Sonic Branding and the Power of Sound by Stephen Arnold Music

Total Page:16

File Type:pdf, Size:1020Kb

Sonic Branding and the Power of Sound by Stephen Arnold Music Sonic Branding and the Power of Sound by Stephen Arnold Music Name That Tune1 was a popular American game show that ran for more than 30 years on television. In the final round of the game, two contestants would face-off by wagering how few notes it would take them to guess a song. They were given seven notes to start, but invariably wagered down to three, or two, or even just one! But how is it humanly possible to identify an entire song based on only the first one or two notes? The fact is, it’s not only humanly possible, but probable. The Science Behind Sound How does this process work? Consider the work of neuroscientist Kiminobu Sugaya2 at the University of Central Florida. He studies how and why patients with Alzheimer’s and other neurodegenerative diseases respond positively to music. His work reveals that, even in patients with late stage Alzheimer’s, exposure to music can reawaken their brains and excite dormant areas. It can even light up their eyes and, in many cases, cause them to move - and even sing! Because neurons that record music are widely distributed throughout the brain, even an illness as devastating as Alzheimer’s can’t kill our memories of the music we love. That’s because memories associated with music are emotional memories, which never fade – even in people with severe, neurodegenerative disease. Originally, Sugaya performed brain scans on his subjects to test his thesis that classical music had particularly beneficial effects on the brain – the so-called “Mozart effect.” However, His testing revealed that it didn’t matter what type of music he played. What really mattered was that the music was an emotional favorite of the patient. They were responding to their treasured memories of the song they were hearing - regardless of its musical genre. The Fastest Sense Though it seems counterintuitive, aural/sound stimulation is more powerful than visual stimulation. While light travels much faster than sound in a vacuum, audio waves take only 8-10 milliseconds to reach inside the brain. Visual signals, however, take 20-40 milliseconds to make the same trip. Actually, the human body can hear faster than it can see, taste, smell, or even feel3. Sound, because it requires less bandwidth, is processed much quicker. This helps explain the immediacy of our reaction to music and why some people can name a tune in one or two notes. We’ve all experienced this effect for ourselves – that “instant identification” when you hear a favorite song. In the world of recorded music, songs like this are called “earworms.” They get stuck in your brain and are impossible to dislodge, whether you like them or not. These songs have formed an emotional memory that will last a lifetime. The question is, can the immense power of music be harnessed so that it not only creates positive emotional connections, but ties those emotions to a brand? In short, the answer is yes. That, in essence, is the art and science of sonic branding. What is Sonic Branding? When you think of branding, you probably think about a companies’ logo—the visual representation of who they are and what they stand for. But sonic branding is the sound of your brand—the use of audio stimuli to reinforce your brand identity. In short, sonic branding is the “John Hancock” of music—the stinger, the hook, the musical notes that call people to action (Shop! Run! Eat! Watch!). It lingers in the mind long after the tones are gone. It’s almost a form of subliminal seduction—but in a good way. Companies, along with their marketers, are now strategically using sonic branding more than ever for their products, network ID’s, shows and online content. Why are companies turning to sonic branding? Sonic branding is powerful stuff. It implants a memory in the aural pathways to our brain that is so strong, it’s virtually impossible to forget (and just as difficult to ignore). It’s like chewing gum in your brain. You can’t get that little ditty out of your head. You hum it obsessively, like some crazed lumberjack. You love it. You hate it. You hate that you love it. Consider this: • Nationwide is on your side.4 • Have it your way. Have it your way. Have it your way at Burger King.5 • I am stuck on Band Aid ‘cause Band Aid’s stuck on me.6 Just reading these words recalls the tune that goes with each brand. Why are these are so easy to remember, yet it’s so hard to remember where you left your car keys? That’s the power of sonic branding, and smart companies embrace it. Short and Sweet Sonic branding is not limited to jingles. Three, four and five note signatures can be equally effective at permanently lodging a brand in the minds of consumers. The short signature of CNN with James Earl Jones’ booming voice saying, “This is CNN”7, is a perfect example. The NBC three-note chime8, or, more annoyingly, the rabid fanfare that tells us a movie theater is outfitted with the THX sound system9 has the same effect. This sort of sonic, aural imprint is critical in identifying a product, a program, a service or a brand, and helps it stand out from the competition. As easy as these sonic brands are to remember, creating them is a much more difficult.The challenge is to develop the most condensed and potent version of an earworm possible. It requires a mix of extensive market research to identify the emotional essence of the brand, and an