AND ENJOYMENT." UKnowledge, 2012. http://uknowledge.uky.edu/music_etds/3.
Повний текст джерелаKhosravi, Peiman. "Spectral spatiality in the acousmatic listening context." Thesis, City University London, 2012. http://openaccess.city.ac.uk/2717/.
Повний текст джерелаMagnusson, John. "Finding time-based listening habits in users music listening history to lower entropy in data." Thesis, KTH, Skolan för elektroteknik och datavetenskap (EECS), 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-300043.
Повний текст джерелаI en värld där information, underhållning och e-handel har vuxit kraftig i form av volym och alternativ, har individer fått det svårare att hitta det som de vill ha. Sökmotorer och rekommendationssystem har vuxit fram som lösningar till detta problem och hjälpt individer att hitta rätt. Ett typexempel på detta är Spotify, en musikströmningstjänst som använder sig av användares lyssningsdata för att rekommendera musik och annan personalisering. Spotify har en hypotes att externa faktorer påverkar användares lyssningspreferenser, samt att vissa av dessa faktorer påverkar användaren rutinmässigt som till exempel träningsrutiner och pendlade till jobbet. Målet med detta arbete är att hitta tidsbaserade lyssningsvanor i användares musiklyssningshistorik för att sänka Shannon entropin i data, resulterande i en bättre förståelse av användarna. Arbetet är primärt gjort för att hitta lyssningsvanor, men metoden kan i teorin appliceras på valfri godtycklig tidsserie dataset. Lyssningshistoriken delades in i timvektorer, radvektorer med längden x där varje element representerar fördelningen av en etikett/ genre som spelas under en timme. Timvektorerna skapade möjligheten till att använda klusteranalys som användes för att hitta timmar där liknande musik spelats. Timvektorer som rutinmässigt hamnade i samma kluster blev profiler, som användes för att markera vanor. I den slutgiltiga produkten representeras en användare av en profilvektor som tillåter en användare att ha en profil för varje timme i veckan. Ett flertal användare blev profilerade med den föreslagna metoden och utvärderade i form av sänkning i entropi när de blev profilerade gentemot när de inte blev profilerade. I genomsnitt sänktes användarnas entropi med 9%, med några över användare 50%, samt ett fåtal som inte fick någon sänknings alls. Profilering blev även utvärderad genom att mäta cosinuslikhet över en användares lyssningshistorik. Detta resulterade i en korrelation mellan ökning i cosinuslikhet och sänkning i entropi vid användandet av profilering. Slutsatsen som kan dras är att användare blir mera förutsägbara och tolkbara när de har blivit profilerade. Denna kunskap kan användas till att förstå användare bättre eller användas som en del av ett rekommendationssystem eller annan analys.
Saha, Jonas. "Contextual image browsing in connection with music listening - matching music with specific images." Thesis, Växjö University, School of Mathematics and Systems Engineering, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1062.
Повний текст джерелаThis thesis discusses the possibility of combining music and images through the use of metadata. Test subjects from different usability tests say they are interested in seeing images of the band or artist they are listening too. Lyrics matching the actual song are also something they would like to see. As a result an application for cellphones is created with Flash Lite which shows that it is possible to listen to music and automatically get images from Flickr and lyrics from Lyrictracker which match the music and show them on a cellphone.
Filippidi, Ioanna. "Involuntary musical imagery, as conditioned by everyday music listening." Thesis, University of Sheffield, 2018. http://etheses.whiterose.ac.uk/21623/.
Повний текст джерелаDearn, Lucy K. "Music, people and place : entering and negotiating listening communities." Thesis, University of Sheffield, 2017. http://etheses.whiterose.ac.uk/17165/.
Повний текст джерелаBroszczak, Amanda. "Music listening for student engagement: Teacher and student perspectives." Thesis, Queensland University of Technology, 2019. https://eprints.qut.edu.au/133823/1/Amanda_Broszczak_Thesis.pdf.
