Relevant bibliographies by topics / Psychological aspects of Music audiences

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Psychological aspects of Music audiences'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Psychological aspects of Music audiences"

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Van De Bogart, Willard G. "Cracking God’s roof: Manifestation and adaptation on the intuitive nature of creating electronic music with tablet computers." Technoetic Arts 18, no. 1 (2020): 73–89. http://dx.doi.org/10.1386/tear_00027_1.

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Electronic music is advancing not only in the way it is being used in performance but also in the technological sense, due to software developers advancing the ability of the synthesizer to enable the composer to create newer sounds. The introduction of the amino acid and protein synthesizers from MIT is one such example, along with sampling sounds from interstellar bodies through the process of sonification in order to create presets as additional source material for the composer’s palette. The creative process used in creating electronic music on a tablet computer introduces a new musical in
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Ovchinnikova, Julia S. "Development of student’s research activity in the field of music and culture study." Problems of Modern Education (Problemy Sovremennogo Obrazovaniya), no. 2, 2020 (2020): 135–45. http://dx.doi.org/10.31862/2218-8711-2020-2-135-145.

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The author concludes her 12 years’ experience of pedagogical support of research activity of university students (within a special course in Moscow State University (2007–2019)) and of high school students from Russia (during expeditions to Bashkiria, Khakassia and Altai (2012–2019)) and other countries (at XI International Research School in Yakutia (2018)). Through the case histories from practice the following aspects are examined: the specificity of culture study approach to traditional music of different peoples, thematic variety of regarded problematics, main steps of support of student’
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Ho, Rainbow Tin Hun. "The Holistic Impact of Using Arts-Based Intervention for Elderly With Dementia." Innovation in Aging 4, Supplement_1 (2020): 567. http://dx.doi.org/10.1093/geroni/igaa057.1874.

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Abstract The use of creative arts on supporting elderly with dementia has been becoming popular due to its safe and engaging process. This non-pharmacological approach can complement with other treatment methods to support elderly with dementia on various aspects, including physical, cognitive and social functioning. In our randomized controlled trial on dance movement therapy (DMT) for 204 community dwelling elders with mild dementia, we found DMT could significantly reduce the level of depression, loneliness and negative mood (β=0.33-0.42, p<.01), and also the diurnal cortisol slope (
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Kurosawa, Kaori, and Jane W. Davidson. "Nonverbal behaviours in popular music performance: A case study of The Corrs." Musicae Scientiae 9, no. 1 (2005): 111–36. http://dx.doi.org/10.1177/102986490500900104.

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The aim of this study was to investigate performer nonverbal behaviour in popular music performance in order to understand the use and functions of gestures, postures, and facial expression. To this end, the study begins by reviewing relevant psychological and sociological research including Ekman and Friesen and Argyle's categorisations of nonverbal behaviour. Drawing on these specific categories, functions of nonverbal behaviours in popular music performance are proposed. These include: to maintain performer self-control; to provide musical, narrative, emotional and personal information; to
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Mirka, D. "Hearing in Time: Psychological Aspects of Musical Meter." Journal of Music Theory 48, no. 2 (2004): 325–36. http://dx.doi.org/10.1215/00222909-48-2-325.

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Shchetynsky, O. S. "Original and borrowed: correlation of the author’s and referred elements in modern musical work." Aspects of Historical Musicology 14, no. 14 (2018): 122–31. http://dx.doi.org/10.34064/khnum2-14.09.

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The phrase “author’s speech” the most frequently uses in musicological texts without exact definition but rather as a metaphor. However, its senses are not clear enough. The correlation of original and “borrowed” elements in music work also needs clarification. The objective of this article is to analyze the role of the author’s and borrowed elements, as well as their impact on artistic value of musical work on the examples of creativity by the composers of the XX century. Some examples of the “author’s speech” do not show any problem, as we clearly feel, when exactly the author suggests his/h
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Holotenko, Pavlo. "Jazz Avant-Garde by Cecil Taylor." Aspects of Historical Musicology 19, no. 19 (2020): 466–81. http://dx.doi.org/10.34064/khnum2-19.27.

