DOCSLIB.ORG

Tinguished by an Extraordinary Level of Methodological Discernment

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Tinguished by an Extraordinary Level of Methodological Discernment New Sound 57, I/2021 Sound Design is the New Score is dis- Article received on March 15th 2021 tinguished by an extraordinary level of Article accepted on April 27th 2021 methodological discernment, effective UDC 781(049.32) dramaturgical structure, holistic ap- proach to sound in film, and intimate knowledge of its subject matter. It consti- MARIJA PANTIć * tutes a valuable scholarly contribution in PhD candidate the field of film musicology, which makes University of Arts in Belgrade it suitable for specialized and wider read- Faculty of Music, Department of Musicology ing publics alike. Although the author corroborates her claims with an impres- sive number of examples from films and Blanka Bogunović, Sanela Nikolić appropriate theoretical-empirical evi- (Eds), Proceedings / The First dence, her conclusions might not be en- International Conference Psychology tirely acceptable to every reader, espe- and Music: Interdisciplinary Encounters th cially to composers of film music, who [24–26 October 2019, Belgrade]. might recognize in the monograph’s very Belgrade: Faculty of Music, University 1 title the danger facing their craft – when of Arts Belgrade, 2020. its role and significance are presented as nearly equal to those of the creative prac- tices of sound designers. Since Serbian Finally, the complex and dynamic inter- and regional musicology has so far disciplinary field of music psychology spawned a rather limited number of stud- received its first international conference ies concerning the musical aspects of in our country. It was held from October filmmaking, it would be extremely stim- 24 to 26 in Belgrade, under the title Psy- ulating if this monograph by Danijela chology and Music: Interdisciplinary En- Kulezic-Wilson were to be translated into counters (PAM-IE Belgrade 2019). The Serbian. We hope that this book will also organizer was the Faculty of Music in act as an incentive to Serbian publishers Belgrade, and the co-organizers were the and cultural institutions to support fur- Institute of Psychology of the Faculty of ther research in film music and sound, Philosophy in Belgrade and the Section and thus enrich Serbian scholarly musi- for Music Psychology of the Serbian Psy- cology with new applied insights in the chological Society. domain of cinematic art and audiovisual Ambitiously designed as an inclu- media. sive communication space for researchers * Author contact information: [email protected] 1 How to quote this volume: Bogunović, B. & Nikolić, S. (Eds) (2020). Proceedings of PAM-IE Belgrade 2019. Belgrade: Faculty of Music, University of Arts in Belgrade. 130 Reviews at different levels of experience and with Faculty of Music in Belgrade (hereinafter diverse methodological backgrounds, FMU), and contains the editor’s note, a this three-day conference offered a plat- list of members of the program and orga- form for exchanging ideas and network- nizing committee and 30 papers in Eng- ing on a broad (inter)disciplinary, geo- lish, arranged in 11 thematic units (in- graphical (18 countries from 4 cluding two thematic symposia), which continents), institutional (researchers follow the thematic units of the confer- and authors come both from different ence. The collection is dominated by re- faculties and institutes as well as associa- views of empirical research, including tions and specialised music schools) and several case studies. The Proceedings also expertise levels (from students and young contains theoretical interdisciplinary pa- researchers, through those more experi- pers, as well as studies that have uniquely enced, to leading authorities in this field and profoundly intertwoven different such as John Sloboda). disciplines with opposing epistemologies. In addition to their initiation and Musical development at the pre- encouragement of the conference and a school age represents the thematic start- series of lectures and workshops held in ing point of the collection and contains the pre-conference segment, as well as an overview of two empirical research several keynotes within the conference, studies. While Portuguese authors Caro- members of the European Society for the lina e Sá and