Relevant bibliographies by topics / Music Education; Music; Psychology

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Music Education; Music; Psychology'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Music Education; Music; Psychology"

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Hodges, Donald A. "Music Psychology and Music Education: What's the connection?" Research Studies in Music Education 21, no. 1 (December 2003): 31–44. http://dx.doi.org/10.1177/1321103x030210010301.

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Dudhale, Khaleda. "MUSIC AND MUSIC AND PSYCHOLOGY." International Journal of Research -GRANTHAALAYAH 3, no. 1SE (January 31, 2015): 1–2. http://dx.doi.org/10.29121/granthaalayah.v3.i1se.2015.3438.

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Music is a branch of psychology and musicology that aims to understand and explain musical behavior and musical experiences. At the same time, understanding how music is composed and how it reacts and how individuals adopt it in daily life.The psychology of morden music analyzes man's involvement with systemic observation. Its many areas are research and experimentation with execution (chamatvitundam) composition, education, criticism, medicine, etc. Music psychology helps in understanding social behavior by human intelligence, skill and functionality. संगीत मनोविज्ञान एवं संगीत शास्त्र की एक शाखा है जिसका लक्ष्य है संगीत व्यवहार और संगीत के अनुभवों को समझना और समझाना। साथ ही साथ यही समझना कि संगीत कैसे रचा जाता है और उसकी प्रतिक्रिया कैसी होती है और व्यक्ति उसे दैनिक जीवन में कैसे अपनाते है?माॅर्डन संगीत का मनोविज्ञान सिस्टेमेटिक अवलोकन से मनुष्य की भागीदारी का विश्लेषण करता है। इसके अनेक क्षेत्र हैं शोध व प्रयोग के साथ निष्पादन (चमतवितउंदबम) कम्पोजिशन, शिक्षा, आलोचना, चिकित्सा आदि। संगीत मनोविज्ञान मानव की बुद्धि, कौशल व क्रियात्मकता से सामाजिक व्यवहार को समझने में मदद करती है।
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Diaz, Frank M., and Jason M. Silveira. "Music and Affective Phenomena." Journal of Research in Music Education 62, no. 1 (March 20, 2014): 66–77. http://dx.doi.org/10.1177/0022429413519269.

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The purpose of this study was to establish trends in the study of music and affective phenomena through a content and bibliometric analysis of three eminent music research journals, the Journal of Research in Music Education, Psychology of Music, and Music Perception, for the years 1990 through 2009. Excluding editorials, paper responses, and book reviews, 1,293 articles were examined, resulting in 286 (22%) publications that met criteria for further analysis. Data indicated several trends with respect to the sample analyzed, including a notable but not significant decrease of affective studies in the Journal of Research in Music Education, with significant increases in the journal Music Perception. Other trends indicated the emergence of topics and methods that were less prevalent when compared to the overall sample but that evidenced significant increases throughout the period analyzed. These increases occurred for topics relating to expression, physiological and neurological issues and for the use of descriptive methodologies. Other notable trends included increases in examinations of folk, jazz, and world musics.
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Ibragimovich, Mustafoev Bakhtiyor. "Reforms of Music Culture Education." International Journal of Psychosocial Rehabilitation 24, no. 4 (April 30, 2020): 7155–60. http://dx.doi.org/10.37200/ijpr/v24i4/pr2020530.

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Hargreaves, David J. "Developmental Psychology and Music Education." Psychology of Music 14, no. 2 (October 1986): 83–96. http://dx.doi.org/10.1177/0305735686142001.

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Zdravić-Mihailović, Danijela. "Meeting music pedagogy and music psychology: Contribution to the study of contemporary professional music education." Artefact 6, no. 1 (2020): 33–48. http://dx.doi.org/10.5937/artefact6-29227.

