Esu chorinio dainavimo mokyklos „Liepaitės“ muzikos istorijos mokytoja, mano mokinės 11-15 metų paauglės. Pati vesdama pamokas, atradau, kad didžiausia kliūtis pažinti klasikinę muziką – mokinių nedėmesingumas skambant muzikai. Pasidomėjus muzikos klausymo veiksena paaiškėjo, kad ši problema aktuali ir kitiems Lietuvos muzikos pedagogams. Pasirinkau Kokybinį veiklos tyrimą. Tyrimas vyko Vilniaus Chorinio dainavimo mokykloje „Liepaitės“, 2009 12, 2010 03 – 05 ir 2011 01 - 03. Tyrime dalyvavo trys 6 klasės grupės (po 13, 12, 13 mokinių ), pakartotinai – dvi 6 klasės grupės (po 13, 11 mokinių). Organizuotos 35 pamokos, – 7 pamokos su 5 grupėmis. Išnagrinėjus dėmesio savybes, dalyvaujančias mokymo procese ir būdingas paaugliams, paaiškėjo, kad paauglių dėmesingumas yra nepastovus ir lengvai pažeidžiamas, todėl svarbu jį kontroliuoti. Mokinių dėmesį gali palaikyti įvairūs dirgikliai: emocinės asociacijos, vaizdinės priemonės, fizinė veikla, mokinio interesai, poreikiai, veikla, reikalaujanti mąstymo, samprotavimų. Naudodama interviu, stebėjimo, anketinės apklausos tyrimo metodus, siekiau įvertinti pamokų metu naudotų muzikos klausymo metodikų veiksmingumą. Rezultatai parodė, kad siekiant pagerinti mokinių dėmesingumą muzikos klausymo metu, svarbu taikyti skirtingas mokymo priemones, kaip antai: muzikograma; improvizacinis šokis; užduotys, nukreiptos į emocinį kūrinio pažinimą; ritminės užduotys; lyginimo užduotys; muzikos klausymo užduotys, susietos su kūrybine... [toliau žr. visą tekstą] / I am a music history teacher at a choir singing school “Liepaitės.“ My pupils are 11-15 years old teenagers. During lessons I noticed that the main obsacle to acknowledge classical music is pupils’ lack of attention when the music is being played. After investigations about the process of music listening it appeared that this problem is relevant also to other Lithuanian music pedagogues. This qualitative action research study took place in Vilnius at the “Liepaitės: choir singing school in December, 2009, March-May, 2010 and January-March, 2011. Three groups from the 6th grade (13, 12 and 13 pupils) participated in the study. When the research was repeated – two groups of the 6th grade (13 and 11 pupils) participated. There were 35 lessons (7 lessons with 5 groups). After studying the qualities of attention involved in the teaching process and typical of teenagers, it appeared that teenagers’ attention is variable and easily susceptible to distraction, so it is important to control it. Pupils’ attention can be preserved with various stimuli: emotional associations, visual implements, physical activity, pupil’s interests and needs, as well as activity, requiring intellectual effort and reasoning. Applying research methods of interview, observation and questionnaire I strove to evaluate the efficiency of music listening methodology used in lessons. The results showed that trying to improve pupils’ attention while listening to music, it is important to apply different... [to full text]

In the master’s work “Creative assignments for encouraging music listening in lower school” possibilities of the realization of students’ linking for music listening during the lesson are analyzed. The contemporary pedagogy and artistic training refer to the spread of student’s experience, educators’ competence in varying methods and collaborating. Music listening is a special assumption of a person musical culture’s training, therefore, its stimulation is essential. Starting in the early training, music listening should be encouraged during the lesson and also in socio-cultural environment. For such music listening encouragement an experimental model of creative assignments was used. The aim of the work is to explore the possibilities of music listening encouragement by using creative assignments in lower school. The research shows that the creative assignment model is effective and the assumption of music listening encouragement is potential if creative assignments will be used while music listening. Novelty of the work. The possibilities of music listening encouragement in the lesson and socio-cultural environment by applying creative assignments are shown. The creative assignment model signally changes the efficiency of musical training and influences the student’s musical culture. The creative assignment model in music listening is concerted with E Velicka’s musical training program. Creative assignments in music listening activate students’ expression, give freedom... [to full text]