Eduarda Carvalho reviewed Cognitive Sciences of Music (ESCOM)2 their multiple case study of a transdisci- further contributed not only to the out- plinary nature, in which they investigated line of the conference, but also to that of the characteristics of a repertoire of lul- the published collection of papers, labies sung to pre-term infants in inten- through their participation in the Pro- sive care by their mothers, Marija Savić, gram Committee and the Abstract Re- Dubravka Stošić, and Nikola Goljović view Committee.3 presented the results of their research A collection of academic papers that examined the importance of music from this conference, edited by Dr. Sanela education of pre-school teachers and Nikolić and Dr. Blanka Bogunović, their performing competencies for suc- ESCOM representative for Serbia and cessful work on the development of chil- spiritus movens of the conference, was dren’s musical abilities in educational published in 2020, as an edition of the pre-school institutions. The second thematic circle of the collection, Musical Perception and Cogni- 2 John Sloboda, Richard Parncutt, Renee tion, consists of three texts. By analyzing Timmers and Jane Ginsborg. the use of different forms of pedal tone, 3 See the bilingual abstract booklet, which includes abstracts of the pre-conference pro- in selected examples of Western art music gram, four plenary presentations and 90 pa- of the XVIII and XIX centuries, Ida pers presented at the conference in 12 the- Vujović, from the perspective of expec- matic sessions, 2 thematic symposia and 13 tancy theory, constructed a new diction- poster presentations. ary for describing pedal tone and differ- 131 New Sound 57, I/2021 entiated pedal concept variants and their relationship between the perception of subtypes. Teodora Vuletić discussed idiosyncrasy of musical interpretation methodological problems that under- and the experience of the character of the mine the validity of tasks aimed at exam- work, by means of selected performances ining music conservation, giving the of Debussy’s Syrinx for solo flute. In their overview of a recent domestic pilot study, case study, Brazilian musicologists Maria and Blanka Bogunović, Ida Vujović and Bernadete Castelan Póvoas and Luís Ana Protulipac presented a detailed re- Claudio Barros investigated the effects of view of their research on reading strate- the implementation of movement cycles gies in singing and playing music stu- and anticipated gesture strategies to the dents, which contributes to the mutual integration of performers and the correlation of two music disciplines, ear optimization of music performance in training and vocal-instrumental learning. piano duos by Brazilian composers, Music, stress and performance anxi- whereas Tatjana Popović compared ex- ety is the title of the third thematic sec- pressive kinesthetic function in two se- tion, which consists of two papers. Psy- lected pianistic performances. chologists Anna Antonina Nogaj and Psychology and music education is Izabela Czarnecka from Kazimierz the title of the fifth problem section, Wielki University in Bydgoszcz searched, which comprises two papers. In their in their study, for differences in stress pilot research, Dejana Mutavdžin and management styles and social competen- Blanka Bogunović pointed out the differ- cies among classical and jazz musicians, ences in the educational preferences of while Miloš Zaktalik and Aleksandar musically gifted high school and univer- Kontić, a prolific interdisciplinary duo, sity students and laid the foundation for a integrated insights of musical analysis larger research that will have great peda- and psychoanalytic concepts in an origi- gogical significance. Vesna Rokvić, Majda nal way, examining the phenomenon of Marić, Danica Bajagić, et al. gave an over- stage anxiety among musicians. view of their empirical study, in which In the fourth thematic section of the the quality of inclusive education in collection, entitled Psychology of Musical music schools was examined. The find- Performance, there are four texts. As part ings of the study showed that (selected) of their case study, Croatian authors Val- specialised music schools have created a nea Žauhar, Aleksandra Matić, Ana favourable environment for the develop- Dražul and Igor Bajšanski investigated ment of inclusive practices, regarding the