educated, yet intuitive talent for how to musically convey that essence. It is critical to get this right, because the process that develops and defines the sonic brand will also determine all the downstream audio logos, product sonification, mnemonics, and voiceovers that accompany the marketing. As a brand, you are telling a story. Consider your sonic brand as the score of that story - the immediate emotional connection that links your brand to the mind of your consumer. For marketers wanting to create that quick, emotional relationship, an unforgettable sonic brand is marketing gold. About Stephen Arnold Music Often referred to as “The Most-Heard, Least-Known Composers in The World,” Stephen Arnold Music is a multiple award-winning Sonic Branding agency with more than 25 years of success delivering the sounds that make a difference to corporations, advertising agencies, cable networks, television stations and film studios the world over. Our commanding Sonic Branding approach to creating custom music, and our commitment to industry- leading service, quality and innovation is at the core of our promise. Our music is prolific and versatile, with thousands of our compositions being heard by more than a billion people on the air, online and on mobile – right now. References 1. Video: Name That Tune 2. Article: Your Brain on Music. A popular class breaks down how our brains respond to music. 3. Article: The Speed of Hearing 4. Video: Nationwide is on your side. 5. Video: Have it your way. Have it your way. Have it your way at Burger King. 6. Video: I am stuck on Band Aid ‘cause Band Aid’s stuck on me. 7. Video: This is CNN 8. Video: NBC three-note chime 9. Video: THX Sound System +1.214.726.1600 // info @stephenarnoldmusic.com // stephenarnoldmusic.com.
Recommended publications
  • SEM Newsletter Ethnomusicology Volume 51, Number 3 Summer 2017
    the society for SEM Newsletter ethnomusicology Volume 51, Number 3 Summer 2017 Music, Social Justice, and Resistance Jeffrey A. Summit, Research Professor, Tufts University Department of Music n 5-7 May 2017, a group of colleagues held a confer- this conference as a way to launch projects that would Oence entitled Music, Social Justice, and Resistance engage additional colleagues and work with established in Tiverton, RI. The conference, organized by Jeffrey A. initiatives and interest groups committed to the role of Summit (Tufts University) and sponsored by The Depart- music in social justice and advocacy. Funding and space ment of Music, Tufts University and The Tufts Jonathan constraints limited participation in this initial gathering and M. Tisch College of Civic Life, was hosted and funded by we welcome the future involvement of our colleagues who philanthropists and activists Dr. Michael and Karen Roth- are committed to these issues and already engaged in man. This meeting’s framing impactful projects, nation- question was “Taking into ally and globally. account the current politi- Coming out of this meet- cal direction in our country, ing, we see opportunities and rising authoritarian to expand and deepen tendencies globally, how can national and international we—as musicians, activists, engagement with music and scholars—leverage our and social justice by work- research, teaching, per- ing within the established formance, and activism to structures of academic develop and intensify social and professional organiza- justice initiatives with local tions. An important goal of and global impact?” our retreat was to begin This small gathering of discussing and develop- seventeen colleagues, musi- ing projects that could cians, and activists had am- have a significant national bitious goals.
    [Show full text]
  • Report of the President Daniel Sher Dean, College of Music University of Colorado-Boulder
    NATIONAL ASSOCIATION OF SCHOOLS OF MUSIC 2006 Annual Meeting Report of the President Daniel Sher Dean, College of Music University of Colorado-Boulder Last year our annual meeting centered on the issues of developing a positive future for art music, and we are continuing the theme this year. I chose this subject for my Report to you today, partly because it is surely one of the major challenges we face, and partly because I was inspired by Sam Hope’s beautifully concise and comprehensive paper, “Creating a Positive Future for Art Music,” which I read as a call to arms. In fact, I asked the NASM staff to place another copy of it in your packet again this year with the idea that you may find guidance and inspiration in it, as I have. My train of thought went this way: First, I wondered whether there is any point to considering that there is a cumulative effect to the activities and advocacy each of us engage in at our local level. And then, it occurred to me how important it might be to consider whether our advocacy role depends upon our abil- ity to understand the critically important, but often nuanced differences between music’s intrinsic and extrinsic values. This latter point seems especially important now, given the complex and often over- whelmingly commercial environment for messaging, branding, and marketing in which we live. I’ll frame these two issues by asking two fundamental questions: First, “What is our message?” Second, “How do we best advance it?” Given the challenges in messaging I referred to a moment ago, it seems essential that, first and foremost, we try our best to understand what comprises music’s intrinsic values, so as not to confuse them with extrinsic ones.
