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Relevant bibliographies by topics / Musical self-esteem

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Academic literature on the topic 'Musical self-esteem'

Author: Grafiati

Published: 4 June 2021

Last updated: 7 February 2022

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Journal articles on the topic "Musical self-esteem"

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Kellett, Mary. "Raising musical esteem in the primary classroom: an exploratory study of young children's listening skills." British Journal of Music Education 17, no. 2 (2000): 157–81. http://dx.doi.org/10.1017/s0265051700000231.

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This study explores ways to develop focused musical listening skills with six- to eight-year-olds. Groups of children listened to short musical extracts and decided upon a best-fit match from a selection of patterns, colours and textures. At all times their ‘expert’ status was emphasised to keep self-esteem as high as possible and maximise response levels. In requiring children to make an ‘expert judgement’ it was hoped that concentrated listening could be better sustained and actively fostered. Results suggest that listening skills were developed, musical self-esteem enhanced and verbal respo

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Davies, John J., and Timothy J. Hemingway. "Guitar Hero or Zero?" Journal of Media Psychology 26, no. 4 (2014): 189–201. http://dx.doi.org/10.1027/1864-1105/a000125.

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Motivations for, and outcomes of, playing rhythm-based music video games have had little direct study. The current research showed that fantasy-seeking motivations combined with self-esteem to create either unregulated game play habits or an incentive to play a musical instrument in real life. We obtained measures from adult players of rhythm-based music video games (N = 421), regarding their gaming habits, fantasy-seeking motivations, and self-esteem. Regression analyses showed that the interaction of low self-esteem with high fantasy-seeking motivation predicted unregulated game play. Self-e

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Zapata, Gloria P., and David J. Hargreaves. "The effects of musical activities on the self-esteem of displaced children in Colombia." Psychology of Music 46, no. 4 (2017): 540–50. http://dx.doi.org/10.1177/0305735617716756.

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This article presents some of the results of a research project undertaken in a school located in a deprived neighbourhood of Bogotá, the capital of Colombia. The project investigated the effects of musical experiences on 6- to 8-year-olds’ social and musical development by means of a mixed-methods approach involving the children, their parents and teachers. The project comprised three studies, and this article reports the results of the first, an experimental intervention study which was carried out with two groups of 52 children. The experimental group followed an 18-week music programme of

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Olefyr, Valentyna. "THE DEVELOPMENT OF SCHOOLCHILDREN’S INDIVIDUALITY DURING MUSICAL ACTIVITIES." Psychological journal 6, no. 10 (2020): 29–37. http://dx.doi.org/10.31108/1.2020.6.10.3.

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The article stresses importance to develop schoolchildren’s individuality. Scientific psychological and pedagogical works on the problem of individuality development were reviewed and it has been determined that the examined phenomenon can be formed if it is helped by positive motivation and effective goal-setting, adequate self-esteem, a sense of self-worth, the desire for self-knowledge and self-development, the optimal level of anxiety, developed self-control and self-regulation, a formed subjective position at learning. At the same time, the involvement of schoolchildren into musical activ

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Liston, Marnie, Alexandra A. M. Frost, and Philip B. Mohr. "The Prediction of Musical Performance Anxiety." Medical Problems of Performing Artists 18, no. 3 (2003): 120–25. http://dx.doi.org/10.21091/mppa.2003.3021.

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This study addressed the identification of key predictor variables of musical performance anxiety among constructs previously shown to have associations with musical performance anxiety. Participants were 118 (75 female and 43 male) undergraduate and postgraduate music students in Adelaide, South Australia. They completed self-report measures of musical performance anxiety, cognitive strategies and self-statements, trait anxiety, self-esteem, personal efficacy, and six dimensions of perfectionism. Multiple regression analyses revealed catastrophizing to be the main predictor of musical perform

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Tarrant, Mark, Adrian C. North, and David J. Hargreaves. "Social Categorization, Self-Esteem, and the Estimated Musical Preferences of Male Adolescents." Journal of Social Psychology 141, no. 5 (2001): 565–81. http://dx.doi.org/10.1080/00224540109600572.