To date, very few studies have been conducted focusing on ratings of music and music listening experience of hearing aid (HA) users. This study aimed to collect more detailed and descriptive information via a questionnaire, on the music listening experience and ratings of musical sounds from postlingually deafened adults. The following hypotheses were posed: (i) ratings for music from HA users who have been assessed for a cochlear implant (HA-CI group) will be worse than those who have not been assessed for a CI (HA-NCI group); and (ii) HA users with a moderate or worse hearing loss (Moderate+ subgroup) will provide lower ratings for music than those with a mild hearing loss (Mild subgroup). A questionnaire by She (2008), was modified for this study, and subsequently called the University of Canterbury Music Listening Questionnaire – HA version (UCMLQ_HA). The questionnaire was divided into the following seven sections: music listening and music background, sound quality ratings, music styles, music preferences, music recognition, factors affecting music listening enjoyment, and a music training programme. Thirteen HA-CI recipients and 98 HA-NCI recipients returned the questionnaire. The HA-NCI group was divided into two subgroups: mild hearing loss (n = 51), and moderate or worse hearing loss (Moderate+; n = 47). Essentially findings were consistent with hypothesis one, but only partially consistent with hypothesis two. The HA-CI group provided lower ratings for ‘pleasantness’ and ‘naturalness’ of instruments (p = 0.007), and found music styles to be less ‘pleasant’ (p < 0.001) than the HA-NCI group. For musical styles, the HA-CI group preferred solo performers whereas the HA-NCI group preferred groups of performers. In addition to ratings of music, the HA-CI group provided significantly lower ratings for music listening (p = 0.001), and overall music enjoyment (p = 0.021) than the HA-NCI group. For the comparisons between the Mild and Moderate+ subgroups, the Mild subgroup found Instruments to sound significantly ‘less noisy’ (p < 0.001) and ‘less sharp’ (p < 0.001) than the Moderate+ subgroup. The Moderate+ subgroup provided higher ratings for overall enjoyment of listening to music with HAs than the Mild subgroup (p = 0.044). Both subgroups rated the drum kit (the lowest rated Instrument) to be significantly less pleasant and less natural than all other Instruments. It was also found that all musical styles were significantly more pleasant than Pop/Rock. There were similarities between the groups for music preferences; the male singer was significantly preferred over female singers (p = 0.021), and low-pitched instruments were significantly preferred over high-pitched instruments (p = 0.04). Classical music was also selected as the style that sounded the best with their HAs and listened to the most often. Almost all of the respondents indicated that they would like music in general to sound it would to those with normal hearing (97.1%). Close to 30% indicated that they would be interested in an MTP and would like it to focus on a wide range of music and feature commonly known tunes. In addition, training sessions should consist of two 30 minute sessions per week. Overall this study indicates that ratings of music differ with level of hearing loss to some degree. The general consensus was that music did not sound as they would expect it to sound to a person with normal hearing, and that respondents would like to enjoy listening to music more.

To date, very few studies have been conducted focusing on ratings of music and music listening experience of hearing aid (HA) users. This study aimed to collect more detailed and descriptive information via a questionnaire, on the music listening experience and ratings of musical sounds from postlingually deafened adults. The following hypotheses were posed: (i) ratings for music from HA users who have been assessed for a cochlear implant (HA-CI group) will be worse than those who have not been assessed for a CI (HA-NCI group); and (ii) HA users with a moderate or worse hearing loss (Moderate+ subgroup) will provide lower ratings for music than those with a mild hearing loss (Mild subgroup). A questionnaire by She (2008), was modified for this study, and subsequently called the University of Canterbury Music Listening Questionnaire – HA version (UCMLQ_HA). The questionnaire was divided into the following seven sections: music listening and music background, sound quality ratings, music styles, music preferences, music recognition, factors affecting music listening enjoyment, and a music training programme. Thirteen HA-CI recipients and 98 HA-NCI recipients returned the questionnaire. The HA-NCI group was divided into two subgroups: mild hearing loss (n = 51), and moderate or worse hearing loss (Moderate+; n = 47). Essentially findings were consistent with hypothesis one, but only partially consistent with hypothesis two. The HA-CI group provided lower ratings for ‘pleasantness’ and ‘naturalness’ of instruments (p = 0.007), and found music styles to be less ‘pleasant’ (p < 0.001) than the HA-NCI group. For musical styles, the HA-CI group preferred solo performers whereas the HA-NCI group preferred groups of performers. In addition to ratings of music, the HA-CI group provided significantly lower ratings for music listening (p = 0.001), and overall music enjoyment (p = 0.021) than the HA-NCI group. For the comparisons between the Mild and Moderate+ subgroups, the Mild subgroup found Instruments to sound significantly ‘less noisy’ (p < 0.001) and ‘less sharp’ (p < 0.001) than the Moderate+ subgroup. The Moderate+ subgroup provided higher ratings for overall enjoyment of listening to music with HAs than the Mild subgroup (p = 0.044). Both subgroups rated the drum kit (the lowest rated Instrument) to be significantly less pleasant and less natural than all other Instruments. It was also found that all musical styles were significantly more pleasant than Pop/Rock. There were similarities between the groups for music preferences; the male singer was significantly preferred over female singers (p = 0.021), and low-pitched instruments were significantly preferred over high-pitched instruments (p = 0.04). Classical music was also selected as the style that sounded the best with their HAs and listened to the most often. Almost all of the respondents indicated that they would like music in general to sound it would to those with normal hearing (97.1%). Close to 30% indicated that they would be interested in an MTP and would like it to focus on a wide range of music and feature commonly known tunes. In addition, training sessions should consist of two 30 minute sessions per week. Overall this study indicates that ratings of music differ with level of hearing loss to some degree. The general consensus was that music did not sound as they would expect it to sound to a person with normal hearing, and that respondents would like to enjoy listening to music more.

