已有文獻指出幼兒能夠根據他人的意圖、慾望和信念以解釋對方的行為。本硏究的主要目的為探究幼兒能否理解音樂所傳達的情緒以及能否運用情緒來推測對方的行為，並了解這兩種能力之間的關係。在第一項測試中，我們用了Phillip et al.（2002）的注視時間飾演方範式（looking-time paradigm)來測試幼兒能否透過觀察他人的情緒(包括面部表情及說話)來推斷他的行為。在此項測試中，幼兒會觀看兩種情景（一）實驗人員首先會笑著面向物件甲說話，跟著手抱該物件（一致的情況）；（二）實驗人員首先會笑著面向物件甲說話，但接著手抱另一物件（不一致的情況）。因為在不一致的情況下實驗人員的面部表情與她的行為不協調，假若幼兒能夠理解實驗人員的情緒與行為之間的關係，幼兒將會對這種情況比較感到驚訝，因而注視時間會較長。在另一項測試中，我們運用了跨感官比對飾演方範式（intermodal matching paradigm）來探究幼兒能否理解音樂所表達的情緒。我們在播放開心的音樂之後，幼兒同樣地會觀看兩種情景：（一）螢幕中的實驗人員面露笑容地講話（一致的情況）；（二）螢幕中的實驗人員面帶哀傷地說話（不一致的情況）。由於在不一致的情況下音樂傳達的情緒與實驗人員的面部表情不相符，如果幼兒能夠理解音樂中的情緒，他們對這種情況的注視時間將會較長。此外，鑬於幼兒的語言能力與理解他人的行為及想法有著密切的關連，我們亦要求家長填寫《漢語溝通發展量表》來評估幼兒的語言溝通能力。是次硏究對象為三十五名十八個月大幼兒（平均年齡為十八月及四天）。硏究結果顯示，（一）當實驗人員對一件物件面露笑容時，她便會手握該物件；（二）當實驗人員聽到開心的音樂時，她會面露笑容；相反，當她聽到悲傷的音樂時她便會愁眉苦臉。結果亦顯示幼兒在以上兩項測試中的表現並沒有正向的關聯，即與我們的假設不相符。由於我們認為次序效應（order effect）影響了本硏究的結果，因此我們建議在量度幼兒對音樂中的情緒之理解，以及對情緒與行為之間的關係的理解應作出適當的修改。總括而言，是次硏究把動作及視覺經驗延伸至聽覺經驗，以及由理解意向和信念延伸至理解情緒，因此本硏究對了解自身經驗和理解他人行為及想法之間的關係潛在莫大的貢獻。 / Prior studies demonstrated infants’ precocious mentalistic reasoning of attributing others’ behaviours to intentions, desires and beliefs. However, fewer studies looked at infants’ interpretation of behaviours in terms of agents’ emotional expressions. The present study examined the relationship between infants’ perception of emotions in music and their understanding of behaviours as motivated by emotional states. In Task 1, we adapted Phillips et al.’s (2002) looking-time paradigm to assess infants’ use of emotional information to predict agent’s action. Infants were shown an actress with positive emotional-visual regard directed towards one object and subsequently grasping the same object (consistent event) or the other one (inconsistent event). If infants appreciated the connection between actress’ affect and her action, they should show greater novelty response to inconsistent events in which the actress’ expressed emotion contradicted the expected action. In Task 2, an intermodal matching paradigm was used to test whether infants are sensitive to emotions conveyed in music. We exposed infants to happy or sad music and later showed them an actress portraying either happy or sad dynamic facial expressions on a monitor. If they could discern the emotions embedded in the musical excerpts, they should look longer when the actress’ posed emotion is inconsistent with the emotion represented in the music. Parental report of language skills as measured by the Mac-Arthur Bates Communicative Development Inventories was also obtained to partial out the effect of language ability on psychological reasoning. Results from 35 18-month-olds (M = 18 months 4 days) revealed that as a group (a) they recognized that the actress tended to grasp the object with which she had positively regarded previously, and (b) they appreciated that the actress tended to show happy face upon hearing positive music excerpts whereas sad facial expression was displayed when listening to sad music. Contrary to our hypothesis, we failed to find a positive correlation between these two conceptual understanding. We speculate that the result was obscured by order effects, and suggestions have been proposed to ameliorate the measurement of infants’ looking preferences as reflecting their conceptual understanding. Despite the null result, the current study is potentially significant in corroborating the role of first-person experience in social cognition by extending from motor and visual experience to auditory experience on the one hand, as well as from intention and belief attribution to emotion attribution on the other. / Detailed summary in vernacular field only. / Siu, Tik Sze Carrey. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 62-84). / Abstracts also in Chinese. / Introduction --- p.11 / Infants’ Early Psychological Reasoning --- p.11 / Self-experience as a Mechanism underlying Infants’ Psychological Reasoning --- p.14 / Infants’ Attribution of Behaviours to Emotions --- p.17 / Music as a Language of Emotions --- p.23 / The Perception of Emotions in Music among Young Children and Infants --- p.25 / The Hypothesis of the Present Study --- p.29 / Method --- p.32 / Participants --- p.32 / Apparatus and Materials --- p.33 / Chapter Task 1 --- : Ability to predict agent’s action based on expressed emotion --- p.33 / Chapter Task 2 --- : Ability to decode emotions in music --- p.33 / Musical stimuli --- p.33 / Facial expressions --- p.34 / The MacArthur-Bates Communicative Development Inventories --- p.35 / Procedure --- p.36 / Chapter Task 1 --- : Ability to predict agent’s action based on expressed emotion --- p.36 / Chapter Task 2 --- : Ability to decode emotions in music --- p.38 / Reliability Coding --- p.39 / Results --- p.41 / Chapter Task 1 --- : Ability to Predict Agent’s Action Based upon Expressed Emotion --- p.41 / Familiarization --- p.41 / Test events --- p.41 / Chapter Task 2 --- : Ability to Decode Emotions in Music --- p.42 / 42 / Test events --- p.42 / The Link between Task 1 and Task 2 --- p.43 / Discussion --- p.46 / Limitations and Further Research --- p.53 / Significance and Implications --- p.59 / Conclusion --- p.60 / References --- p.62 / Appendices --- p.85 / Table --- p.85 / Figures --- p.86

