265,874 research outputs found

    Psychology of music

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    Citation: Stewart, Effie L. Psychology of music. Senior thesis, Kansas State Agricultural College, 1905.Morse Department of Special CollectionsIntroduction: There are many beautiful arts today and many which are perhaps more highly developed than music, but to my mind music as an art is the most beautiful and touches the hearts of more people than any other one art. In this work I wish to use the term music in its broadest sense and for a working definition, I will say that any sound or modulation of sounds which is pleasing to the ear, is music. From this use of the term we can say that music in some form has existed since the creation of man. The first music then was the music of nature and from this music, musical instruments were invented. The poets have written of the "sighing of the wind", "lowing of cattle", "chirping of crickets", of the deep voices of the ocean, etc., and some think this merely a fancy of poets, and yet, how many there are of us who enjoy going into the, woods and sitting down under the trees listen to the wind as it whistles and sighs through the leaves, or on a still summer evening do we not enjoy going into the country and listening to the crickets, katydids, and frogs? Some may say this is not music but I think it truly is. have never been fortunate enough to the near the ocean, but have talked with many who have and they always express a longing to be near it again, but it is almost invariably for the roar or music of the ocean rather than the beauty of the great expanse itself. I have heard a few persons say that the roar of the ocean is more to them even than the beautiful scenery of the mountains and they say, while they miss the mountains, they do not fill the place in their hearts that the ocean does

    Connected Learning Journeys in Music Production Education

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    The field of music production education is a challenging one, exploring multiple creative, technical and entrepreneurial disciplines, including music composition, performance electronics, acoustics, musicology, project management and psychology. As a result, students take multiple ‘learning journeys’ on their pathway towards becoming autonomous learners. This paper uniquely evaluates the journey of climbing Bloom’s cognitive domain in the field of music production and gives specific examples that validate teaching music production in higher education through multiple, connected ascents of the framework. Owing to the practical nature of music production, Kolb’s Experiential Learning Model is also considered as a recurring function that is necessary for climbing Bloom’s domain, in order to ensure that learners are equipped for employability and entrepreneurship on graduation. The authors’ own experiences of higher education course delivery, design and development are also reflected upon with reference to Music Production pathways at both the University of Westminster (London, UK) and York St John University (York, UK)

    The Psychology of Music.

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    Reprinted from The Open Court, November, 1908.Mode of access: Internet

    An Agenda for Best Practice Research on Group Singing, Health, and Well-Being

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    Research on choirs and other forms of group singing has been conducted for several decades and there has been a recent focus on the potential health and well-being benefits, particularly in amateur singers. Experimental, quantitative, and qualitative studies show evidence of a range of biopsychosocial and well-being benefits to singers; however, there are many challenges to rigor and replicability. To support the advances of research into group singing, the authors met and discussed theoretical and methodological issues to be addressed in future studies. The authors are from five countries and represent the following disciplinary perspectives: music psychology, music therapy, community music, clinical psychology, educational and developmental psychology, evolutionary psychology, health psychology, social psychology, and public health. This article summarizes our collective thoughts in relation to the priority questions for future group singing research, theoretical frameworks, potential solutions for design and ethical challenges, quantitative measures, qualitative methods, and whether there is scope for a benchmarking set of measures across singing projects. With eight key recommendations, the article sets an agenda for best practice research on group singing

    Music education in the twenty-first century: a psychological perspective

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    Starting from Hargreaves’ (1986a) review of the relationship between developmental psychology and music education, we characterise the mid-1980s as a point at which the different main strands of music psychology – cognitive, developmental, and social – began to unfold. We move to the present day and beyond, suggesting that a major change has been the incorporation of a social perspective: it may now make more sense to talk about the developmental social psychology of music and music education. Four levels of social influence are distinguished – the individual, the interpersonal, the institutional,and the cultural – and we suggest that the concept of identity may enable explanations of social influence at the individual level. We review some research on musical style sensitivity as an exemplar of this general approach, and conclude by applying the social–cultural perspective to current developments in music education. This gives rise to two new conceptual models: of the opportunities that are offered by music education in the twenty-first century, and the outcomes that might be derived from it