To see the other types of publications on this topic, follow the link: Psychological aspects of Rap (Music).
Dissertations / Theses on the topic 'Psychological aspects of Rap (Music)'
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 50 dissertations / theses for your research on the topic 'Psychological aspects of Rap (Music).'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Feasel, Brandon L. "The relationship between attitudes towards women and violence and music preference." Virtual Press, 2004. http://liblink.bsu.edu/uhtbin/catkey/1293372.
Full textAbstract:
This study examines attitudes regarding general violence, violence against women, gender roles, and rape myth and how they relate to music preference. Surveys were completed by 321 students from two large introductory sociology classes at a midsize Midwestern university. Data were analyzed using Ordinary Least Squares (OLS) regression. The results indicate that those who listen to predominantly rap and r&b music are more accepting of general violence and violence against women. Also, findings support the idea that amount of music videos viewed affects views on gender roles. Results show no support for a relationship between attitudes about rape myth and listening to rap and r&b music.Department of Sociology
2
Gautier, Alba. "Producing a popular music : the emergence and development of rap as an industry." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79768.
Full textAbstract:
In this thesis, I trace the evolution of the rap market from its emergence in 1979 in New York City to its development into a national industry in 1990. I analyze the motivations of the producers of rap and the mechanisms that led to their current organization. Independent labels were the primary producers of rap records until they made distribution deals with major record companies in the second half of the eighties. I argue that the division of labor between production and distribution, which became the most common context for the production of the music, is both the result of an organizational strategy initiated by the majors and of the negative perception their executives had of rap artists.
3
Atwood, Brett D. "The role of Rap and Hip-hop music in value acceptance and identity formation." Scholarly Commons, 2006. https://scholarlycommons.pacific.edu/uop_etds/631.
Full textAbstract:
This study exp !ores the relationship between an individual's interest in and exposure to the rap/hip-hop genre and the messages and values contained within the music, as well as the role of self-esteem in generating interest and motivating exposure to rap/hip-hop music. A survey questionnaire was administered to 213 students at a community college in northern California. Interest and exposure to rap/hip-hop were found to be significantly correlated with acceptance of a number of values portrayed in the music. However, those most interested in and exposed to rap/hip-hop music were less likely to perceive negative social values in the music as well as believe these values characterized rap/hip-hop artists. Self-esteem failed as a predictor of interest and exposure to the music.
4
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.
Full text
5
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.
Full textAbstract:
Thesis (M.Mus.)-- University of Stellenbosch, 2006.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 & Hallam (2003). Although most researchers have focused primarily on students of school-going age, more recently attention has begun to be given to tertiary level instrumental teaching. There are many ways to approach one-on-one instrumental teaching. There is no doubt that these have been tried and tested, and, in their own way, have been successful. They range from the traditional to the master-apprenticeship model, the latter most commonly used in university music departments. While it is not the purpose of this thesis to discuss pedagogical principles per se, the researcher proposes a student-centred model based on humanistic trends in psychology, with particular reference to Rogers. This model emphasises the importance of the teacher/student relationship and a holistic view of students. In addition, the developmental stage of university students is investigated in order to provide more insight and understanding of students’ place in the life cycle. Such psychological knowledge can equip teachers with skills, which would assist them to deal with sensitive issues that may be beyond their common sense and expertise. Consequently, the application of these psychological principles to instrumental teaching at the tertiary level is investigated by examining both the teacher/student relationship and a student-centred approach in the studio. A student-centred focus is one where the teacher has a facilitative function. Such a teacher leads students to be proactive and to be full participants in their own learning process. Consequently students would develop critical thinking and problem-solving skills. At the same time they would learn how to take responsibility for their actions. In such a milieu they are given the freedom to express themselves without fear of reprisal, and are made aware that they are valued and accepted unconditionally as unique individuals. This kind of environment should encourage the development of both cognitive and affective aspects of their personalities while simultaneously being conducive to optimal learning and to the maximising of their full potential at this stage. This researcher believes that the student-centred approach offers a more humanizing view than the traditional view of teaching. It is not the intention of the researcher to reject other styles of teaching, since it is fully appreciated that there are diverse views, which have their merit and should be recognised. However, there is a need to investigate whether student-centred teaching can be used exclusively, or whether it can offer an alternative to more conventional approaches, working independently of or perhaps complementarily to these.