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Hallam, Susan, Andrea Creech, and Hilary McQueen. "The perceptions of non music staff and senior management of the impact of the implementation of the Musical Futures approach on the whole school." British Journal of Music Education 33, no. 2 (2016): 133–57. http://dx.doi.org/10.1017/s0265051716000139.

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This research aimed to provide an account of the impact of the Musical Futures approach on the wider school community in Musical Futures ‘Champion Schools’. Questionnaires were completed by 344 non-music teachers. Interviews were undertaken with members of senior management teams. The majority of staff indicated that Musical Futures had had a positive impact on student motivation, well-being, self-esteem and confidence and had encouraged students to work together. There was less agreement that it had improved student concentration, organisation and students’ attitudes towards learning and acad

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Krause, Amanda E., Jane W. Davidson, and Adrian C. North. "Musical Activity and Well-being." Music Perception 35, no. 4 (2018): 454–74. http://dx.doi.org/10.1525/mp.2018.35.4.454.

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A relationship between participation in musical activity and well-being has frequently been observed in recent research reports. Of these, some propose various well-being-related correlates of musical participation, but the varying samples and foci leave researchers without a reasoned appraisal of these correlates or a data-driven categorization of them. To address this lacuna, the current research reviewed of existing literature, identifying 562 benefits of well-being benefits perceived to be associated with musical participation. These items were used as the basis for developing a new quanti

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Faulkner, Simon, Lisa Wood, Penny Ivery, and Robert Donovan. "It Is Not Just Music and Rhythm . . . Evaluation of a Drumming-Based Intervention to Improve the Social Wellbeing of Alienated Youth." Children Australia 37, no. 1 (2012): 31–39. http://dx.doi.org/10.1017/cha.2012.5.

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The Discovering Relationship Using Music, Beliefs, Emotions, Attitudes & Thoughts (DRUMBEAT) program used drumming as a way of engaging at risk youth in a form of musical expression, while simultaneously incorporating themes and discussions relating to healthy relationships with others. The program targeted young people who are alienated from the school system. An evaluation was undertaken with a sample of 60 program participants in Western Australia's Wheatbelt region. The evaluation used both quantitative and qualitative methods, including informal discussions with staff and participants

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Demet, Girgin. "The relations among musical instrument performance self-efficacy, self-esteem and music performance anxiety in pre-service music teachers." Educational Research and Reviews 12, no. 11 (2017): 611–16. http://dx.doi.org/10.5897/err2017.3251.

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Dissertations / Theses on the topic "Musical self-esteem"

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Lucas, Jennifer R. "Attempting to Develop Healthy Self-Esteem Through Public Demonstrations of Musical Competence: Debunking Misconceptions and Calling for Value-Based Enhancement Programs." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206035483.

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Daniel, Justine. "EFFECTS OF BAND AND SEATING PLACEMENT ON THE MOTIVATION AND MUSICAL SELF-ESTEEM OF HIGH SCHOOL WIND MUSICIANS." Bowling Green State University / OhioLINK, 2006. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1151080979.

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Akintunde, Omowale Achebe. "The effect of using rapping to teach selected musical forms to urban African American middle school students /." free to MU campus, to others for purchase, 1996. http://wwwlib.umi.com/cr/mo/fullcit?p9712792.

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Gheller, José Carlos Amarante. "Para compreender sujeitos com dificuldades de aprendizagem : um percurso reflexivo para a autoestima na educação musical." reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2009. http://hdl.handle.net/10183/16179.

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Esta pesquisa tem como objetivo principal verificar que ações musicais são adequadas ao perfil de sujeitos com dificuldades de aprendizagem, dedicando um olhar à autoestima durante o processo de ensino-aprendizagem musical. Utiliza na análise ideias de Jean Piaget, e outros autores ligados ao pensamento piagetiano e da autoestima na aprendizagem. O trabalho envolveu como amostra alunos da rede municipal de ensino de Passo Fundo e, como método, o descritivo, procurando compreender as situações manifestadas pelos sujeitos. Com base na análise dos dados, o estudo refletiu sobre o tema: compreensã

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Castro, Pablo Y. "Os beneficios psicologicos da aula de musica : um estudo cientifico com adolescentes de 5as. e 6as. series do ensino publico brasileiro." [s.n.], 2007. http://repositorio.unicamp.br/jspui/handle/REPOSIP/284722.

