"网恋"及其伦理问题辨析

“网恋”可划分为“网恋I”(通过网络恋爱 )和“网恋II”(纯粹的网恋 )两种类型 ,由“网恋”引发的伦理问题可分为“问题I”、“问题II”和“问题III”。这种区分有助于分辨网恋带来的不同性质的伦理问题 ,针对不同类型的网恋及其问题 ,提出不同的应对方法。     

Music and social identity: Stylistic identification as a response to musical style

One function of music is considered to be defining social identity for oneself and for others. This aspect of musical styles was investigated in the light of Social Identity Theory by examining how a college student population described fans of different musical styles. Respondents were questioned about their perception of listeners of six musical styles, two of which were indigenous to Turkey. Three basic dimensions that described the listeners of these styles emerged as the result of factor and scale reliability analyses. These dimensions were labelled the sophisticated, the sprightly, and the loser. Respondents associated these features with fans of different styles to different extents. The sprightly dimension characterized listeners of pop, rock, and rap best. The sophisticated dimension was most closely associated with listeners of classical and Turkish folk music. Listening to Arabesk, which is a style that is specific to Turkey, was most closely associated with the loser dimension. Consistent with the predictions of Social Identity Theory, evaluations by a person were affected by the attitude of that person towards a style in the cases of rock and Turkish folk music. Especially on the sophisticated dimension, respondents who liked rock or Turkish folk music rated the listeners of these styles closer to the ideal than respondents who disliked them. However, the self‐evaluations of these groups were similar. Furthermore, respondents typically described themselves as being closer to the ideal value on the three dimensions than the listeners of musical styles they liked. These results provide considerable support for the idea that liking a musical style shows characteristics of group membership according to Social Identity Theory.     

Music preferences and personality among Japanese university students

Little research has been conducted outside of the European-North American cultural area concerning the personality-based determinants of musical genre preferences The present research investigated the personality profiles and general music genre preferences of 268 Japanese college students. Six dimensions and 24 facets of personality, and 12 music genres, were assessed. Results indicated that, consistent with much previous research, openness (to experience) and particularly the facet of "aesthetic appreciation" were associated with a preference for "reflective" music (jazz, classical, opera, gospel, enka), while one extraversion facet (sociability) was associated with the preference for pop music. Other personality dimensions were less consistently associated with musical preferences, pointing to cultural differences and the need to assess both personality and music genres at more specific levels.     

The relative importance of math‐ and music‐related cognitive and affective factors in predicting undergraduate music theory achievement

Based on research identifying relations between math and music, we aimed to identify the group of cognitive and affective factors related to math and music theory that best explained undergraduate music theory achievement. Using dominance analysis, we predicted the music theory course grades of 230 undergraduate music majors. Potential predictors were narrowed from measures of knowledge, aptitude, experience, confidence, and anxiety in both music theory and math as well as spatial skills and reading test scores. Results suggested that ACT math scores and music theory confidence were important predictors for Music Theories I and II grades. Music Theory I was also predicted by aptitude‐based music theory skills, and Music Theory II was also predicted by math course experience. These findings provide evidence for a relation between math and music theory and support the use of several readily available measures for college‐level music instructors to identify students who may struggle in music theory.     

Responding to a positive stimulus by “satiated” pigeons

Skinner (1938) found that rats given discrimination training (Phase I) and then reinforced to “satiation” for responses in the presence of the negative stimulus (S?) (Phase II), began to respond again when the positive stimulus (S+) was reintroduced (Phase III). Experiment I replicated Skinner's finding with pigeons, alternating S+ and S? presentations during Phase III. In Experiment II, Phase II was extended, and Phase III results were similar to those of Experiment I, demonstrating that the recovery of S+ responding could not be attributed to a lax Phase II satiation criterion. In Experiment III, a uniform schedule of reinforcement was maintained throughout the three phases, and results similar to those of Experiment I were found, indicating that renewed S+ responding was not due to the shift in schedule between phases. In Experiment IV, Phase I consisted of discrimination training with two positive stimuli (S+_s and S+_n), and Phase II consisted of reinforcement for responses in the presence of S? and S+_s. During Phase III, significantly more responding was found to S+_s and S+_n than to S?, but no difference in responding was found between the two positive stimuli. In Experiment V, Phase I consisted of simple discrimination training, and during Phase II, responses in the presence of both S? and a novel stimulus (So) were reinforced. During Phase III, significantly more responding was found to S+ than to either S? or So, with no difference found between S? and So responding. Renewed responding to S+ during Phase III in the present experiments is best explained by behavioral contrast developed during Phase I.     