AFRIKAANSE OPSOMMING: Hierdie tesis is van interdissiplinêre aard en eksamineer daarom pertinente psigologiese aspekte met betrekking tot individuele (een-tot-een) instrumentale onderrig op tersiêre vlak. Klaarblyklik het navorsing nog nie veel op hierdie terrein gefokus nie. In die onlangse verlede is navorsing egter wel gedoen oor nuwe, progressiewe musiekopvoedingsfilosofieë, onder andere in verband met psigologiese aspekte van instrumentale onderrig, deur navorsers soos Mackworth-Young (1990), Kennel (2002), en Creech & Hallam (2003). Hoewel die meeste navorsers primêr op studente van skoolgaande ouderdom gefokus het, is daar meer onlangs begin om aandag te skenk aan instrumentale onderrig op tersiêre vlak. Individuele instrumentale onderrig kan op baie maniere geskied. Ongetwyfeld is hierdie metodes deeglik beproef en is hulle, in eie reg, suksesvol. Dit sluit uitgangspunte in wat strek vanaf die tradisionele- tot die meester-vakleerlingmodel. Laasgenoemde is die model wat oorwegend in musiekdepartemente van universiteite gebruik word. Omdat die primêre doelstelling van hierdie tesis nie die bespreking van pedagogiese beginsels as sodanig is nie, stel die navorser 'n studentgesentreerde model, gebaseer op humanistiese tendense in die sielkunde met besondere verwysing na Rogers, voor. Dié model beklemtoon die belangrikheid van die dosent/studentverhouding asook 'n holistiese siening van studente. Daarbenewens word die persoonlike ontwikkelingsfaktore van universiteitstudente ondersoek met die oog op verkryging van insig in en begrip van die plek wat die studentfase in die lewenssiklus beklee. Sielkundige kennis van dié aard kan dosente vaardighede bied wat kan help om doeltreffend om te gaan met sensitiewe kwessies wat dalk buite die grense van ouderwetse gesonde verstand en vakkennis val. Gevolglik word die toepassing van hierdie psigologiese beginsels op instrumentale onderrig op tersiêre vlak nagespoor deur 'n ondersoek na die dosent/studentverhouding en 'n studentgesentreerde benadering in die onderrigstudio. 'n Studentgesentreerde pedagogiese fokus behels dat die dosent 'n fasiliterende funksie moet verrig. So 'n dosent lei studente om pro-aktief te wees en om volledige deelnemers in hul eie leerproses te word. Studente sal gevolglik kritiese denke en vaardighede in probleemoplossing ontwikkel. Terselfdertyd leer hulle verantwoordelikheid vir hul aksies aanvaar. In so 'n milieu word aan hulle vryheid van selfuitdrukking, sonder vrees vir vergelding, gebied en raak hulle bewus daarvan dat hulle, as unieke individue, onvoorwaardelik aanvaar en waardeer word. Hierdie soort omgewing behoort die ontwikkeling van beide die kognitiewe en affektiewe persoonlikheidsaspekte aan te moedig terwyl dit terselfdertyd bevorderlik is vir optimale leer en die maksimale ontplooiing van hul volle potensiaal op hierdie stadium. Hierdie navorser glo dat die studentgesentreerde benadering 'n meer humaniserende gesigspunt bied as dié van die tradisionele onderrrigmodel(le). Die navorser beoog nie om ander onderrigstyle te verwerp nie, want daar is waardering vir die feit dat diverse merietedraende sienings bestaan wat erkenning verdien. Tog bestaan die behoefte om na te vors of studentgesentreerde onderrig eksklusief gebruik kan word en of dit 'n alternatief kan bied vir meer konvensionele benaderings waarmee dit òf onafhanklik òf dalk komplimenterend in verhouding kan staan.
6
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/.
Full textAbstract:
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.
7
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/.
Full textAbstract:
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 motivation, affect, arousal, and perceived exertion during moderate intensity cycling. Thirty (Mage = 21.0 ± 2.9 years old) college-aged individuals performed three, 8-min acute bouts of moderate-intensity exercise on a cycle ergometer during music with lyrics (ML), music without lyrics (MNL), and no music control (MC) conditions. Measures of motivation, affect, arousal, and perceived exertion were taken before and after a 6-min warm-up, every 2-min during the exercise bout, and following a 2-min cool-down. For ML and MNL conditions, participants reported higher motivation, affect, and arousal during exercise relative to the MC condition. As expected, RPE increased throughout the exercise period, with no condition differences observed. Additionally, there were no differences in responses between the ML and MNL conditions. Collectively, these results suggest that music, regardless of lyrical content, can enhance psychological responses during exercise. The current findings may help address common exercise barriers and inform exercise practitioners on music selection to improve exercise adherence.
8
Quinn, Sandra. "The perception of time in music." Thesis, University of Stirling, 2005. http://hdl.handle.net/1893/17763.
Full textAbstract:
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 each data set. The point where these curves cross 0.5 is the tempo at which the music sounds right to the listeners, referred to as the optimal tempo. The results from each study show that listeners are capable of making consistent tempo judgements and that the optimal tempo varies across extracts. The results also revealed that rhythm plays a role, but not the only role in making temporal judgements. In the previous studies, it is possible that listeners might be using an average tempo from previously heard extracts to make every subsequent response. We wanted to assess this by presenting a single stimulus per participant and therefore remove any effects of the context on participant's responses. Using this technique we shall show that listeners can make 'too fast' and 'too slow' responses that are independent of previously heard extracts. In addition the data reveal similar results to those found in the first experimental chapter. The 3rd chapter deals with the effect of changes in the tempo of music on the perception of happy and sadness. Listeners heard short extracts of music that varied in tempo and were asked to make a 2AFC of happy or sad for each extract. Separate psychometric functions were obtained for each extract of music, and the points where these crossed 83% and 17% happy were calculated, and treated as happy tempo and sad tempo respectively. The results show that most extracts can be perceived as both happy and sad just by varying the tempo. However, the tempo at which extracts become happy or sad varies widely from extract to extract. We show that the sad and happy tempi are related to the size of the intervals (pitch changes) in the extract. In considering what might be involved in the perception of time in music we wanted to assess what effect small changes to a stimulus would have on perceived duration. We presented 2 auditory stimuli and show that the perceived duration of the test stimulus with a change in pitch increased as the size of the pitch change increased. The results are explained in terms of event strength where strong events cause perceived duration to increase whilst weak events are perceived to be shorter by comparison.
9
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.
Full text
10
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.
Full textAbstract:
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 tone than when it was not, and this effect was greatest when the repetition was closest to the target. These studies also showed a benefit for expected tonic tones, which were manipulated independently of the repetition effect. Chapter 3 presents a new analysis method for measuring response latencies in sung tones. A time-frequency representation that optimizes the tradeoff between time and frequency for each point in time yielded a measurement of singers' time to reach a target frequency, which takes into account both speed and accuracy of the vocal productions. The time-frequency measurement, applied to the data presented in Chapter 2, showed longer times to reach target frequency for higher pitches, as well as larger effects of tonal priming than were attained through traditional response latency measures. The experiments in Chapter 4 examine the time course of the effects of repetition and tonality. The singing-back paradigm used in Chapter 2 also was used with the additional manipulation of stimulus tempo. These studies implicated interference rather than decay as the cause of the decreased repetition priming effect. Stimulus tempo manipulations showed separate time courses for repetition and tonal priming. Together, these studies provide the first evidence of repetition priming in music, document its interaction with other factors including tonality and pitch height, and describe its time course. The findings are discussed in terms of sensory and cognitive theories of priming.