Повний текст джерелаConway, Colleen Marie. "Evidence of critical thinking during music listening : case studies of three high school students /." Digitized version, 1992. http://hdl.handle.net/1802/1546.
Повний текст джерелаIncludes abstract. Includes bibliographical references: leaves 80-82. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/1546
Schutte, Maria Louisa. "Exploring emotive listening experiences through continuous measurement of self-report and listening profiles / Maria Louisa Schutte." Thesis, North-West University, 2011. http://hdl.handle.net/10394/8453.
Повний текст джерелаThesis (MMus)--North-West University, Potchefstroom Campus, 2012
Collins, N. M. "Towards autonomous agents for live computer music : realtime machine listening and interactive music systems." Thesis, University of Cambridge, 2007. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.597873.
Повний текст джерелаCuster, Robert S. "Effect of passive classroom listening on students' preferences toward classical/concert music /." Licensed for access by UF students, faculty, and staff (and others in a UF library), 2003. http://wwwlib.umi.com/cr/ufl/fullcit?p3117317.
Повний текст джерелаSpaeth, Ellen Catherine. "Music listening in the treatment of anxiety disorders : conceptualisation and proof of concept." Thesis, University of Edinburgh, 2015. http://hdl.handle.net/1842/11792.
Повний текст джерелаHertz, Samuel. "Noise, porous bodies, and the case for creative listening." Thesis, Mills College, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=1589454.
Повний текст джерелаInharmonicity is a concept implicit in acoustic systems that explains the production of non-linear (non-integer) harmonics. While inharmonicity in and of itself is not always audible per se, its effects are no less than creating the basis for timbre and differential sound discrimination. In other words, inharmonic and non-linear signals are essential for human audition, yet they appear and disappear almost instantaneously. This paper attempts to elucidate the wide-reaching effects of inharmonicity and non-linear dynamic systems in a concrete sense by examining their relationships to the listening body and mind, as well as in an abstract sense in considering the theoretical implications of noise and non-linearity on the process of thought, potentiality, and subjective meaning-making.
The paper opens with several accounts related to foregrounding historical ideas about the relationship between sound and body, leading up to a contemporary understanding of sound in the sense of physics and acoustics. Therein, a modern account of inharmonicity and perception is given through current research in psychoacoustics, psychology, and dynamic systems. Finally, the tactic of ‘creative listening’ is introduced following from a discussion of the relationships between noise and thought in 20th- and 21st century aesthetics and philosophy.
Alanko, Siiri. "Personality in making music : How does your personality affect your practicing process and performing?" Thesis, Kungl. Musikhögskolan, Institutionen för klassisk musik, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-3181.
Повний текст джерелаHuston, Kyle Adam. "The Effect of Listening to Music on Musicians' Performance Anxiety." The Ohio State University, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=osu1306855815.
Повний текст джерелаHughes, Thomas Edward. "A hypermedia listening station for the college music literature class." Diss., The University of Arizona, 1991. http://hdl.handle.net/10150/185444.
Повний текст джерелаBeam-Barber, Michelle. "The effect of music listening maps on second grade music students' preference for and understanding of orchestral music." FIU Digital Commons, 2002. http://digitalcommons.fiu.edu/etd/1472.
Повний текст джерелаKolsoe, Ágústsdóttir Hallveig Guony. "Looking at sound, listening to image." Thesis, Brunel University, 2012. http://bura.brunel.ac.uk/handle/2438/7624.
Повний текст джерелаBruno, Chelsea A. "Vocal Synthesis and Deep Listening." FIU Digital Commons, 2014. http://digitalcommons.fiu.edu/etd/1245.
Повний текст джерелаWagner, Heather Jean. "Intentional Music Listening: Development of a Resource-Oriented Music Therapy Technique to Promote Well-Being." Diss., Temple University Libraries, 2014. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/277087.
Повний текст джерелаPh.D.