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This paper discusses the research of psychologists and pedagogues which are committed to issues of professional music education. The statement of Ksenija Radoš (2010) that the psychologist-researchers and music pedagogues pass each other on the same way, and that they go on parallel paths toward the same goals, encountering the same obstacles, and yet never really meet, is the starting point for the review of the relationship between these disciplines. as the first step of our research, the definition of a 'common way' is imposed, and then testing the connection of current issues of music education and music psychology. according to our understanding, there are several important reasons for the mentioned situation in music education: focusing music pedagogy on general music education and 'late' awakening of pedagogy of professional music education as a special scientific discipline; obsolescence of the curriculum of professional music education and insufficient cooperation between music pedagogues and psychologists-researchers. Interplay of these disciplines, implemented through the planned conducted research that focuses on the problems of professional music education, could be an important support for the development and improvement of specific areas of music pedagogy.
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Saarikallio, Suvi. "Access-Awareness-Agency (AAA) Model of Music-Based Social-Emotional Competence (MuSEC)." Music & Science 2 (January 1, 2019): 205920431881542. http://dx.doi.org/10.1177/2059204318815421.

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Social–emotional competence (SEC) is a set of psychological resources, highly relevant for adaptive growth and wellbeing. Music has been argued to support social–emotional skills, yet there is little theoretical consensus about the underlying impact mechanisms and the special nature of music as a medium for SEC. This article presents a theoretical model of music-based SEC that combines research from general SEC models with music-specific literature from music psychology, music education, music therapy, and music for health and wellbeing. The proposed access-awareness-agency (AAA) model defines music-based social–emotional competence (MuSEC) as interplay of embodied access, reflective awareness, and sense of agency. These three components are defined as the core competencies that music in particular facilitates; competencies that underlie and explain further competence in behaviors ranging from affective self-regulation to social interaction. The article elaborates these MuSEC components and their potential connections to particular equivalents in general SEC and proposes hypotheses for empirically testing the model. The model offers a novel, integrative SEC-based perspective for advancing theoretical coherence in the growing field of music as social–emotional wellbeing and growth.
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Rideout, Roger R. "Psychology and Music Education since 1950." Music Educators Journal 89, no. 1 (September 2002): 33–37. http://dx.doi.org/10.2307/3399882.

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González-Moreno, Patricia A. "A cultural psychology of music education." Music Education Research 13, no. 4 (December 2011): 479–81. http://dx.doi.org/10.1080/14613808.2011.632159.

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Swanwick, Keith, and David J. Hargreaves. "The Developmental Psychology of Music." European Journal of Education 22, no. 3/4 (1987): 359. http://dx.doi.org/10.2307/1502908.

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Dissertations / Theses on the topic "Music Education; Music; Psychology"

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Torrance, Tracy A. "Music Ensemble Participation: Personality Traits and Music Experience." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7100.

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The personality of musicians, artists, and other creative persons is of considerable interest to researchers and educators who seek to identify traits associated with musical behaviors. Personality traits can influence music behaviors such as instrument choice, ensemble choice, practice habits, and musical experience, which may contribute to continued music participation. The purpose of this study is to explore the relationships between personality type, music ensemble section, instrument choice (vocal or instrumental), and musical experience in college students and individuals who choose to continue participation after college. Few studies have concentrated on personality characteristics of ensemble members at the collegiate level and after formal education ceases. This is particularly relevant as personality characteristics may not be stable with age. This study examined the following questions: 1) To what extent do personality traits (Agreeableness, Conscientiousness, Extroversion, Neuroticism, and Openness to Experience) relate to ensemble choice (instrumental, vocal no musical ensemble participation) and gender?; and 2) To what extent do personality traits (Agreeableness, Conscientiousness, Extroversion, Neuroticism, and Openness to Experience) relate to ensemble section (e.g., brass, alto voice)? Participants were given a survey containing demographic questions and the Big Five Personality Inventory IPIP (Goldberg, 1992). Results showed that vocalists scored higher in Extroversion and Agreeableness compared to instrumentalists, and Instrumentalists scored higher in Neuroticism than vocalists. These results are consistent with previous research findings. This study has many implications for ensemble directors, such as rehearsal structure and repertoire choice. Music educators could also benefit from this knowledge when developing lesson plans and group assignments. Understanding different personality traits would also help ensemble members with communication within the ensemble.
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Johnson, Daniel Clinton. "The effect of critical thinking instruction in music listening on fifth-grade students' verbal descriptions of music." Diss., The University of Arizona, 2003. http://hdl.handle.net/10150/290007.