    [Show full text]
  • Exposure to Music and Cognitive Performance: Tests of Children And
    ARTICLE 5 Exposure to music and Psychology of Music Psychology of Music Copyright © 2007 cognitive performance: Society for Education, Music and Psychology Research tests of children and adults vol 35(1): 5‒19 [0305-7356 (200701) 35:1; 5‒19] 10.1177⁄0305735607068885 E. GLENN SCHELLENBERG http://pom.sagepub.com UNIVERSITY OF TORONTO, CANADA TAKAYUKI NAKATA NAGASAKI JUNSHIN CATHOLIC UNIVERSITY, JAPAN PATRICK G. HUNTER UNIVERSITY OF TORONTO, CANADA SACHIKO TAMOTO NAGASAKI JUNSHIN CATHOLIC UNIVERSITY, JAPAN ABSTRACT This article reports on two experiments of exposure to music and cognitive performance. In Experiment 1, Canadian undergraduates performed better on an IQ subtest (Symbol Search) after listening to an up-tempo piece of music composed by Mozart in comparison to a slow piece by Albinoni. The effect was evident, however, only when the two pieces also induced reliable differences in arousal and mood. In Experiment 2, Japanese 5-year-olds drew for longer periods of time after singing or hearing familiar children’s songs than after hearing Mozart or Albinoni, and their drawings were judged by adults to be more creative, energetic, and technically proficient. These results indicate that (1) exposure to different types of music can enhance performance on a variety of cognitive tests, (2) these effects are mediated by changes in emotional state, and (3) the effects generalize across cultures and age groups. KEYWORDS: cognition and emotion, cognitive ability, intellectual ability, Mozart effect, music and cognition, music listening The impact of music on listeners’ emotional state is well documented (e.g. Gabrielsson, 2001; Husain et al., 2002; Krumhansl, 1997; Peretz, 2001; Schmidt and Trainor, 2001; Sloboda and Juslin, 2001; Thayer and Levenson, 1983; Thompson et al., 2001), as is the effect of emotional state on participants’ performance on a wide variety of cognitive measures.
    [Show full text]
  • The Effects of Classical Versus Electronic Music on Learning and Recall," Mako: NSU Undergraduate Student Journal: Vol
    Mako: NSU Undergraduate Student Journal Volume 1 Article 3 Fall 12-1-2007 The ffecE ts of Classical Versus Electronic Music on Learning and Recall Samantha Domingo Nova Southeastern University Follow this and additional works at: https://nsuworks.nova.edu/mako Part of the Arts and Humanities Commons Recommended Citation Domingo, Samantha (2007) "The Effects of Classical Versus Electronic Music on Learning and Recall," Mako: NSU Undergraduate Student Journal: Vol. 1 , Article 3. Available at: https://nsuworks.nova.edu/mako/vol1/iss1/3 This Research Article is brought to you for free and open access by NSUWorks. It has been accepted for inclusion in Mako: NSU Undergraduate Student Journal by an authorized editor of NSUWorks. For more information, please contact [email protected]. Domingo: The Effects of Classical Versus Electronic Music on Learning and Music on Learning and Recall 1 Running head: THE EFFECTS OF CLASSICAL VERSUS ELECTRONIC MUSIC The Effects of Classical versus Electronic Music on Learning and Recall Samantha Domingo Nova Southeastern University Published by NSUWorks, 2007 1 Mako: NSU Undergraduate Student Journal, Vol. 1 [2007], Art. 3 Music on Learning and Recall 2 Abstract Research about the possible positive effects of classical music on learning and recall has been quite extensive in the past few years; this phenomenon is known as the Mozart effect. The present study attempted to evaluate the theory that listening to classical music enhances the learning and subsequent recall of new information. Twenty-four undergraduate students participated in this study. In a 2x2 ANOVA design, all participants were assigned to read a short passage while listening to one of four types of music: classical music at either high or low volume, or electronic music at either high or low volume.
