Stroke, or cerebrovascular accident (CVA), is a prominent cause of long term disability in the United States. It has been evidenced that the outcome of a CVA patient differs as a function of the cerebral hemisphere that is damaged by the stroke, especially in terms of emotional changes. The Right Hemisphere Model of Emotion posits that the right hemisphere is specialized for processing emotional content, regardless of valence. In contrast, the Bi-Hemispheric Model of Emotion posits that each hemisphere has its own emotional specialization. The current experiment tested the competing predictions of the two theoretical perspectives in a mixed sample of left cerebrovascular accident (LCVA) patients and right cerebrovascular accident (RCVA) patients using a Dichotic Listening task and the Affective Auditory Verbal Learning Test (AAVLT). Heart Rate (HR) and Pulse Oxygen Saturation (SpO2) were also recorded as sympathetic measures. It was expected that the predictions of the Bi-Hemispheric Model would be supported. A series of mixed design ANOVAs were used to analyze the data. Results revealed that both groups may have exhibited decreased auditory detection abilities in the ear contralateral to CVA location. Additionally, CVA patients recalled significantly more positive words, than negative or neutral words, and exhibited a significant learning curve. LCVA patients exhibited a recency effect, while RCVA patients exhibited a heightened primacy effect. Findings from HR and SPO2 measures suggested a parasympathetic response to neutral information as well as an impaired sympathetic response to negative information in RCVA patients. Taken together these results lend partial support to the hypotheses drawn from the Bi-Hemispheric Model of Emotion, as evidenced by the diametrically opposite effects in these groups, which appears to reflect opposing cerebral processes. / Ph. D.

Yes / Objectives: Listening-related fatigue can be a significant problem for adults who struggle to hear and understand, particularly adults with hearing loss. However, valid, sensitive, and clinically useful measures for listening-related fatigue do not currently exist. The purpose of this study was to develop and validate a brief clinical tool for measuring listening-related fatigue in adults. Design: The clinical scale was derived from the 40-item version of the Vanderbilt Fatigue Scale for Adults (VFS-A-40), an existing, reliable, and valid research tool for measuring listening9 related fatigue. The study consisted of two phases. Phase 1 (N = 580) and Phase 2 (N = 607) participants consisted of convenience samples of adults recruited via online advertisements, clinical records review, and a pool of prior research participants. In Phase 1, results from item response theory (IRT) analyses of VFS-A-40 items were used to identify high quality items for the brief (10-item) clinical scale: the VFS-A-10. In Phase 2, the characteristics and quality of the VFS-A-10 were evaluated in a separate sample of respondents. Dimensionality was evaluated using exploratory factor analyses (EFA) and item quality and characteristics were evaluated using IRT. VFS-A-10 reliability and validity were assessed multiple ways. IRT reliability analysis was used to examine VFS-A-10 measurement fidelity. In addition, test-retest reliability was assessed in a subset of Phase 2 participants (n = 145) who completed the VFS-A-10 a second time approximately one month after their initial measure (range 5-90 days). IRT differential item functioning (DIF) was used to assess item bias across different age, gender, and hearing loss subgroups. Convergent construct validity was evaluated by comparing VFS-A-10 responses to two other generic fatigue scales and a measure of hearing disability. Known-groups validity was assessed by comparing VFS-A-10 scores between adults with and without self reported hearing loss Results: EFA suggested a unidimensional structure for the VFS-A-10. IRT analyses confirmed all test items were high quality. IRT reliability analysis revealed good measurement fidelity over a wide range of fatigue severities. Test-retest reliability was excellent (rs = .88, collapsed across participants). IRT DIF analyses confirmed the VFS-A-10 provided a valid measure of listening29 related fatigue regardless of respondent age, gender, or hearing status. An examination of associations between VFS-A-10 scores and generic fatigue/vigor measures revealed only weak31 to-moderate correlations (Spearman’s correlation coefficient rs = -.36 to .57). Stronger associations were seen between VFS-A-10 scores and a measure of perceived hearing difficulties (rs = .79 to .81) providing evidence of convergent construct validity. In addition, the VFS-A-10 was more sensitive to fatigue associated with self-reported hearing difficulties than generic measures. It was also more sensitive than generic measures to variations in fatigue as a function of degree of hearing impairment. Conclusions: These findings suggest that the VFS-A-10 is a reliable, valid, and sensitive tool for measuring listening-related fatigue in adults. Its brevity, high sensitivity, and good reliability make it appropriate for clinical use. The scale will be useful for identifying those most affected by listening-related fatigue and for assessing benefits of interventions designed to reduce its negative effects. / Starkey Inc, NIH National Institute on Deafness and Other Communication Disorders (NIDCD) Grant #R21DC012865, NICHD Grant P30HD15052 to the Vanderbilt Kennedy Center for Research on Human Development, Vanderbilt Institute for Clinical and Translational Research grant (UL1 TR000445 from NCATS/NIH) / The full-text of this article will be released for public view at the end of the publisher embargo on 1 Sep 2024.