Personality‐relevant attribute‐nouns: a taxonomic study in the Italian language

The present study was based on psycholexical approach premises and explored the structure of a large set of personality attribute‐nouns in the Italian language. Content inspection (based on Big Five categories) and quantitative indices were used to interpret the attribute‐noun dimensions. Results showed (a) a stable three‐component solution which replicated the Big Three; (b) an unstable five‐factor solution which did not reproduce the Big Five; (c) an unstable six‐factor solution which represented deviations from the Big Five system, which have been found in most psycholexical studies conducted in the Italian language. The six lexical dimensions were interpreted as follows: Conscientiousness (replicating the III of the Big Five); Self‐Assurance (combining the Big Five I assertiveness and IV fearfulness subcategories); Sociability (defined by the Big Five I sociableness and I impulse expression subcategories); Placidity (combining the Big Five II peacefulness, II unassertiveness, and IV irritableness subcategories); Honesty and Humility (comprising the Big Five II modesty and II helpfulness subcategories plus integrity values); Cleverness and Sophistication (defined by the Big Five V subcategories). The conclusion was that personality word organisation in the Italian language reflects the psycholexical Big Three and Big Six, but not the Big Five. Copyright © 2005 John Wiley & Sons, Ltd.     

Effects of neutral and positive stimuli on stuttering: “Calling attention to stuttering” revisited

This study investigated the effects of presumably positive and neutral response-contingent stimuli on the occurence of stuttering. Eight adult stutterers spoke spontaneously during a 60-min experimental session, which was divided into three 20-min periods. During Condition I no stimuli were delivered. During Condition II a digital counter and a pair of yellow lights were activated each time the subject stuttered. During Condition III these same response-contingent stimuli were delivered, but with the additional factor that the subject would earn 5¢ each time the counter moved forward and the lights were illuminated. Conditions II and III were counterbalanced across subjects. The experimenter was unaware of which of the two contingencies were operative during Conditions II and III. Results showed no significant changes in occurence of stuttering due to either response-contingent stimulus. A discussion of theoretical and experimental implications is given.     

Sex role conformity in homosexual and heterosexual males

Nine principal components were extracted from the scores of 26 homosexual and 26 heterosexual males matched on age, education, occupation status, and sampling frame on Adjective Check List, Bem Sex Role Inventory, Chapin Social Insight Test, Experience Inventory, and Sixteen Personality Factor Questionnaire scales selected to represent a variety of "masculine" and "feminine" sex role attributes. The four most general varimax factors, accounting for 48% of the total variance, were: I) "Feminine Openness," II) "Masculine Boldness," III) "Reflection," and IV) "Novelty Seeking." Factor scores were constructed and indicated that the homosexual sample was significantly more identified with Factor I (p < .00l; 17% of total variance). There was no significant difference between the samples on Factor II, nor on the remaining two general factors which were not sex typed.     

The do re mi's of everyday life: the structure and personality correlates of music preferences

The present research examined individual differences in music preferences. A series of 6 studies investigated lay beliefs about music, the structure underlying music preferences, and the links between music preferences and personality. The data indicated that people consider music an important aspect of their lives and listening to music an activity they engaged in frequently. Using multiple samples, methods, and geographic regions, analyses of the music preferences of over 3,500 individuals converged to reveal 4 music-preference dimensions: Reflective and Complex, Intense and Rebellious, Upbeat and Conventional, and Energetic and Rhythmic. Preferences for these music dimensions were related to a wide array of personality dimensions (e.g., Openness), self-views (e.g., political orientation), and cognitive abilities (e.g., verbal IQ).     