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The purpose of this study was to determine the effect of critical thinking instruction on the music listening skills of fifth grade students as measured by written responses to music listening examples. It was hypothesized that music listening instruction including opportunities for critical thinking (Critical Thinking Instruction, CTI) would be more effective than parallel instruction without critical thinking instruction (Activity-Based Instruction, ABI). CTI consisted of four components: musical terms and concepts, repeated music listening examples, responding activities, and opportunities for critical thinking. In contrast, ABI consisted of three components: musical terms and concepts, repeated music listening examples, and responding activities; ABI did not include opportunities for critical thinking. Both CTI and ABI treatments were taught concurrently by the same music teacher at the same school in a series of sixteen (16) forty-five (45) minute lessons. Two intact classes of subjects were randomly assigned to the CTI and the ABI treatment groups (n = 41 and 40, respectively). "Thinking and Listening," a researcher-designed dependent measure, was administered as a pretest and a posttest. Subjects' written responses were classified into three categories (i.e. musical, affective, or associative) and scored by three independent judges. Additionally, the Musical Aptitude Profile (Gordon, 1967/1995) was administered as a covariate. Significant disordinal interaction effects in subjects' responses by test by treatment were found such that CTI subjects demonstrated greater gains in musical term, associative, and total response scores from pretest to posttest than did ABI subjects. Additionally, significant main effect differences between treatment groups were found such that CTI subjects demonstrated higher musical term, affective, associative, and total response scores than did ABI subjects. Significant main effect within group differences were also found such that CTI subjects demonstrated significantly higher musical term, affective, associative, and total response scores on the posttest as compared to the pretest, while no significant main effect differences were found in ABI subjects' response scores. The positive effects of the CTI treatment, however, should be interpreted with caution based on larger than expected standard deviations and departures from normal distributions. Implications include designing music listening instruction to incorporate critical thinking skills.
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Young, James A. (James Alan) 1968. "Brief Symptom Inventory : Music and Non-Music Students." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc500917/.

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The present study is a comparison of music and non-music students with respect to their response patterns on the Brief Symptom Inventory as well as several demographic questions. The sample consisted of 148 non-music students and 141 music students at three levels: (1) freshmen/sophomore; (2) juniors/seniors; and (3) graduate students. Music students consisted of volunteers from several different music classes and non-music students were volunteers from non-music classes. There were no significant differences found among or between groups for the BSI subscales. However, music students were significantly less likely to have gone to counseling in the past and to seek professional counseling for future problems. Recommendations for psycho-educational interventions with musicians are discussed as well as suggestions for future research.
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Miyamoto, Kiyoshi 1956. "Japanese high school students' motivation in band as it relates to the gender of the band directors and the student." Diss., The University of Arizona, 1997. http://hdl.handle.net/10150/284363.

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The purpose of this study was to examine Japanese high school students' motivation in band as it relates to the gender of the band director and the student. A total of 790 band students from 20 Japanese high schools (10 male and 10 female band directors) completed a modified version of the Academic Motivation Scale (AMS). The scale is based on Deci and Ryan's self-determination theory and was modified from the original so it could be used with Japanese music students. It consists of 28 items describing why students play in a band. The students indicated a level of agreement for each reason according to 7-points on a Likert-type scale. Reasons were categorized into three types intrinsic motivation, three types of extrinsic motivation, and amotivation. The score of JAMSM was used as parametric data and analyzed using a two-way multivariate analysis of variance (MANOVA) to find any significant (p < .05) main effects or interactions among variables when compared by gender of the director and gender of the student. The results of the study showed that there were no significant differences (p < .05) by gender of band directors for all of the motivational types. This result indicates the female band directors are as effective as male band directors in terms of motivating students to play in a band. Additional findings include (1) male students seem to be more extrinsically motivated than are female students, (2) friend related reasons and fondness for music and/or instruments are important reasons for students to play in a band, (3) public school students seem to be more intrinsically motivated than private school students whereas private school students seem to be more extrinsically motivated than public school students. Implications for music education and further research are discussed.
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Hui, Viny Wan-Fong. "Music preferences, music and non-music media use, and leisure involvement of Hong Kong adolescents." Thesis, connect to online resource. Access restricted to the University of North Texas campus, 2001. http://www.library.unt.edu/theses/open/20013/hui%5Fviny/index.htm.

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Kteily-O'Sullivan, Laila Rose. "Freshman Music Students' Identification With Expected Tasks in the Music Theory Class as a Relevant Part of Becoming a Musician." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc1038826/.

