This study investigates the effects of frequency variance on duration perception, using musically trained subjects. In the experiment three silent duration intervals were examined (4.75, 5.00, and 5.25 seconds); each interval was preceded and followed by tone markers. The onset marker was preceded by seven discrete tones one second apart, on the frequency 174.968 Hertz. This established a pulse or an external standard time measure. The subjects made judgments as to whether the offset marker fell "before," "on," or "after," the pulse. The offset marker had a variable frequency. In the study, the direction of the frequency change, the distance of frequency change, and the mathematical intervallic relationships of the two frequencies show possible influence on duration perception.

The investigator wished to determine the effect of certain school music techniques on children's attitudes.

On Monday August 29, 2005, Hurricane Katrina made landfall in Southeast Louisiana bringing with it destruction to much of the Gulf Coast. While New Orleans, one of America's most culturally and artistically significant cities, was spared a direct hit, the subsequent flood devastated much of the city, home to many musicians. The devastation and stress from the storm established a situation and a motivator for creative response, and this dissertation illustrates that the music these musicians produce is a manifestation and continuation of New Orleans' cultural atmosphere. The city's historical allowance and celebration of freedom of expression permits New Orleans' current musicians to be innovative and responsive to the events surrounding the disaster. This project, designed as a qualitative research study, identifies four professional musicians who are established in the musical environment of New Orleans. To illustrate the depth of tradition and experimentation that their music evokes, the music of post- Katrina New Orleans is given historical contextualization and set in comparison to music that was inspired by a past catastrophe, the 1927 flood. Through the holistic exploration of the present circumstances of these four musicians, it becomes clear that New Orleans remains a place that is extremely open to change and that experimental music flourishes at the same time that traditional jazz lives on through new performers, who walk in the footsteps of legends. From interviews conducted with these four individuals, as well as other on-site observations, the emotional, physical, and financial effects of Hurricane Katrina are identified and recorded. / Central to this study is the author's own knowledge of music and experience in musical dialogue - it is through the interaction of the author and the subjects that important events and characteristics, which could be documented, actually emerged.This project reveals the influence that the storm has had on the individual musician and it demonstrates that while all four musicians are caught up in the whirlwind of recovery in New Orleans, their music remains rooted in the fundamental characteristic that is associated historically with New Orleans' music, improvisation. By the same token, it also shows that while each person may have had to suffer the same conditions, the musical response from each musician was unique. / by David Bethea. / Thesis (Ph.D.)--Florida Atlantic University, 2010. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Yim-chi Ho. / "Running head: Effects of music training on memory of children." / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 51-65). / Abstracts in English and Chinese. / ABSTRACT (English Version) --- p.ii / ABSTRACT (Chinese Version) --- p.iii / ACKNOWLEDGEMENTS --- p.iv / TABLE OF CONTENTS --- p.v / LIST OF TABLES --- p.vi / LIST OF FIGURES --- p.vii / Chapter CHAPTER I - --- INTRODUCTION --- p.1 / Chapter CHAPTER II - --- METHOD --- p.13 / Chapter CHAPTER III - --- RESULTS --- p.19 / Chapter CHAPTER IV - --- DISCUSSION --- p.42 / REFERENCES --- p.51

Afrikaans text / Die doel van hierdie studie was om vas te stel of musiek in terapie gebruik kan word deur ' opvoedkundige sielkundiges, asook wat die verskil is tussen musiekterapie en die terapeutiese aanwending van musiek deur ander terapeute. Vir die verkenning van die terapeutiese gebruik van musiek is 'n literatuurstudie gedoen oor die fenomeen musiekterapie, asook oor die terapeutiese gebruik van musiek. Die twee verskynsels is met mekaar vergelyk om ooreenkomste en verskille aan te dui. Die empiriese studie het aan die lig gebring dat musiek op baie verskillende maniere in terapie gebruik kan word en gekombineer kan word met ander hulpmiddels. Die emosionele en kognitiewe funksie wat musiek vervul is met die studie uitgewys. Musiek help byvoorbeeld om 'n emosionele klimaat te skep wat effektief in terapie gebruik kan word; en musiek kan 'n mens se denke stimuleer. Aanbevelings is ook gegee vir die terapeutiese gebruik van musiek. / The object of the study was to determine if and how music can be used in therapy by the educational psychologist. The further aim was to determine the difference between music therapy and the therapeutic application of music by other therapists. In the exploration of the therapeutic use of music, a comparative study was done between music therapy as phenomenon and the therapeutic use of music, where similarities and differences were outlined. The empirical study showed that music can be used in different ways in therapy and can also be combined with other therapeutical aids. According to this study, music can fulfill an emotional and a cognitive roll. A pleasant emotional climate for therapy can be created and stimulate the client's thoughts. With this study it was possible to give guidelines for therapeutic applications of music. / Psychology of Education / M. Ed. (Voorligting)

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.

