Thesis (M.A)--University of Rochester, 1992. / Includes abstract. Includes bibliographical references: leaves 80-82. Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/1546

Thesis (M.M.)--Boston University

The purpose of this study was to explore the lived experience and meaning of adolescent girls music listening experiences as related to romantic experience. Previous research identified mood management as a key use of music listening, and teenage girls were identified as listening to music when they were sad. Popular musics romantic themes suggested that perhaps adolescent girls use music to explore and reflect upon romantic experiences. Hermeneutic-phenomenology was used to investigate music listening as experienced in everyday life. Data were generated through multiple, in-depth interviews with five adolescent girls aged 17 and 18 years old. Interviews were audio-taped, transcribed and analyzed in keeping with van Manens (1990) method of applied hermeneutic-phenomenology. Analysis of the interviews involved hermeneutic phenomenological reflection on the experiences described by the participants and subsequently representing the findings through diary entries of a fictional teenage girl, Sophie, a composite character who embodied the thoughts and experiences of each participant, and who gave voice to the lived experiences that the actual participants related to the interviewer. <p>Findings confirmed that adolescent girls music listening is a deeply meaningful activity, which in the context of romantic experiences, was associated with celebration, connection, coping, and comfort. The participants used music with intention and in technologically sophisticated ways. Music listening provided participants with a voice to celebrate happy and mourn sad romantic experiences, to normalize experiences of romantic rejection and sadness, to offer comfort that they were not alone in their romantic experiences, and to assist them in coping with romantic break-ups. Implications for further research as well as counseling practice are noted.

The purpose of this study was to explore the lived experience and meaning of adolescent girls music listening experiences as related to romantic experience. Previous research identified mood management as a key use of music listening, and teenage girls were identified as listening to music when they were sad. Popular musics romantic themes suggested that perhaps adolescent girls use music to explore and reflect upon romantic experiences. Hermeneutic-phenomenology was used to investigate music listening as experienced in everyday life. Data were generated through multiple, in-depth interviews with five adolescent girls aged 17 and 18 years old. Interviews were audio-taped, transcribed and analyzed in keeping with van Manens (1990) method of applied hermeneutic-phenomenology. Analysis of the interviews involved hermeneutic phenomenological reflection on the experiences described by the participants and subsequently representing the findings through diary entries of a fictional teenage girl, Sophie, a composite character who embodied the thoughts and experiences of each participant, and who gave voice to the lived experiences that the actual participants related to the interviewer. <p>Findings confirmed that adolescent girls music listening is a deeply meaningful activity, which in the context of romantic experiences, was associated with celebration, connection, coping, and comfort. The participants used music with intention and in technologically sophisticated ways. Music listening provided participants with a voice to celebrate happy and mourn sad romantic experiences, to normalize experiences of romantic rejection and sadness, to offer comfort that they were not alone in their romantic experiences, and to assist them in coping with romantic break-ups. Implications for further research as well as counseling practice are noted.

While emerging technologies such as interactive multimedia are increasingly being employed in computerised music instruction, understanding of participant music listening behaviours in interactive multimedia music instruction is currently very limited. With the aim of elucidating music listening behaviour, the central concern of this work is to identify and explain participant interactions with the audio components of interactive multimedia music instruction. The investigation employs a novel documentation procedure, which extends the application of digital audio recording technology, to provide a finely calibrated analysis of the audio activity of a sample of 20 undergraduate music education majors during individual sessions with two commercially-available interactive multimedia music instruction programs. Graphically-based Sound Activity Profiles, which the researcher developed specifically for the current investigation, characterise and summarise participant interactions with audio components, while an analysis of questionnaire responses and follow-up interview transcripts provides supplementary information that further explains participants' music listening behaviours. The results of the investigation show that music listening behaviours during the study sessions were highly variable. While extensive participant interaction with music examples occasionally reflected attentive music listening behaviours, many study sessions were characterised by brief, fragmentary music excerpts and lengthy periods of silence. Participants spent as little as five percent of their session time listening to music and as much as 88 percent of the session time in silence. A substantial number of the study cohort frequently interrupted the music examples they had activated. Participants' perceptions of the extent of their interaction with music examples were frequently inaccurate, as subjects often substantially overestimated the amount of session time they had spent listening to music. The study findings suggest that many interactive multimedia music instruction participants would benefit from interventions that elicit more extensive and prolonged interaction with music examples. Accordingly, recommendations include a call for research to develop and test software designs that incorporate automated monitoring of session audio activity so that dynamic on-screen information about music listening behaviour can be provided to interactive multimedia music instruction participants. Such information may encourage participants to modify inappropriate music listening behaviours.