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The purpose of the study was to investigate freshman music students' identification with expected tasks in music theory class including aural, written, and performance requirements. The second research problem compared students' descriptions with actions in class to determine the presence of role taking (the conscious adherence to a set of behaviors) or role playing (the unconscious assumption of a set of behaviors).
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Tirovolas, Anna Kristina. "Applied music perception and cognition: predicting sight-reading performance." Thesis, McGill University, 2013. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=116886.

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AbstractThis research sought to translate three standardized assessment measures of phonological processing known to be related to text reading, into experimental tasks that measure music processing. The primary aim of this thesis was to ascertain the relationship between these musically-adapted tasks and sight-reading performance in music. A broader goal was to explore and compare task performance across text and music, thereby informing a larger issue in cognitive and educational psychology: the relationship between music and language. In this manuscript-based thesis, there are six chapters, including three manuscripts (one previously published) that contribute to these goals. The first manuscript, published in the journal Music Perception, is a 26-year review of the field of music perception and cognition. The categorical and bibliometric analysis sought to document the longitudinal course of empirical studies in the journal Music Perception, by examining 384 empirical articles, as well as the full set of 578 articles, published between 1983 and 2010. The review suggested that only 9% of music perception studies use any assessment measures (mostly standardized tests, but also measures of musical ability). An increase over time in the use of assessment measures (ß = .40, p < .05) as data collection instruments was observed. It was thus inferred that the development of tasks which measure musical ability would be important to the continued advancement of psychometrics in the field of music perception and cognition. The second and third manuscripts were devoted to designing measures of music processing based on standardized tests of text reading. The objective was to search for relationships between the language and music tasks themselves, as well as testing their capacity to predict errors in musical sight-reading (SR) performance. In other words, an investigation of whether musically-adapted tasks, initially developed specifically for the assessment of text reading, would be significant predictors of SR performance. The second manuscript explored the effectiveness of the Rapid Automatized Naming (RAN) task in predicting SR by testing 41 participants: pianists aged 18 to 36. For all RAN tasks, response times (interonset intervals of vocal responses) were used to predict errors in sight reading performance of piano music. Correlational analyses revealed several significant associations between performance on standard RAN and music RAN tasks. Regression analyses revealed that the RAN letter task was the most consistent predictor of SR, with music RAN tasks adding additional explanatory power to the model. These findings suggested that processing specific to musical symbols may underlie aspects of SR performance, but that an already existing standardized task typically used for text reading could be more useful in predicting SR ability. The third manuscript reports an experiment in which musical tasks were designed to mirror two phonological awareness tasks from the "Comprehensive Test of Phonological Processing" (CTOPP), Elision and Blending Words. Participants were 25 pianists, aged 18 to 53. Regression analyses revealed the importance of music training and working memory in SR, and showed that performance on a musical blending task was important to the prediction of SR performance in certain cases.
RésuméCette recherche a tenté de traduire trois mesures d'évaluation normalisées d'habiletés de traitement phonologique liés à la lecture du texte, en tâches expérimentales mesurant le traitement de musique. L'objectif principal de cette thèse était de déterminer la relation entre ces tâches adaptées musicalement et la lecture à vue musicale. Un objectif plus large était d'explorer et de comparer la performance des tâches dans le texte et la musique, élucidant ainsi une question plus vaste de la psychologie cognitive et éducative: la relation entre la musique et la langue. Cette thèse comprend six chapitres, et trois manuscits (un publié) qui contribuent à ces objectifs. Le premier manuscrit, publié dans la revue Music Perception, est une analyse de 26 ans de littérature dans domaine de la perception et de la cognition musicale. L'analyse bibliométrique et catégorique a cherché à documenter l'évolution longitudinale des études empiriques dans la publication Music Perception, en examinant 384 articles empiriques, ainsi que l'ensemble complet des 578 articles publiés entre 1983 et 2010. L'analyse suggère que seulement 9% des études sur la perception de la musique utilisent des mesures d'évaluation (essentiellement des essais normalisés, mais aussi des mesures de la capacité musicale). J'ai observé une augmentation au fil du temps dans l'utilisation des mesures d'évaluation (ß = .40, p < .05) comme des instruments de collecte de données. Par conséquent, j'ai déduit que le développement de tâches qui mesurent la capacité musicale était considéré important pour l'avancement continu de la psychométrie dans le domaine de la perception et la cognition de la musique. Les deuxième et troisième manuscrits ont été consacrés à l'élaboration de mesures de traitement de la musique basés sur des tests standardisés de lecture de texte. L'objectif était de chercher les relations entre les tâches langagières et musicales elles-mêmes, ainsi que de tester leur capacité à prédire des erreurs dans la lecture à vue musicale. Autrement dit, j'ai examiné si les tâches musicales, initialement développées spécifiquement pour l'évaluation de la lecture du texte, seraient des prédicteurs significatifs de la lecture à vue. Le second manuscrit a exploré l'efficacité de la tâche Rapid Automatized Naming (RAN) dans la prédiction de la lecture à vue en testant 41 participants: des pianistes âgés de 18 à 36 ans. Pour toutes les tâches RAN, le temps de réponse (intervalles "interonset" de réponses vocales) a été utilisé pour prédire des erreurs dans la lecture à vue des performances de musique pour piano. Les analyses de corrélation ont révélé plusieurs associations significatives entre les performances sur les RAN standards et les RAN musicaux. Les analyses de regression ont révélé un modèle dans lequel la tâche RAN lettre était le prédicteur le plus constant de la lecture à vue, avec une des tâches RAN musique ajoutant un pouvoir explicatif au modèle. Ces résultats suggèrent que le traitement spécifique des symboles musicaux peuvent sous-tendre les aspects de la performance de la lecture à vue, mais aussi qu'une tâche déjà existante normalisée généralement utilisée pour la lecture du texte pourrait être plus utile pour prédire la capacité de la lecture à vue. Le troisième manuscrit présente une expérience où des tâches musicales ont été conçues pour refléter deux tâches de conscience phonologique comprises dans le "Comprehensive Test of Phonological Processing", Elision et Blending Words. Les participants étaient 25 pianistes, âgés de 18 à 53 ans. Les analyses de régression ont révélé l'importance de la formation musicale et de la mémoire de travail dans la lecture à vue et ont montré que la performance sur une tâche musicale était importante pour la prédiction de performance musicale dans certains cas.
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Adams, Sebastian Phillip. "Teacher-Student Rapport in the Secondary Instrumental Music Ensemble| Educational Psychology and Teacher Disposition Standards." Thesis, Colorado State University, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10812416.