11
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.
Full textAbstract:
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' responses to music. Participants' ratings of happiness were overwhelmingly high among different music excerpts. This suggests that listeners tend to feel positive when they listen to music regardless of the specific emotions aroused by music (e.g. happiness and sadness).
The high level of happiness observed in the review may actually point to the experience of pleasure. Taking this as a starting point, this study moves on to introduce the psychological notion of pleasure and how it can be applied to the study of musical experience. The experience of pleasure involves an evaluation process and is not necessarily tied up with particular emotions. The relationship between pleasure and musical expectations is also explored. An explorative empirical study has been carried out to investigate listeners' experiences of pleasure and emotions when they listen to music. Participants listened to several music excerpts and they had to report the affective response induced by the excerpts in them. They also gave ratings to the level of pleasure they experienced with the music excerpts. Results show that different excerpts induced different responses in the participants, but the levels of pleasure they experienced towards different excerpts were not significantly different. Taken together, this study suggests that pleasure is commonly experienced when we listen to music and it is a psychological experience independent of emotions. A better understanding of musical pleasure can lead to a more comprehensive understanding of our musical experience.published_or_final_version
Music
Master
Master of Philosophy
12
Vines, Bradley W. "Seeing music : integrating vision and hearing in the perception of musical performances." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=86058.
Full textAbstract:
This thesis investigates cross-modal interactions in auditory and visual perception, focusing on the perception of expressive musical performances. A primary aim of the work is to advance knowledge pertaining to how and when musicians' body movements influence an observer's overall experience. Three studies, comprising two multi-factor experimental investigations and one theoretical contribution, explore the multi-modal experience of musical performance. The two empirical chapters investigate, respectively, (1) the real-time experience of musical structure and musical emotion, comparing unimodal and multimodal conditions, and (2) the multidimensional structure of affective responses to musical performance, as a function of sensory modalities and performance intentions. The theoretical chapter develops a class of quantitative models for studying real-time phenomena in music (in particular) and time-series data (in general). An original contribution of this thesis is to quantify the ways in which the auditory and visual components of musical performance contribute singly and in interaction with one another to overall experience. The studies show that seeing a musician performing can augment, complement and interact with the auditory component to significantly influence music perception. These results are relevant to, and inform theories on, multi-sensory integration, emotion, and music cognition, as well as performance practice and audio-video media.
13
Shortway, Nicholas. ""This one goes to eleven--" : a methodological study of the recording and evaluation of emotional response to music." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99605.
Full textAbstract:
The distinction between emotions expressed by and evoked by music is often blurred by the use of methodologies that are difficult to compare, preventing progress towards a unifying theory of emotion and music. In this thesis, a methodology for experimentation that clarifies how research in these areas can be conducted clearly and independently is proposed. The study of evoked emotions is emphasized, and two novel controllers are developed to examine methods of recording emotional response continuously. These controllers, along with a number of the proposed methodological changes, are tested against an established controller in an experiment designed to record emotional changes to participant-selected musical pieces. The results support predictions regarding the effects that the experimental setting can have on the emotional responses of the participant. Usability ratings of one of the new controllers were found to be slightly higher than those of the established controller, while providing an interface that is less emotionally distracting for the participant. It also provides the ability to record instances of physiological reactions evoked in the participant.
14
Cherry, Harriet Rose. "Music-a structural way of thinking." Thesis, Georgia Institute of Technology, 1986. http://hdl.handle.net/1853/23939.
Full text
15
Bravo, Fernando. "Human emotion processing through the systematic control of musical dissonance in audiovisual paradigms." Thesis, University of Cambridge, 2015. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708589.
Full text
16
Agenbag, Gustel. "Musical expressivity in choral singing." Thesis, Nelson Mandela University, 2017. http://hdl.handle.net/10948/13614.
Full textAbstract:
This qualitative mini-treatise explores Musical expressivity in choral singing with reference to three High School choirs in the Port Elizabeth area. Singing with emotions is not only a facial expression of some sort. There are so many more aspects which could be applied in order for the choral performance to be of an outstanding nature and not merely a performance. The researcher questioned the possibility of introducing expressiveness into rehearsals and performance through the application of more expressive conducting techniques, more detailed musical aspects and a general sense of unity within the group. The choral conductor plays a primary role and should therefore be considered as the most important link between choir and excellence. Focus is put on specific warm up exercises and suggestions are put forward regarding the development of your own, personalized exercises which suits your own unique setup. Data was collected through open-ended interviewees of the three school choir conductors as well as data from current and past studies on various topics. The perceptions of these conductors were noted and the manner in which they apply Musical knowledge during their rehearsals. Research findings indicate that not enough emphasis is put on expressive singing during rehearsals. More research done by the conductors and attending workshops are recommended for personal growth and development.
17
Boucher, Hélène. "[The] occurrence of music performance anxiety in early childhood." Thesis, McGill University, 2009. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=109913.
Full textAbstract:
Note:Performance anxiety is a common experience for many musicians, firmly engrained in them by the age of eight. While it has been suggested throughout the literature that this is a learned condition developed during childhood, its appearances in younger children have not yet been studied. The purpose of this study was to document the performance experiences of very young children with respect to performance anxiety.[...]
