The production and perception of music is a multimodal activity involving auditory, visual and conceptual processing, integrating these with prior knowledge and environmental experience. Musicians utilise expressive physical nuances to highlight salient features of the score. The question arises within the literature as to whether performers’ non-technical, non-sound-producing movements may be communicatively meaningful and convey important structural information to audience members and co-performers. In the light of previous performance research (Vines et al., 2006, Wanderley, 2002, Davidson, 1993), and considering findings within co-speech gestural research and auditory and audio-visual neuroscience, this thesis examines the nature of those movements not directly necessary for the production of sound, and their particular influence on audience perception. Within the current research 3D performance analysis is conducted using the Vicon 12- camera system and Nexus data-processing software. Performance gestures are identified as repeated patterns of motion relating to music structure, which not only express phrasing and structural hierarchy but are consistently and accurately interpreted as such by a perceiving audience. Gestural characteristics are analysed across performers and performance style using two Chopin preludes selected for their diverse yet comparable structures (Opus 28:7 and 6). Effects on perceptual judgements of presentation modes (visual-only, auditory-only, audiovisual, full- and point-light) and viewing conditions are explored. This thesis argues that while performance style is highly idiosyncratic, piano performers reliably generate structural gestures through repeated patterns of upper-body movement. The shapes and locations of phrasing motions are identified particular to the sample of performers investigated. Findings demonstrate that despite the personalised nature of the gestures, performers use increased velocity of movements to emphasise musical structure and that observers accurately and consistently locate phrasing junctures where these patterns and variation in motion magnitude, shape and velocity occur. By viewing performance motions in polar (spherical) rather than cartesian coordinate space it is possible to get mathematically closer to the movement generated by each of the nine performers, revealing distinct patterns of motion relating to phrasing structures, regardless of intended performance style. These patterns are highly individualised both to each performer and performed piece. Instantaneous velocity analysis indicates a right-directed bias of performance motion variation at salient structural features within individual performances. Perceptual analyses demonstrate that audience members are able to accurately and effectively detect phrasing structure from performance motion alone. This ability persists even for degraded point-light performances, where all extraneous environmental information has been removed. The relative contributions of audio, visual and audiovisual judgements demonstrate that the visual component of a performance does positively impact on the over- all accuracy of phrasing judgements, indicating that receivers are most effective in their recognition of structural segmentations when they can both see and hear a performance. Observers appear to make use of a rapid online judgement heuristics, adjusting response processes quickly to adapt and perform accurately across multiple modes of presentation and performance style. In line with existent theories within the literature, it is proposed that this processing ability may be related to cognitive and perceptual interpretation of syntax within gestural communication during social interaction and speech. Findings of this research may have future impact on performance pedagogy, computational analysis and performance research, as well as potentially influencing future investigations of the cognitive aspects of musical and gestural understanding.

The present research programme sought to further understanding of the neurophysiological mechanisms that underlie the effects of music on exercise. Five original experiments were conducted using a wide range of psychophysical, psychological, physiological, and psychophysiological techniques. The results of the first study indicated that music partially reallocates attention towards task-unrelated thoughts (i.e., external dissociation), suppresses the amplitude of low-frequency waves in the brain, and enhances task performance. The findings of the second study indicated that music can have a negative effect if delivered during the execution of highly-demanding cognitive-motor tasks. In such instances, the right parietal regions of the brain activate in response to the presence of auditory distractors and prevent task performance from being compromised. The third study shed new light on the neural control of working muscles and indicated that music has the potential to reduce the frequency of electrical outputs emitted to the musculature and reduce the communication between the central motor command and adjacent regions. The fourth study of this research programme was conducted in an ecologically valid environment, wherein participants walked at self-paced speeds in the presence of different auditory stimuli. The results of the fourth study indicated that music elicits more positive affective responses and up-regulates beta waves to a greater degree than no-music conditions. Finally, the fifth study of this thesis made use of functional magnetic resonance imaging to explore the brain regions that activate in response to exercise and music. The results of this final study revealed that the left inferior frontal gyrus is highly active when individuals execute part-body exercises with music. The present research programme provides a neurophysiological basis for the use of music in exercise settings. The findings presented herein support the use of music as a valuable tool to explore more complex psychophysiological phenomena such as attention, affect, and fatigue.