The purpose of the current study is to examine the contribution of technology to the teaching of music listening, to present a comprehensive account of the pertinent educational materials that have been developed in the past to assist teachers during the music listening activity, and to introduce a software application to make it easier for teachers to create music listening guides. The role of technology in the teaching of music listening can be examined in four major historical periods, each roughly corresponding to a quarter of the twentieth century. During the early 1900’s, the invention of the first devices that could reproduce sound – the player piano and the phonograph – allowed music teachers to include music listening activities in classroom music instruction. The largest companies in the player piano and phonograph industry formed educational departments that produced a plethora of educational materials that helped to spread the music appreciation movement throughout the country. The advent of the radio, followed by the television, constitutes the second historical period to be examined. Both inventions contributed to the establishment of music listening as an integral part of classroom instruction by broadcasting educational programs on a national scale, mostly in the form of youth concerts. Broadcasting companies also issued teacher guides and student workbooks to be used along with the programs. The third period in question concerns the second half of the past century, when several improvements in audio equipment made the production of extensive recorded listening libraries possible. At the same time, the development of new devices enabled the production of educational audiovisual materials, such as films, filmstrips, slides, and transparencies. The accessibility of personal computers marks the fourth and final historical period to be discussed. The new technology allowed the development of educational software for music listening. Most listening materials developed by publishers to accompany the new technologies dictate both the music literature and the musical concepts to be introduced to students. The author has programmed a pertinent computer application to help teachers create their own listening material - specifically, animated versions of listening maps. A description of the computer application and its capabilities are presented in the final chapter of the study. / text

While emerging technologies such as interactive multimedia are increasingly being employed in computerised music instruction, understanding of participant music listening behaviours in interactive multimedia music instruction is currently very limited. With the aim of elucidating music listening behaviour, the central concern of this work is to identify and explain participant interactions with the audio components of interactive multimedia music instruction. The investigation employs a novel documentation procedure, which extends the application of digital audio recording technology, to provide a finely calibrated analysis of the audio activity of a sample of 20 undergraduate music education majors during individual sessions with two commercially-available interactive multimedia music instruction programs. Graphically-based Sound Activity Profiles, which the researcher developed specifically for the current investigation, characterise and summarise participant interactions with audio components, while an analysis of questionnaire responses and follow-up interview transcripts provides supplementary information that further explains participants' music listening behaviours. The results of the investigation show that music listening behaviours during the study sessions were highly variable. While extensive participant interaction with music examples occasionally reflected attentive music listening behaviours, many study sessions were characterised by brief, fragmentary music excerpts and lengthy periods of silence. Participants spent as little as five percent of their session time listening to music and as much as 88 percent of the session time in silence. A substantial number of the study cohort frequently interrupted the music examples they had activated. Participants' perceptions of the extent of their interaction with music examples were frequently inaccurate, as subjects often substantially overestimated the amount of session time they had spent listening to music. The study findings suggest that many interactive multimedia music instruction participants would benefit from interventions that elicit more extensive and prolonged interaction with music examples. Accordingly, recommendations include a call for research to develop and test software designs that incorporate automated monitoring of session audio activity so that dynamic on-screen information about music listening behaviour can be provided to interactive multimedia music instruction participants. Such information may encourage participants to modify inappropriate music listening behaviours.