國立政治大學英國語文學系在職碩士班 碩士論文提要 論文名稱：使用真實語料做為高中生英語聽力輔助教材之個案研究 指導教授：彭欽清 研究生：林宜如 論文提要內容： 本研究旨在分析探討以廣播真實語料 (authentic broadcast materials) 做為台灣高中生英語聽力輔助教材之可能性，並兼論不同題型設計 (task types) 對不同程度學生聽力表現上的影響，以期能夠提供高中英語教師在英聽教學教材上的另一選擇及英聽測驗的方針。 實驗對象為41位高一學生。學生在學期初以全民英檢聽力測驗結果分為高、中、低三種程度，並接受為期十週的廣播英聽訓練。實驗過程中搭配以不同測驗題型來協助並檢視學生英聽理解力。學期結束前再以同樣之英檢試題做為後測。 本研究採用質與量的分析方法。質的分析涵蓋：（一）實驗對象的英文學習背景；（二）學生英聽困難的分析；（三）學生對選材及不同題型的看法。量的分析則以SPSS統計法，包括（一）前後測統計數值的差異；（二）取材（text types）與後測英聽成效的關係；（三）題型（task types）與後測英聽成效的關係。 研究結果發現：受試者在收聽廣播真實語料上最大的困難在於速度及連音。但經過廣播真實語料的英聽訓練後，高程度組不但在後測表現上有明顯進步，且較習慣於外國人的速度及連音，並能接受更長篇的真實語料。至於題型設計對英聽成效影響不大，但是，從學生問卷發現，高程度者認為克漏字題型較有助於英聽訓練，而中、低程度者則都認為選擇題較有助於英聽訓練。最後，本研究提出一些英語聽力教學上的建議：（一）教學初期只要求學生達到重要但簡單的基本目標；（二）教導學生分辨中英文語言的差異以及口說與書寫英文的不同特性；（三）設計多樣化的題型。最後，希望本研究能對台灣的高中英語聽力教學有所助益。 / ABSTRACT This study aims chiefly at the feasibility of using authentic English broadcast programs as supplementary materials in listening comprehension training for EFL senior high school students. It also discusses the effect of different task types on different proficiency levels in English listening comprehension performance, in the hope that the research would provide other alternative of supplementary listening materials and test designs as a reference for senior high school teachers. The research is conducted among 41first-year senior high school students. In the beginning of the first semester in fall, 2002, the subjects were divided into three proficiency levels (high, middle and low) according to the results of their performance on the GEPT listening comprehension as a pretest. Then they were given a ten-week authentic English broadcast listening training. During the course of training, different task types were provided to evaluate students’ listening proficiency and to help them to the focus of the test. At the end of the semester, the same GEPT listening task was administered as a posttest. The research adopts both qualitative and quantitative data analyses. Qualitative analyses consist of (1) the subjects’ English learning background, (2) the English listening comprehension difficulties encountered by the subjects, and (3) students’ views on different test and task types. By using SPSS, the quantitative analyses incorporate (1) the difference of statistical values between the pretest and posttest, (2) the correlation between text types and proficiency performance on the posttest, and (3) the correlation between task types and proficiency performance on the posttest. The research has found out that in listening to authentic English broadcast, the major difficulties encountered by the subjects are speed and linkage. Nevertheless, after the ten-week systematic training, the high-achievers are found to have improved obviously in their posttest performance. Little by little the subjects, especially the high-achievers, are not only adapted to the speed and linkage in authentic speech but also used to longer utterance by native speakers. Furthermore, it is also found in the research that the task types have little effect on the subjects’ listening performance. However, from the analysis of the subjects’ feedback questionnaire, the research has found that high-proficiency students reveal that cloze test types are helpful for the training of listening comprehension, while the middle- and low-achievers prefer the multiple choices. It is suggested that in teaching English listening comprehension teachers should (1) start with requiring students to achieve the basic goals the teacher considers essential in comprehension certain types of tasks, (2) teach students to differentiate the features between English and Chinese as well as those between spoken English and written English, and (3) design diverged types of tasks for students to practice listening skills. It is hoped that this research would make some contribution to English listening comprehension teaching in senior high schools in Taiwan.

