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”Ni på sittplats, är ni klara?” : Ett arbete om musikens påverkan på en ishockeypublik / “You on bleachers are you ready?” : A study about the influence of music on an ice-hockey audienceOlsson, Per January 2008 (has links)
The question formulation for this work has been "is an ice-hockey audience influenced by music during time-outs in a game?". The method was to observe one period with Färjestads BK and Mora IK, but a recording was also made, together with a conversation with the arena DJ. From the recording, the audience reactions were graded from a given scale. The grades were compilated to a diagram that shows the audience reactions in relation to the time, from the first face-off to the final whistle. From the diagram, one can see the connections between the audience reactions and the music. During the observation, all important incidents were noted so that potential connections could be made. Any influence on the audience by the music could not ascertain with this method. Finally, it could be ascertained that if a better picture of the reality is wanted, it will demand more observations and records of more games, as this work only analyses one period in one game.
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The effect of classical music on painting quality, attitude and behaviour for students with severe intellectual disabilitiesRiddoch, Jane. January 2006 (has links)
Thesis (Ph.D.)--Edith Cowan University, 2006. / Submitted to the Faculty of Education and Arts. Includes bibliographical references.
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Effects of dichotic listening on aerobic performanceZane, Frank 01 January 1990 (has links)
No description available.
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Significant Influences in the Lives of Senior Citizens: Reflections on Music Experiences during School Years and BeyondLim, Eun-Jung 24 April 2012 (has links)
No description available.
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Konstruktiewe en destruktiewe aanwending van musiek sedert die aanvang van die moderne era : 'n ondersoek vanuit 'n opvoedingsperspektiefLategan, Stephanus 11 1900 (has links)
Text in Afrikaans / Sekere bevindings oor die positiewe en negatiewe invloed van musiek en die
funksies wat dit met betrekking tot menswees vervul, is as 'n verwysingsraamwerk
gebruik om historiese gegewens oar die konstruktiewe en destruktiewe
aanwending van musiek in hoofsaaklik Duitsland en die V.S.A. te analiseer.
Dit het aan die lig gekom dat musiek konstruktief aangewend is met betrekking
tot:
Intellektuele vorming: Intellektuele vaardighede en kennisverwerwing is deur
musiek bevorder. Die leergebeure is veraangenaam en meer effektief gemaak.
Estetiese vorming: Deur musiek is 'n estetiese waardesisteem en 'n goeie
kunssmaak ontwikkel en die wording van volwaardige, gebalanseerde individue
bevorder.
Religieuse vorming: Musiek is aangewend om religieuse denke en gewaarwordinge
uit te druk en om kennisoordrag, evangelisasie, sending en die belewing van
'n innige geloofsgemeenskap te bevorder.
Etiese vorming: Etiese waarhede is met behulp van musiek herhaal en ingeoefen.
'n "Morele atmosfeer" en die vaslegging van 'n waardesisteem is daardeur
bevorder.
Politieke vorming: Politieke gevoelens en menings is deur musiek uitgedruk om
mense te be1nvloed om bepaalde standpunte, partye, regerings of politieke
stelsels te ondersteun.
Nasionale vorming: Musiek is gebruik om patriotisme te verwoord, die kulture
van volkere te weerspieel, volksfeeste op te luister en nasionale eenheid te
bevorder.
Sosiale vorming: Musiek is aangewend as 'n bran van vermaak en ontspanning en
as 'n kommunikasiemiddel. Dit het gehelp om 'n groepsidentiteit te vestig,
'n gemeenskapsgevoel en sosialisering te bevorder en mense se gedragspatrone
te be1nvloed.
Affektiewe vorming: Deur middel van musiek is gepoog om die gevoelslewe te
orden en te veredel en om positiewe veranderinge ten opsigte van affektiewe
toestande teweeg te bring.
Fisieke vorming: Verskeie liggaamsaktiwiteite en fisieke vaardighede,
ontspanning en verfrissing is deur musiek bevorder en dit is as 'n terapie
aangewend.