Darbe aptariamas muzikos klausymosi veiklos teorinis aspektas, kritinio mąstymo samprata, muzikos klausymosi veiklos tobulinimo, skatinant kritinio mąstymo ugdymą, galimybės. Bakalauro darbo tikslas – ištirti muzikos klausymosi veiklos gerinimo galimybes, skatinant kritinį mąstymą. Darbo tikslui pasiekti išketi šie uždaviniai: išsiaiškinti muzikos klausymosi veiklos proceso esmę, išsiaiškinti muzikos suvokimo ir muzikinio mąstymo svarbą muzikiniame ugdyme, apžvelgti paauglystės laikotarpio psichologinius ir fiziologinius ypatumus, jų poveikį muzikos klausymuisi, išsiaiškinti kritinio mąstymo sampratą, išsiaiškinti muzikos klausymosi veiklos tobulinimo, skatinant kritinio mąstymo ugdymą, galimybes, ištirti kritinio mąstymo ugdymo apraiškas 7–8 klasių mokinių požiūrio į muzikos klausymosi veiklą tyrimo kontekste. Tyrimo objektas yra muzikos klausymosi veikla kritinio mąstymo ugdymo aspektu. Tyrimas atliktas Šiaulių progimnazijoje. Anketinės apklausos metodu siekta išsiaiškinti kritinio mąstymo ugdymo apraiškas 7–8 klasių mokinių požiūrio į muzikos klausymosi veiklą tyrimo kontekste. / This paper analyses with theoretical aspect of music listening activities, the concept of critical thinking, as well as the possibilities to improve music listening activities in order to develop critical thinking. The objective of this Bachelor thesis is to explore the possibilities of music listening activities in order to develop critical thinking. Aims, set to achieve this objective, are: to identify the essence of music listening process; to explore the importance of musical perception and cogitation in musical education, their influence on listening activities; to identify the concept of critical thinking; to identify the possibilities to improve music listening activities in order to develop critical thinking; to examine the manifestation of critical thinking development in the context of the research dealing with the attitude of 7-8-formers towards the music listening activities. The object of this research is musical listening activities in the aspect of the development of critical thinking. The research was conducted in Šiauliai progymnasium. A questionnaire was used to explore the manifestation of critical thinking development in the context of the research dealing with attitude of 7-8-formers towards the music listening activities.

The purpose of this study was to examine the effect of visual stimuli on music listening skills in pre-service elementary teachers. Visual Stimuli in this study refers to the presentation of arts elements in selected visually projected images of paintings. Music listening skills are defined as those skills needed to identify and interpret musical excerpts. A Pretest-Posttest Control-group Design was used in this study. Subjects were pre-service elementary general educators enrolled in a large southern university (N=93). Students from intact classes were randomly placed into either the experimental group or the control group. The treatment consisted of six music listening lessons over a two-week period with each group receiving the identical teaching protocol with the exception of the use of paintings with the experimental group. Listening instruction emphasized the identification of melodic contour, instrumentation, texture, rhythm and expressive elements of the compositions. The Teacher Music Listening Skills Test (TMLST) was constructed by the investigator and administered before and after the treatment. The TMLST was designed to assess music listening skills in adult non-musicians. Results indicate that the group receiving visual stimuli in the form of paintings scored significantly higher on listening skills (pandlt;.01) than the control group which received no visual stimuli in the form of visually projected images of paintings. There was an instruction effect on both preference and familiarity of the musical pieces for both the control group and the experimental group.

This thesis presents the development and implementation of a proof-of-concept study testing music listening’s capacity to reduce subjective and physiological symptoms of anxiety in a situation analogous to an anxiety disorder. This interdisciplinary thesis draws on both clinical psychology and music psychology literature to present a conceptualisation for music listening in the treatment of anxiety disorders. In preparation for the proof-of-concept study, criteria for optimal stimuli were synthesised from the music psychology literature, two optimal stimuli were selected, and an anxiety induction protocol was developed to model the worry-based nature of an anxiety disorder. The two stimuli selected were ‘The Swan’, from Carnival of the Animals, by Camille Saint-Saëns, and a combination of ‘Dawn’ and ‘The Secret’, by Dario Marianelli, from the 2005 film Pride and Prejudice. In the anxiety induction protocol, participants were told that they would be asked to give a presentation in front of other participants and experimenters (whom they had not yet seen), and that this presentation would be assessed. While they awaited the presentation, participants were asked to do a mental visualisation exercise, which involved thinking about any previous public speaking experience that had made them feel nervous. Participants were given headphones with either music or white noise while they completed this exercise. The proof-of-concept study was conducted with a general population, with participants (n = 58) randomised to listen to either music or white noise during the anxiety induction protocol. Subjective anxiety (as per the short form of the state scale of the State Trait Anxiety Inventory, or STAI-SF) and physiological arousal (as per pulse rate and skin resistance) were measured. Physiological arousal measures were taken for one minute at baseline (time 1), for one minute when the participant had been introduced to the task and were reading through the mental visualisation exercise (time 2), and while the participants completed the mental visualisation exercise, and music or white noise was playing (time 3). Subjective anxiety scores were obtained immediately after each physiological time point. Results showed that subjective anxiety and physiological arousal rose significantly in response to the anxiety induction protocol, and that subjective anxiety and pulse rate decreased significantly in response to the music but remained the same for those who listened to white noise.