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The relevance of the subject. Jazz music is a vivid, unique and distinctive phenomenon of the world culture, which is a grand achievement of many-years musical practice of humanity. In the context of the artistic culture of the modern information society, jazz art plays an essential part and is really quite interesting. The creative activity of jazz performers has always attracted the attention of the audience, caused a diverse reaction and today has many supporters in different parts of the world. Since the middle of the XX century, more and more trends have begun to emerge in jazz music, whi
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Coleman, S. R., and Dennis A. Norman. "Psychology of the Scientist: LXXIX. Visibility of Psychological Research and the Fickleness of Audiences: A Case Study." Psychological Reports 84, no. 2 (1999): 447–56. http://dx.doi.org/10.2466/pr0.1999.84.2.447.

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An analysis of citations shows that the “visibility” of a productive experimental psychologist (Isidore Gormezano of the University of Iowa) differed substantially across four different “audiences.” These audiences were literature-users whose citations to his work were identified in the following sources: classical-conditioning chapters in psychology-of-learning textbooks; instrumental/operant-conditioning chapters in the same; publications scanned by the Social Science Citation Index; and those scanned by the Science Citation Index. Aspects of this audience-specific visibility are described a
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Ding, Yue, and Shiyi Huang. "Analysis of the Style and Characteristic of Zhao Jiping’s Film Score." World Journal of Educational Research 5, no. 4 (2018): 410. http://dx.doi.org/10.22158/wjer.v5n4p410.

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<p><em>Zhao Jiping is a famous contemporary Chinese composer. In his film music creation, he pays great attention to the grasp and application of national style. Besides, he is renowned for his bold and advanced artistic conception, organic combination with film pictures as well as strong psychological shock brought to the audiences. All of these form the unique artistic charm of Zhao Jiping’s film music.</em></p>
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Tregear, Peter. "‘The Art of Agony’: Aspects of Negativity in Grainger’s Music." Nineteenth-Century Music Review 16, no. 01 (2018): 27–41. http://dx.doi.org/10.1017/s147940981700057x.

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Throughout his life, Grainger claimed that he sought to put his music at the service of ‘the complicated facts & problems of modern life’, a task he thought required engaging his audience in a ‘pilgrimage to sorrow’. On the whole, however, audiences and critics alike have tended instead to associate Grainger with the works of his that sound anything but downbeat. Nevertheless, Grainger’s self assessment was genuine. He had a painfully ambivalent relationship to many of the emerging features of modernity, a state of mind for which he found a fellow-traveller in Rudyard Kipling. Both men
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Dissertations / Theses on the topic "Psychological aspects of Music audiences"

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Wood, Andrew. "Theatre spectatorship and the "apraxia" problem." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59834.

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Some recent work of Suvin (indebted to Merleau-Ponty's Phenomenologie de la perception) asserts that two fundamental aspects of the praxis of theatre spectatorship--the non-tactile, inactive physicality of the spectator, and her/his imaginative cognitive participation in the apperception of the performance text--might better be understood when examined with regard to the "apraxias," neurological disorders of purposive physical movement. This thesis follows up this line of thought in examining clinical material on apraxia, both temporally previous and subsequent to Merleau-Ponty's discussion. A
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McDonald, Jennifer Ann. "Music and me : measuring and understanding real-life music preferences." Thesis, University of Cambridge, 2013. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.608208.

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Kirsch, Simone Hillary. "Psychological aspects of one-on-one instrumental teaching at the tertiary level." Thesis, Stellenbosch : University of Stellenbosch, 2006. http://hdl.handle.net/10019.1/17372.

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Thesis (M.Mus.)-- University of Stellenbosch, 2006.<br>ENGLISH ABSTRACT: Of an inter-disciplinary nature, this thesis examines certain pertinent psychological aspects with regard to one-on-one instrumental teaching at the tertiary level. It is apparent that this area has not been the focus of much investigation. However, in recent years, together with research into new, forward-thinking philosophies in music education, there has been an examination of some psychological aspects pertaining to instrumental teaching by researchers such as Mackworth-Young (1990), Kennell (2002), and Creech & Halla
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Luo, Ying. "Motivation, emotion, attitude, & gratification in the use of online video media." HKBU Institutional Repository, 2015. https://repository.hkbu.edu.hk/etd_oa/260.