Musiek is oak destruktief aangewend deurdat die Christelike kerk ondermyn,
religieuse aanbidding benadeel, die jeug se emosionele beheer, selfstandigwording
en etiese waardestelsels negatief be!nvloed, aggressiewe en opstandige
gedrag, militarisme, politieke venyn en rassehaat bevorder, beswyming
ge!nduseer, gehoorsintuie beskadig en regerings omvergewerp is.
'n Aantal aanbevelings en waarskuwings met betrekking tot die aanwending van
musiek in formele, nieformele en informele onderwys- en opvoedingsituasies het
uit die analise voortgevloei. / Certain findings concerning the positive and negative influences of music and
the functions fulfilled by it in the life-world of man were used as a
reference framework in order to analyse historical data on the constructive
and destructive applications of music in mainly Germany and the U.S.A.
It came to light that music was constructively applied with regard to:
Intellectual shaping: Music was employed to enhance various intellectual
skills, to improve the acquisition of knowledge and to render the learning
process more pleasant and effective.
Aesthetic shaping: An aesthetic value system and a good artistic taste were
developed and the shaping of complete, balanced individuals was promoted
through music.
Religious shaping: Music was employed to express religious thoughts and
perceptions and to promote close community of faith, knowledge transfer,
evangelization and missionary effort.
Ethical shaping: Ethical truths were reiterated and "practised" and a "moral
atmosphere" and a value system established through music.
Political shaping: Political feelings and opinions were expressed through
music and people were influenced to support specific viewpoints, parties,
governments or political systems.
National shaping: Music was employed to express patriotism, to reflect the
cultures of nations, to add lustre to national gatherings and to promote
national unity.
Social shaping: Music was a source of entertainment and recreation and a means
of communication. Through music the establishment of a group identity,
socialization and a communal sense were promoted and behavioural patterns
affected.
Affective shaping: Music was a means of ordering and ennobling inner life and
of facilitating positive changes in affective conditions.
Physical shaping: Relaxation, recreation, physical skills and activities were
promoted through music which was utilized as a therapy.
Music was also destructively employed by undermining the Christian church and
harming religious worship, by negatively influencing youth's emotional selfcontrol,
ethical value systems and the actualization of independence, by
furthering aggressive and rebellious behaviour, inducing trances, causing
physical damage to hearing organs and promoting militarism, political
viciousness, racial hatred and the overthrow of governments.
A number of recommendations and warnings concerning the employment of music
in formal, non-formal and informal educational situations resulted from the
analysis. / Art History, Visual Arts & Musicology / D. Ed. (Historiese Opvoedkunde)
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音楽聴取がもたらす感情的変化に関する心理学的研究 : 不快感情状態における音楽聴取の効果の検討栗野, 理恵子, Kurino, Rieko, 伊藤, 義美, Ito, Yoshimi 25 October 2001 (has links)
No description available.
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Konstruktiewe en destruktiewe aanwending van musiek sedert die aanvang van die moderne era : 'n ondersoek vanuit 'n opvoedingsperspektiefLategan, Stephanus 11 1900 (has links)
Text in Afrikaans / Sekere bevindings oor die positiewe en negatiewe invloed van musiek en die
funksies wat dit met betrekking tot menswees vervul, is as 'n verwysingsraamwerk
gebruik om historiese gegewens oar die konstruktiewe en destruktiewe
aanwending van musiek in hoofsaaklik Duitsland en die V.S.A. te analiseer.
Dit het aan die lig gekom dat musiek konstruktief aangewend is met betrekking
tot:
Intellektuele vorming: Intellektuele vaardighede en kennisverwerwing is deur
musiek bevorder. Die leergebeure is veraangenaam en meer effektief gemaak.
Estetiese vorming: Deur musiek is 'n estetiese waardesisteem en 'n goeie
kunssmaak ontwikkel en die wording van volwaardige, gebalanseerde individue
bevorder.
Religieuse vorming: Musiek is aangewend om religieuse denke en gewaarwordinge
uit te druk en om kennisoordrag, evangelisasie, sending en die belewing van
'n innige geloofsgemeenskap te bevorder.