L'anxiété de performance est vécue par plusieurs musiciens et serait déjà enracinée chez certains apprentis musiciens des l' âge de huit ans. Bien que plusieurs chercheurs considèrent qu'il s'agit la d'un phénomène acquis, se développant pendant l'enfance, ses premières manifestations n'ont jamais été étudiées. L'objectif de cette recherche est donc de documenter l'existence du stress lie a la performance musicale chez les très jeunes enfants.[...]
18
Chow, Yuen-yi, and 周婉儀. "Pre-operative music intervention to reduce patients' pre-operative anxiety in acute care setting." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44623021.
Full text
19
Bassalé, Parfait Adegboyé. "Music and Conflict Resolution: Can a Music and Story Centered Workshop Enhance Empathy?" PDXScholar, 2013. https://pdxscholar.library.pdx.edu/open_access_etds/1122.
Full textAbstract:
The Story and Song Centered Pedagogy (SSCP) is a workshop that uses songs, stories and reflective questioning to increase empathy. This preliminary study tested the prediction that being exposed to the SSCP would increase empathy using, the Emotional Concern (EC) and Perspective Taking (PT) subscales of the renowned Interpersonal Reactivity Index (IRI) (Davis, 1990). Subjects self-reported their answers to the IRI before and after undergoing the SSCP intervention. Comparing their pre and post intervention results, no statistically significant changes were noticed for the EC and PT scales (p-value = 0.7093 for EC; p-value = 0.6328 for PT). These results stand in direct tension with the anecdotal evidence gathered from 10 years of action research that shows that the SSCP impacts audiences' ability to empathize. This opens the door for additional research with more rigorous methodology and a larger sample size which will allow for more interpretative analysis. These results also probe the concern about whether the IRI is the most suitable tool to quantitatively measure the empathetic responses caused by the SSCP and evidenced by action research.
20
Zehr, Melisa-J. "Exploring the relationship between music preference and aggression." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1312664.
Full textAbstract:
Hansen and Hansen (1991) proposed the relationship between music preference and personality characteristics to be an interactive process of socialization. People are attracted to music that is congruent with their needs, desires, and values. Over time and with repeated exposure, listeners' attitudes and values gradually come to conform to those represented in the music. Given this premise, people who prefer more aggressive types of music would be expected to be more aggressive. If this were found to be true, perhaps exposure to different musical genres would serve to lessen aggressive tendencies. The current study sought to investigate whether people who prefer harder forms of music (e.g., hard rock, heavy metal, rap) tend to be more aggressive than those preferring softer types of music (e.g., country, classical, gospel, jazz). It also examined whether there was a relationship between music preference and social desirability. A sample of 322 undergraduates from a Midwestern university completed the Aggression Questionnaire (AQ), the Marlowe-Crowne Social Desirability Scale (MC-SDS), and a leisure interests survey developed by the author to assess music preferences. Initially, correlations between the MC-SDS and the four aggression scales of the AQ were calculated. Because all correlations were negative and statistically significant, social desirability was entered as a covariate in the analysis of music preference and aggression. Results from a multivariate analysis of covariance failed to find a significant relationship between music preferences and aggression. Thus, people preferring harder music types do not differ in level of aggression from those preferring softer music types. Sex differences in aggression were supported. Follow-up univariate analyses showed males to be more physically and verbally aggressive as well as more hostile than females. An analysis of Music Preference and Aggression x variance was performed to investigate the relationship between music preference and social desirability, with results suggesting that no such relationship existed. No sex differences in social desirability were found. The current findings contrast with previous research, which has supported a relationship between music preferences and aggression, with heavy metal and rap fans displaying higher aggressive tendencies than those preferring other music types (Rubin, West, & Mitchell, 2001). Limitations of the study, as well as research and counseling implications, are discussed.Department of Counseling Psychology and Guidance Services
21
Au, Man-yee, and 區敏儀. "Appropriateness and feasibility of music intervention in reducing anxiety for patients undergoing minor operative procedures in Accidentand Emergency Department." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44622740.
Full text
22
Tham, Edgar Kok Kuan. "Effects of Music on Vividness of Movement Imagery." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc278984/.
Full textAbstract:
The purpose of the investigation was to determine the effects of music on self reported vividness of movement imagery. Eighty-four undergraduate kinesiology
majors (42 males; 42 females) were subjects. Based on identical perceptions of precategorized music (classical and jazz), selected subjects were randomly assigned to one of three music treatment conditions (sedative, stimulative, and control) and
administered the Vividness of Movement Imagery Questionnaire. A 3 x 2 x 2 (Treatment x Gender x Perspective) ANOVA with repeated measures on the last factor was employed. The results revealed that the two music conditions significantly enhanced the vividness of internal and external imagery perspectives when compared to the no music condition, and that music facilitated the vividness of males and females equally.
23
Berkland, Darren Gary. "Androcentrism and misogyny in late twentieth century rock music." Thesis, Nelson Mandela Metropolitan University, 2015. http://hdl.handle.net/10948/d1021199.
Full textAbstract:
Judith Butler’s writings on gender ostensibly changed the way gender is considered with regard to an individual’s subjectivity. Her writings expressed a discursive parameter that changed the theoretical standpoint of gender from that of performance, to that of performativity. In short, the notion of gender became understood as a power mechanism operating within society that compels individuals along the heteronormal binary tracts of male or female, man or woman. Within the strata of popular culture, this binarism is seemingly ritualized and repeated, incessantly. This treatise examines how rock music, as a popular and widespread mode of popular music, exemplifies gender binarism through a notable ndrocentrism. The research will examine how gender performativity operates within the taxonomy of rock music, and how the message communicated by rock music becomes translated into a listener’s subjectivity.
24
Hu, Shu-Chen 1968. "How to Practice in an Efficient Way." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc935617/.
