DOCSLIB.ORG

Involuntary Musical Imagery, As Conditioned by Everyday Music

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Involuntary Musical Imagery, as conditioned by everyday music listening Ioanna Filippidi Submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy. Department of Music The University of Sheffield. September 2018 Abstract Music in one’s head is a very prevalent phenomenon in everyday life, but the aetiology behind it is still unclear. This thesis aimed to investigate the phenomenon of involuntary musical imagery (INMI), and particularly, under the hypothesis that it is a conditioned response from everyday music listening. Music listening can be a highly rewarding experience, and people use it more than ever to accompany their everyday lives: such systematic habits can create a process similar to classical conditioning, where, when two stimuli systematically pair, one will evoke the response that is usually elicited by the other. This premise has been investigated in three studies, designed specifically for this hypothesis: two laboratory-based behavioural experiments and an Experience Sampling (ES) study. The first experiment explored whether the conditioning process could be recreated in a laboratory context, by repeatedly pairing music with an activity. The second experiment explored the already established conditioning by investigating whether INMI would occur in the place of music: a stress induction experiment was designed to assess if individuals who use music to regulate their stress would experience INMI, in the place of music, as a coping mechanism. The third study explored INMI’s relationship to music listening in the everyday lives of individuals in order to assess this premise in a real-life setting. Overall, the findings of this research were encouraging to the hypothesis, suggesting that there is a relationship between uses of music and INMI in the aspects of activities, mood regulation, genre, and valence, and some evidence that INMI can indeed be a conditioned response. While there were no strong findings that INMI can act in the place of music, the findings indicated that INMI had similar functions. i Acknowledgements First and foremost, I would like to thank my supervisor, Dr Renee Timmers, who has taught me how to be a conscientious researcher and an academic. Her professionalism, open mind and creativeness have been pillars to my PhD, but most of all her encouragement, support, compassion, and kindness have kept me going during the dark hours of this PhD. Special thanks to all my participants, who very kindly let me spy into their everyday lives, and their minds, along with their playlists: I paid the high price of endless earworms from all your great playlists. The irony is not lost on me, for as I write these lines, I have a tune playing in my head. They say it takes a village, and the community of this university surely lives up to the expectation: I would like to give thanks to Professor Nikki Dibben, Dr Vicky Williamson, and the Music Department of the University of Sheffield, for their invaluable advice and support throughout the years. I am also grateful to Dr Freya Bailes, for offering advice on the ESM study, and Dr Georgina Floridou, for her friendship and the long conversations about INMI. I would also like to thank Dr Robin Wilkins, for taking me as an intern for an incredible month at the Network Neuroimaging Laboratory for Complex Systems, at Greensboro University, USA. Along the way, several mentors have left their mark on my education and in my shaping as a person: I am ever indebted to Dr Christina Anagnostopoulou, Dr Anja Volk, and Dr Frans Wiering, for introducing me to the field of Psychology of music, and to my music teacher Petro Tsitsopoulo, for bearing with me and teaching me how music works. I am also thankful for my dear godparent Anastasio Bella, for opening my mind to critical thinking, and I would not be the person I am today without the guidance and influence of Kyriako Kottea in my life, whose humour and way of thinking really shaped me: you are sorely missed, and I wish you were here. My fellow students and friends from the University of Sheffield who really transformed my PhD: Julian, Yuko, Andrea, Shen, Nicola, Caroline, Tim, and the rest of the Music, Mind, and Machine and Sheffield group, I am very happy to have been on this journey with you. The feeling of belonging to such an interesting, open-minded, and friendly hub has truly transformed this experience. I also owe thanks to Franziska Gold who has very kindly helped with data gathering on the Mood experiment. I am very thankful for having my dear friend Jamie to share experiences on how to be a PhD student with, to offer the occasional shoulder to cry on, and to drink, celebrate, and for the countless spanakopitas shared between us. I cannot thank enough my big Greek family: my cousins and aunts and uncles and nephews and grandmothers, thank you, but most of all, I am forever grateful to my parents, Ελένη και Χαράλαµπο, my sister Μαγδαληνή, and my new family (in-law) Βασιλική, Γιώργο και Δηµήτρη. Σας αγαπώ πολύ και σας ευχαριστώ µέσα από την καρδιά µου. Χάρη σε εσάς βρίσκοµαι εδώ. Last, I would like to express my eternal gratitude to my beloved husband Panagiotis, who has been a constant supplier of snacks, love, and support, and occasionally my thesaurus, when I asked in mixed Greek and English for a word alternative amid my writing sprees. I am truly grateful, and humbled by your love and support, I love you to the moon and back. ii Contents Abstract ................................................................................................................................. i Acknowledgements .............................................................................................................. ii Contents ............................................................................................................................... iii List of Tables ...................................................................................................................... vii List of Figures ...................................................................................................................... x 1 Introduction .............................................................................................................. 1 1.1 Definition of INMI .................................................................................................. 3 1.2 Hypothesis ............................................................................................................... 8 1.2.1 Research Questions and predictions .................................................................... 8 1.3 Definition of INMI for this thesis .......................................................................... 9 1.4 Methods ................................................................................................................. 10 1.5 Overview of studies and predictions ................................................................... 11 1.6 Why study INMI and why this hypothesis? ....................................................... 12 1.7 Structure of Thesis ............................................................................................... 12 2 Involuntary Musical Imagery, Earworms, Music listening and Conditioning Theories: A literature review ................................................................................ 15 2.1 Involuntary Musical Imagery .............................................................................. 16 2.1.1 Anecdotal mentions ........................................................................................... 16 2.1.2 Names and definitions ........................................................................................ 18 2.1.3 Prevalence .......................................................................................................... 20 2.1.4 Factors for INMI ................................................................................................ 20 2.1.4.1 Musicality .................................................................................................................. 20 2.1.4.2 Familiarity ................................................................................................................. 21 2.1.5 Categories of INMI occurrence .......................................................................... 22 2.1.6 Trait and state personality factors and INMI ..................................................... 22 2.1.7 Characteristics .................................................................................................... 23 2.1.8 Looping INMI .................................................................................................... 23 2.1.9 Valence of INMI ................................................................................................ 24 2.1.10 Catchiness and INMI ........................................................................................ 24 2.1.11 Genre of INMI .................................................................................................. 25 2.1.12 Music listening and INMI ................................................................................. 26 2.1.13 Inducing INMI .................................................................................................. 26 2.1.14 Ability of musical imagery ............................................................................... 27 2.1.15 Musical training ...............................................................................................
Recommended publications
  • Research on the History of Modern Acoustics François Ribac, Viktoria Tkaczyk