<p> The purpose of this study was to investigate the effect of group songwriting versus poetry writing on the self-efficacy of adults who are homeless. The study was conducted in the day center of an emergency shelter where participants took part in one of two conditions. The treatment condition consisted of a single music therapy songwriting session during which participants (<i> n</i> = 19) collaboratively wrote lyrics and composed the music for an original song. After the group performed the song together, with the use of handheld percussion instruments, the researcher facilitated a closing discussion. The control condition consisted of a single poetry therapy session during which participants (<i>n</i> = 14) collaboratively wrote a free-verse poem, recited it together, and concluded with a facilitated discussion. Results showed increased mean self-efficacy scores for both conditions, though neither group's improvement was significant. While there was also no significant difference in the amount of change exhibited by one condition as compared to the other, the music group did evidence a stronger trend of movement toward higher self-efficacy. Music participants had higher mean change scores on 4 out of 5 pre/posttest questions, as well as a higher overall mean change score (6% change as compared to 2% in the poetry condition). The products created in each session were analyzed for observable differences. Overlapping themes included: love, peace, happiness, unity, goals, change, positive thinking, and overcoming adversity. The songs composed by the two music therapy groups were written in verse-chorus form and produced between 6 and 8 unique, unrepeated lines. The poem written by the poetry therapy group was through-composed and produced 26 unique lines. The poetry group product also contained more themes, more sub-thematic material and greater complexity, as evidenced by more detailed explication of each idea. The unique strengths of songwriting and poetry writing in this setting were illuminated by their use in this study; specific goal areas best suited to each modality are discussed. Literature reviewed strongly suggests the need for additional research regarding the use of music therapy with adults experiencing homelessness. The results of this study suggest that both music therapy and poetry therapy are effective therapeutic approaches for this population and that songwriting specifically, may have distinct advantages in addressing self-efficacy.</p>

Thesis (Ph. D.)--University of Washington, 1997. / Vita. Includes bibliographical references (leaves [125]-138).

Educators have claimed that listening to music in a second or foreign language (L2) can provide fun and motivating educational material and that singing can enhance the L2 learning process by improving listening and speaking skills, pronunciation, intonation, and vocabulary. Experiments have shown that under certain conditions, a sung presentation of linguistic material can facilitate verbal learning in the native language. To date, however, there is very little research evidence that singing can increase L2 skills. This thesis begins to methodically evaluate whether listening to songs and singing in a new language can facilitate L2 learning, compared to practising L2 material through more traditional, speech-based instructional methods. The research studies also explore the extent to which individual di erences (IDs) between learners may mediate any observed benefits of using songs in L2 instruction. The first two studies examine under controlled experimental conditions whether singing can support adults’ beginning-level modern language learning compared to speech over a short time period. Results indicate that when no significant group di erences exist for the ID measures, an instructional method that incorporates L2 singing can facilitate short-term learning and memory. Results also showed that IDs between learners, in particular previous language learning experience, musical abilities, mood, and motivation, can mediate the benefits of L2 learning through a singing method. The third study describes a four-week, classroom-based arts intervention exploring the e ects of incorporating songs and dramatic dialogues into the L2 curriculum, both in terms of learning outcomes and the adolescents’ opinions. In addition to increases in French skills, many children reported that the dramatic and musical activities had increased their confidence to speak in French. There was also an overall preference for listening to songs and more children reported that the songs repeated in their heads after class. The thesis concludes by discussing practical implications for L2 instruction and proposes a framework to guide future research exploring how and why singing can support modern foreign language learning.

Thesis (Ph.D.)--Pacific Graduate School of Psychology, 2004. / Source: Dissertation Abstracts International, Volume: 65-03, Section: B, page: 1563. Adviser: Nigel Field.

