Thesis (M.S.)--University of Wisconsin--Madison, 1974. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (M.S.)--University of Wisconsin--Madison, 1963. / Typescript. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Research paper (M.A.) -- Cardinal Stritch College -- Milwaukee, 1969. / A research paper submitted in partial fulfillment of the requirements for the degree of Master of Arts in Education (Reading Specialist). Includes bibliographical references (33-35).

Thesis (Ph. D.)--University of Wisconsin--Madison, 1951. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 147-150).

No description available.

The purpose of this study was to examine the effect of Mindful Listening Instruction on Music Listening Sensitivity and Music Listening Enjoyment. The type of mindfulness investigated in this study was of the social-psychological type, which shares both commonalities with and distinctions from meditative mindfulness. Enhanced context awareness, openness to new information, situation in the present, awareness of novel distinctions, and awareness of multiple possible perspectives (cognitive flexibility) are components of social-psychological mindfulness. A pretest-posttest control group design was used for this study. Two different age groups of students were studied: fourth-grade students (N = 42) and undergraduate non-music major college students (N = 48). The fourth-grade participants in this study were selected from an elementary school in a large city in the Northeastern United States. The college students were selected from a large university in the Southeastern United States. Participants were randomized into either the experimental or control group. Gordon’s Intermediate Measures of Music Audiation and Advanced Measures of Music Audiation were used as a pretest for fourth-grade students and college students, respectively. The results showed no statistically significant differences between the experimental and control groups. Student demographical information was also collected and reported. The treatment consisted of 10 lessons for fourth-grade students. Five of the 10 lessons were used with the college students. For each age level, participants in both groups, Mindful Listening and Control, received instruction using listening-map-based and non-listening-map-based lessons from the Share the Music textbook series. Students in the Mindful Listening groups also received listening instructions designed to promote mindful listening. Music Listening Sensitivity was measured using the phrasing test from the Sensitivity portion of Gordon’s Music Aptitude Profile (MAP-P), as well as the researcher-created Anderson Test of Music Listening Sensitivity (ATMLS). Music Listening Enjoyment was measured using students’ ratings of their Listening Enjoyment after each lesson on a seven-point Likert-type scale. Results indicated that Mindful Listening Instruction yielded higher scores, which were statistically significant (at α = .05), for Music Listening Sensitivity (as measured by both the ATMLS and the MAP-P) and Music Listening Enjoyment for fourth-grade and college-student participants.

Although attention is distributed across time as well as in space, the temporal allocation of attention has been less well studied than its spatial counterpart, especially in the auditory modality. However, temporal information is crucial to processing in audition and it is expected that attention to time may play a more important role in the auditory modality than in the visual modality. In the present thesis, I pursued three studies to gain more understanding of auditory temporal attention. In study 1, the basic temporal attention orienting was studies in the auditory modality. The results showed a cue effect indicating that it is possible to orient attention based on temporal information in the auditory modality, and that the temporal attention modulates perceptual and subsequent processing stages. In study 2, auditory attention in the temporal and spatial modalities was directly compared in one paradigm. The results showed that the temporal attention interacts with spatial attention, and temporal information is more dominant in guiding attention in the auditory modality. Temporal attention and spatial attention have some overlap in their neural correlates, such as the N1 and P2 components, but differ in the late P300 component. Finally, I extended current studies to another aspect of attention concerning attentional selection, to examine how auditory attention selects target items and suppresses or inhibits distractor items purely based on temporal information. Using the analog of a spatial flanker task, study 3 investigated the efficiency of attentional selection, and the results showed an interference effect and magnitude of temporal segregation were the primary factors that determine temporal attentional selection. In summary, the studies provide the first set of empirical evidence probing the nature of temporal attention in auditory modality. / Jin, Mingxuan. / Adviser: John X. Zhang. / Source: Dissertation Abstracts International, Volume: 73-01, Section: B, page: . / Thesis (Ph.D.)--Chinese University of Hong Kong, 2010. / Includes bibliographical references (leaves 71-77). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese.

Project Thesis (D. Min.)--Denver Conservative Baptist Seminary, 1997. / Includes bibliographical references (leaves 201-215).

No description available.

The purpose of this study was to investigate whether music students could be systematically trained, by means of a guided listening course, to improve the reliability and validity of their evaluation of solo voice performance. Fifty-four music students were randomly and evenly divided into two groups. The treatment group took an 8-hour home study guided listening course, which focussed on twelve criteria of vocal production, derived from a previous study with expert voice teachers. At the end of the course, treatment subjects rated, on a seven-point Likert scale, twelve criteria and "overall score" for each of 25 performances of the same excerpt. The excerpt chosen was a portion of Mozart's lied "Ridente la calma". It was performed by 19 singers of differing voice classifications and achievement levels. Six of the performances were presented twice. The control group took the evaluation test, but received no treatment. / Interjudge reliability, intrajudge reliability and validity were assessed for the two groups and for 22 expert voice teachers. Treatment subjects achieved significantly higher scores than control subjects for interjudge reliability and validity. No significant difference was found, however, for intrajudge reliability. The expert group achieved significantly higher scores for all three measures than either of the student groups. No significant differences were found between graduate students and undergraduate students, nor between voice major and non-voice majors. Treatment subjects scored higher than control subjects on validity of their evaluations of all twelve criteria and "overall score".