Etiese vorming: Etiese waarhede is met behulp van musiek herhaal en ingeoefen.
'n "Morele atmosfeer" en die vaslegging van 'n waardesisteem is daardeur
bevorder.
Politieke vorming: Politieke gevoelens en menings is deur musiek uitgedruk om
mense te be1nvloed om bepaalde standpunte, partye, regerings of politieke
stelsels te ondersteun.
Nasionale vorming: Musiek is gebruik om patriotisme te verwoord, die kulture
van volkere te weerspieel, volksfeeste op te luister en nasionale eenheid te
bevorder.
Sosiale vorming: Musiek is aangewend as 'n bran van vermaak en ontspanning en
as 'n kommunikasiemiddel. Dit het gehelp om 'n groepsidentiteit te vestig,
'n gemeenskapsgevoel en sosialisering te bevorder en mense se gedragspatrone
te be1nvloed.
Affektiewe vorming: Deur middel van musiek is gepoog om die gevoelslewe te
orden en te veredel en om positiewe veranderinge ten opsigte van affektiewe
toestande teweeg te bring.
Fisieke vorming: Verskeie liggaamsaktiwiteite en fisieke vaardighede,
ontspanning en verfrissing is deur musiek bevorder en dit is as 'n terapie
aangewend.
Musiek is oak destruktief aangewend deurdat die Christelike kerk ondermyn,
religieuse aanbidding benadeel, die jeug se emosionele beheer, selfstandigwording
en etiese waardestelsels negatief be!nvloed, aggressiewe en opstandige
gedrag, militarisme, politieke venyn en rassehaat bevorder, beswyming
ge!nduseer, gehoorsintuie beskadig en regerings omvergewerp is.
'n Aantal aanbevelings en waarskuwings met betrekking tot die aanwending van
musiek in formele, nieformele en informele onderwys- en opvoedingsituasies het
uit die analise voortgevloei. / Certain findings concerning the positive and negative influences of music and
the functions fulfilled by it in the life-world of man were used as a
reference framework in order to analyse historical data on the constructive
and destructive applications of music in mainly Germany and the U.S.A.
It came to light that music was constructively applied with regard to:
Intellectual shaping: Music was employed to enhance various intellectual
skills, to improve the acquisition of knowledge and to render the learning
process more pleasant and effective.
Aesthetic shaping: An aesthetic value system and a good artistic taste were
developed and the shaping of complete, balanced individuals was promoted
through music.
Religious shaping: Music was employed to express religious thoughts and
perceptions and to promote close community of faith, knowledge transfer,
evangelization and missionary effort.
Ethical shaping: Ethical truths were reiterated and "practised" and a "moral
atmosphere" and a value system established through music.
Political shaping: Political feelings and opinions were expressed through
music and people were influenced to support specific viewpoints, parties,
governments or political systems.
National shaping: Music was employed to express patriotism, to reflect the
cultures of nations, to add lustre to national gatherings and to promote
national unity.
Social shaping: Music was a source of entertainment and recreation and a means
of communication. Through music the establishment of a group identity,
socialization and a communal sense were promoted and behavioural patterns
affected.
Affective shaping: Music was a means of ordering and ennobling inner life and
of facilitating positive changes in affective conditions.
Physical shaping: Relaxation, recreation, physical skills and activities were
promoted through music which was utilized as a therapy.
Music was also destructively employed by undermining the Christian church and
harming religious worship, by negatively influencing youth's emotional selfcontrol,
ethical value systems and the actualization of independence, by
furthering aggressive and rebellious behaviour, inducing trances, causing
physical damage to hearing organs and promoting militarism, political
viciousness, racial hatred and the overthrow of governments.