influence of the use of formal struc- both the quality of student support and ture, segmentation of form by the pianist, the partnerships with parents, but also re- as well as the influence of the technical vealed the need for support of a more complexity of the work on the process of successful integration of pupils with ad- memorizing contemporary music. The ditional support needs and their peers. musicologist Marija Tomić, a young re- The sixth section, Music and the searcher from FMU, searched in her em- Regulation of Affects, also contains two pirical study for answers concerning the articles. Scandinavian authors Margarida 132 Reviews Baltazar and Daniel Västfjäll have holisti- the results of their empirical study on the cally approached data sources in search influence of music as the dance accompa- of the qualities of music that is perceived niment on the perception of dance per- as relaxing. The article has a pioneering formance in classical ballet, hip-hop and character because
Load more

Recommended publications
  • ICMPC11 Schedule at a Glan
    Upadted 7/9/10 SCHEDULE AT A GLANCE 8/23-27/10 MONDAY 8/23 REGISTRATION REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby REGISTRATION - Kane Hall Lobby 8:00-9:00AM Kane 130 Kane 110 Gowen 301 Smith 120 KANE - Walker Ames Room Session Rooms Gowen 201 WELCOME/KEYNOTE ADDRESS: Welcome and Opening Singing: when it hurts, when it helps, Keynote 9-10:30AM and when it changes brains. Gottfried Schlaug BREAK: 10:30-11:00AM Break Break Break Break Break Break INVITED SYMPOSIUM: SESSION 1 Effects of Musical Experience on Development During MUSIC THERAPY 1 SOCIAL PSYCHOLOGY 1 TONAL PERCEPTION 1 11-12:30 Infancy Laurel Trainor PA 021 Modeling Musical Structure from the Audience: Emergent PA027 The Effect of Structure and Rate Variation on Key-Finding SYM31:Beat Induction as a Fundamental Musical Skill PA 025 A Theory of Music and Sadness: A Role for Prolactin? 11:00 Rhythmic Models from Spontaneous Vocalizations in Samba Culture Morwaread Farbood, Gary Marcus, Panayotis Mavromatis, David Henkjan Honing David Huron Luiz Naveda, Fabien Gouyon, Marc Leman Poeppel SYM32: New Perspectives on Consonance and Dissonance PA 018 Improvisational Psychodynamic Music Therapy for PA110 Influences of Minority Status and Social Identity on the PA057 Common and Rare Musical Keys Are Absolutely Different: 11:30 Judy Plantinga, Sandra E. Trehub Depression: Randomized Controlled Trial Elaboration of Unfamiliar Music by Adolescents Implicit Absolute Pitch, Exposure
    [Show full text]
  • The Influence of Characteristics on Music Enjoyment and Preference
    Page 12 Oshkosh Scholar The Influence of Characteristics on Music Enjoyment and Preference Kristie Wirth, author Dr. Quin Chrobak, Psychology, faculty mentor Kristie Wirth is a senior at UW Oshkosh studying psychology and French. She plans to pursue a Ph.D. in counseling psychology after graduating. Her ideal career would involve both teaching and counseling at a university. She conducted the following research study as part of the McNair Scholars Program during spring 2012. Dr. Quin Chrobak received his B.A. from Drew University, his M.A. from American University, and his Ph.D. in experimental psychology from Kent State University. His research focuses on understanding how memory and cognition operate in complex real-world situations. Most recently, his research has begun to explore the notion that the nature of the relationship between witnessed and suggested/fabricated events may contribute to the false memory development. Abstract Past research has indicated that two specific personality traits, openness and empathy, may contribute to greater enjoyment of music that expresses negative emotions. Individuals with elevated levels of depressive symptoms may similarly have a preference for negative music. However, no research to date has explored the impact of both personality traits and depressive symptoms in the same investigation. The current study measured both music enjoyment (how much people like certain music) and music preference (how often people choose to listen to certain music) after exposure to negative, neutral, and positive music. Supporting prior research, this study indicated that individuals high in overall empathy (the ability to experience the emotions of another) had a greater enjoyment of negative emotional music.