    [Show full text]
  • Can Music Instruction Affect Children's Cognitive Development? ERIC Digest
    ED480540 2003-09-00 Can Music Instruction Affect Children's Cognitive Development? ERIC Digest. ERIC Development Team www.eric.ed.gov Table of Contents If you're viewing this document online, you can click any of the topics below to link directly to that section. Can Music Instruction Affect Children's Cognitive Development? ERIC Digest...........................................................................1 THE "MOZART EFFECT": LISTENING TO MUSIC...................... 2 MUSIC INSTRUCTION AND SPATIAL-TEMPORAL ABILITY..........2 MUSIC INSTRUCTION AND MATHEMATICS............................ 3 MUSIC INSTRUCTION AND READING.................................... 4 CONCLUSION.................................................................. 4 FOR MORE INFORMATION..................................................5 ERIC Identifier: ED480540 Publication Date: 2003-09-00 Author: Rauscher, Frances H. Source: ERIC Clearinghouse on Elementary and Early Childhood Education Champaign IL. Can Music Instruction Affect Children's Cognitive Development? ERIC Digest. THIS DIGEST WAS CREATED BY ERIC, THE EDUCATIONAL RESOURCES INFORMATION CENTER. FOR MORE INFORMATION ABOUT ERIC, CONTACT ED480540 2003-09-00 Can Music Instruction Affect Children's Cognitive Development? Page 1 of 7 ERIC Digest. www.eric.ed.gov ERIC Custom Transformations Team ACCESS ERIC 1-800-LET-ERIC Several studies have examined the effects of music instruction on children's abilities in other disciplines. Other studies have explored the effects of listening to music on adults' spatial abilities.
    [Show full text]
  • Mozart Effect Tpb Free Download
    MOZART EFFECT TPB FREE DOWNLOAD Don Campbell | 352 pages | 18 Sep 2001 | HarperCollins Publishers Inc | 9780060937201 | English | New York, NY, United States Mozart effect Rauscher et al. Why Mozart? The term was first coined by Alfred A. Their results were published in the July issue of the journal Psychological Science. Featured video. Psychology of Aesthetics, Creativity, and the Arts. Unfortunately it requires a bit more effort than putting on a CD. In a major challenge was raised to the existence of the Mozart effect by two teams of researchers. In a larger Mozart Effect Tpb of a greater number Mozart Effect Tpb studies again found a positive effect, Mozart Effect Tpb that other kinds of music worked just as well. But unless you and your family have some urgent imaginary origami to do, the chances are that sticking on a sonata is not going to make you better at anything. Holiday gift ideas for babies. Some Say, Maybe Not". Researchers at Appalachian State University believe that they've debunked what has been called the Mozart effect, a temporary increase in intelligence experienced after listening to a piano sonata written by the famed composer. After each listening session, the students completed problems which tested their spatial reasoning. This misconception, and the fact that the music used in the study was by Mozart, had an obvious appeal to those who valued this music; the Mozart Effect Tpb effect was thus widely reported. Always consult your own GP if you're in any way concerned about your health. Help Learn to edit Community portal Recent changes Upload file.