Excess in Art: The Case of Oversinging

“Oversinging” is singing that is excessive in one or more dimensions: too loud, too ornamented, too melismatic, too expressive, or employing too much vibrato. I begin with a characterization of oversinging and establish a context for discussion (Section I). Next I consider performances by Christina Aguilera and Michael Bolton as examples (Section II). In light of these examples, I consider how oversinging might be both aesthetically and morally problematic (Section III). Along the way I raise concerns about authenticity and sincerity (Section IV). Finally (Section V), I consider a “paradox” of oversinging involving the role of skill in artistic performance. My discussion touches on the aesthetics of performance, aesthetic judgment, virtuosity, and taste.     

Chunking during serial learning by a pigeon: I. Basic evidence

Chunking by pigeons was demonstrated by comparing performance on different types of lists. Experiment 1 showed that Groups II and IV (who learned lists in which colors and achromatic geometric forms were segregated: A----B----C----D'----E' and A----B----C----D----E', respectively) executed lists more rapidly than did Group I (who learned a homogeneous list of colors: A----B----C----D----E) or Groups II and III (who learned lists consisting of unsegregated colors and forms: A----B'----C----D'----E and A----B----C'----D----E, respectively). Experiment 2 showed that Groups II and IV tolerated interruptions of the list better than did Groups I, III, and V. The accuracy of responding of Groups I, III, and V decreased as a function of the duration of the interruption and the point in the sequence at which it occurred. The performance of Group II was unaffected by interruptions; Group IV was minimally affected. These results indicate that Groups II and IV organized their lists as ordered chunks.     

Gelotophobia and thinking styles in Sternberg's theory'

A hypothesis was examined, that gelotophobia (the fear of being laughed at) was negatively related to Type I thinking styles and positively related to Type II thinking styles as defined in Sternberg's theory of mental self-government. 431 university students (250 women, 181 men; M age = 20.4 yr., SD = 1.2) completed self-report measures of gelotophobia (GELOPH <15>) and thinking styles (Thinking Styles Inventory-Revised). Correlation and regression analyses were conducted. The results indicated that gelotophobia was negatively and significantly related to four Type I thinking styles (legislative, judicial, liberal, and hierarchical thinking styles) and a Type III thinking style (external), while it was positively and significantly related to a Type II thinking style (conservative). Thinking styles uniquely explained 18% of the total variance in gelotophobia scores. Possible interventions from the perspective of thinking styles in the treatment of gelotophobia were discussed.     

Reason

ReasonJean Piaget wrote three short papers shortly before his death in 1980

Paper I: Scientific Report on Work during 1978-1979.Paper II: Reason as Objective of the Understanding.Paper III: Reason: Introduction.Each is probably incomplete, Papers II and III definitely so. These papers were intended as a contribution to his 1979-1980 research project “Reason,” here translated into English for the first time. Their central argument is distinctive. It amounts to Piaget's final statement of his empirical model of normative reason as a mechanism intrinsic to the construction of knowledge during children's cognitive development.     

The relationship of attributional style to agoraphobia severity, depression, and treatment outcome

The present study examined the relationship of attributional style, as measured with a revised version of the Attributional Style Questionnaire (ASQ) and measures of agoraphobia severity, depression, and treatment outcome in 73 Ss who met DSM-III criteria for agoraphobia with panic attacks and participated in one of three 13-week treatment conditions: paradoxical intention, graduated exposure, or progressive deep muscle relaxation training. Subjects completed assessments at four periods: pretreatment, midtreatment, posttreatment, and at 3 month follow-up. In addition to the three dimensions typically examined on the ASQ, this revised version also measured Ss' estimates of the perceived importance, and future likelihood for both positive and negative events. Congruent with previous research, moderate but somewhat inconsistent associations were observed between attributional style and depression both within and across assessment periods. Predictions about associations between attributional style and agoraphobic severity were not supported; however, an interaction was observed between depression and attributional style with respect to severity of agoraphobia. There was no evidence of group differences across treatment types, although there were several significant changes in attributional style across time. Attributions for health related events were also examined. Conceptual, clinical, and research issues related to the findings are discussed.     