    Research on the History of Modern Acoustics François Ribac, Viktoria Tkaczyk

    Research on the history of modern acoustics François Ribac, Viktoria Tkaczyk To cite this version: François Ribac, Viktoria Tkaczyk. Research on the history of modern acoustics. Revue d’Anthropologie des Connaissances, Société d’Anthropologie des Connaissances, 2019, Musical knowl- edge, science studies, and resonances, 13 (3), pp.707-720. 10.3917/rac.044.0707. hal-02423917 HAL Id: hal-02423917 https://hal.archives-ouvertes.fr/hal-02423917 Submitted on 26 Dec 2019 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. RESEARCH ON THE HISTORY OF MODERN ACOUSTICS Interview with Viktoria Tkaczyk, director of the Epistemes of Modern Acoustics research group at the Max Planck Institute for the History of Science, Berlin François Ribac S.A.C. | « Revue d'anthropologie des connaissances » 2019/3 Vol. 13, No 3 | pages 707 - 720 This document is the English version of: -------------------------------------------------------------------------------------------------------------------- François Ribac, « Recherche en histoire de l’acoustique moderne », Revue d'anthropologie
  • MATTERS and Sound

    MATTERS and Sound

    Letters to the Editor 833 1 Kennedy WR, Alter M, Sung JH. Progressive seemed in the first days to originate exter- The inhibition was revealed in our studies proximal spinal and bulbar muscular atro- phy of late onset: a sex-linked recessive trait. nally and was heard bilaterally. The melody during a period of voluntary contraction by J Neurol Neurosurg Psychiatry: first published as 10.1136/jnnp.56.7.833 on 1 July 1993. Downloaded from Neurology 1968;18:671-80. she heard was extremely loud, leading her stimulating the motor cortex at a strength 2 Harding AE, Thomas PK, Baraister M, to ask surrounding people to turn off the lower than that required to produce excita- Bradbury PG, Morgan-Hughes JA, radio, which she believed to be the source tion under the same conditions. A recent Ponsford JR. X-linked recessive bulbospinal neuronopathy: a report of ten cases. J Neurol of the tune. The music began suddenly, was study has reported that the discharge of Neurosurg Psychiatty 1982;45: 1012-19. slow, clear and reminiscent of popular motor neurons in the first dorsal interosseus 3 Mukai E, Mitsuma T, Takahashi A, Sobue I. songs that she had heard in her youth, but muscle of the hand of a patient with multi- Endocrinological study of hypogonadism and feminization in patients with bulbar were still unknown to her. She was able to ple sclerosis could be suppressed by tran- spinal muscular atrophy. Clin Neurol sing this melody. Shortly after the onset of scranial magnetic stimulation of the motor (Tokyo) 1984;24:925-9.
  • The Race of Sound: Listening, Timbre, and Vocality in African American Music