    [Show full text]
  • How It Modulates Nervous System Activity and Affects Emotion
    Skidmore College Creative Matter MALS Final Projects, 1995-2019 MALS 5-19-2007 The Process of Listening to Music: How it Modulates Nervous System Activity and Affects Emotion MaryAnn H. Gulyas Skidmore College Follow this and additional works at: https://creativematter.skidmore.edu/mals_stu_schol Part of the Integrative Biology Commons Recommended Citation Gulyas, MaryAnn H., "The Process of Listening to Music: How it Modulates Nervous System Activity and Affects Emotion" (2007). MALS Final Projects, 1995-2019. 45. https://creativematter.skidmore.edu/mals_stu_schol/45 This Thesis is brought to you for free and open access by the MALS at Creative Matter. It has been accepted for inclusion in MALS Final Projects, 1995-2019 by an authorized administrator of Creative Matter. For more information, please contact [email protected]. The Process of Listening to Music: How it Modulates Nervous System Activity and Affects Emotion By MaryAnn H Gulyas FINAL PROJECT SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN LIBERAL STUDIES Skidmore College April 2007 Advisors: Thomas Denny, Ph D. Denise Evert, Ph.D. Sandy Welter Table of Contents I - Introduction II - Sound as an Exterior Element a) Vibration b) Sound waves III - Sound as it is Received by the Body a) Structures of the Ear Figure 17-9 Lateral View of right ear Figure 17-11 Physiology of Hearing b) The Auditory cortex Figure 9-7 Auditory Pathway IV - Sound as it is Processed by the Brain a) Right and Left Hemispheres of the Brain b) Amygdala c) Hypothalamus
    [Show full text]
  • Hit Song Science Using Structural Features of Melodies
    Is it the song and not the singer? Hit song science using structural features of melodies Daniel Müllensiefen, Kelly Jakubowski Goldsmiths, University of London Klaus Frieler Hochschule für Musik “Franz Liszt” Weimar An old question: Can a perfectly composed melody make you go insane (Sirens, Ulysses) heal (Pythagoras) turn sorrows into joy (Magic Flute) make walls tumble (Jericho) make you will-less (Pied Piper of Hameln) charm wild beasts and soften the heart of Death (Orpheus) ??? → Great stories, often effective templates for media reports and scientific narratives (e.g. the Mozart effect ) More generally (and modestly) Can musical structure influence / bias behaviour? Can we predict human behaviour from musical structure? Are all musical structures equally likely to generate certain cognitive or emotional responses? (H0) or Are certain structures more prone than others to trigger a certain reaction? (H1) Empirical research since late 1960s, interdisciplinary area ‘Experimental Aesthetics’. Tune Features and … Singalong behaviour : Vocal features that motivate people to sing along to music in nightclubs (Pawley & Müllensiefen, 2012). Tune memory : Melodic features that make melodies more memorable (Müllensiefen & Halpern, 2014). The earworm formula : Melodic features of songs that become earworms (Williamson & Müllensiefen, 2012; Müllensiefen, Jakubowski et al. in prep.). The hitsong formula : Prediction of commercial success of songs commonly based on audio features. Hit Song Science (1) Dhanaraj & Logan (2005) classified hits vs. non-hits based on acoustic and lyrical features: • best acoustic classification rate = 0.66, slightly better for just lyrical features (0.68), • limitation- compared No. 1 hits to all other songs. Hit Song Science (2) Ni et al.
    [Show full text]
  • 12 Music and Cognitive Abilities E
    12 Music and Cognitive Abilities E. Glenn Schellenberg and Michael W. Weiss Department of Psychology, University of Toronto, Mississauga, Ontario, Canada I. Introduction In this chapter, we review the available evidence concerning associations between music and cognitive abilities. We use the term “cognitive abilities” to refer to all aspects of cognition (e.g., memory, language, visuospatial abilities) including gen- eral intelligence. We use the term “music” as an all-encompassing one that includes music aptitude, music listening, and music lessons, and we use the term “associations” because it does not imply causation. Our focus is on documented associations—regardless of the direction of causation—between cognitive abilities, on the one hand, and music aptitude, music listening, and music lessons, on the other. In each case, we examine the possibility of a causal relationship between music and cognition. The chapter is divided into four main sections: music aptitude and cognitive abilities, cognitive abilities after music listening (the so-called Mozart effect), background music and cognitive abilities (i.e., cognitive abilities while listening to music), and music training and cognitive abilities (i.e., cognitive abilities as a func- tion of music training). Our review focuses on articles published in English with behavioral outcome measures. Links between music and brain function or structure are discussed in Chapters 13 and 14 (this volume). II. Music Aptitude and Cognitive Abilities Music aptitude refers to natural music abilities or the innate potential to succeed as a musician. One school of thought (e.g., Ericsson, Krampe, & Tesch-Ro¨mer, 1993; Howe, Davidson, & Sloboda, 1998) contends that innate music talent (i.e., aptitude plus a demonstrated ability to perform music) does not account for variations in levels of musicality.