Questions surrounding musicians’ efficacy beliefs have received a growing amount of scholarly attention over the past decade. Most of such research has centered on self-efficacy belief, or one’s perceived competency for music-related tasks. Studies of collective efficacy perceptions among ensembles have been far fewer. None of the musical efficacy research I identified included investigations of within-group agreement, or the extent to which an ensemble’s members agree in their estimations of group capability. As explained by Bandura (1997), efficacy beliefs motivate both individuals and groups to pursue certain goals, invest effort, and persist despite challenges or setbacks. Thus, Bandura has argued, those with stronger efficacy beliefs are more likely to achieve success. In this exploratory study, I examined collective efficacy beliefs among collegiate string chamber music ensembles, including levels of within-group agreement and correlation with performance quality. Participants included 70 musicians representing 18 chamber ensembles from various collegiate and summer programs in the Northwestern (55 musicians from 14 ensembles) and Western (15 musicians from 4 ensembles) regions of the United States. Musicians independently completed a 5-item survey gauging their confidence in their group’s performance abilities; each ensemble’s aggregated results represented its collective efficacy belief. Each ensemble further provided a video-recorded performance of an excerpt from their repertoire. A panel of four string specialists rated each performance, and their combined ratings constituted performance quality measures for each ensemble. Ensembles in this study reported moderately strong levels of collective efficacy belief (M = 75.27%, SD = 9.09%; Mdn = 76.84%). Levels of within-group agreement were also uniformly high (mean rwg(J) = .95, SD = .05; median rwg(J) = .97), and there was a significant, moderately strong correlation between collective efficacy belief and within-group agreement (rS = .67, p < .01). I found no significant correlation between ensembles’ collective efficacy belief and performance quality. Findings from this study indicate fertile ground for future investigations. Reliability estimates suggest that the collective efficacy measurement instrument is suitable for use with string chamber ensembles, and correlational findings reveal potential limitations to the theorized link between efficacy belief and performance quality in chamber music settings.

This thesis takes as its starting point the observation that the authorship of the creative product of orchestral performances has been, and continues to be, over-attributed to the conductor. This is reflected both in popular perceptions and in the scholarly attention given to the conductor's leadership role, as well as in orchestral practices which privilege the conductor's artistically superior position within the orchestra through rehearsal and performance rituals and in remuneration and marketing. Although existing research has challenged the perception that the authority of the conductor is absolute, none has offered alternative explanations for how best to attribute the authorship of orchestral performances. Through a three-phased mixed-methods empirical study including an online questionnaire, in-depth interviews, and a newly developed method of data collection utilising an online variation of video-stimulated recall to capture musician experiences in real-life rehearsal and performance settings, this research contributes to an understanding of the social psychology of orchestral performance by identifying what prompts musicians' decision-making regarding how and when to play their parts. The analysis of the data has resulted in the development of a theoretical Framework of Influence and Action in Orchestral Performance that offers a new way of conceptualising authorship in performance through a 'theory of influence'. It concludes with an exploration of the implications of this revised view of authorship for existing orchestral practices, group creativity research, and our understanding of how the relationships enacted in the micro-socialities of orchestral performance reflect larger social formations.

This thesis deals with experiencing flow and intrinsic motivation with pupils of Primary Art School. The aim of this research was to find out the following: to what extent are pupils of Primary Art School intrinsic motivated towards music, to what extent the pupils experience flow while playing musical instrument and what psychological aspects are related to this type of experience. The target group of respondents represented pupils from musical branch at the age from 11 to 18 (N = 108). The data were obtained from three questionnaires (Flow, Teacher and Motivation Questionnaire). The first two questionnaires were created for the purpose of this thesis. Motivation questionnaire was translated from English version of SIMS questionnaire (The Situational Motivation Scale). The research proved that pupils of Primary Art Schoul think, that they experience flow quite often. Most of the observed variables are significantly related to flow, on the other hand the results showed less close relationship as for the flow. The exception was a relationship between flow and intrinsic motivation where closer connection was established. It was not proved that flow experience of pupils of Primary Art School relates to play in any musical groups, range of homework, length of playing musical instruments or a gender of...

The aim of this thesis was to explain therapeutic possibilities of sound in all its connections. Sound is described in relation to several disciplines. Initially, sound is presented as an acoustic and psychoacoustic phenomenon, followed by characterization of physiology of auditory system and findings from psychology of music. The focus of the thesis is anchored in the chapter dedicated to healing and corrective effects of sound - the music therapy. After short history context is presented, the characteristics and analysis of contemporary situation are discussed. Several types of sound - noise, music and sound of speech - are studied in their positive as well as negative influence on psychic and physical health of human. Current research is represented by selection of relevant papers (n=9) which are assessed by the criterion of credibility and rigidness of methodology. This aspect is also perceived as an essential one for the future research in the area of sound effect on human psychic and physical health.