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

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

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Jimenez, Francesca M. "Music Performance Anxiety and Interventions in Conservatory and Liberal Arts Institution Music Students." Scholarship @ Claremont, 2016. http://scholarship.claremont.edu/scripps_theses/779.

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Music performance anxiety (MPA) is reported in musicians of all experience, levels, and genre. However, solo classical musicians report MPA more often and at higher levels than performers in other genres because of its formal culture and traditional structure. Within solo classical musicians, collegiate training greatly differs between conservatories that award a Bachelor of Music (B.M.) and liberal arts institutions that award a Bachelor of Arts (B.A.). In 2 studies, the proposed research examines the differences in general anxiety, MPA, and private lesson content between these two groups. Participants will be from the two groups of types of collegiate music students. In Study 1, participants will take the Beck Anxiety Inventory (BAI), Kenny Music Performance Anxiety Inventory (K-MPAI), and a Personal and Musical Background Questionnaire (PMBQ) at 3 times intervals before a public, solo performance in order to assess general connections between anxiety and MPA. In Study 2, participants will partake in weekly session of 1 of 3 interventions (meditation, journal entry, and biofeedback training) in order to determine an effective method for preventing and coping with MPA. Proposed results suggest higher levels of general anxiety and MPA in conservatory music students and lower levels of MPA in participants who undergo biofeedback training. Individuals who report learning about MPA strategies in their lessons will have lower levels of MPA, suggesting the need to consistently address MPA in classical music pedagogy.
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Boyle, Dale. "Exploring a university teacher's approach to incorporating music in a cognition psychology course." Thesis, McGill University, 2011. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=104513.