Training can enable performers to express music in a personal and emotional way while communicating aesthetic impressions to an audience. Little research has been done on the emotive experiences of performing musicians listening to their own performances. The main goal of this study was to develop a reliable way to investigate emotive content of such experiences through a combination of listening profiles and continuous measurement. This empirical, methodological study used a mixed-method design. Responses from formally and informally trained musicians were tested. The methodology consists of two parts: listening profiles (Part I), and the continuous measurement of self-reported emotional response to music (Part II), supported by interviews. Part I consists of a demographic questionnaire, a listening test and a personality test. Part II consists of a computerised questionnaire with four questions: 1) word sorting, 2) word, colours, and facial expressions checklists, which participants use to indicate their emotional responses while the music plays, 3) free description, and 4) rating scales. Data was obtained during three test periods. Part I results revealed that personality, illness, preferences, and psychological factors influence the emotive content of listening experiences. Participants’ response time and manner of word sorting was also supportive of their profiles. Part II results revealed that listeners pay attention to both structural and performance elements as well as emotive content in both prescribed and personal musical tracks. Only a few participants were able to identify the predetermined emotion of the prescribed musical tracks. Participants’ experiences seemed to be influenced by training and personal preferences. Listening to their own recorded performances, informally trained participants were able to focus progressively less on performance elements and more on emotive content, while formally trained participants seemed to focus progressively more on performance elements, and less on emotive content. / Thesis (MMus)--North-West University, Potchefstroom Campus, 2012

The purpose of this study was to compare the effects of two methods of listening and reading instruction when used in the language arts programs at the eighth-grade level as related to listening, reading, study skills, and English achievement. Two groups were studied; one was an experimental group receiving programed material present by the Listen and Read Program and a control group receiving instruction through the regular classroom program.

This diploma thesis deals with the use of music and songs in teaching English as foreign language at B1 level. Its aims are the analysis of the song activities presented in various sources, creating the song activities, their pilotage in the classroom and subsequent evaluation. It is divided into five chapters. The theoretical part deals with listening comprehension as a skill, its relation to other skills, its definitions, reasons for teaching listening comprehension, its principles, approaches towards teaching listening comprehension and sources of listening comprehension activities. Furthermore, the development of language skills at intermediate level is presented and the essential parts introduces reasons for using songs in the development of listening comprehension skills, alternative use of music and songs and classification of song activities. The practical part covers the analysis of the song activities presented in three different course books at intermediate level and their comparison with the song activities presented in other sources. The research examines the application of the chosen song activities in practice and students' perception of them. . Key words: Listening comprehension skill, song activities, motivation, listening to songs, lyrics

