Aesthetic Response to Music: Musicians versus Nonmusicians

Madsen, Clifford K.; Byrnes, Suzanne Rita; Capperella-Sheldon, Deborah A.; Brittin, Ruth V.

doi:10.1093/jmt/30.3.174

Cited by 47 publications

(53 citation statements)

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“…After listening to the excerpt, the subjects filled out an exit questionnaire with questions regarding whether they had had an aesthetic experience while listening to the music, how long it lasted, and the highest magnitude of the experience on a scale of 1 (low) to 10 (high) (see Appendix 2). This form has been used in previous research (Madsen, 1997;Madsen et al, 1993a;Madsen et al, 1993b).…”

Section: Design and Proceduresmentioning

confidence: 99%

Measuring emotional responses to music within a classroom setting

Nápoles

Madsen

2008

International Journal of Music Education

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Investigating the emotional impact of music listening has a long history. Indeed, reactions to subtle as well as obvious changes in music, whether inadvertent or deliberate, occupy a good deal of interest for the music researcher as well as the music educator. Regardless of the extremely subtle acoustic changes that are perceptible within almost all studies from an electronic digital perspective, it is the total overall effect that most occupies the attention of the individual listener/student. While newer listening devices offer a plethora of music selections that can be presented and studied, often the educator does not have access to the advanced equipment used by researchers and has very limited resources other than their own performance and/or using various recording/playback units. The study investigated a 'paper and pencil' drawing compared with the much more advanced Continuous Response Digital Interface (CDRI) using high-school students. Results indicated that subjects approximate the same emotional responses with a drawing when compared to the sophisticated graphic analysis of the CRDI. These findings indicate that a teacher using only a simple paper and pencil representation might be able to elicit and document an 'overall emotional effect' that provides as much musical information as using more sophisticated measuring devices.

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Section: Design and Proceduresmentioning

confidence: 99%

Measuring emotional responses to music within a classroom setting

Nápoles

Madsen

2008

International Journal of Music Education

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“…This line of research showed that participants perceived they were experiencing aesthetic responses while listening. Additionally, increases and decreases in aesthetic response occurred at corresponding places in the music, and participants showed similar durations of these increases and decreases (Madsen, 1997;Madsen, Byrnes, Capperella-Sheldon, & Brittin, 1993).…”

mentioning

confidence: 83%

The Effect of Listening to Specific Musical Genre Selections on Measures of Heart Rate Variability

Orman

2011

Update: Applications of Research in Music Education

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University students (N = 30) individually listened to the Billboard 100 top-ranked musical selection for their most and least liked musical genre. Two minutes of silence preceded each musical listening condition, and heart rate variability (HRV) was recorded throughout. All HRV measures decreased during music listening as compared with silence. Dependent t-tests found significant decreases for beats per minute (p < .01, like; p < .001, dislike) and low frequency (p < .01, like; p < .05, dislike). A significant decrease in low-frequency/high-frequency ratio (p < .05) was found for the dislike-music listening condition. A sign test showed no significant difference in the number of mean readings that increased or decreased for either music listening condition. Findings may support previous research that HRV decreases during mentally engaging tasks but may not support previous research that HRV readings could be a measure of emotional responding.

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“…L'induction est de durée variable, en étroite relation avec les besoins du client quant à la relaxation et au cadre sécurisant. En moyenne, elle peut durer de deux à sept minutes (Wigram, Pedersen, & Bonde, 2002 (Madsen, Byrnes, Capparella-Sheldon, & Brittin, 1993;Osbourne, 1981).…”

Section: Séance D'imagerie Guidée Induite Par La Musiqueunclassified

“…Il pourrait alors être envisageable que cette forte exposition puisse entraîner une certaine désensibilisation aux éventuels effets thérapeutiques de l'atelier. Bien que certains travaux affirment cependant que le fait d'être musicien ou non n'occasionne pas de changement significatif sur le mode de réponse à l'écoute de musique (Madsen, Byrnes, Capparella-Sheldon, & Brittin, 1993;Osbourne, 1981), la recension des écrits n'a pas L'animateur revêt un grand rôle et assume plusieurs tâches au cours de la rencontre de groupe (Lieberman, Yalom, & Miles, 1973;Yalom, 1995). En outre, les problèmes rencontrés lors de la phase de recrutement ont fait en sorte que le moment de l'évaluation n'a pas été le même pour tous les participants, ce qui peut accroître la possibilité que des éléments situationnels non contrôlés influencent les résultats.…”

Section: Facteurs Pouvant Expliquer Les Faibles Résultats Du Groupe Eunclassified

Conception d'un atelier de musicothérapie réceptive et évaluation de son impact sur la santé mentale d'adultes du Saguenay-Lac-St-Jean /

Pedneault¹

2005

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Aesthetic Response to Music: Musicians versus Nonmusicians

Cited by 47 publications

References 0 publications

Measuring emotional responses to music within a classroom setting

Measuring emotional responses to music within a classroom setting

The Effect of Listening to Specific Musical Genre Selections on Measures of Heart Rate Variability

Conception d'un atelier de musicothérapie réceptive et évaluation de son impact sur la santé mentale d'adultes du Saguenay-Lac-St-Jean /

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