    The Race of Sound: Listening, Timbre, and Vocality in African American Music

    UCLA Recent Work Title The Race of Sound: Listening, Timbre, and Vocality in African American Music Permalink https://escholarship.org/uc/item/9sn4k8dr ISBN 9780822372646 Author Eidsheim, Nina Sun Publication Date 2018-01-11 License https://creativecommons.org/licenses/by-nc-nd/4.0/ 4.0 Peer reviewed eScholarship.org Powered by the California Digital Library University of California The Race of Sound Refiguring American Music A series edited by Ronald Radano, Josh Kun, and Nina Sun Eidsheim Charles McGovern, contributing editor The Race of Sound Listening, Timbre, and Vocality in African American Music Nina Sun Eidsheim Duke University Press Durham and London 2019 © 2019 Nina Sun Eidsheim All rights reserved Printed in the United States of America on acid-free paper ∞ Designed by Courtney Leigh Baker and typeset in Garamond Premier Pro by Copperline Book Services Library of Congress Cataloging-in-Publication Data Title: The race of sound : listening, timbre, and vocality in African American music / Nina Sun Eidsheim. Description: Durham : Duke University Press, 2018. | Series: Refiguring American music | Includes bibliographical references and index. Identifiers:lccn 2018022952 (print) | lccn 2018035119 (ebook) | isbn 9780822372646 (ebook) | isbn 9780822368564 (hardcover : alk. paper) | isbn 9780822368687 (pbk. : alk. paper) Subjects: lcsh: African Americans—Music—Social aspects. | Music and race—United States. | Voice culture—Social aspects— United States. | Tone color (Music)—Social aspects—United States. | Music—Social aspects—United States. | Singing—Social aspects— United States. | Anderson, Marian, 1897–1993. | Holiday, Billie, 1915–1959. | Scott, Jimmy, 1925–2014. | Vocaloid (Computer file) Classification:lcc ml3917.u6 (ebook) | lcc ml3917.u6 e35 2018 (print) | ddc 781.2/308996073—dc23 lc record available at https://lccn.loc.gov/2018022952 Cover art: Nick Cave, Soundsuit, 2017.
  • Large Scale Sound Installation Design: Psychoacoustic Stimulation

    Large Scale Sound Installation Design: Psychoacoustic Stimulation

    LARGE SCALE SOUND INSTALLATION DESIGN: PSYCHOACOUSTIC STIMULATION An Interactive Qualifying Project Report submitted to the Faculty of the WORCESTER POLYTECHNIC INSTITUTE in partial fulfillment of the requirements for the Degree of Bachelor of Science by Taylor H. Andrews, CS 2012 Mark E. Hayden, ECE 2012 Date: 16 December 2010 Professor Frederick W. Bianchi, Advisor Abstract The brain performs a vast amount of processing to translate the raw frequency content of incoming acoustic stimuli into the perceptual equivalent. Psychoacoustic processing can result in pitches and beats being “heard” that do not physically exist in the medium. These psychoac- oustic effects were researched and then applied in a large scale sound design. The constructed installations and acoustic stimuli were designed specifically to combat sensory atrophy by exer- cising and reinforcing the listeners’ perceptual skills. i Table of Contents Abstract ............................................................................................................................................ i Table of Contents ............................................................................................................................ ii Table of Figures ............................................................................................................................. iii Table of Tables .............................................................................................................................. iv Chapter 1: Introduction .................................................................................................................
  • POSTER PRESENTATIONS POSTER SESSION 1 – Monday 15Th