    [Show full text]
  • Editorial: Embodiment in Music
    i Editorial: Embodiment in Music Editorial Andrea Schiavio1 & Nikki Moran2 1 Centre for Systematic Musicology, University of Graz, Austria 2 Reid School of Music, The University of Edinburgh, UK This special issue of the Journal of Interdisciplinary Music Studies (JIMS) focuses on the theme “Embodiment in Music”, reflecting the main topic of the latest Conference of Interdisciplinary Musicology held in Graz (CIM19). The present volume involves empirical and conceptual contributions exploring embodied music cognition from a variety of angles, combining selected papers presented at this conference with original submissions. The period of time since CIM19 took place has been marked by disruption. This is a period that has seen dramatic shifts in western consciousness towards globally impactful issues: the mass human crisis of forced migration and displacement; burgeoning awareness brought about through social justice campaigns; our climate- altered reality and the imminent, accelerating consequences. Our state of being under Covid-19 seems to have rendered existing disproportions of wealth, health and opportunity more apparent. What was previously subconscious, remote knowledge of prejudice and bias – aggressions concerning race, culture, gender, nature – seem now to have risen closer to the surface of daily life than perhaps at any previous point in living memory. As editors, we have taken particular care to respond to these issues as they pertain to academic research. We have been most grateful to all authors for their collaboration in decisions regarding stylistic language choices and the reduction of scientific bias. We are also grateful to the conference organizing committee in Graz, all authors, reviewers, and assistants who helped make this special issue possible.
    [Show full text]
  • Classical Net Review
    The Internet's Premier Classical Music Source BOOK REVIEW The Psychology of Music Diana Deutsch, editor Academic Press, Third Edition, 2013, pp xvii + 765 ISBN-10: 012381460X ISBN-13: 978-0123814609 The psychology of music was first explored in detail in modern times in a book of that name by Carl E. Seashore… Psychology Of Music was published in 1919. Dover's paperback edition of almost 450 pages (ISBN- 10: 0486218511; ISBN-13: 978-0486218519) is still in print from half a century later (1967) and remains a good starting point for those wishing to understand the relationship between our minds and music, chiefly as a series of physical processes. From the last quarter of the twentieth century onwards much research and many theories have changed the models we have of the mind when listening to or playing music. Changes in music itself, of course, have dictated that the nature of human interaction with it has grown. Unsurprisingly, books covering the subject have proliferated too. These range from examinations of how memory affects our experience of music through various forms of mental disabilities, therapies and deviations from "standard" auditory reception, to attempts to explain music appreciation psychologically. Donald Hodges' and David Conrad Sebald's Music in the Human Experience: An Introduction to Music Psychology (ISBN-10: 0415881862; ISBN-13: 978- 0415881869) makes a good introduction to the subject; while Aniruddh Patel's Music, Language, and the Brain (ISBN-10: 0199755302; ISBN-13: 978-0199755301) is a good (and now classic/reference) overview. Oliver Sacks' Musicophilia: Tales of Music and the Brain (ISBN-10: 1400033535; ISBN-13: 978-1400033539) examines specific areas from a clinical perspective.
    [Show full text]
  • Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2011 Harmonic Expectation in Twelve-Bar Blues Progressions Bryn Hughes Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] THE FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC HARMONIC EXPECTATION IN TWELVE-BAR BLUES PROGRESSIONS By BRYN HUGHES A dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy Degree Awarded: Summer Semester, 2011 The members of the committee approve the dissertation of Bryn Hughes defended on July 1, 2011. ___________________________________ Nancy Rogers Professor Directing Dissertation ___________________________________ Denise Von Glahn University Representative ___________________________________ Matthew Shaftel Committee Member ___________________________________ Clifton Callender Committee Member Approved: _____________________________________ Evan Jones, Chair, Department of Music Theory and Composition _____________________________________ Don Gibson, Dean, College of Music The Graduate School has verified and approved the above-named committee members. ii To my father, Robert David Moyse, for teaching me about the blues, and to the love of my life, Jillian Bracken. Thanks for believing in me. iii ACKNOWLEDGEMENTS Before thanking anyone in particular, I would like to express my praise for the Florida State University music theory program. The students and faculty provided me with the perfect combination of guidance, enthusiasm, and support to allow me to succeed. My outlook on the field of music theory and on academic life in general was profoundly shaped by my time as a student at FSU. I would like to express my thanks to Richard Parks and Catherine Nolan, both of whom I studied under during my time as a student at the University of Western Ontario and inspired and motivated me to make music theory a career.