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This qualitative study explored a university teacher's approach to incorporating music in a Cognition psychology course. Data sources included participant interviews, professor interviews, and field notes. The study was guided by three main research questions: How is music integrated into a higher education Cognition psychology course? How do students perceive the role music plays in the course? What does the professor do in the classroom and how does he explain what he does? Constant comparison analysis of the participant interviews revealed three major themes, each comprising patterns that ran through the data. Under the theme “Connecting With Students,” the patterns were: establishing a personable atmosphere; showing empathy to students; facilitating student involvement; and tapping into student culture with music. The patterns under the “Optimizing Learning” theme were: enticing students with passion; reducing exam tension; and clarifying concepts dynamically. The “Creating Salient Moments” theme contained two patterns: holding attention (with music and humour) and triggering memory (with music and humour). Data analysis also involved the writing of musical memos, a musical way to represent data that served to highlight the essence of a pattern, create holistic representations that drew from the different data sources, and represent the data in an embodied way. To contextualize the participant themes, the analysis of the field notes produced vignettes, which were detailed aggregated descriptions of typical classroom events. Using the analogy of “Teaching as Improvisational Performance,” this study explores the notion that a constructivist teacher is essentially an improvisational performer. Although the research site was a large university classroom with almost 600 students, the analysis of the data revealed that the professor was able to implement constructivist principles in his teaching. The study concluded that teachers need preparation and support to develop improvisation skills to deliver a constructivist teaching approach, particularly in large classrooms. Future research should explore the links between constructivist teaching, performing, and improvising as well as the implications for pedagogy and teacher preparation.
Cette étude qualitative explore l'approche d'un professeur d'université qui a incorporé la musique dans un cours de psychologie cognitive. Les sources incluent des entrevues avec des participants, des professeurs et des notes d'observations sur le terrain. L'étude a été alimentée par trois questions de recherche principales: comment la musique s'intègre-t-elle dans un cours de psychologie cognitive? Comment les étudiants perçoivent-ils le rôle que la musique joue dans le cours? Qu'est que le professeur fait dans la classe et comment l'explique-t-il?Une analyse constante et comparative des entrevues des participants a révélé trois thèmes majeurs qui comprennent chacun des éléments saillants qui ont été identifiés à travers les données compilées. Sous le thème « entrer en relation avec les étudiants », les éléments saillants étaient: établir une atmosphère personnalisée; démontrer de l'empathie pour les étudiants; faciliter l'implication des étudiants et entrer dans leur culture à l'aide de la musique. Les éléments saillants sous le thème « Apprentissage optimisé » étaient: captiver les étudiants avec passion; réduire la tension des examens et clarifier les concepts de façon dynamique. Le thème « créer des moments marquants » comprend deux éléments saillants: soutenir l'attention (avec la musique et l'humour) et déclencher la mémoire (avec la musique et l'humour). L'analyse des données a également impliqué l'écriture de « mémos musicaux » dans le but de représenter les données qui ont servi à exposer la composition d'un élément saillant de manière concrète et à créer des représentations holistiques issues de différentes sources. Afin de contextualiser les thèmes des participants, l'analyse des notes d'observation a produit des fiches qui sont en fait des descriptions détaillées d'évènements typiques qui peuvent se produire en classe. En utilisant l'analogie « enseigner à la manière d'une performance improvisée », cette étude explore la notion qu'un enseignant constructiviste est essentiellement un improvisateur. Même si le site où s'est conduite la recherche était une grande salle d'université de 600 élèves, l'analyse des données a révélé que le professeur demeure en mesure d'implanter des principes constructivistes dans son enseignement. L'étude conclut que les enseignants nécessitent de la formation et du soutien pour développer des notions d'improvisation afin d'utiliser une approche constructiviste, et ce, particulièrement dans une grande classe. De futures recherches devraient explorer les liens entre l'enseignement constructiviste, l'enseignement-spectacle, l'improvisation ainsi que leurs implications dans la pédagogie et dans la formation des maîtres.
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Books on the topic "Music Education; Music; Psychology"

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Kuprina, Elena. Co-creation in music and music education. ru: INFRA-M Academic Publishing LLC., 2020. http://dx.doi.org/10.12737/1019193.