    POSTER PRESENTATIONS POSTER SESSION 1 – Monday 15Th

    XVI WORLD CONGRESS OF PSYCHIATRY “FOCUSING ON ACCESS, QUALITY AND HUMANE CARE” MADRID, SPAIN | September 14-18, 2014 POSTER PRESENTATIONS POSTER SESSION 1 – Monday 15th ADHD: ________________________________________________________________________________________________ 1 – 109 Addiction: _________________________________________________________________________________________ 110 – 275 Anxiety, Stress and Adjustment Disorders: _________________________________________ 276 – 368 Art and Psychiatry: ___________________________________________________________________________ 369 – 384 Biological Psychiatry and Neuroscience: ____________________________________________ 385 – 443 Brain and Pain: _________________________________________________________________________________ 444 – 449 Child and Adolescent Mental and Behavioral Disorders: ______________________ 450 – 603 Conflict Management and Resolution: _______________________________________________ 604 – 606 Dementia, Delirium and Related Cognitive Disorders: _________________________ 607 – 674 Diagnostic Systems: _________________________________________________________________________ 675 – 683 Disasters and Emergencies in Psychiatry: __________________________________________ 684 – 690 Dissociative, Somatization and Factitious Disorders: __________________________ 691 – 710 Eating Disorders: ______________________________________________________________________________ 711 – 759 Ecology, Psychiatry and Mental Health: ______________________________________________ 760 – 762 Epidemiology
  • Musical Hallucinations in Schizophrenia

    Musical Hallucinations in Schizophrenia

    Mental Illness 2015; volume 7:6065 Musical hallucinations in reported having musical hallucinations.4 Notably the musical hallucinations tended to Correspondence: Robert G. Bota, UC Irvine schizophrenia be sudden in onset, familiar, and mixed instru- Health Neuropsychiatric Center, 101 The City mental and vocal, with most patients having a Drive South, Orange, CA 92868, USA. Jessica Galant-Swafford, Robert Bota soothing affective response to the music Tel.:+1.714.456.2056. Department of Psychiatry, University of (62%). Interestingly, when the musical halluci- E-mail: [email protected] California, Irvine, CA, USA nations had more religious content, the patients claimed to have less volitional control Received for publication: 8 June 2015. Accepted for publication: 8 June 2015. Musical hallucinations (MH) are complex over them. This suggests that the presence or phenomena that are associated with hearing absence of religious content in the musical This work is licensed under a Creative Commons loss, brain disease (glioma, epilepsy, cere- hallucination may be useful for differentiating Attribution NonCommercial 3.0 License (CC BY- brovascular disease, encephalitis), and psychi- between musical imagery and musical halluci- NC 3.0). atric disorders such as major depressive disor- nations. ©Copyright J. Galant-Swafford and R. Bota, 2015 der, bipolar disease, and schizophrenia. MH Baba and Hamada suggest that musical hal- lucinations in patients with schizophrenia are Licensee PAGEPress, Italy are also commonly seen in people without Mental Illness 2015; 7:6065 phenomena that originate as memory repre- otorhinolaryngological, neurological, or mental doi:10.4081/mi.2015.6065 illness pathology.1 sentations or pseudo-hallucinations akin to In his novel Musicophilia, Oliver Sacks evoked musical imagery, which transition into true hallucinations during the progression of writes that his patients with musical halluci- cal content that were obsessive-compulsive in the disease.
  • Musical Hallucinations, Musical Imagery, and Earworms: a New Phenomenological Survey

    Musical Hallucinations, Musical Imagery, and Earworms: a New Phenomenological Survey

    Consciousness and Cognition 65 (2018) 83–94 Contents lists available at ScienceDirect Consciousness and Cognition journal homepage: www.elsevier.com/locate/concog Musical hallucinations, musical imagery, and earworms: A new phenomenological survey T ⁎ Peter Moseleya,b, , Ben Alderson-Daya, Sukhbinder Kumarc, Charles Fernyhougha a Psychology Department, Durham University, South Road, Durham DH1 3LE, United Kingdom b School of Psychology, University of Central Lancashire, Marsh Lane, Preston PR1 2HE, United Kingdom c Institute of Neuroscience, Newcastle University, Newcastle NE1 7RU, United Kingdom ARTICLE INFO ABSTRACT Keywords: Musical hallucinations (MH) account for a significant proportion of auditory hallucinations, but Auditory hallucinations there is a relative lack of research into their phenomenology. In contrast, much research has Musical hallucinations focused on other forms of internally generated musical experience, such as earworms (in- Earworms voluntary and repetitive inner music), showing that they can vary in perceived control, repeti- Mental imagery tiveness, and in their effect on mood. We conducted a large online survey (N = 270), including Phenomenology 44 participants with MH, asking participants to rate imagery, earworms, or MH on several variables. MH were reported as occurring less frequently, with less controllability, less lyrical content, and lower familiarity, than other forms of inner music. MH were also less likely to be reported by participants with higher levels of musical expertise. The findings are outlined in relation to other forms of hallucinatory experience and inner music, and their implications for psychological models of hallucinations discussed. 1. Introduction Auditory hallucinations (AH) are defined as the conscious experience of sounds that occur in the absence of any actual sensory input.
  • Aubinet-The-Craft-Of-Yoiking-Revised