Full textAbstract:
Twi major areas concerning the problems of practice are discussed. One is that poor practice often relegates itself to mindless repetition. The second problem is that the student often has a vague definition of piano technique. All technique should be a means of expression, not just an isolated physical exercise. Therefore, the purpose of this thesis was to understand the nature of practice and to develop a suggested practice routine which incorporates both technical and musical aspects. Two recommendations, strategies toward effective practice and an ideal practice sessions, serve as a practice outline and reference for both piano teacher and student. An appendix presents a collection of the thoughts and viewpoints on practicing from forty-four internationally acclaimed pianists.
25
Meinz, Elizabeth J. "Musical experience, musical knowledge and age effects on memory for music." Thesis, Georgia Institute of Technology, 1996. http://hdl.handle.net/1853/30881.
Full text
26
Campbell, Christopher Darnell. "A stylistic analysis of 2pac Shakur's rap lyrics: In the perpspective of Paul Grice's theory of implicature." CSUSB ScholarWorks, 2002. https://scholarworks.lib.csusb.edu/etd-project/2130.
Full text
27
Ryan, Charlene Anne. "A study of the differential responses of male and female children to musical performance anxiety /." Thesis, McGill University, 2000. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=36788.
Full textAbstract:
The purpose of this study was to examine the responses of male and female children to musical performance anxiety. Twenty-six sixth-grade piano students (11 male, 15 female) performing in a piano recital served as subjects. Boys' and girls' heart rates, behaviour, performance quality, and anxiety levels were examined for possible differences between the genders. It was found that girls had substantially higher heart rates than boys immediately prior to performing, but that this difference was minimal while performing. Significantly more anxious behaviours were noted for both genders prior to performing than during performing, but boys had significantly more anxious behaviours than girls in both cases. Very little difference was noted in boys' anxiety scores (State-trait Anxiety Inventory for Children) between low, medium and high performance quality levels, however girls with moderate performance quality had much higher anxiety than did those with low and high quality performances. As well, girls were found to give significantly higher quality performances than boys. Correlation and regression analyses suggest that the genders respond differently to musical performance anxiety. These analyses were run on the data in three ways: All Children, Boys Only, and Girls Only. It was found that several relationships that emerged in the All Children analysis were driven by a strong relationship in a single gender, but were nearly absent, or in fact opposite, in the other.
28
Stellings, Alan. "Music cognition as musical culture, a philosophical investigation of cognitivist theory of music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape16/PQDD_0005/NQ28131.pdf.
Full text
29
Zane, Frank. "Effects of dichotic listening on aerobic performance." CSUSB ScholarWorks, 1990. https://scholarworks.lib.csusb.edu/etd-project/561.
Full text
30
Lee, Ka-kui, and 李家駒. "Music therapy on mechanically ventilated patients in reducing psychological and physiological distress in ICU and HDU." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44623987.
Full text
31
Lehmann, Sharon Fincher. ""Wiggles and Volcanos": an Investigation of Children's Graphing Responses to Music." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278601/.
Full textAbstract:
The purpose of this study was to investigate changes in selected children's Graphing Response Patterns to elemental changes in compositions in theme and variation form. The research problems were (1) to determine points and degrees of elemental change in the compositional structure of the musical examples; (2) to determine number, degree, and nature of changes in subjects' graphing response pattern to aurally presented musical examples; (3) to determine percentages of agreement between changes in graphing response patterns and points of elemental change within the compositional structures; (4) to determine the relationship of changes in subjects' graphing response pattern to the quality and magnitude of elemental change within the compositional structure. Twenty second- and fourth-grade children were individually videotaped as they listened to and graphed a series of aurally-presented musical examples. Each musical example was analysed according to such parameters as timbre, range/interval size, texture, tempo/meter, attack/rhythmic density, key/mode, dynamic level, and melodic presentation. Change in each parameter was scored using an interval scale reflecting change/no change and degree of change. Changes in graphing response pattern were determined by an interval scale which reflected the presence of change/no change and amount of change, using as analytical units speed, size, shape, type, and pause. The following conclusions were made: findings showed an observable, quantifiable relationship between changes in children's graphing response patterns and elemental changes in music parameters. This relationship encompassed not only change/no change judgements but also magnitude of response. Overall, frequency and magnitude/degree of student response was proportionate to the frequency and magnitude of change in the music parameter/s. Results indicated the existence of high-ranking correlations between student response and certain parameters regardless of the degree-of-change/points-of-change ratio. Findings showed that one degree of change in a single music parameter was not sufficient to cause an observable change in the attention of the young listener.
32
Cahn, Dan. "The effects of practice procedure and task difficulty on tonal pattern accuracy." Thesis, connect to online resource, 2003. http://www.library.unt.edu/theses/open/20031/cahn%5Fdan/index.htm.
Full text
33
Spencer, William David 1952. "An Attitude Assessment of Amateur Musicians in Adult Community Bands." Thesis, University of North Texas, 1996. https://digital.library.unt.edu/ark:/67531/metadc277924/.