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The monograph is devoted to the problem of musical co-creation, represents the artistic and dynamic system. The author considers the musical co-creation from the perspective of interdisciplinary approach, as the phase of the creative process, featuring self-contained characteristics, manifested in the "I" and "I'm Different" through specific regularities and principles. In music co-creation differentiated into spheres, types and forms, where the role of the ratio of the subjects and the performance of co-creative artistic projects are analyzed from the position of system dynamics. In music education operates a pedagogy of co-creation, manifesting the specifics through professional, psychological, reflective, and educational facets. Presented to the organizational form of the pedagogy of co-creation, from the perspective of information approach given the findings of a study of the influence of pop on the sensory system of the student of a musician-performer (the performer). Can be used in courses of the disciplines of the history of music, music psychology and music pedagogy, pedagogy of co-creation. Addressed to students of music schools, teachers, musicians of all disciplines, musicologists and cultural studies, researchers, creative processes, and a wide circle of curious readers.
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P, Schmidt Charles, ed. Advances in social-psychology and music education research. Burlington, VT: Ashgate, 2011.

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Thompson, Linda K. Issues of identity in music education narratives and practices. Charlotte [N.C.]: Information Age Pub., 2010.

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Thompson, Linda K. Issues of identity in music education: Narratives and practices. Charlotte, NC: Information Age Pub., 2010.

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Bowman, Wayne D. Tacit learning, musical experience, and music instruction: the significance of Michael Polanyi's thought for music education. Ann Arbor: University Microfilms Dissertation Information Service, 1987.

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Music and cancer: A prescription for healing. Sudbury, Mass: Jones and Bartlett Publishers, 2010.

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100 ways to improve teaching using your voice & music: Pathways to accelerate learning. Tucson, Ariz: Zephyr Press, 1992.

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Ofsted. Inspecting post-16: Music : with guidance on self-evaluation. London: OFSTED, 2001.

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Ofsted. Inspecting post-16: Music : with guidance on self-evaluation. London: Ofsted, 2001.

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David, Boyle J., ed. Psychological foundations of musical behavior. 2nd ed. Springfield, Ill., USA: Charles C. Thomas, 1988.

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Book chapters on the topic "Music Education; Music; Psychology"

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Kieswetter, Vivia Kay. "Music." In Encyclopedia of Critical Psychology, 1209–11. New York, NY: Springer New York, 2014. http://dx.doi.org/10.1007/978-1-4614-5583-7_194.

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Bowles, Meg. "Music Thanatology." In Encyclopedia of Psychology and Religion, 1160–62. Boston, MA: Springer US, 2014. http://dx.doi.org/10.1007/978-1-4614-6086-2_819.

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Pettis, Jeffrey B., Mark Popovsky, Annette Peterson, Lee W. Bailey, Fredrica R. Halligan, Daniel J. Gaztambide, Regina A. Fredrickson, et al. "Music Thanatology." In Encyclopedia of Psychology and Religion, 591–93. Boston, MA: Springer US, 2010. http://dx.doi.org/10.1007/978-0-387-71802-6_819.

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Bowles, Meg. "Music Thanatology." In Encyclopedia of Psychology and Religion, 1541–42. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_819.

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Theorell, Töres. "Stress and Music." In SpringerBriefs in Psychology, 9–16. Dordrecht: Springer Netherlands, 2014. http://dx.doi.org/10.1007/978-94-017-8920-2_2.

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"Developmental psychology and music education." In The Developmental Psychology of Music, 213–27. Cambridge University Press, 1986. http://dx.doi.org/10.1017/cbo9780511521225.009.

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"Social Psychology of Music Education." In Encyclopedia of the Sciences of Learning, 3121. Boston, MA: Springer US, 2012. http://dx.doi.org/10.1007/978-1-4419-1428-6_5783.

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Hodges, Donald A. "Ruminations on music psychology research." In Routledge International Handbook of Music Psychology in Education and the Community, 21–37. Routledge, 2021. http://dx.doi.org/10.4324/9780429295362-4.

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Fulford, Robert, Alinka Greasley, and Karen Burland. "Responses to music." In Routledge International Handbook of Music Psychology in Education and the Community, 101–15. Routledge, 2021. http://dx.doi.org/10.4324/9780429295362-11.

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Barrett, Margaret S. "Towards a cultural psychology of music education." In A Cultural Psychology of Music Education, 1–16. Oxford University Press, 2010. http://dx.doi.org/10.1093/acprof:oso/9780199214389.003.0001.