The purpose of the investigation was to determine the effects of music on self reported vividness of movement imagery. Eighty-four undergraduate kinesiology majors (42 males; 42 females) were subjects. Based on identical perceptions of precategorized music (classical and jazz), selected subjects were randomly assigned to one of three music treatment conditions (sedative, stimulative, and control) and administered the Vividness of Movement Imagery Questionnaire. A 3 x 2 x 2 (Treatment x Gender x Perspective) ANOVA with repeated measures on the last factor was employed. The results revealed that the two music conditions significantly enhanced the vividness of internal and external imagery perspectives when compared to the no music condition, and that music facilitated the vividness of males and females equally.

The rationale for this portfolio of original compositions was to investigate particular ideas in relation to the use of dissonance, and in particular harmony, to represent the concept of darkness in an emotional and visual sense. The notion that harmony and dissonance can evoke emotions was developed through research into literature of music and the mind. Theories of harmonic dissonance, acoustic, physiological and psychological were studied including those of Helmholtz, Greenwood, Plomp and Levelt, Stumpf and Cooke. The compositions are divided into two parts, two orchestral works that are an evocation of underground locations, and the second part which is devoted to three small chamber works that investigate the darker emotions of child psychology, looking at phobias, dreams and psychological perceptions: 1. Mary King’s Close - flute, clarinet, bassoon, horn, trumpet, trombone, piano, 2 percussion, 2 violins, viola, cello, double bass. 2. Limbus Infantium - flute, soprano voice, piano, harp. 3. Nocturne - 2 trumpets, horn, trombone, euphonium, tuba, 2 percussion, recorded text. 4. Symphony 2 ‘The Caves’ - symphony orchestra 5. Voices - 2 violins, viola, cello The portfolio of compositions begins with the use of dyadic harmonic intervals derived from modal themes, and the subsequent compositions expand and develop these ideas culminating in a complex use of small harmonic cells which relate to subtle light illuminations in the underground caves, and the psychological depth of perception of children in the final works. / Thesis(PhD)-- Elder Conservatorium of Music, 2007