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Orientadores: Ricardo Goldemberg, Monica Gobitta<br>Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes<br>Made available in DSpace on 2018-08-12T12:17:03Z (GMT). No. of bitstreams: 1 Castro_PabloY._M.pdf: 15248065 bytes, checksum: ac994ca4bb639fa5ae3fefcda9efc8ac (MD5) Previous issue date: 2007<br>Resumo: O presente trabalho consistiu em uma pesquisa empírica realizada com o objetivo de detectar as conseqüências de um curso de iniciação ao violão em relação aos aspectos psicológicos de adolescentes com déficit de auto-estima. Para estabelecer a amostra, realizou-s

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Smith, Christine. "FMT, Intrinsic Motivation and Self-esteem." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31216.

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This essay presents a brief history of Music Therapy and describes the background, method and thinking behind Functionally-oriented Music Therapy – FMT. The essay includes two case studies describing my work with two clients during the last year of my training to become an FMT therapist. The topics explored are intrinsic (inner) motivation and self-esteem in the context of functional development in school children. The research question for the essay is to discuss whether Functionally-oriented Music Therapy can assist school children to rediscover their inner motivation and increase their sel

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Best, Helene. "Group music therapy utilising marimba playing for children with low self-esteem." Diss., University of Pretoria, 2014. http://hdl.handle.net/2263/43760.

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Qualitative research was conducted to explore if, and how, music therapy utilising group marimba playing can facilitate increased self-esteem for children in a small independent school in the Western Cape. The case study involved ten weekly group music therapy sessions as well as a performance session. African marimbas were used in conjunction with other methods of active music making in the group sessions. Excerpts of video recordings were analysed and the Behavioural Indicators of Self-esteem (BIOS) rating scale was completed for each child pre- and post-intervention in order to examine whet

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Venesile, John Anthony. "The relationship among personality characteristics, self-esteem, and music teaching behaviors in prospective elementary classroom teachers." Case Western Reserve University School of Graduate Studies / OhioLINK, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=case1059763317.

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Winter, Patricia J. "Effects of experiential music therapy education on student's reported empathy and self-esteem: A mixed methods study." Diss., Temple University Libraries, 2013. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/226029.

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Music Therapy<br>Ph.D.<br>There has been a limited amount of research on the use of experiential education with music therapy students. Most of the research conducted has focused on the experiences of graduate level students. The purpose of this mixed methods study was to understand the potential effect of experiential music therapy education on undergraduate and graduate equivalency students' reported empathy and self-esteem. Five undergraduate and five graduate equivalency students were enrolled in a music therapy course in which they were asked to role-play the therapist and the client in m

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Sparén, Jennie, and Rasmus Ryefalk. "Äh! Vadå nervös? Kör nu bara! : En studie om hur lärare och elever kan arbeta i gymnasieskolan för att lära sig hantera rampfeber." Thesis, Örebro universitet, Musikhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:oru:diva-27074.

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The purpose of our study is to find out how teachers can help their students to learn how to managestage fright. By interviewing high school teachers and high school students and also observe one oftheir classes, we wanted to find out how they think about the causes of stage fright and what youcan do to relieve it. We also wanted to find out how teachers are working to teach students how todeal with stage fright, and how they think that you also could work. As a teacher of music, among other things, the task is to assess and rate the students performancesin music. Several components are based

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Books on the topic "Musical self-esteem"

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Markham, Shelly. Flavia and the dream maker: The musical. Dramatic Pub., 2004.

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Arterburn, Stephen. Shane. Tyndale House, 2004.

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Music and the self-esteem of young children. University Press of America, 1996.

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Self-esteem, recovery and the performing arts: A textbook and guide for mental health practitioners, educators and students. Charles C. Thomas, 2011.

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Douglass, Donna. Self-esteem, recovery and the performing arts: A textbook and guide for mental health practitioners, educators and students. Charles C. Thomas, 2011.

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Productions, Big Idea, ed. Junior battles to be his best. Zonderkidz, 2011.

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Rivers, Olivia. Tone deaf. Skyhorse Publishing Company, Incorporated, 2016.