    [Show full text]
  • Psychology-And-Music-Proceedings
    4 Psychology and Music – Interdisciplinary Encounters PAM-IE Belgrade 2019 Conference Proceedings 1 The First International Conference Psychology and Music – Interdisciplinary Encounters Pre-conference Program October 21–23, 2019 Conference Program October 24–26, 2019 Main Organizer Faculty of Music, University of Arts in Belgrade Co-organizers Institute of Psychology, Faculty of Philosophy, University of Belgrade Psychology of Music Section, Serbian Psychological Society How to cite this volume Bogunović, B. & Nikolić, S. (Eds.) (2020). Proceedings of PAM-IE Belgrade 2019. Belgrade: Faculty of Music, University of Arts in Belgrade. PAM-IE Belgrade 2019 Conference Proceedings 2 Psychology and Music – Interdisciplinary Encounters Proceedings of the First International Conference Psychology and Music – Interdisciplinary Encounters Editors Blanka Bogunović and Sanela Nikolić Publisher Faculty of Music, University of Arts in Belgrade, Kralja Milana 50, Belgrade For Publisher Dean of the Faculty of Music Ljiljana Nestorovska Editor-in-Chief of the Faculty of Music Publications Gordana Karan Executive Editor Marija Tomić Cover Design Stefan Ignjatović Technical Editor and Pre-press Dušan Ćasić ISBN 978-86-81340-20-2 PAM-IE Belgrade 2019 Conference and this publication were supported by the Ministry of Education, Science and Technological Development of the Republic of Serbia. PAM-IE Belgrade 2019 Conference Proceedings 3 THE FIRST INTERNATIONAL CONFERENCE Psychology and Music – Interdisciplinary Encounters PROCEEDINGS Editors Blanka Bogunović
    [Show full text]
  • Mozart's Music – a Universal Language for the Human Brain
    MOZART’S MUSIC – A UNIVERSAL LANGUAGE FOR THE HUMAN BRAIN The aim of this research paper is to present different perspectives on why Mozart’s music speaks so universally to the human brain. It seems that Mozart’s music, when compared to other types of music, carries in itself a special code so that every human brain understands it equally and that the reaction to it is universal. The results of different research studies give us many different answers about the cause of this unique effect; one of the main explanations lies in the frequency structure of Mozart’s music, and another in the symmetrical structure of Mozart’s compositions. First, we establish the idea of music as the first language of humankind from a phylogenetic and ontogenetic point of view on the basis of many research studies. Second, the connection between music and language from different perspective is introduced. The focus of the paper is on the Mozart effect (ME) – the influence of Mozart’s Sonata for Two Pianos in D major, K448, on spatial-temporal reasoning. We present the main outcomes of our research studies that we conducted on Slovene students; first the three preliminary neurological studies were performed, followed by the main experiment on the sample of 315 students. A summary of our main conclusions from neurological studies is that there is a universal and specific effect of Mozart’s music on the human brain. The universal effect could be recognized in the “binding” of different brain areas when listening to the music, so that the brain works more synchronically and holistically.
    [Show full text]
  • Music Listening As Therapy David M
    Loma Linda University TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works Loma Linda University Electronic Theses, Dissertations & Projects 9-2015 Music Listening as Therapy David M. Rosenblatt Follow this and additional works at: http://scholarsrepository.llu.edu/etd Part of the Cognition and Perception Commons, and the Cognitive Behavioral Therapy Commons Recommended Citation Rosenblatt, David M., "Music Listening as Therapy" (2015). Loma Linda University Electronic Theses, Dissertations & Projects. 294. http://scholarsrepository.llu.edu/etd/294 This Doctoral Project is brought to you for free and open access by TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. It has been accepted for inclusion in Loma Linda University Electronic Theses, Dissertations & Projects by an authorized administrator of TheScholarsRepository@LLU: Digital Archive of Research, Scholarship & Creative Works. For more information, please contact [email protected]. LOMA LINDA UNIVERSITY School of Behavioral Health in conjunction with the Department of Psychology __________________________ Music Listening as Therapy by David M. Rosenblatt, M.A. ___________________________ Project submitted in partial satisfaction of the requirements for the degree of Doctor of Psychology ___________________________ September 2015 © 2015 David M. Rosenblatt All Rights Reserved Each person whose signature appears below certifies that this project in his/her opinion is adequate, in scope and quality, as a project for the degree Doctor of Psychology. _____________________________________________________________, Chairperson Paul E. Haerich, Professor of Psychology ________________________________________________________________________ Adam L. Aréchiga, Associate Professor of Psychology iii ACKNOWLEDGMENTS I would like to express my appreciation to Dr. Haerich for his good humor, guidance, and patience throughout my work on this project. I would also like to thank Dr.
    [Show full text]