    Aubinet-The-Craft-Of-Yoiking-Revised

    Title page 1 The Craft of Yoiking Title page 2 The Craft of Yoiking Philosophical Variations on Sámi Chants Stéphane Aubinet PhD thesis Department of Musicology University of Oslo 2020 Table of contents Abstract vii Sammendrag ix Acknowledgements xi Abbreviations xv Introduction 1 The Sámi 2 | The yoik 11 [Sonic pictures 17; Creation and apprenticeship 22; Musical structure 25; Vocal technique 29; Modern yoiks 34 ] | Theoretical landscape 39 [Social anthropology 46; Musicology 52; Philosophy 59 ] | Strategies of attention 64 [Getting acquainted 68; Conversations 71; Yoik courses 76; Consultations 81; Authority 88 ] | Variations 94 1st variation: Horizon 101 On the risks of metamorphosis in various practices Along the horizon 103 | Beyond the horizon 114 | Modern horizons 121 | Antlered ideas 125 2nd variation: Enchantment 129 On how animals and the wind (might) engage in yoiking Yoiks to non-humans 131 | The bear and the elk 136 | Enchantment and belief 141 | Yoiks from non-humans 147 | The blowing of the wind 152 | A thousand colours in the land 160 3rd variation: Creature 169 On the yoik’s creative and semiotic processes Painting with sounds 171 | The creation of new yoiks 180 | Listening as an outsider 193 | Creaturely semiosis 200 | The apostle and the genius 207 vi The Craft of Yoiking 4th variation: Depth 213 On the world inside humans and its animation Animal depths 214 | Modal depths 222 | Spiritual depths 227 | Breathed depths 231 | Appetition 236 | Modern depths 241 | Literate depths 248 5th variation: Echo 251 On temporality
  • SMPC 2011 Attendees

    SMPC 2011 Attendees

    Society for Music Perception and Cognition August 11­14, 2011 Eastman School of Music of the University of Rochester Rochester, NY Welcome Dear SMPC 2011 attendees, It is my great pleasure to welcome you to the 2011 meeting of the Society for Music Perception and Cognition. It is a great honor for Eastman to host this important gathering of researchers and students, from all over North America and beyond. At Eastman, we take great pride in the importance that we accord to the research aspects of a musical education. We recognize that music perception/cognition is an increasingly important part of musical scholarship‐‐and it has become a priority for us, both at Eastman and at the University of Rochester as a whole. This is reflected, for example, in our stewardship of the ESM/UR/Cornell Music Cognition Symposium, in the development of several new courses devoted to aspects of music perception/cognition, in the allocation of space and resources for a music cognition lab, and in the research activities of numerous faculty and students. We are thrilled, also, that the new Eastman East Wing of the school was completed in time to serve as the SMPC 2011 conference site. We trust you will enjoy these exceptional facilities, and will take pleasure in the superb musical entertainment provided by Eastman students during your stay. Welcome to Rochester, welcome to Eastman, welcome to SMPC 2011‐‐we're delighted to have you here! Sincerely, Douglas Lowry Dean Eastman School of Music SMPC 2011 Program and abstracts, Page: 2 Acknowledgements Monetary
  • CAN't GET IT out of MY HEAD: BRAIN DISORDER CAUSES MYSTERIOUS MUSIC HALLUCINATIONS , February 28, 2004 the Sunday Telegraph Maga

    CAN't GET IT out of MY HEAD: BRAIN DISORDER CAUSES MYSTERIOUS MUSIC HALLUCINATIONS , February 28, 2004 the Sunday Telegraph Maga