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Online video media share a great part of similar attributes with traditional mass media. They also bear some fresh features of Web 2.0, such as integration, interactivity, both synchrony and asynchrony, which break the traditional pattern of media viewing and using. They allow for new forms of user activities and offer the user a participatory experience/role so as to facilitate the evolution and dynamic reintegration of the networked society as well as the whole social environment. Online video media have therefore been drawing lots of attention from both the industry and academic field since
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Novak, Jennifer J. Doud. "Music Preferences 1980 Versus 1989 and Their Relationship With Selected Environment and Listener Variables." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278214/.

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The purpose of this study was to determine differences between the same subjects' music preferences at the elementary and high school levels, and the relationship between these findings and the following variables: peer preferences, musical training, excerpt familiarity, grade, gender, and race.
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Marshall, Daniel N. "Music With and Without Lyrics Increases Motivation, Affect, and Arousal during Moderate-Intensity Cycling." Thesis, University of North Texas, 2017. https://digital.library.unt.edu/ark:/67531/metadc1011790/.

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Music is used to distract, energize, and entertain during exercise by producing positive psychological and physiological responses. Specifically, listening to music during exercise enhances performance, increases motivation, improves affect, and optimizes arousal. Researchers have identified several elements of music that may moderate this relationship, including lyrics. However, few studies to date have examined the influence of motivational lyrics on psychological and physiological states during exercise. Thus, the primary purpose was to investigate the effects of lyrics in music on motivati
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Quinn, Sandra. "The perception of time in music." Thesis, University of Stirling, 2005. http://hdl.handle.net/1893/17763.

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This thesis is concerned with the perception of time in music with emphasis on tempo, emotion and time perception in music. Three studies were conducted to assess whether listeners were able to make consistent judgements about tempo that varied from piece to piece. Listeners heard short extracts of Scottish music played at a range of tempi and were asked to make a two alternative forced choice of 'too fast' or 'too slow' for each extract. The responses for each study were plotted as proportion too fast responses as a function of tempo for each piece, and cumulative normal curves were fitted to
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Chiu, Wing-sze Ivy, and 趙詠詩. "Effect of music on anxiety management during dental procedures." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B45171695.

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Hutchins, Sean. "Implicit memory for music : factors affecting musical priming and their time courses." Thesis, McGill University, 2008. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=115889.

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This thesis investigates implicit memory for music, as measured by repetition priming: a processing benefit for previously encountered items. Although repetition priming has been documented in many domains, including language, visual perception, and environmental sounds, it has not yet been demonstrated in music, a domain replete with pitch repetition. A novel methodology is presented in which participants sang back the final tone of a short melody. Experiments presented in Chapter 2 show that participants were faster to sing back a target tone when it was a repetition of a previous melodic to
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Ma, Duan-yang, and 馬端陽. "Music and emotions reconsidered : towards a holistic approach to understanding musical experience." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2012. http://hdl.handle.net/10722/193468.

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The relationship between music and emotions has been the focus of the study of musical experience. However, previous studies have focused in particular on what psychologists understand as the "basic emotions", which are rigorously defined. This thesis argues that the focus on basic emotions has indeed limited our understanding of what we feel when we listen to music. A narrative review of the recent literature has been carried out to closely examine the existing findings and limitations of previous studies have been revealed. In addition, a positive tendency is observed in listeners' response
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Books on the topic "Psychological aspects of Music audiences"

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Reaching out: A musician's guide to interactive performance. McGraw-Hill, 2008.

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How audiences decide: A cognitive approach to business communication. Routledge, 2010.

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Judges and their audiences: A perspective on judicial behavior. Princeton University Press, 2006.

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The laughing stalk: Live comedy and its audiences. Parlor Press, 2012.

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L, Harwood Dane, ed. Music cognition. Academic Press, 1986.

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C, Sebald David, ed. Music in the human experience: An introduction to music psychology. Routledge, 2011.

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Diana, Deutsch, ed. The psychology of music. 2nd ed. Academic Press, 1999.

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The open space: Theatre as opportunity for living. Sussex Academic Press, 2014.

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Music power harmony: A workbook of music and inner forces. Blandford, 1990.

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Music, thought, and feeling: Understanding the psychology of music. Oxford University Press, 2008.