This study examined a music therapy technique designed according to a resource-oriented approach and involved the use of music listening with adults, called "Intentional Music Listening". This protocol consisted of four music listening techniques. An exploratory sequential design was used, with a quantitative data phase followed by a qualitative data phase. The quantitative phase employed a modified crossover design, with an experimental group and waitlist control group. Participants attended groups at which they were coached in the music listening techniques for at-home practice. Quantitative data was gathered using the Positive and Negative Affect Scale (PANAS) (Watson, Clark & Tellegen, 1988), and through completion of diary cards after each at-home listening protocol. The qualitative data phase consisted of semi-structured interviews following participation in the music listening protocol. Both the statistical data and the qualitative data give support for the Intentional Music Listening protocol as having a positive impact on the participants' perceived state of well-being, and as a viable set of techniques for use in wellness-based music therapy practice.
Temple University--Theses
Stewart, Abel C. "Undocumented Migrants and Engaging Public Spaces of Listening." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1388746240.
Повний текст джерелаWilliamson, Susan J. "My music : the music making and listening experiences of seventh and eighth graders not enrolled in school music ensembles /." Thesis, Connect to this title online; UW restricted, 2005. http://hdl.handle.net/1773/11218.
Повний текст джерелаKumler, Kurt. "Being touched by music : a qualitative investigation of being transformed by listening /." Saarbrucken, Germany : VDM Verlag Dr. Muller, 2008. http://cdm256101.cdmhost.com/cdm-p256101coll31/document.php?CISOROOT=/p256101coll31&CISOPTR=63429&REC=1.
Повний текст джерелаAlso available online. Thesis title: "Being touched by music: a phenomenological-hermeneutical approach to understanding transformational musical experience." Includes bibliographical references (p. 105-112) and index.
Britton, Sam. "Towards hypertextual music : digital audio, deconstruction and computer music creation." Thesis, Brunel University, 2017. http://bura.brunel.ac.uk/handle/2438/14949.
Повний текст джерелаWang, Alan. "Cognitive Effects of Music: Working Memory Is Enhanced in Healthy Older Adults After Listening to Music." Thesis, The University of Arizona, 2013. http://hdl.handle.net/10150/281781.
Повний текст джерелаMusic is ubiquitous in all media, and, in the last decade, has become a potential tool for enhancing cognition. This study aimed to investigate the facilitating effect of music on working memory performance in a healthy older adult cohort. Sixty-three healthy, community-dwelling older adults who had previously undergone comprehensive neuropsychological testing were enrolled in the study. Participants were randomized into one of two groups, and were presented with a series of positive and negative musical clips. Following listening, working memory performance was tested using Wechsler Digit Span and a computerized Spatial Span task. For each task, a total score consisting of number of correct forward and backward sequences was calculated. A significant improvement in Digit Span scores was found after listening to music as compared to Digit Span scores collected ~5 years ago. Contrary to our hypothesis, this facilitative effect of music on working memory held for both positive and negative musical stimuli. It has been shown that negative music can illicit the same pleasurable feelings as positive music, and, given West’s frontal lobe hypothesis, can therefore produce the same effects on working memory as positive music.
Weng, Ting-Chun Groff Diane Gail. "Effect of music-listening on the enjoyment of physical activity experience." Chapel Hill, N.C. : University of North Carolina at Chapel Hill, 2006. http://dc.lib.unc.edu/u?/etd,728.
Повний текст джерелаTitle from electronic title page (viewed Oct. 10, 2007). "... in partial fulfillment of the requirements for the degree of Master of Science in Recreation Administration in the Department of Exercise and Sport Science." Discipline: Exercise and Sports Science; Department/School: Exercise and Sport Science.
Haake, Anneli B. "Music listening in UK offices : balancing internal needs and external considerations." Thesis, University of Sheffield, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.555715.
Повний текст джерелаReis, Ben Yitzchak. "Simulating music learning with autonomous listening agents : entropy, ambiguity and context." Thesis, University of Cambridge, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.624471.
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