    [Show full text]
  • Download (3MB)
    Lipsey, Eleanor Laura (2018) Music motifs in Six Dynasties texts. PhD thesis. SOAS University of London. http://eprints.soas.ac.uk/32199 Copyright © and Moral Rights for this thesis are retained by the author and/or other copyright owners. A copy can be downloaded for personal non‐commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holders. When referring to this thesis, full bibliographic details including the author, title, awarding institution and date of the thesis must be given e.g. AUTHOR (year of submission) "Full thesis title", name of the School or Department, PhD Thesis, pagination. Music motifs in Six Dynasties texts Eleanor Laura Lipsey Thesis submitted for the degree of PhD 2018 Department of East Asian Languages and Cultures China & Inner Asia Section SOAS, University of London 1 Abstract This is a study of the music culture of the Six Dynasties era (220–589 CE), as represented in certain texts of the period, to uncover clues to the music culture that can be found in textual references to music. This study diverges from most scholarship on Six Dynasties music culture in four major ways. The first concerns the type of text examined: since the standard histories have been extensively researched, I work with other types of literature. The second is the casual and indirect nature of the references to music that I analyze: particularly when the focus of research is on ideas, most scholarship is directed at formal essays that explicitly address questions about the nature of music.
    [Show full text]
  • The Search for Consistent Intonation: an Exploration and Guide for Violoncellists
    University of Kentucky UKnowledge Theses and Dissertations--Music Music 2017 THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS Daniel Hoppe University of Kentucky, [email protected] Digital Object Identifier: https://doi.org/10.13023/ETD.2017.380 Right click to open a feedback form in a new tab to let us know how this document benefits ou.y Recommended Citation Hoppe, Daniel, "THE SEARCH FOR CONSISTENT INTONATION: AN EXPLORATION AND GUIDE FOR VIOLONCELLISTS" (2017). Theses and Dissertations--Music. 98. https://uknowledge.uky.edu/music_etds/98 This Doctoral Dissertation is brought to you for free and open access by the Music at UKnowledge. It has been accepted for inclusion in Theses and Dissertations--Music by an authorized administrator of UKnowledge. For more information, please contact [email protected]. STUDENT AGREEMENT: I represent that my thesis or dissertation and abstract are my original work. Proper attribution has been given to all outside sources. I understand that I am solely responsible for obtaining any needed copyright permissions. I have obtained needed written permission statement(s) from the owner(s) of each third-party copyrighted matter to be included in my work, allowing electronic distribution (if such use is not permitted by the fair use doctrine) which will be submitted to UKnowledge as Additional File. I hereby grant to The University of Kentucky and its agents the irrevocable, non-exclusive, and royalty-free license to archive and make accessible my work in whole or in part in all forms of media, now or hereafter known. I agree that the document mentioned above may be made available immediately for worldwide access unless an embargo applies.
    [Show full text]
  • Analysis of Emotional Dimensions in Music Using Time Series Techniques
    Analysis of Emotional Dimensions in Music Using Time Series Techniques Emery Schubert Few who have experienced the thrill of emotional interactions with music would deny that such experiences are important and enriching. These intoxicating episodes can be superior to any heightening or soothing drug because they occur without unpleasant side-effects. The fact that music can express such emotions—move people to tears of lament and to teeth-clenching ecstasy—is, for many, a wondrous mystery. How is it that by manipulating combinations of innocuous acoustic parameters composers and performers can produce such potent effects? The question has occupied scholars and practitioners for over twenty centuries. One of the many problems that face researchers is the lack of objective data available for comparing music and emotion. Further, experimental research in this area has tended to treat music as a stimulus that can be dealt with by a single point response. While experimental methodology requires an element of reductionism, in this article I argue that it is possible to obtain an additional dimension to the understanding of emotion in music by tracking emotional responses to music continuously. My work is based on the fundamental assumption that there are underlying rules that govern the relationship between music and emotion within a given culture.1 The strength of the experimental approach has been summarised by Pike, who indicated the benefit of collecting responses from several people instead of the introspections of the 1 My approach implies both a reductionist and behaviourist approach. While the approach of the reductionist is present, I rebuff the claim of a behaviourist approach.