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Conference papers on the topic "Music Education; Music; Psychology"

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Chen, Junyi. "On the Expectation of Music Teachers in Music Psychology Education." In 2017 3rd International Conference on Economics, Social Science, Arts, Education and Management Engineering (ESSAEME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/essaeme-17.2017.110.

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Kováříčková, Marie. "Application Of Current Trends In Finnish Music Education Within Czech Music Education." In 9th ICEEPSY - International Conference on Education and Educational Psychology. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.01.70.

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"Application of Music in Class Management——Crazy for Music." In 2018 International Conference on Education, Psychology, and Management Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icepms.2018.236.

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Besedova, Petra. "Using Music In Foreign Language Lessons." In 9th ICEEPSY - International Conference on Education and Educational Psychology. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.01.43.

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Vondroušová, Jindra. "Music As An Influential Factor In Learning." In 8th International Conference on Education and Educational Psychology. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.10.35.

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Ji, Yi. "Music in Advertising and Research Methods in Psychology." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.59.

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"Strategies for Inheritance of Regional Music Culture in Music Education in Primary and Middle Schools." In 2018 International Conference on Education, Psychology, and Management Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icepms.2018.237.

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Kirliauskiene, Rasa. "School Principals’ Attitude Toward Music Education In Lithuania." In 9th ICEEPSY - International Conference on Education and Educational Psychology. Cognitive-Crcs, 2019. http://dx.doi.org/10.15405/epsbs.2019.01.9.

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Besedová, Petra. "Student´S Attitude To Music In Foreign Language Lessons." In 8th International Conference on Education and Educational Psychology. Cognitive-crcs, 2017. http://dx.doi.org/10.15405/epsbs.2017.10.8.

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"Research on the Application Effects of Orff’s Music Teaching Idea in Music Education in Colleges and Universities." In 2018 International Conference on Education, Psychology, and Management Science. Francis Academic Press, 2018. http://dx.doi.org/10.25236/icepms.2018.068.

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Reports on the topic "Music Education; Music; Psychology"

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Loveless, Jerry. The Use of Music as a Pedagogical Tool in Higher Education Sociology Courses: Faculty Member Perspectives and Potential Barriers. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1100.

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, February 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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Orning, Tanja. Professional identities in progress – developing personal artistic trajectories. Norges Musikkhøgskole, August 2018. http://dx.doi.org/10.22501/nmh-ar.544616.

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We have seen drastic changes in the music profession during the last 20 years, and consequently an increase of new professional opportunities, roles and identities. We can see elements of a collective identity in classically trained musicians who from childhood have been introduced to centuries old, institutionalized traditions around the performers’ role and the work-concept. Respect for the composer and his work can lead to a fear of failure and a perfectionist value system that permeates the classical music. We have to question whether music education has become a ready-made prototype of certain trajectories, with a predictable outcome represented by more or less generic types of musicians who interchangeably are able play the same, limited canonized repertoire, in more or less the same way. Where is the resistance and obstacles, the detours and the unique and fearless individual choices? It is a paradox that within the traditional master-student model, the student is told how to think, play and relate to established truths, while a sustainable musical career is based upon questioning the very same things. A fundamental principle of an independent musical career is to develop a capacity for critical reflection and a healthy opposition towards uncontested truths. However, the unison demands for modernization of institutions and their role cannot be solved with a quick fix, we must look at who we are and who we have been to look at who we can become. Central here is the question of how the music students perceive their own identity and role. To make the leap from a traditional instrumentalist role to an artist /curator role requires commitment in an entirely different way. In this article, I will examine question of identity - how identity may be constituted through musical and educational experiences. The article will discuss why identity work is a key area in the development of a sustainable music career and it will investigate how we can approach this and suggest some possible ways in this work. We shall see how identity work can be about unfolding possible future selves (Marcus & Nurius, 1986), develop and evolve one’s own personal journey and narrative. Central is how identity develops linguistically by seeing other possibilities: "identity is formed out of the discourses - in the broadest sense - that are available to us ..." (Ruud, 2013). The question is: How can higher music education (HME) facilitate students in their identity work in the process of constructing their professional identities? I draw on my own experience as a classically educated musician in the discussion.
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