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Zero. Random House, 2012.

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Perez, Marlene. Dead is a killer tune. Graphia, 2012.

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Cohen, Mary L., and Jennie Henley. Music-Making Behind Bars. Edited by Brydie-Leigh Bartleet and Lee Higgins. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190219505.013.11.

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Approaches to incarceration and community music vary widely. This chapter examines music-making in US and UK prison contexts, suggesting new insights into the values, applications, and meanings of community music. Contrasting approaches towards imprisonment exist not only across the globe, but also within particular countries. In the United States, a wide range of practices within the contexts of imprisonment occur, such as differences in incarceration rates between whites and people of color, sentence lengths, use of capital punishment, voting rights, and quality of legal representation. Inma

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Book chapters on the topic "Musical self-esteem"

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Cassidy Parker, Elizabeth. "Opening Ideas." In Adolescents on Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190671358.003.0001.

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Chapter 1 introduces several concepts used throughout the book. A discussion of Christopher Small’s musicking begins the chapter. The reader then gets to know the 30 adolescent contributors along with their backgrounds. The chapter explores the concept of being musical as the core of one’s musical identity including one’s musical self-esteem, self-concept, and self-representation. In the interest of further unpacking musical identities, three key ideas are offered including the self as adaptive, identities as complete self-systems, and the influence of individuals and social systems on identity. The end of the chapter calls on the reader to focus on here and now and acquaints the reader with the book’s structure.

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Cassidy Parker, Elizabeth. "Part I Summary." In Adolescents on Music. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190671358.003.0010.

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Using a developmental frame, we focused thus far on the innermost circles of adolescent musical identity development. In the chapter exploring “who I am,” we viewed adolescent self-concept, or traits and attributes they ascribed to their musicking; self-esteem, or a feeling of musical self-worth; and self-representation, or how adolescents viewed themselves musicking over time. In close interaction, we saw the critical role of important others and closest contexts, such as home, school, and community. Examining “how I think,” we discussed the importance of relatedness, mindset, autonomy, and building a sense of competency. While looking at adolescent feelings, we explored agency, perseverance, and vulnerability. In ...

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Kokotsaki, Dimitra. "Engagement and Creativity in Music Education." In Advances in Multimedia and Interactive Technologies. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0270-8.ch014.

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The wider benefits of active engagement with music throughout life have been well documented. There is evidence that playing a musical instrument and integrating music in the curriculum can have a range of positive effects on children's self-esteem, their social behavior and cognitive skills, such as creativity, spatial-temporal ability, reading, language and IQ score. Music is a vital part of children's everyday lives and schools have a major role to play in helping children develop a positive musical identity by encouraging active participation in musical activities. When children are actively involved in creative work in music, they are affectively, behaviorally and cognitively engaged with the creative task. This chapter concludes that there is a problem with lack of engagement in formal music education and that we need to do more to understand why many students are disengaged with music at school and put music to its proper place of being an integral part of students' lives.

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Kokotsaki, Dimitra. "Engagement and Creativity in Music Education." In Student Engagement and Participation. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2584-4.ch020.

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The wider benefits of active engagement with music throughout life have been well documented. There is evidence that playing a musical instrument and integrating music in the curriculum can have a range of positive effects on children's self-esteem, their social behavior and cognitive skills, such as creativity, spatial-temporal ability, reading, language and IQ score. Music is a vital part of children's everyday lives and schools have a major role to play in helping children develop a positive musical identity by encouraging active participation in musical activities. When children are actively involved in creative work in music, they are affectively, behaviorally and cognitively engaged with the creative task. This chapter concludes that there is a problem with lack of engagement in formal music education and that we need to do more to understand why many students are disengaged with music at school and put music to its proper place of being an integral part of students' lives.

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Okazaki, Sumie, and Nancy Abelmann. "Jenny." In Korean American Families in Immigrant America. NYU Press, 2018. http://dx.doi.org/10.18574/nyu/9781479804207.003.0006.