    CarlZimmer.com 7/20/05 12:19 PM CAN'T GET IT OUT OF MY HEAD: BRAIN DISORDER CAUSES MYSTERIOUS MUSIC HALLUCINATIONS The Sunday Telegraph Magazine, February 28, 2004 Janet Dilbeck clearly remembers the moment the music started. Two years ago she was lying in bed on the California ranch where she and her husband were caretakers. A mild earthquake woke her up. To Californians, a mild earthquake is about as unusual as a hailstorm, so Dilbeck tried to go back to sleep once it ended. But just then she heard a melody playing on an organ, "very loud, but not deafening," as she recalls. Dilbeck recognized the tune, a sad old song called When You and I Were Young, Maggie. Maggie was her mother's name, and when Dilbeck (now 70) was a girl her father would jokingly play the song on their home organ. Dilbeck is no believer in ghosts, but as she sat up in bed listening to the song, she couldn't help but ask, "Is that you, Daddy?" She got no answer, but the song went on, clear and loud. It began again from the beginning, and continued to repeat itself for hours. "I thought, this is too strange," Dilbeck says. She tried to get back to sleep, but thanks to the music she could only doze off and on. When she got up at dawn, the song continued. In the months to come, Dilbeck would hear other songs. She heard merry-go-round calliopes and Silent Night. For a few weeks, it was The Star-Spangled Banner.
  • Second-Order Ambiances. Background Music Transforming Public Spaces Heikki Uimonen

    Second-Order Ambiances. Background Music Transforming Public Spaces Heikki Uimonen

    Second-Order Ambiances. Background Music Transforming Public Spaces Heikki Uimonen To cite this version: Heikki Uimonen. Second-Order Ambiances. Background Music Transforming Public Spaces. Pro- ceedings of the 4th International Congress on Ambiances, Alloaesthesia: Senses, Inventions, Worlds, Réseau International Ambiances, Dec 2020, e-conference, France. pp. 232-237, 10.48537/hal- 03220327. hal-03220327 HAL Id: hal-03220327 https://hal.archives-ouvertes.fr/hal-03220327 Submitted on 14 May 2021 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 232 Second-Order Ambiances Abstract. Background music is affected by so- Second-Order cial, legal, economic and technological factors. Ambiances It is intended to be listened to inattentively and is predominantly selected by someone other than those who encounter it. The ACMESOCS Background (2019-2022) research project examines urban auditory cultures, particularly how they are Music Transforming articulated, experienced and reclaimed within Public Spaces the acoustic environments of different-sized cities, thus contributing to policy-makers’ awareness of the æsthetic design of acoustic spaces and the defining of urban sonic identity. This paper presents the preliminary results of a case study carried out in selected enterprises located in an individual shopping mall.
  • The Effect of Background Music and Song Texts on the Emotional Understanding of Children with Autism June Katagiri

    The Effect of Background Music and Song Texts on the Emotional Understanding of Children with Autism June Katagiri

    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2007 The Effect of Background Music and Song Texts on the Emotional Understanding of Children with Autism June Katagiri Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC THE EFFECT OF BACKGROUND MUSIC AND SONG TEXTS ON THE EMOTIONAL UNDERSTANDING OF CHILDREN WITH AUTISM By JUNE KATAGIRI A Thesis submitted to the College of Music in partial fulfillment of the requirements for the degree of Master of Music Therapy Degree Awarded: Fall Semester, 2007 The members of the Committee approve the Thesis of June Katagiri defended on September 28, 2007. ________________________________ Alice-Ann Darrow Professor Directing Thesis ________________________________ Clifford K. Madsen Committee Member _______________________________ Jayne M. Standley Committee Member Approved: ______________________________ Don Gibson, Dean, College of Music The Office of Graduate Studies has verified and approved the above named committee members. ACKNOWLEDGEMENTS There are many individuals who assisted me throughout my thesis process. First of all, I would like to thank my advisor, Dr. Alice-Ann Darrow for her continual guidance and support throughout the thesis process. The amount of time she devoted to assisting me with editing and providing helpful suggestions was greatly appreciated. I have been inspired and encouraged with her great passion for music therapy and research. I would also like to thank Dr. Clifford Madsen and Dr. Jayne Standley for giving valuable lectures and serving on my thesis committee. My thanks also go to my friends who offered help for research, Lilya Shimabukuro for creating schematic drawings, Melita Belgrave, Yuka Fujioka, Tomoko Ikeda, and Mari Mifune for improvising on the piano, and Satoko Inoue for suggesting session materials.