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Book chapters on the topic "Psychological aspects of Music audiences"

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Bernstein, Zachary. "Poetic Form and Psychological Portraiture in Babbitt’s Early Texted Works." In Thinking In and About Music. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190949235.003.0005.

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In five early texted works—“The Widow’s Lament in Springtime,” Du, Two Sonnets, Vision and Prayer, and Philomel—Babbitt uses a variety of means to project both poetic form and the psychological life of the characters represented. Trichordal derivation is used to model metaphors of reference, dependency, and layers of psychological action. Divergences between voice and accompaniment can also create layers of agency and implication. In several instances, Babbitt’s desire to reflect the meaning of texts leads him to musical structures that depart from the practice and principles he develops in his instrumental work. Moreover, in all five of these pieces, poetic form—the sonic, syntactic, and visual aspects of poetry—is projected in numerous ways; this is shown to derive from Babbitt’s youthful career in musical theater. Some ways involve the coordination of serial and poetic articulation, and some involve non-serial musical dimensions.
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Stashevska, I. O. "PSYCHOPHYSIOLOGICAL AND MUSICAL-PSYCHOLOGICAL ASPECTS OF PREPAREDNESS OF PRESCHOOL CHILDREN TO INSTRUMENTAL MUSIC EDUCATION." In METHODOLOGICAL CULTURE OF AN EDUCATOR: HISTORY AND MODERNITY. Liha-Pres, 2019. http://dx.doi.org/10.36059/978-966-397-130-8/122-141.

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Linek, Stephanie B., Birgit Marte, and Dietrich Albert. "Background Music in Educational Games." In Developments in Current Game-Based Learning Design and Deployment. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-1864-0.ch016.

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Most game-designers likely stick to the assumption that background music is a design feature for fostering fun and game play. From a psychological point of view, these (intuitive) aspects act upon the intrinsic motivation and the flow experience of players. However, from a pure cognitive perspective on instructional design, background music could also be considered to be redundant information, which distracts from learning. The presented study investigated the influence of background music (present vs. not present) within an educational adventure game on motivational (intrinsic motivation, experienced flow) and cognitive variables (cognitive load, learning success). The results suggest a high motivational potential of background music. However, neither positive nor negative effects on learning were detected. Thus, background music can be considered as a motivating design element of educational games without negative side-effects on learning.
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Linek, Stephanie B., Birgit Marte, and Dietrich Albert. "Background Music in Educational Games." In Gamification for Human Factors Integration. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-5071-8.ch016.

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Most game-designers likely stick to the assumption that background music is a design feature for fostering fun and game play. From a psychological point of view, these (intuitive) aspects act upon the intrinsic motivation and the flow experience of players. However, from a pure cognitive perspective on instructional design, background music could also be considered to be redundant information, which distracts from learning. The presented study investigated the influence of background music (present vs. not present) within an educational adventure game on motivational (intrinsic motivation, experienced flow) and cognitive variables (cognitive load, learning success). The results suggest a high motivational potential of background music. However, neither positive nor negative effects on learning were detected. Thus, background music can be considered as a motivating design element of educational games without negative side-effects on learning.
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Bailes, Freya. "Musical imagery and the temporality of consciousness." In Music and Consciousness 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198804352.003.0016.

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Musical imagery can be defined as the conscious experience of an internal representation of music—a form of inner hearing. This chapter adopts a psychological approach to considering temporal aspects of musical imagery, from the characteristics and frequency of episodes ranging in scale from seconds and minutes (e.g. the mental continuation of interrupted music), to the potential impact of circadian (24-hour) rhythms upon the subjective experience of musical imagery. The common ground between musical imagery and other forms of spontaneous cognition, combined with evidence of temporal fluctuations in our conscious awareness of inner music, suggests a new cyclical model of musical imagery. Exploring the music in our ‘mind’s ear’ has the potential to shed light on the time course of consciousness, with consequences not just for what it means to re-present music in the mind but also for how and when new ideas come to be experienced in our imaginations.
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Huang, Chih-Fang, Chih-Hsiang Liang, and En-Ju Lin. "A Study on Emotion Releasing Effect with Music and Color." In Advanced Research and Trends in New Technologies, Software, Human-Computer Interaction, and Communicability. IGI Global, 2014. http://dx.doi.org/10.4018/978-1-4666-4490-8.ch003.