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This chapter features the Park family, whose daughter Jenny’s story opened the introduction. This family was distinctive in the intimate mother-daughter bond that remained throughout the years even as the bond was tested by the musician mother’s cultivation of the daughter’s musical career and the daughter’s eventual rejection of that path after her conservatory training. This family also spoke extensively of the gendered nature of immigrant parenting, with the mother’s concern for her daughter’s self-esteem in light of White and Korean beauty standards and her thoughts about desired career paths for her daughter and her son. This chapter builds on other recent ethnographic works about Asian American classical musicians and their families. The chapter uncovers an additional meaning that music holds for immigrant families, representing their non-English-speaking parents’ desires to be intimately involved in their children’s American lives.

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Harrison, Klisala. "Harm reduction." In Music Downtown Eastside. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197535066.003.0006.

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Throughout the Downtown Eastside, popular music facilitators use song in a number of ways to promote the capabilities of addicted people in ways that arguably support their human right to health. They use music to shift emotions and promote self-esteem that could minimize certain negative effects of substance misuse (e.g., stigma). Regarding people with depression and at the point of suicidality, they focus on the capability to use music to feel less depressed and even less suicidal. Facilitators often interpret such uses of music as furthering harm reduction whose human rights-suffused aims seek to improve quality of life for individuals, communities, and populations negatively affected by substance misuse. This chapter presents a case study of how a music therapist uses harm reduction with mothers with backgrounds of addiction and babies under 18 months. The example illustrates music being used to promote various capabilities through different approaches applied simultaneously, and to enhance the mothers’ right to health. The chapter reveals the simultaneous use of multiple capability approaches to pursue a single human right and that multiple human rights can circulate in single musical moments. Among other capabilities and related rights, the therapy practice strengthens the mothers’ capabilities of self-expression, parenting (through parenting education) and creating a safe space, in turn promoting their rights to freedom of expression, education and security of the person.

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Bennett, Andy, and Lisa Nikulinsky. "Wellbeing, young people, and music scenes." In Handbook of Music, Adolescents, and Wellbeing. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198808992.003.0017.

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This chapter considers how young people’s involvement in a local or virtual music scene can be important in terms of providing them with a sense of self-worth and esteem. Although the topic of music scenes has been comprehensively researched in academic scholarship, the connection between scene membership and physical and psychological wellbeing has not to date been a topic of focus. The chapter draws on original empirical data generated during interviews with young people in Margaret River, Western Australia, in 2016–17. Although our research findings originate from a localized source, they can be extrapolated to broader debates concerning the relationship between young people, music, and wellbeing.

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MacDonald, Raymond A. R., and Graeme B. Wilson. "The way forward." In The Art of Becoming. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190840914.003.0008.

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This chapters presents conclusions and overarching summaries of key issues, outlining implications for future research. The accessibility of an arts practice that offers creative engagement at any level of virtuosity can have a transformative effect on music education and the ways we feel about making music in our everyday lives. The location of creative agency within a group, rather than within an individual, calls for a new psychology and musicology of improvisation. These issues and other aspects of the way ahead are discussed, with suggestions for new directions in studying, making, or researching music and other improvisatory arts in years to come. In the moments of improvisation, we have opportunities: to explore our identity; to connect with other people; to make conceptual breakthroughs and gain new insights; to develop our confidence or self-esteem; to be understood; to be misunderstood; and still to have fun within an artistic and expressive environment.

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Schreiber, Evelyn Jaffe. "The Power of Witnessing: Confronting Trauma in God Help the Child." In New Critical Essays on Toni Morrison's God Help the Child. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496828873.003.0003.

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God Help the Child illustrates the possibility of confronting trauma to claim a worthy self through a complex process of testimony. Both Bride and Booker reconstruct past traumas, first by encountering people who activate buried memories and then by telling their stories to each other in the holding space they create. Together, Bride and Booker retrieve their childhood traumas to gain agency and self-esteem by “bearing witness” to their representative African American testimonies. In this way, Morrison’s novel becomes a symbolic holding space for African American trauma. The complicated components of testimony reveal the elements of African American trauma—inherited trauma from generations of racism, colorism, violence, abuse, and discrimination in housing, jobs, and education—that Bride and Booker must examine. This idea of community testimony connects specifically to African American culture through three avenues of shared experience: the church, music, and community suffering.

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