Full textAbstract:
The purpose of this study was to ascertain certain factors which lead adults to participate in community band activity. This study attempted to answer the following questions: 1. What are the factors of rewards for community band participants based on the responses of a selected sample to validated attitude statements? 2. What are the relationships that might exist between certain demographic characteristics of the sample such as age, gender, education, occupation, musical training, geographic region (independent variables) and factors of participation (dependent variables) determined by principal components analysis? 3. What are the relationships that might exist between the findings of this study using member generated attitude statements and the findings of other attitude studies using researcher generated attitude statements? A 179-item survey was developed from an initital pool of 839 attitude statements after two pilot studies and an expert review. A randomly selected, stratified cluster sample of 74 organizational members of the Association of Concert Bands participated in the study. The average number of band members present during the survey process was 35. The average number of surveys returned per band was 23.66 for a return rate of 65.9% One thousand seven hundred twenty five individuals participated in the study. Frequency distributions of responses revealed the 36-50 age group to be the most represented (33%) followed closely by the 51-65 age group (27.8%). Males outnumbered females (57.5% to 42.3%). Over 80% of respondents were married. Almost 75% of respondents were college graduates. Over 60% had performed in college ensembles. Over half (55.4%) of respondents were either employed in the professional trades or white collar occupations. Almost 10% considered themselves professional musicians. Principal components analysis of the 179 items yielded six main factors of participation which were labeled Intrinsic Motivators, Organizational Motivators, Membership Standards, Repertoire/Conductor, Rehearsals/Performances, and Quality. Further analysis of Intrinsic Motivators yielded five second level components which were labeled Self-Growth, Musical Growth, Community Pride, Social Rewards, and Conductor. Second level components extracted from Organizational Motivators were labeled Attendance/Practice, Community Support, and Music Selection. Using t-tests and ANOVA, many significant relationships were found between groups on the six main factors and eight sub-factors (independent variables) with the demographic variables (dependent variables), especially age, gender, occupation, level of ensemble experience, past geographic region, present geographic region, and community size.
34
Iwamasa, Dawn A. "The effect of music-assisted relaxation training on measures of state anxiety and heart rate under music performance conditions for college music students." Scholarly Commons, 1998. https://scholarlycommons.pacific.edu/uop_etds/2324.
Full textAbstract:
The purpose of this study was to examine the effects of a music-assisted relaxation training program as a treatment method for college music students suffering from performance anxiety. A total of 40 participants were randomly assigned to the experimental (n=20) and wait-list control (n=20) groups. The experimental group received six music-assisted relaxation training sessions while the wait-list control group received no contact. Dependent measures included pre- and post-test State Trait Anxiety Inventory (ST AI) scores and heart rate measurements during individual jury examinations (performance condition).
Results found no differences in ST AI scores and heart rate measurements between groups. Factors such as years of formal training and memorization of performance showed no differences in dependent measures. The experimental group rated their performance quality as significantly higher than the wait-list control group.
All participants who received the relaxation training program felt they benefited from it, and_ found it helpful in feeling more "in control" and "focused on their music" during performances.
35
Sunega, Fernanda Alves. "Bem vindos a zero dezenove : uma etnografia da radio bandeira FM e do programa de rap interior paulista." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/279290.
Full textAbstract:
Orientador: Rita de Cassia Lahoz MorelliDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciencias Humanas
Made available in DSpace on 2018-08-10T15:23:19Z (GMT). No. of bitstreams: 1 Sunega_FernandaAlves_M.pdf: 1198744 bytes, checksum: 05e2319aaf71dd5f21e0a9447eade0c0 (MD5) Previous issue date: 2008
Resumo: De acordo com Néstor Garcia Canclini, em ¿Cidades e cidadãos imaginados pelos meios de comunicação¿, a sociedade está submetida a uma ¿urbanização que desurbaniza¿, onde os meios de comunicação atuam de maneira a criar vínculos entre os bairros, periferias e centro. Diante da heterogeneidade urbana, para este autor, a mídia apresenta um espetáculo reconfortante onde a população sente-se incluída nas mais diversas manifestações da cidade. Surge então a questão principal que será abordada neste trabalho: a rádio comunitária assume o papel das mídias, na definição de Canclini, estabelecendo um elo com a cidade ou reforça a localidade em que está inserida? A partir da pesquisa em rádio comunitária do Jardim das Bandeiras, periferia da cidade de Campinas, é possível analisar o fluxo de informações originado nessa territorialidade focalizando a experiência local de um programa de rap e seus atores sociais
Abstract: According to Néstor Garcia Canclini, in "Cities and citizens imagined by media", the society is submitted to a "urbanização que desurbaniza", where media acts in order to create links among districts, peripheries and downtown. Canclini believes that due to the urban heterogeneity, the media presents a reinvigorating show where the population is included in several city manifestations. Then appears the ultimate issue which will be treated in this work: does community radio take over the media¿s role, as defined by Canclini, establishing a link with the city or does it reinforce the place where it is inserted? Starting from the research in community radio of the Jardim das Bandeiras, periphery of the Campinas city, it is possible to analyze the information flow originated in that territoriality focusing the local experience of a rap program and their social actors
Mestrado
Antropologia Social
Mestre em Antropologia Social
36
Gerstley, Lawrence D. "Cross-modal and synaesthetic perception in music and vision." Thesis, University of Stirling, 1997. http://hdl.handle.net/1893/2223.
Full textAbstract:
This thesis is concerned with the cross-modal and synaesthetic perception of musical and visual stimuli. Each of these types of perception has been researched separately, and a hypothesis is presented here that accounts for both cross-modal matching and the development of synaesthesia. This hypothesis claims that sensory information can be evaluated in another modality by using a scale of comparison in that modality. The first set of experiments examines normal subjects performing cross-modal matching with coloured circles and auditory stimuli that vary in complexity. It is shown that subjects use a variety of scales of comparison from both visual and auditory modalities to form matches. As the stimuli increase in complexity, the individual variation in cross-modal matching also increases. The second set of experiments examines matching performance using higher order stimuli, by having subjects evaluate fragments of melodies and complete melodies on affective and descriptive adjective scales. Melodies were also matched with landscape scenes to examine if subjects could form matches between two highly complex sets of stimuli. The final experiments examine synaesthetic associations with colour, evoked from music, letters, numbers, and other categorical information. Common features of synaesthesia from a population of synaesthetes are identified, and experiments performed to test the interference of the synaesthetic associations. Additional experiments are presented that explore the superior short-term memory of one synaesthete, and the role of his associations as a mnemonic device.
37
Ponchione, Cayenna R. "Tracking authorship and creativity in orchestral performance." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:038d450e-f009-4ab0-879f-71d8f77bd77b.
