Thesis (M.M.) Florida State University, 2005. / Advisor: Jayne M. Standley, Florida State University, College of Music. Title and description from dissertation home page (viewed 6-25-07). Document formatted into pages; contains 65 pages. Includes biographical sketch. Includes bibliographical references.

I detta arbete har jag undersökt hur jag kan nyttja olika musikparametrar för att gestalta olika känslor i min musik. Det blev tolv låtar utifrån fyra valda känslor, där riktlinjerna för att kunna gestalta känslorna hämtades ur Patrik Juslins Bok Musical Emotions Explained. Låtarna komponerades först på piano och utvecklades senare till fritt instrumenterade och arrangerade versioner i utvalt DAW. Arbetet ger inblick i gestaltning av känslorna glädje, intresse, ilska och sorg i flera låtar genom att visa på hur olika musikparametrar har använts i komponerandet och arrangerandet för respektive känsla. Jag har kommit fram till att olika musikparametrar för känslorna har värderats och prioriterats olika högt beroende på vilken känsla som gestaltats. Låtarnas klangfärg, genom val av instrument och artikulationer har spelat större roll för musikens känslouttryck än vad jag tidigare hade trott. Visualisering, i form av inre upplevda bilder, har fungerat som en inspirationskälla i skapandet av de arrangerade intresselåtarna och även till några låtar för de andra känslorna. Riktlinjerna till musikparametrarna som använts stämmer till stor del överens med de olika känslorna som låtarna ska gestalta enligt mig. Slutligen anser jag att alla riktlinjer i studien (Juslin, 2019, ss. 126, 235) inte alltid fungerar i praktiken, exempelvis genom att en individs känsloupplevelse kan skilja sig från majoritetens känsloupplevelse av ett stycke musik. Faktorer som lyssnarens bakgrund och omgivning tar på ett eller annat sätt fokus från de musikaliska funktionerna och formar upplevelsen av musiken.

I am exploring the way music alters or enhances the perception of our environment. This creative project allows me to explore and visualize several issues that intrigue me: music (sound), emotion, and visual imagery (film). My goal in developing this topic is to allow others to have an experience related to sound and image, where image is altered and enhanced by the use of music.

The thesis deals with the contribution of physical, art and music education at primary school. It monitors the influence of education on the overall development of children and at the same time how the teacher himself can influence the educational content of these lessons. The aim of my thesis is to find out how the teachers deal with the potential of education, which therapeutic elements they use in their lessons and which approach to education they prefer. The theoretical part introduces the content, potential and main therapeutic elements of physical, art and music education to the public and suggests the importance of their preservation in the educational system at primary school. It is a qualitative investigation, I used the semi-structured interview method as well as direct unstructured observation for my research. In the practical part I conducted interviews with four experienced teachers and I mainly focused on their conception of selected education. Furthermore, the most striking aspects of the education, which have a positive impact on the development of children and their integration into society, were processed by observation in lessons. Based on the obtained results, physical, artistic and musical education can be understood as very beneficial doctrines that affect the pupil's psyche, influence his / her physical health and facilitate his / her involvement in the collective. Art, music and physical education at primary school provide a place where children learn the basics of art, culture and dance, and where they can discover themselves and learn to accept the differences observed in the surroundings.

Music is a human universal and has the ability to evoke powerful, genuine emotions. But does music influence our capacity to understand and feel with others? A growing body of evidence indicates that empathy (sharing another’s feelings) and compassion (a feeling of concern toward others) are behaviorally and neutrally distinct, both from each other and from the social cognitive process theory of mind (ToM; i.e., inferring others’ mental states). Yet little is known as to whether and how these dissociable routes to feeling with and understanding others can be independently modulated. The goal of the current study was to investigate if emotional music has the potential to enhance social affect and/or social cognition. Using a naturalistic, video based paradigm which disentangles empathy, compassion, and ToM, we demonstrate selective enhancement of social affect through music during the videos. Specifically, we found enhanced empathy and compassion when emotional, but not when neutral music was present during videos displaying emotionally negative narrations. No such enhancement was present for ToM performance. Similarly, prosocial decision making increased after emotionally negative videos with emotional music. These findings demonstrate how emotional music can enhance empathic responding, compassion and prosocial decisions as well as contribute to the growing evidence for separable processes within the social mind.

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)

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)

L'étude de ce que l'on nomme « rhétorique musicale » nous semble pouvoir offrir un éclairage spécifique sur la question de la musique et des émotions. En effet, les deux champs de réflexion en philosophie de la musique dont il est question font l'objet d'un intérêt qui se manifeste au cours de ces dernières années. Aussi, nous considérons que la rhétorique musicale et le phénomène particulier de la poétique musicale germanique sont de nature à structurer une telle étude, tant par les choix qu'ils présupposent (comme le fait que les émotions y sont un moyen destiné à produire un effet) que par ceux qu'ils délaissent. Notre recherche suivra les trois principales étapes suivantes : (a) une étude des aspects de la question antérieurs à la musica poetica (dans la Grèce antique, dans la liturgie luthérienne, dans la théorie musicale italienne) ; (b) un examen détaillé du thème des passions dans les traités de l’Allemagne baroque ; (c) un parcours concernant l’évolution de la question jusqu’aux débats actuels. / Studying “musical rhetoric” seems likely to bring some specific light about the topic of music and emotions. Both fields of research in philosophy of music involved arouse an interest, especially last years. Therefore, we regard musical rhetoric and the distinctive phenomenon of German musical poetics as able to structure such a studying, through choices they suppose (for example, the fact that emotions are means for have an effect) and choices they leave. Our investigation includes the three main following parts: (a) some study about facets of the subject prior to musica poetica (in Ancient Greece, in Lutheran liturgy, in Italian theory of music); (b) some detailed examination about the topic of passions in German baroque treatises; (c) a review regarding evolution of the subject up to current discusses..