    [Show full text]
  • 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
    [Show full text]
  • Playing Panpipes in Southern Russia: History, Ethnography, and Performance Practices
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely aflfect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Infonnation Company 300 North Zed) Road, Ann Aibor MI 48106-1346 USA 313/761-4700 800/521-0600 NOTE TO USERS The original manuscript received by UMI contains pages witFi slanted print. Pages were microfilmed as received. This reproduction is the best copy available UMI PLAYING PANPIPES IN SOUTHERN RUSSIA: HISTORY, ETHNOGRAPHY, AND PERFORMANCE PRACTICES VOL.
    [Show full text]
  • Music, Feelings, and the Human Brain
    Psychomusicology: Music, Mind, and Brain © 2014 American Psychological Association 2014, Vol. 24, No. 1, 92–102 0275-3987/14/$12.00 DOI: 10.1037/pmu0000033 Music, Feelings, and the Human Brain Assal Habibi and Antonio Damasio University of Southern California Music of varied kinds consistently triggers a large range of drives and emotions, which, in turn, induce a particular class of mental experiences known as feelings. The feelings are often pleasurable, though not necessarily. Neuroimaging and electrophysiological studies, in normal individuals as well as in patients with focal neurological lesions, reveal that music can change the state of large-scale neural systems of the human brain. The changes are not confined to brain sectors related to auditory and motor processing; they also occur in regions related to the regulation of life processes (homeostasis), including those related to emotions and feelings, most prominently in the insula and cingulate cortices, in the ventral striatum, in the amygdala, and in certain upper brainstem nuclei. The ease with which music leads to feelings, the predictability with which it does so, the fact that human beings of many cultures actively seek and consume music, and the evidence that early humans engaged in music practices lead us to hypothesize that music has long had a consistent relation to the neural devices of human life regulation. It is conceivable that, as a result, music-induced feelings can be informative and nourishing at the individual level and can also operate as significant promoters of sociocultural organization. We venture that the close relationship between music and feelings along with music’s effectiveness in certain personal and social contexts, that is, its roles in homeostasis, explain, at least in part, the considerable degree of selection and replication of music-related phenomena, both biologically and culturally.
    [Show full text]
  • Fall 2011 Sabbatical Report: Music and Cognition Margaret Tennant
    Fall 2011 Sabbatical Report M. Tennant 1 Fall 2011 Sabbatical Report: Music and Cognition Margaret Tennant, Ph. D. May 26, 2012 Fall 2011 Sabbatical Report M. Tennant 2 Table of Contents Prologue 3 Sabbatical Report 4 Interactive Lecture, Multicultural Day April 10, 2012 18 Suggested Activities for Applying to Introductory Psychology 24 Conference Schedule SMPC 27 Bibliography 33 Fall 2011 Sabbatical Report M. Tennant 3 Prologue I would like to thank the Board of Trustees of the Ventura Community College District; Dr. James Meznek, Chancellor; Dr. Pam Eddinger, Moorpark College President; and the Moorpark College Academic Senate; for this opportunity for scholarly study during the Fall 2011 semester. The contents of this report include the following: 1) The Sabbatical Report: A brief overview of content researched during the sabbatical 2) Applications: Ideas for incorporating music into an introductory psychology course and the outline of the interactive lecture presented to students on Multicultural Day April 10, 2012. 3) Conference Schedule: The schedule of the Society of Perception and Music Cognition, held August 11-14, 2011. 4) Bibliography: A complete list of readings referenced or read during my Fall 2011 sabbatical. Fall 2011 Sabbatical Report M. Tennant 4 Music and Cognition: Fall 2011 Sabbatical Report Music is an integral part of the human experience, yet it largely omitted from introductory psychology texts (Sloboda & Juslin, 2010). It is not, however, omitted from students' lives. Music accompanies them as they socialize, shop, work, exercise, and worship. Music directs their thoughts and emotions in the films they see and the songs that they hear. How does this occur and what gives music such power? This sabbatical project was designed to better understand the underlying mechanisms of experiencing music and thus apply psychology to one of the passions of students’ lives.
    [Show full text]