Full textAbstract:
This thesis takes as its starting point the observation that the authorship of the creative product of orchestral performances has been, and continues to be, over-attributed to the conductor. This is reflected both in popular perceptions and in the scholarly attention given to the conductor's leadership role, as well as in orchestral practices which privilege the conductor's artistically superior position within the orchestra through rehearsal and performance rituals and in remuneration and marketing. Although existing research has challenged the perception that the authority of the conductor is absolute, none has offered alternative explanations for how best to attribute the authorship of orchestral performances. Through a three-phased mixed-methods empirical study including an online questionnaire, in-depth interviews, and a newly developed method of data collection utilising an online variation of video-stimulated recall to capture musician experiences in real-life rehearsal and performance settings, this research contributes to an understanding of the social psychology of orchestral performance by identifying what prompts musicians' decision-making regarding how and when to play their parts. The analysis of the data has resulted in the development of a theoretical Framework of Influence and Action in Orchestral Performance that offers a new way of conceptualising authorship in performance through a 'theory of influence'. It concludes with an exploration of the implications of this revised view of authorship for existing orchestral practices, group creativity research, and our understanding of how the relationships enacted in the micro-socialities of orchestral performance reflect larger social formations.
38
Love, Diana Bonham. "The relationship of tempo, pattern length, and grade level on the recognition of rhythm patterns." Diss., Virginia Polytechnic Institute and State University, 1988. http://hdl.handle.net/10919/77909.
Full textAbstract:
The purpose of this study was to investigate the effects of tempo, pattern length, and grade level on student ability to recognize rhythm patterns. It was intended that the study would also determine if age and experience are factors which affect rhythm recognition and memory. A 48 item Rhythm Pattern Identification (RPI) test was administered to 2146 band students and 114 nonmusic students in grades 6 through 12. The RPI consisted of 48 pairs of rhythm patterns varied in time length (seconds), number of note values (sound events), and tempo. Students indicated if the pairs of rhythm patterns were the same or different.
Statistical analysis indicated the reliability estimate (KR-20) of the RPI to range from .445 to .792 with the median being .553. Criterion related validity was established through a correlation of student scores on the Iowa Tests of Music Literacy (Gordon, 1970) and the RPI, r = .39. A multiple regression analysis of the data indicated that .36 of the variance in the RPI scores was attributable to the linear combination of tempo, length in seconds, number of sound events, and grade level. As expected, the independent variables of length in seconds and length in sound events were significantly correlated R = .63; however, there were no significant correlations between the other independent variables. Inverse relationships were found between tempo and score and length and score. Beta weights indicated that the number of sound events was the most significant influence on student scores. Data indicated a slight increase in score from one grade level to the next with significant differences occurring between grades six and eleven and twelve and between grades seven and eleven and twelve.
The results of the study indicate that length of pattern in seconds, number of sound events, tempo, and grade level all affect memory of rhythm patterns. These findings corroborate with those of Dowling (1973), Sink (1983), and Fraisse (1982). The implications for music education are: (1) tempo may be a factor that influences how students learn rhythm and (2) student perception of rhythm may be more affected by the length of the rhythm pattern in the number of sound events rather than the length of a pattern in seconds. Future research should include further investigation of young students ability to comprehend rhythm patterns. It is evident that young students can perceive and recognize as complex patterns as older students.Ed. D.
39
Albert, Kimberly Joy. "Using music therapy and visuals to facilitate language in exceptional preschoolers." CSUSB ScholarWorks, 2007. https://scholarworks.lib.csusb.edu/etd-project/3245.
Full textAbstract:
The purpose of this project is to explore the effectiveness of combining music and visual supports as a means of facilitating communication in exceptional preschoolers. The results indicate that music and visual supports have some merit for increasing verbal responses.
40
Meinz, Elizabeth J. "When can experience reduce age differences in cognitive tasks? : a study of musical memory." Diss., Georgia Institute of Technology, 1998. http://hdl.handle.net/1853/28791.
Full text
41
Chen, Ti Wei. "Role and efficacy of verbal imagery in the teaching of singing : case study and computer vocal analysis." HKBU Institutional Repository, 2006. http://repository.hkbu.edu.hk/etd_ra/716.
Full text
42
Marais, Terence Wilmot Eugene. "A strange counterpoint : classical music performance and identities in Grahamstown, South Africa." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1007491.
Full textAbstract:
This study investigates the perceptions of South African practitioners of Western European Art Music (WEAM), specifically as they relate to the value of WEAM in contemporary South African society. In exploring some of the connections between musical identity and national identity, it sets out to discover what value WEAM holds for a certain group of student pianists. Qualitative empirical data was collected in the form of in-depth, semi-structured interviews and questionnaire responses, and the findings point to numerous, nuanced expressions of self and varied intersections of the nation with musical identity in the life of the individual. Further, WEAM appears to represent a crucial point of identification for these individuals, in each case generating positive affirmations of the self.
43
Murdock, Mervin Charles. "An Investigation of the Relationship Between Seventh, Tenth, and Twelfth Graders' Participation in School Choir and Their Perceived Levels of Self-Concept and Social Support." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332715/.
Full textAbstract:
The purpose of this study was to investigate the relationship between seventh, tenth, and twelfth graders' participation in school choir and their perceived levels of self-concept and social support. The problems of the study were to determine (1) if there were significant differences in perceived self-concept and social support levels of choir members and non-music students, and (2) if there were significant changes in self-concept and social support of choir members from grades seven to ten to twelve. A secondary concern was school activity involvement, to guard against attributing significant differences of self-concept and social support to choir participation alone.
44
Kramer, Marci D. "Relationship between frequency of musical activity participation, sense of coherence, and subjective reports of health in non- institutionalized older adults." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1027116.