A number of recommendations and warnings concerning the employment of music
in formal, non-formal and informal educational situations resulted from the
analysis. / Art History, Visual Arts and Musicology / D. Ed. (Historiese Opvoedkunde)
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Kerkmusiek vir hedendaagse tienersVan Tonder, Barend Jacobus 06 1900 (has links)
Text in Afrikaans / Die eng definiering van kerkmusiek staan tans in die spervuur
vanwee:
1. Ingrypende wendinge binne die praktiese teologie in die
afgelope paar dekades, wat pleit om 'n hernieude ondersoek
binne die handelingsveld van viering (waaronder himnologie);
2. 'n Verskuiwing in wereldbeskouing weg van modernisme na postmodernisme;
3. Die geboorte van 'n totaal nuwe geslag adolessente, bekend
as die 'Verlore Generasie' of 'Generasie X' .
Kerkmusiek, in die engere sin, soos dit steeds grootliks verstaan
word, hou nie genoegsaam met hierdie tendense rekening nie.
Vandaar verloor kerkmusiek sy impak en inspraak in die leefwereld
van die hedendaagse tiener. Dit veroorsaak gevolglik 'n groterwordende kloof tussen adolessente en die erediens, gemeente en kerk.
In hierdie studie word gepoog om genoegsaam op bostaande tendense
ag te slaan, sodat 'n breer def iniering van kerkmusiek tot stand mag kom, wat ruimte vir grater verskeidenheid en aktualiteit tot gevolg sal he, en die spanning random kerkmusiek en die tiener kan probeer ontlont. / The narrow defining of church music today experiences a critical
assault on account of:
1. Drastic turns within the development of Practical theology
in the past few decades, which ask for a renewed
investigation within the field of himnology;
2. a Shift in worldview away from modernism to post-modernism;
3. The birth of a total new generation of adolescents, known as
the 'Lost Generation' or 'Generation X' .
Church music in the narrow sense, as it is still understood to a great extent, does not take these tendencys serious enough. For this reason it's impact and influence in the life of today's teenagers declines.
With this study a thorough acknowledgement of these shifts is
attempted, which will result in a much broader defining of church music, and in turn will bring forth a scope for more variety and actuality, so that hopefully the growing gap between teenagers and church music can be bridged. / Practical Theology / M.Diac. (Jeugwerk)
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Kerkmusiek vir hedendaagse tienersVan Tonder, Barend Jacobus 06 1900 (has links)
Text in Afrikaans / Die eng definiering van kerkmusiek staan tans in die spervuur
vanwee:
1. Ingrypende wendinge binne die praktiese teologie in die
afgelope paar dekades, wat pleit om 'n hernieude ondersoek
binne die handelingsveld van viering (waaronder himnologie);
2. 'n Verskuiwing in wereldbeskouing weg van modernisme na postmodernisme;
3. Die geboorte van 'n totaal nuwe geslag adolessente, bekend
as die 'Verlore Generasie' of 'Generasie X' .
Kerkmusiek, in die engere sin, soos dit steeds grootliks verstaan
word, hou nie genoegsaam met hierdie tendense rekening nie.
Vandaar verloor kerkmusiek sy impak en inspraak in die leefwereld
van die hedendaagse tiener. Dit veroorsaak gevolglik 'n groterwordende kloof tussen adolessente en die erediens, gemeente en kerk.
In hierdie studie word gepoog om genoegsaam op bostaande tendense
ag te slaan, sodat 'n breer def iniering van kerkmusiek tot stand mag kom, wat ruimte vir grater verskeidenheid en aktualiteit tot gevolg sal he, en die spanning random kerkmusiek en die tiener kan probeer ontlont. / The narrow defining of church music today experiences a critical
assault on account of:
1. Drastic turns within the development of Practical theology
in the past few decades, which ask for a renewed
investigation within the field of himnology;
2. a Shift in worldview away from modernism to post-modernism;
3. The birth of a total new generation of adolescents, known as
the 'Lost Generation' or 'Generation X' .
Church music in the narrow sense, as it is still understood to a great extent, does not take these tendencys serious enough. For this reason it's impact and influence in the life of today's teenagers declines.
With this study a thorough acknowledgement of these shifts is
attempted, which will result in a much broader defining of church music, and in turn will bring forth a scope for more variety and actuality, so that hopefully the growing gap between teenagers and church music can be bridged. / Philosophy, Practical and Systematic Theology / M.Diac. (Jeugwerk)
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