The study sought to determine the relationships of preference responses to grade, gender, familiarity, musical training, peers'/parents' listening habits, music media use, and listening contexts. Grade six through nine Hong Kong students (N = 310) completed the audio preference test followed by verbal responses to training, peers'/parents' preferences, leisure/music media involvement, and listening context. Results indicated: The preferred genres, in descending order, were Western pop/rock, Cantopop/rock, Western classical; the disliked genres were jazz, Chinese, and non- Western/non-Chinese. Preference correlated strongly with genre familiarity. Pop genres were the most familiar to all adolescents. The students' preference toward Western pop/rock and Cantopop/rock associated with several listening contexts: solitary listening, having great freedom to choose one's desired music for listening, listening to music in one's room, and listening to music as background activity. The adolescents expressed that their leisure activities were spent with their family and friends. However, they made it clear that music listening was a personal activity that very likely was listened to alone. On all listening occasions, the girls exhibited a more positive response than the boys did. With four to five hours daily leisure time, the adolescents watched TV for three to four hours while spending less than two hours on listening to recorded music, and less than an hour on listening to radio music, MTV/karaoke, and music websites. Cantopop/rock was the most pursued music style in terms of the records bought, concerts attended outside of school, their peers', and parents' most-listened-to music. Some weak correlations of preference with grade and gender were identified: the grade six students showed more tolerance to Chinese and non-Western/non-Chinese music. Boys preferred jazz more than the girls did. Private music study and extracurricular musical experiences related to Western classical and non-Western/non-Chinese music preferences whereas school music training failed to show any association with students' musical preference.

In this research, an attempt is made to evaluate the music program of a typical high school in terms of its contribution to the development of pupils who show evidence of possessing musical talent. One of the aims of modern education is to help pupils develop emotional stability, desirable attitudes, and worthy ideals. In other words, the purpose is to teach pupils to feel, as well as to know and do. Music can be powerful force in fulfilling this aim. The purpose of this report is to apply the results of the Pitch and Tonal Memory tests of the Seashore Measures of Musical Talent and the results of the Kuder Preference Record to the building of a Program Music in Borger High School.

Childhood friends Curt Smith and Roland Orzabal founded the band Tears for Fears, and were the two primary members from 1982-1990. Their songs describe the struggle of coping with childhood abuse. This thesis analyzes the rhetorical aspects of their lyrics, emphasizing how the words of their songs express the fundamental human response to abuse, and the painful process of recovery. It explores how the songwriters use the psychological theories of Arthur Janov and Carl Jung to scaffold their experience of working through emotional trauma; and how they combine those theories with astrological symbolism to explore the idea of destiny. This thesis uses a combined rhetorical and psychological approach to analyze the manner in which the ethos and pathos inherent in the lyrics generated recognition, understanding, and sympathy in the listener.

This study explored the utilisation of a music anger management technique as an effective therapeutic aid in addressing the problems that children in residential care have in managing and expressing their anger. A literature review was conducted which provided evidence that music can be a helpful tool in teaching children appropriate ways to manage their anger. An empirical study was conducted and five participants were chosen through a sampling process. Background information of the five participants was obtained and data analyses were presented from the data gathered in the pre- and post-assessments processes before and after the implementation of the music anger management technique. The data that gave rise to several empirical findings were then reduced. From the empirical study, it can be concluded that the music anger management technique can be used effectively to improve inappropriate anger management. Getting firsthand experience of the implementation of the music anger management technique led me to derive psycho-educational guidelines, which can assist the educational psychologist in using the music anger management technique in addressing unmanaged anger in children in residential care. / Further Teacher Education / M.Ed. (Guidance and Counseling)