Influence of tonal and temporal expectations on chord processing and on completion judgments of chord sequences

Pitch and time are two principal form-bearing dimensions in Western tonal music. Research on melody perception has shown that listeners develop expectations about "What" note is coming next and "When" in time it will occur. Our study used sequences of chords (i.e., simultaneously sounding notes) to investigate the influence of these expectations on chord processing (Experiments 1 and 4) and subjective judgments of completion (Experiments 2 and 3). Both tasks showed an influence of tonal relations and temporal regularities: expected events occurring at the expected moment were processed faster and led to higher completion judgments. However, pitch and time dimensions interacted only for completion judgments. The present outcome suggests that for chord perception the influence of pitch and time might depend on the required processing: with a more global judgment favoring interactive influences in contrast to a task focusing on local chord processing.     

Mediational Role of Identity Commitment in Relationships Between Identity Processing Style and Psychological Well-Being

The present study evaluated the hypothesis that relationships between identity processing styles and Ryff’s (J Pers Soc Psychol 57:1069–1081, 1989) six dimensions of psychological well-being would be mediated by strength of identity commitment. Theoretically predicted relationships were found in a sample of Polish late adolescents (N = 654). The informational identity style was positively associated with five well-being dimensions, the diffuse-avoidant style was negatively associated with all six dimensions, and the normative style was positively associated with self-acceptance, life purpose, and environmental mastery, but negatively associated with autonomy and personal growth. As hypothesized, 14 of these relationships were at least partially mediated by strength of commitment. Identity style and commitment combined accounted for from 18 % (positive interpersonal relations) to 60 % (life purpose) of the variation in the Ryff well-being dimensions (M = 35 %). The pattern of relationships was not moderated by the sex of the participants. The implications of the findings for the role that informed self-exploration and identity commitment may play in psychological well-being are discussed.     

背景音乐对消费者的影响：音乐契合度的视角

音乐契合度指的是背景音乐与广告、消费环境及商品特征等消费要素的契合程度。背景音乐与消费要素的契合可以体现在音乐特性、社会隐义和文化意蕴三个方面,这些契合程度能够对消费者的认知、情绪和行为等方面产生影响。若背景音乐的音乐特性与消费要素之间存在较高契合度,则能够提升消费者的注意效果、加强对商品的记忆并提升购买意图;背景音乐的社会隐义也能与消费要素产生契合关系,两者之间的契合程度决定了消费者对品牌的态度、情绪状态、对商品的记忆和选择;背景音乐与消费要素在文化意蕴方面的高度契合则能够促进消费者对品牌的态度、提升购买意愿、促进购买行为。未来研究应探索背景音乐更多的结构属性,进一步挖掘背景音乐影响消费者的边界条件,突破现有理论探索更深入的理论机制,并进一步探索音乐契合对于消费者认知和情绪的影响效应及其影响机制。     

Young People's Musical Taste: Relationship With Gender and Gender‐Related Traits1

The present study extended previous findings of gender differences in young people's musical taste by examining whether identification with gender‐related expressive or instrumental traits contributes to these differences, and by examining the underlying structure of musical taste by gender. The results confirmed greater liking of heavier contemporary music among men and of chart pop music among women. Gender was a stronger predictor of taste for gender‐stereotyped styles than identification with gender‐related traits. The structure of style preferences in dimensions relating to mainstream styles varied by gender. Men and participants with higher scores on expressiveness gave higher ratings to more styles. The findings are discussed in relation to gender differences in the use of music and gender‐role socialization.