Mémoire en recherche-création. / Ce mémoire est un journal de création intime et introspectif. Il s’intéresse aux doutes et difficultés qui peuvent ponctuer la vie de création. Et cette vie, c’est un ensemble complexe, habité par des préoccupations et phénomènes contradictoires : ombre/lumière, intimité/vie publique, solitude/exposition, émission/réception, dedans/dehors. Le filon, derrière tous ces questionnements, est cette recherche d’unité dans la vie de création ainsi que la pacification du processus créatif. Le premier chapitre de ce mémoire s’intéresse à cette tension entre les aspects intérieurs et extérieurs liés à la vie de création. Le deuxième chapitre décrit les outils musicaux utilisés dans les compositions réalisées pendant cette maîtrise et qui font écho aux réflexions exprimées dans le premier chapitre. Y sont abordés, entre autres choses, la narrativité en musique, le jeu sur les hauteurs, la pulsation, l’écriture filmique. Enfin, le troisième chapitre s’intéresse au processus de création, au propos, ainsi qu’au bilan autour des trois œuvres présentées dans le cadre de ce mémoire Abîmes, Rainbow Odyssey : La rédemption et Flots. À-travers le survol de toutes ces préoccupations sont esquissés les contours d’enjeux majeurs ayant tous influencé à leur manière la musique composée durant cette maîtrise. / This essay is an intimate and introspective creation diary. It is about the doubts and difficulties that can punctuate the artistic life. And this life is a complex whole, inhabited by contradictory preoccupations and phenomena: shadow/light, intimacy/public life, solitude/exposure, emission/reception, inside/outside. The vein, behind all these questions, is this search for unity in artistic life as well as the pacification of the creative process. The first chapter of this essay is about this tension between the interior and exterior aspects linked to the life of creation. The second chapter describes the musical tools used in the compositions made during this master's degree and which echo the reflections expressed in the first chapter. It discusses, among other things, narrativity in music, playing with music notes, pulsation, film writing. Finally, the third chapter focuses on the creative process, the subject, as well as the assessment around the three works presented as part of this essay: Abîmes, Rainbow Odyssey: La Rédemption and Flots. Through the overview of all these concerns are sketched the contours of major issues that have all influenced in their own way the music composed during this master's degree.

The desire to enhance and make ourselves better is not a new one and it has continued to intrigue throughout the ages. Individuals have continued to seek ways to improve and enhance their well-being for example through nutrition, physical exercise, education and so on. Crucial to this improvement of their well-being is improving their ability to remember. Hence, people interested in improving their well-being, are often interested in memory as well. The rationale being that memory is crucial to our well-being. The desire to improve one’s memory then is almost certainly as old as the desire to improve one’s well-being. Traditionally, people have used different means in an attempt to enhance their memories: for example in learning through storytelling, studying, and apprenticeship. In remembering through practices like mnemonics, repetition, singing, and drumming. In retaining, storing and consolidating memories through nutrition and stimulants like coffee to help keep awake; and by external aids like notepads and computers. In forgetting through rituals and rites. Recent scientific advances in biotechnology, nanotechnology, molecular biology, neuroscience, and information technologies, present a wide variety of technologies to enhance many different aspects of human functioning. Thus, some commentators have identified human enhancement as central and one of the most fascinating subject in bioethics in the last two decades. Within, this period, most of the commentators have addressed the Ethical, Social, Legal and Policy (ESLP) issues in human enhancements as a whole as opposed to specific enhancements. However, this is problematic and recently various commentators have found this to be deficient and called for a contextualized case-by-case analysis to human enhancements for example genetic enhancement, moral enhancement, and in my case memory enhancement (ME). The rationale being that the reasons for accepting/rejecting a particular enhancement vary depending on the enhancement itself. Given this enormous variation, moral and legal generalizations about all enhancement processes and technologies are unwise and they should instead be evaluated individually. Taking this as a point of departure, this research will focus specifically on making a case for ME and in doing so assessing the ESLP implications arising from ME. My analysis will draw on the already existing literature for and against enhancement, especially in part two of this thesis; but it will be novel in providing a much more in-depth analysis of ME. From this perspective, I will contribute to the ME debate through two reviews that address the question how we enhance the memory, and through four original papers discussed in part three of this thesis, where I examine and evaluate critically specific ESLP issues that arise with the use of ME. In the conclusion, I will amalgamate all my contribution to the ME debate and suggest the future direction for the ME debate.