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Hansen and Hansen (1991) proposed the relationship between music preference and personality characteristics to be an interactive process of socialization. People are attracted to music that is congruent with their needs, desires, and values. Over time and with repeated exposure, listeners' attitudes and values gradually come to conform to those represented in the music. Given this premise, people who prefer more aggressive types of music would be expected to be more aggressive. If this were found to be true, perhaps exposure to different musical genres would serve to lessen aggressive tendencies. The current study sought to investigate whether people who prefer harder forms of music (e.g., hard rock, heavy metal, rap) tend to be more aggressive than those preferring softer types of music (e.g., country, classical, gospel, jazz). It also examined whether there was a relationship between music preference and social desirability. A sample of 322 undergraduates from a Midwestern university completed the Aggression Questionnaire (AQ), the Marlowe-Crowne Social Desirability Scale (MC-SDS), and a leisure interests survey developed by the author to assess music preferences. Initially, correlations between the MC-SDS and the four aggression scales of the AQ were calculated. Because all correlations were negative and statistically significant, social desirability was entered as a covariate in the analysis of music preference and aggression. Results from a multivariate analysis of covariance failed to find a significant relationship between music preferences and aggression. Thus, people preferring harder music types do not differ in level of aggression from those preferring softer music types. Sex differences in aggression were supported. Follow-up univariate analyses showed males to be more physically and verbally aggressive as well as more hostile than females. An analysis of Music Preference and Aggression x variance was performed to investigate the relationship between music preference and social desirability, with results suggesting that no such relationship existed. No sex differences in social desirability were found. The current findings contrast with previous research, which has supported a relationship between music preferences and aggression, with heavy metal and rap fans displaying higher aggressive tendencies than those preferring other music types (Rubin, West, & Mitchell, 2001). Limitations of the study, as well as research and counseling implications, are discussed. / Department of Counseling Psychology and Guidance Services

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A study was conducted with third-grade children in a university laboratory school to determine the relative effectiveness of a method for teaching recorder in which the sequential objectives are logically ordered by Edwin Gordon's empirical model of learning sequence and a traditional method which stresses note reading. The criteria used for comparison were change in the level of developmental music aptitude and performance achievement on the recorder. A review of the literature supported Edwin Gordon's theory of developmental music aptitude which proposes that until about age nine, environmental factors can affect the level of music aptitude, and, at about age nine, music aptitude stabilizes. The review of the literature also supported the use of singing activities with instrumental instruction, and the application of verbal association systems to tonal and rhythmic patterns as pedagogical techniques. Treatment for the control group involved a teaching-learning procedure in which individual fingerings, pitches, and rhythm symbols were presented in isolation and assembled in playing songs from notation. The method used with the experimental group involved a teaching-learning sequence in which children first learned to sing the song by rote. In learning to play the song on the recorder, each melodic and rhythmic pattern was isolated and initially sung or chanted. A verbal association system was then associated with the tonal and rhythmic pattern. The notation representing the pattern was introduced after extensive aural and verbal association experience, and after learning several songs. Primary sources of data included: pretest/posttest using Gordon's PMMA to measure developmental music aptitude change, and a rating scale test to measure recorder performance achievement. Results of the PMMA supported the alternative hypotheses that the experimental group had significantly higher mean composite and rhythmic increases than the control group. The mean increase in the tonal scores was greater for the experimental group, but not significantly higher at the .05 level. Results of the investigator-designed performance achievement tests supported the alternative hypotheses that the experimental method of teaching recorder was more effective in all dimensions--melodic, rhythmic, executive skills, and composite--than the traditional method.

The purpose of the study was to determine whether students' timbre preferences in the sixth grade remain stable through the tenth grade. The investigation also examined whether gender, band instruction, or musical home environment makes any difference in influencing the stability of students' timbre preferences from grade six through ten. Students' timbre preferences at the beginning of the study were compared to their preferences four years later. The students' timbre preferences were obtained by employing Gordon's Instrument Timbre Preference Test (ITPT). A questionnaire was also utilized at the conclusion of the study to determine which students had musical home environments and which did not. All sixth grade students enrolled in a single school district took the ITPT. Each student's scores were tallied and ranked in order to determine their timbre preferences; four years later they were retested and their scores were ranked again.