Full textAbstract:
This study investigated the relationship between frequency of musical activity participation, Sense of Coherence (SOC), and subjective report of health in older adults. From a sample of 197 older adults from Muncie and Anderson, Indiana, 129 (65.5%) individuals participated in this study. The participants completed an information sheet, the Musical Activity Participation Report, SOC, and Perceived Health questionnaires. Pearson r correlation coefficients found frequency of musical activity participation was not correlated with SOC but was correlated with subjective reports of health. A frequency table and chi-square analysis revealed that cohort and education were related to musical style preferences. A one-way analysis of variance (ANOVA) revealed that musical activities enhanced perceived quality of life to a lesser degree than other activities. However, many participants commented on the positive impact of music on well-being. A one-way ANOVA and t-tests found gender and musical upbringing were related to frequency of musical activity participation.Fisher Institute for Wellness
45
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.
Full text
46
Cahill, Clark Jennifer L. "String student self-efficacy and deliberate music practice: Examining string students' musical background characteristics, self-efficacy beliefs and practice behaviors." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9116/.
Full textAbstract:
This study examined the musical background characteristics, self-efficacy beliefs, and practice behaviors of string students auditioning for an all-region orchestra in one large South-Central district. Purposes of the study were: (1) to describe the musical backgrounds and self-efficacy beliefs of high school string students, (2) to measure the relationship between self-efficacy scores and performance achievement, and (3) to describe the practice behaviors and thoughts of high and low self-efficacy string students. Questionnaires were given to 101 high school string students; 65 competed in all-region orchestra. Descriptive data from the questionnaire revealed information such as how many took private lessons and that those who did tended to have a higher sense of perceived self-efficacy in relation to playing their string instruments. Other descriptive items asked questions such as whether or not students started in public school and how much they practiced outside of orchestra. The relationship of summed self-efficacy scores to a competition ranking was found to be statistically significant and inverse. For all string participants (n=65) Spearman's rho was, rs= -.37, (p=.001) with 14% of the variance explained (r2 =.14). This inverse relationship documents the linear trend for students with better rankings (lower ranking numbers) to also tend to have higher self-efficacy scores. Observation and interview data of 8 higher and 8 lower self-efficacy sub-group students were also analyzed. The higher self-efficacy sub-group students tended to use more cognitive practice strategies, while the lower self-efficacy sub-group tended to use dissimilar and less advanced strategies. Understanding string students' musical background experiences and characteristics and the possible relationship self-efficacy may have with practice and achievement could benefit certain students. Helping these students gain a higher sense of perceived self-efficacy in their musical endeavors, or obtain certain characteristics that successful students share, could possibly enable them to develop and understand more complex practice strategies and compete more confidently.
47
Bruenger, Susan Dill. "The Relationship of Selected Personal Investment Behaviors to the Meaning Non-Select Choir Members Attach to Their Choral Experience." Thesis, University of North Texas, 1999. https://digital.library.unt.edu/ark:/67531/metadc278230/.
Full text
48
Thurber, Myron Ross. "Effects of Heart-Rate Variability Biofeedback Training and Emotional Regulation on Music Performance Anxiety in University Students." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5428/.
Full textAbstract:
Student musicians were recruited to participate in an experimental repeated measures research design study to identify effects of heart rate variability (HRV) biofeedback training and emotional self-regulation techniques, as recommended by HeartMath® Institute, on music performance anxiety (MPA) and music performance. Fourteen students were randomly assigned to a treatment or control group following a 5 minute unaccompanied baseline performance. Treatment group participants received 4-5 HRV training sessions of 30-50 minutes each. Training included bibliotherapy, using the computerized Freeze-Framer® 2.0 interactive training software, instruction in the Freeze-Frame® and Quick Coherence® techniques of emotional regulation, and also use of an emWave® portable heart rate variability training device for home training. Measures included the State-Trait Anxiety Inventory (STAI), Performance Anxiety Inventory (PAI), Flow State Scale (FSS), average heart rate (HR), and heart rate variability (HRV). Quade's rank transformed ANCOVA was used to evaluate treatment and no-treatment group comparisons. Combined MPA scores showed statistical significance at p=.05 level with large effect size of eta2=.320. Individual measurements of trait anxiety showed a small effect size of eta2=.001. State anxiety measurement showed statistical significance at the p=.10 level with a large effect size eta2=.291. FSS showed no statistical or effect size difference. PAI showed no statistical significance and a large effect size eta2=.149. HR showed no statistical significance and a large effect size eta2=.143. HRV showed statistical significance at p=.000 level and a large effect size eta2=.698. This study demonstrated practical/clinical significance of a relatively quick and inexpensive biofeedback training that had large effect at decreasing mental, emotional, and physiological symptoms of MPA for university students.
49
Fiorillo, Risa Maree. "Music handbook for primary grade teachers." CSUSB ScholarWorks, 2001. https://scholarworks.lib.csusb.edu/etd-project/1739.
Full textAbstract:
Academic research in the area of music and learning has proven that there is both a deficiency and need for classroom music education commencing at the primary grade levels. The research has shown that by incorporating music education into the academic curriculum the arts can be more effectively taught and other academic subject areas can gain from the diverse teaching strategies the arts bring to education. There are two goals of this project. One is to demonstrate to teachers what primary grade level students should be learning in music. A second goal of this project is to design a music education handbook for primary teachers that can serve as a basis for intergrating music into the curriculum. This handbook takes into consideration the general lack of sufficient teacher training in music instruction, along with teaching time constraints, and potential roadblocks, such as the acquisition of music and instrumental supplies.
50
Chan, Wai-lan Candy, and 陳惠蘭. "Music extra-curricular activities and students' sense of belonging to the school." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2006. http://hub.hku.hk/bib/B37604569.
Full text