Готові списки джерел за темами / Open-earedness

Добірка наукової літератури з теми "Open-earedness"

Автор: Grafiati
Опубліковано: 10 грудня 2022
Оновлено: 28 січня 2023

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Статті в журналах з теми "Open-earedness"

1

Hargreaves, David J., and Arielle Bonneville-Roussy. "What is ‘open-earedness’, and how can it be measured?" Musicae Scientiae 22, no. 2 (March 7, 2017): 161–74. http://dx.doi.org/10.1177/1029864917697783.

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Анотація:
Recent years have seen some fundamental changes in the study of responses to music: the growth of neuroscientific approaches, in particular, is throwing new light on the role of imagination, affect and emotion. One focus has been on the nature of musical preferences in relation to other affective and cognitive judgements, and another has been on the issue of changes in musical preference across the lifespan. One explanatory concept which has proved useful in this respect is that of ‘open-earedness’, first formulated by Hargreaves in the suggestion that ‘younger children may be more “open-eared” to forms of music regarded by adults as unconventional; their responses may show less evidence of acculturation to normative standards of good taste than those of older subjects’. Louven recently published a critique of the ways in which this concept has been operationalized in subsequent research, proposing his own definition. In this paper we take a broad ranging view of ‘open-earedness’, proposing four different possible definitions, and ways in which these can be operationalized and measured. We use some data from a new test of preferences for musical genres and clips to test some of these operationalizations: the results suggest that the similarities between these four definitions are probably greater than the differences between them, but that they nevertheless provide a richer and more nuanced concept of open-earedness than hitherto.
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2

Kopiez, Reinhard, and Marco Lehmann. "The ‘open-earedness’ hypothesis and the development of age-related aesthetic reactions to music in elementary school children." British Journal of Music Education 25, no. 2 (June 11, 2008): 121–38. http://dx.doi.org/10.1017/s0265051708007882.

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Анотація:
This study investigates age-related changes in musical preference in elementary school children. The tolerance towards unconventional musical styles has been called ‘open-earedness’ (Hargreaves, 1982a), and it is assumed to decline with increasing age. Musical preferences of 186 students from grade 1 to 4 (age range: 6–10 years) were measured by using a 5-point iconographic rating scale. Eight sound examples were presented in a sound questionnaire. Results showed a decline of open-earedness for unconventional music (classical, ethnic and avant-garde music) from grade 1 to 2 (age: 7–8 years). However, this effect disappeared when classical music was excluded from data analysis. Only a few absolute rejections of unconventional musical styles were found, and the mean preference ratings did not exceed the neutral mean range. Future studies will have to consider additional factors of influence to make clear predictions about the point in time when this transition occurs.
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3

Dobrota, Snježana, and Marija Sarajčev. "Students musical preferences for classical music, 20th century music, and world music - the open-earedness hypothesis." Školski vjesnik 70, no. 1 (2021): 27–42. http://dx.doi.org/10.38003/sv.70.1.2.

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Анотація:
The paper explores students’ preferences for classical music, 20th century music, and world music, as well as the influence of student age, gender, and previous familiarity with the piece of music on the preferences for 20th century music and world music. As a part of the research, a general data ques[1]tionnaire and an assessment scale for testing preferences for musical fragments were administered to the sample of 183 students in fourth and eighth grades of primary school and senior students attending grammar school. Students gener[1]ally show greatest preferences for world music. The influence of age on the pref[1]erences for 20th century music and world music has been confirmed. Female students, compared to male students, show greater preferences for 20th century music, while in the case of world music, no statistically significant differences were observed with respect to gender. It has been confirmed that students show greater preferences for familiar music, compared to unfamiliar music. The fact that younger students are more open to different musical styles can have significant implications for designing musical activities for children of preschool and early school age
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4

Christman, Stephen D. "Handedness and ‘open-earedness’: Strong right-handers are less likely to prefer less popular musical genres." Psychology of Music 41, no. 1 (July 29, 2011): 89–96. http://dx.doi.org/10.1177/0305735611415751.

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5

Louven, Christoph. "Hargreaves’ “open-earedness”: A critical discussion and new approach on the concept of musical tolerance and curiosity." Musicae Scientiae 20, no. 2 (February 18, 2016): 235–47. http://dx.doi.org/10.1177/1029864916633264.

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6

Iușcă, Dorina Geta. "Education: 6. The Influence of Cultural Diversity on Openearedness." Review of Artistic Education 16, no. 1 (March 1, 2018): 253–57. http://dx.doi.org/10.2478/rae-2018-0028.

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Анотація:
Abstract Open-earedness theory has repeatedly been confirmed on several populations including American, English, Dutch, German and Finnish people. Nonetheless the influence of cultural diversity on openness towards unfamiliar music has received little attention from researchers and this may create the possibility of adding essential modifications of Albert LeBlanc’s theory. Considering the contemporary context, people’s migration towards economic developed countries becomes a phenomenon with great implications related to the progress of social and cultural characteristics of any national context. Researching the openearedness of people which have been exposed not only to their native culture but also to the adopted one (due to financial necessities) may reveal a series of useful aspects for the intercultural field (by disclosing new ways to promote the tolerance towards cultural diversity) and also for the educational field (by describing new strategies of learning in a context of adaptation to an unfamiliar musical space). The present article analyses a series of previous experiments that monitored the way different social categories integrated in cultural communities different from their own assimilate or not the elements of the adopted country into their musical identity. The present analysis has educational implications related to the ways students may develop the preference for unfamiliar music.
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Частини книг з теми "Open-earedness"

1

Lamont, Alexandra, and David Hargreaves. "Musical preference and social identity in adolescence." In Handbook of Music, Adolescents, and Wellbeing, 109–18. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198808992.003.0010.

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Анотація:
The idea that a ‘musicianship of listening’ might exist alongside the more conventional notion of musicianship based on composition, improvisation, and performance forms the starting point of our analysis of the importance and function of musical preferences in adolescence. We consider adolescents’ musical preferences, a key part of their social identities, in the context of broader lifespan changes in musical preference, looking in particular at the explanatory power of the notion of ‘open-earedness’. We consider the main psychological theories of adolescent musical preference, distinguishing between those based on social identity theory and those which adopt different sociocultural approaches. There can be no doubt that musical preferences form a central part of the identities of many adolescents, and that the notion of a musicianship of listening can help explain why these preferences are integral to their social relationships and wellbeing.
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