This is a study about active and passive music listening within the culture of dansband. The purpose of my study is to analyze how the concepts of active and passive music listening operate within the dansband genre and to shed light on the significance of dansband music for its listeners. In addition, I look at the dansband culture to explore how practitioners understand and motivates their engagement with dansband. To this end, I construct a theoretical framework building on previous literature about active and passive music listening. The data consists of qualitative interviews conducted with people who dances and are engaged within the dansband culture. According to the informants, there are a few themes that are more central than others within the dansband culture. I have presented these thematically under the headings “Dansband gives a kind of joy that otherwise is not experienced”, “The question of alcohol”, “Is it possible to separate the dancing from the music and vice versa?”, “Dansband music = music that you can dance to?” and “Skill level in the dance affects the role of music” in an attempt to contribute to a more complex picture of dansband. The results show that the concepts of active and passive music listening could be of better use within dansband if the definitions were wider, seen as a continuum where the concepts could be fluid, and more inclusive when it comes to contextual factors. This is also supported by previous research done in a context of music listening in everyday life.

This study is a hermeneutic-phenomenological investigation with the aim of understanding the meanings that the NWU-PUK Rugby Institute players attributed to their lived experience of listening to music before a game. In answering this central research question, two sub-questions were also explored to find out what the rugby players experienced while listening to music before a game and how they experienced listening to music in terms of the context, situation and conditions. Ten NWU-PUK Rugby Institute players participated, eight of whom played in the same team, and two who played in different teams. Reflective essays were collected with follow-up semi-structured interviews with the chosen participants. Using ATLAS.ti 7, the data were analysed. Codes were conceptualised into categories and themes, links were made and patterns were identified. The results revealed four broad themes: 1) Nothing can distract me; 2) Activate and deactivate; 3) Affect regulation and 4) Well-being. These themes formed the basis of what the participants experienced while listening to music, with all four themes resulting in preparation for a rugby game. / MA(Musicology), North-West University, Potchefstroom Campus, 2015

This study is a hermeneutic-phenomenological investigation with the aim of understanding the meanings that the NWU-PUK Rugby Institute players attributed to their lived experience of listening to music before a game. In answering this central research question, two sub-questions were also explored to find out what the rugby players experienced while listening to music before a game and how they experienced listening to music in terms of the context, situation and conditions. Ten NWU-PUK Rugby Institute players participated, eight of whom played in the same team, and two who played in different teams. Reflective essays were collected with follow-up semi-structured interviews with the chosen participants. Using ATLAS.ti 7, the data were analysed. Codes were conceptualised into categories and themes, links were made and patterns were identified. The results revealed four broad themes: 1) Nothing can distract me; 2) Activate and deactivate; 3) Affect regulation and 4) Well-being. These themes formed the basis of what the participants experienced while listening to music, with all four themes resulting in preparation for a rugby game. / MA(Musicology), North-West University, Potchefstroom Campus, 2015

No description available.

Breast milk is considered the gold standard for infant nutrition, but many factors can hinder milk production. Mothers of infants in the Neonatal Intensive Care Unit (NICU) are especially prone to stress, which can inhibit volume of breast milk. The purpose of this study was to determine if music listening had an effect on the volume of breast milk pumped and relaxation level of mothers of infants in a NICU. A total of 28 participants, who were mothers of infants in the NICU, were included in the data analysis of this study, with 14 in the control group and 14 in the experimental group. Participants assigned to the experimental group listened to relaxing music during pumping sessions in the NICU, for the duration of their infant’s stay. Participants assigned to the control group pumped as they would normally without the music condition. Results indicated that there was a significant increase in relaxation scores in the music group, but no significant difference in volume of milk pumped. Further research should be done in this area to determine music’s effect on volume of milk pumped by mothers of infants in the NICU.

abstract: Greater than half of older adults who are admitted to an acute care setting experience delirium with an estimated cost between four to twenty billion dollars annually in the United States. As a strategy to address the gap between research and practice, this feasibility study used the Roy Adaptation Model to provide a theoretical perspective for intervention design and evaluation, with a focus on modifying contextual stimuli in a Trauma Intensive Care and a Trauma Orthopedic Unit setting. The study sample included older hospitalized patients in a Trauma Intensive Care and a Trauma Orthopedic setting where there is a greater incidence for delirium. Study participants included two groups, with one group assigned to receive either a music intervention or usual care. The music intervention included pre-recorded music, delivered using an iPod player with soft headsets, with music self-selected from a collection of music compositions with musical elements of slow tempo and simple repetitive rhythm that influence delirium prevention. For the proposed study a music intervention dose included intervention delivery for 60 minutes, twice a day, over a three day period following admission. Physiologic variables measured included systolic blood pressure, diastolic blood pressure, heart rate, and respiratory rate, which were electronically monitored every four hours for the study. The Confusion Assessment Method was used as a screening tool to identify delirium in the admitted patients. Specific aims of this feasibility study were to (a) examine the feasibility of a music intervention designed to prevent delirium among older adults, and (b) evaluate the effects of a music intervention designed to prevent delirium among older adults. Findings indicate there was a significant music group by time interaction effect which suggests that change over time was different for the music and usual care group. / Dissertation/Thesis / Doctoral Dissertation Nursing and Healthcare Innovation 2015