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Music is considered a remedy for the body body, psychological therapy, and a mental release. During World War Two, health medical professionals held concerts to appease the wounded soldiers’ emotions and to initiate the research and discussion of music and emotion applied to various fields in academia. This chapter attempts to use the music emotion model as the media to introduce the possible emotional response during music listening via music structure, listener’s background, and surroundings, to do the research for human physical and psychological influence by automatic generated electronic sound, and to discuss the emotional releasie effect of music. This chapter also discusses various emotional responses derived by various colors applied to the music emotion model to break the limitation of the existing music forms and to develop the possible music color synesthesia applied to all aspects, in order to lay the foundation for next generation users.
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Sprigge, Martha. "The Socialist Cemetery." In Socialist Laments. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197546321.003.0003.

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Chapter 2 charts the development of new mourning rites in East Germany, focusing on the role that music played in these ceremonies. Death rituals articulated a new death culture for the socialist state. This chapter examines three aspects of East German death culture: the reestablishment of ceremonies to honor communist heroes from the Weimar Republic, state burials for East German politicians, and manuals published for funeral planning intended for the general public. Visually and rhetorically, state ceremonies were political displays that marginalized the emotional needs of the mourning community. But the music in these services intoned the new country’s connections to customs that the ruling party were explicitly attempting to displace: the Nazis’ heroic burial customs and the mourning rituals of the Lutheran church. In early efforts to fashion a socialist sepulchral culture across multiple artforms, a gap emerged between political ideology and musical reality that allowed composers, performers, and audiences to enact the work of mourning through music.
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Juslin, Patrik N. "Seeing in the Mind’s Eye." In Musical Emotions Explained. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198753421.003.0023.

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This chapter considers the psychological mechanism known as visual imagery. Visual imagery is defined as a process whereby an emotion is evoked in the listener because he or she conjures up inner images while listening to the music. Images might come about in three ways. First, mental imagery may occur when listeners conceptualize the musical structure through a nonverbal mapping between the metaphorical ‘affordances’ of the music and image-schemata grounded in bodily experience. A second type of imagery might occur when a listener brings to a listening experience certain types of knowledge or myths about the circumstances surrounding the creation of the piece or about the artist in question. Thirdly, a music listener can create images based on how certain aspects of the music mirror aspects of the listener's current life experience.
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Jones, Alisha Lola. "“Wired”." In Flaming? Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190065416.003.0006.

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Chapter 5 investigates a case study of Tonéx, a queer preacher-musician who embodies a combination of the most popular archetypes of African-American men’s worship—the preacher and the vocalist head musician—while wielding multifarious rhetorics during his musical performance. Tonéx’s case contests the portrayal of same-gender-loving men as down low, secretive, deceptive, and always withholding information about who they are from their loved ones. Chapter 5 investigates the queer Pentecostal performative strategies behind the creative process of worshipping in Spirit and in truth, as Tonéx grounds his performances in bodily experiences recorded on the Unspoken album. By vocalizing unspoken bodily experiences for gospel music audiences, Tonéx guides his fans through an exploration of what it means to be wired: that is, the occurrence of the embedded, transferred, bestowed, gifted, ridiculed, and surveilled aspects of being a queer masculine survivor of sexual assault in Pentecostal Christian communities.
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Abe, Akinori. "The Possibility of the Literary Work Generation by Computer." In Computational and Cognitive Approaches to Narratology. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0432-0.ch002.

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Recently the importance of entertainment for senior citizens and children has been pointed out. Accordingly, it is necessary to develop robots who can write poems, compose music, paint pictures, etc. For that, for instance, an automatic poem or story generation system will be necessary. This chapter will show the possibility of literary-work (poem, story, novel etc.) generation. First, the author introduces the research field, “Language-Sense Processing Engineering (LSE)” where the affective or psychological aspects of language is focused on. The author defined “language sense (the key concept in LSE)” as affective or psychological aspects of language. One of the features can be used for literary work generation is the “intertextuality” proposed by J. Kristeva. The possibility of the automatic literary work generation will be shown by the strategy to generate waka (Japanese poem). In addition, several strategies to generate literary works will be shown to illustrate the possibility of the automatic literary work generation.
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