本研究旨在比較國中學生在全民英檢聽力測驗中不同聽力題型之測驗結果，並探究聽力題型是否造成學生聽力策略選擇之差異。 本研究對象為宜蘭一所公立國中八年級六個班級共177位學生。研究工具為全民英檢初級聽力測驗以及聽力策略問卷。問卷內容以Vandergrift(1997)的聽力策略分類為架構，改編自蘇曉雯(2007)自編問卷。問卷回收後資料以統計軟體SPSS 17.0進行敘述性統計、單因子變異數分析及雙因子變異數分析，獲得結果簡述如下： 1.國中學生在全民英檢聽力測驗四種題型中的聽力表現有所差異。四種題型的不同因素包括了聽力內容中參與談話者的人數、聽力內容所包含的難字以及測驗題型是否提供圖片輔助。 2.整體來說，在聽力測驗作答時，國中學生較常使用後設認知策略。例如:理解監測(monitoring)，選擇性專注(selective attention)和前導組織(advance organizers)。然而，若細究不同的聽力題型，學生則較常使用不同認知策略。例如:當遇到較長的聽力內容，學生較常使用摘要(summarization)策略。而遇到較難的聽力內容，學生則慣用由下自上(bottom-up)策略。 3.綜觀不同語言能力之學生在不同題型中使用聽力策略的差異，本研究發現學生之語言能力與題型對聽力策略使用上並無交互作用。整體而言，高低成就學生 在四種不同題型中使用相似的聽力策略。然而，若細究各項不同聽力策略的使用頻率，則高低成就者中所慣用的聽力策略有所不同。 根據統計及問卷調查結果，本研究最後提供教學上相關建議以供參考。第一，教師可協助學生分析試題題型，以幫助作答。第二，教師應提供學生不同類型之聽力練習，讓學生嘗試使用不同聽力策略。第三，教師可請高成就學生分享聽力理解過程，以幫助低成就學生能有更好的聽力表現。 / The major purpose of the study is to examine whether question types influence junior high students’ listening performance and their listening strategy choice. The study is mainly concerned with three aspects: (1) whether students performed differently among the four different question types of GEPT listening section; (2) what kind of strategies did junior high students tend to use in the four types of questions; (3) whether proficiency level played a significant role in listening strategy choice among four question types. GEPT elementary level of listening comprehension test and a questionnaire were used to collect quantitative data from 177 students in one public junior high school in Yilan Area. The items in the questionnaire were mainly adapted from Su (2007), which followed Vandergrift’s (1997) classification of strategy use. In this study, statistical analysis, including descriptive statistics, one-way ANOVA with Scheffe post- hoc test and two-way ANOVA were used to analyze the collected data. The major findings are summarized as follows: 1.Junior high students performed differently in the four different types of listening questions. Factors that differentiate the four question types include the number of speaker, the content itself and the presence of pictures. 2.Generally speaking, junior high students tended to use metacognitive strategies, such as monitoring, selective attention and advance organizers more often in different question types. However, in specific question types, students appeared to have preference in using certain cognitive strategies. For example, students were inclined to use summarization when encountering question type with longer listening text. They also tended to use bottom-up strategies to tackle with more difficulty text. 3.There was no significant interaction effect between question types and proficiency level. Overall on the four question types, students with high and low levels used same strategies. However, when examining strategy items specifically, high and low achievers had different preference for using strategy in different question types. Finally, based on the findings in this study, several suggestions and implications were presented in the conclusion of the paper. First, teachers could help students analyze question types before listening test. Second, teachers could give students more kinds of listening activities to make students experience the effectiveness of using different kinds of listening strategies. Third, teachers could invite high level listeners to share their listening process so that low level listeners might learn from them.

Syftet med detta arbete är att ta reda på hur icke-professionella och professionella inom musik hör när de lyssnar på musik. Finns det någon skillnad i var fokus ligger i musiklyssnande och går det att urskilja några tendenser? För att undersöka detta har ett urval av personer fått lyssna till olika musikexempel och sedan beskrivit den ljudbild de har uppfattat i musiken. Sedan har dessa narrativ analyserats med utgångspunkt i ett av Gabrielsson (2008) utarbetat klassificeringssystem i form av ett stort antal teman och kategorier, vars syfte är att belysa olika starka musikupplevelser. De varierande fokus som har framkommit hos informanterna i min studie har sorterats in under detta schemas olika teman och kategorier och sedan sammanställts i tabellform för att ge en lättare överblick. Trots att det mig veterligen inte finns en likadan studie om var fokus i musiklyssnande hos icke-professionella och professionella riktas inom musik, så styrkte det som framkom i resultatet befintlig forskning kring relationen mellan upplevelser och reaktioner inom musiklyssning. Det visade sig att i både min och Rays (2000) studie var det samma kategorier som det riktades mest fokus mot. Även diskussionen som fortgår inom musikpsykologi och social musikpsykologi, att hörandet/lyssnadet på musik är socialt och kulturellt betingat, tycktes bli stärkt av resultatet. Denna studie presenterar inga generaliserbara och enkla svar om hur vi hör och lyssnar utan visar snarare upp och förstärker att musiklyssnadet är en komplex process med många aspekter och variabler att ta hänsyn till. / The purpose of this study is to find out how professionals and non-professionals listen to music. Are there any differences in focus or is it possible to discern any characteristic tendencies? In order to find out, a selected group of people have listen to various types of music and then asked to write down what they heard in the music, their “soundscape”. Afterwards these narratives have been analyzed in a classification system - prepared by Gabrielsson (2008), in form of numerous themes and categories, who’s aim is to elucidate different musical experiences. The varying result that has arrived in my study has been sorted in, under this schedule's different themes and categories and then been put together in tabular, in order to give an easier overview. Even though, to my knowledge, it doesn’t exist a former study like this between the listening habits among professionals and non-professionals, it emphasize more common research about the relations between experiences and reactions in listening to music, as it shows that focus is directed towards rather similar categories. The discussion that is taking place within music psychology and social music psychology, that hearing/listening to music is socially and culturally habituated seems to be strengthened in this study.   This study won’t present and generalize any easy answers about how we hear and listen to music but rather emphasize that listening to music is a complex process with many different aspects and variables to consider.

本研究旨在探討高中生實施聽力策略教學的成效。受試者為兩班高中三年級 學生，分成兩個階段，第一階段分析現階段高中生使用聽力策略的現況，第二階 段是針對受試者不常用的聽力策略，選擇四個進行聽力策略教學，探討其聽力成 績進步情形，聽力策略使用進步情況，及聽力自主改進情況。 本研究歷時23 週，受試者分成實驗組，對照組各一班，對照組只做聽力練 習，而實驗組除了相同的聽力練習之外，又同時給與聽力策略教學。資料收集包 括了前後測的中級英檢聽力成績，聽力策略問卷，聽力自主學習問卷與訪談。資 料分析結果如下： 1. 受試者聽力策略運用有達中等標準，顯示高中生在進行聽力測驗時，運用 一些聽力策略，而且認知策略最多，情意策略最少。 2. 在教完聽力策略後，聽力成績雖未達顯著差異，但實驗組明顯地進步多於 對照組，顯示聽力策略教學能提升高中生的聽力。 3. 在教完聽力策略後，四個所教的聽力策略在不同的解釋上都有顯著差異， 而且，實驗組在認知策略與情意策略都有顯著進步。 4. 在教完聽力策略後，受試者不管在動機，自信心，或自動學習上都有顯著 進步。 5. 大多數受試者在問卷或訪談中，對聽力策略教學都持肯定的態度。 本研究證明聽力策略教學能融入高中英語課堂活動中，且成功地改善了學生 的聽力，聽力策略，與聽力自主學習，希望對台灣的聽力教學有所貢獻。 / The present study is aimed at investigating the effects of listening strategy instruction. Two classes of 12th-grade senior high school students participated in this study as the experimental and control groups. There are two stages in this study. In the first stage, the participants’ use of listening strategies was analyzed. In the second stage, the participants were taught the four least frequently used listening strategies and then the effects of listening strategy instruction were discussed in three ways: listening proficiency progress, listening strategy improvement and the betterment of listening autonomy. This study lasted for 23 weeks. The students in the control group had the listening activities in the textbook as usual. However, besides the same listening materials and activities, students in the experimental group received explicit listening strategy instruction. The data collected in this study include the grades in the intermediate GEPT listening tests, listening strategy and autonomy questionnaires. Based on the data, the major findings are as follows. First, the participants in this study used listening strategies with medium frequency, meaning senior high school students did employ some listening strategies while listening. They used cognitive strategies most frequently and affective strategies the least. Second, after the listening strategy instruction, they did not make significant progress in their listening test scores. However, the students in the experimental group made more progress than those in the control group, showing the strategy instruction did help promote their listening proficiency. Third, the four listening strategies chosen to be taught all improved significantly in different ways. Among the three categories, cognitive and affective strategies use increased and reached significant levels. Fourth, after the instruction, participants made significant progress in motivation, self-confidence and independent activities. Fifth, the majority of the participants had positive attitudes towards listening strategy instruction based on the results in the questionnaire and interview. This study demonstrated that listening strategy instruction could be integrated into the classroom activities and successfully improved senior high school students’ listening proficiency, listening strategies and autonomy. It is hoped that this study will contribute to the listening instruction in Taiwan.

Training can enable performers to express music in a personal and emotional way while communicating aesthetic impressions to an audience. Little research has been done on the emotive experiences of performing musicians listening to their own performances. The main goal of this study was to develop a reliable way to investigate emotive content of such experiences through a combination of listening profiles and continuous measurement. This empirical, methodological study used a mixed-method design. Responses from formally and informally trained musicians were tested. The methodology consists of two parts: listening profiles (Part I), and the continuous measurement of self-reported emotional response to music (Part II), supported by interviews. Part I consists of a demographic questionnaire, a listening test and a personality test. Part II consists of a computerised questionnaire with four questions: 1) word sorting, 2) word, colours, and facial expressions checklists, which participants use to indicate their emotional responses while the music plays, 3) free description, and 4) rating scales. Data was obtained during three test periods. Part I results revealed that personality, illness, preferences, and psychological factors influence the emotive content of listening experiences. Participants’ response time and manner of word sorting was also supportive of their profiles. Part II results revealed that listeners pay attention to both structural and performance elements as well as emotive content in both prescribed and personal musical tracks. Only a few participants were able to identify the predetermined emotion of the prescribed musical tracks. Participants’ experiences seemed to be influenced by training and personal preferences. Listening to their own recorded performances, informally trained participants were able to focus progressively less on performance elements and more on emotive content, while formally trained participants seemed to focus progressively more on performance elements, and less on emotive content. / Thesis (MMus)--North-West University, Potchefstroom Campus, 2012