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301.
Many people value music as an important part of their everyday lives. The published literature reveals that the role of music in life is varied: it can be recreational, educational, social, emotional, therapeutic, and spiritual. The importance and relevance of music depends on the life needs and interests of the individual and the social group within which he/she lives. It is now widely recognized that music for many older people is crucial in supporting a sense of well-being. The article reviews the evidence on the role of music in promoting health and well-being, and how it can produce positive psychological and physiological benefits for individuals. The aim of this article is to increase awareness among health professionals of the importance of music and discuss how it can be used to add to older people's lives. 相似文献
302.
语言障碍是自闭症的核心症状之一,改善自闭症儿童的语言障碍对其日常生活具有重要意义。诸多研究证实音乐干预能够明显改善自闭症儿童的语言障碍。从干预材料的角度出发,音乐干预包括将音乐刺激与语言刺激严格匹配的音乐干预方法以及将音乐作为学习背景的音乐干预方法,二者均能有效促进自闭症儿童的语言表达和交流。目前最有代表性的自闭症语言障碍的音乐干预方法包括听觉动作通路训练(AMMT)、基于旋律的语言沟通治疗(MBCT)以及背景音乐干预方法。音乐干预方法的发展今后需着眼于音乐类型的选择、音乐与其他活动的结合,同时兼顾不同自闭症儿童群体的适用性以及音乐干预在生活中的推广。 相似文献
303.
Fernández MI Bowen GS Gay CL Mattson TR Bital E Kelly JA 《American journal of community psychology》2003,32(3-4):333-344
The HIV epidemic has been the most significant public health crisis of the last 2 decades. Although Experimental Social Innovation and Dissemination (ESID) principles have been used by many HIV prevention researchers, the clearest application is the series of model-building and replication experiments conducted by Kelly and colleagues. The model mobilized, trained, and engaged key opinion leaders to serve as behavior change and safe-sex endorsers in their social networks. This paper illustrates how ESID principles were used to develop, test, and disseminate an innovative social model and discusses the challenges of applying ESID methodology in the midst of a public health emergency. 相似文献
304.
The authors note that the element of sound and music has no place in the model of mental functioning bequeathed to us by Freud, which is dominated by the visual and the representational. They consider the reasons for this exclusion and its consequences, and ask whether the simple biographical explanation offered by Freud himself is acceptable. This contribution reconstructs the historical and cultural background to that exclusion, cites some relevant emblematic passages, and discusses Freud’s position on music and on the aesthetic experience in general. Particular attention is devoted to the relationship between Freud and Lipps, which is important both for the originality of Lipps’s thinking in the turn‐of‐the‐century debate and for his ideas on the musical aspects of the foundations of psychic life, at which Freud ‘stopped’, as he himself wrote. Moreover, the shade of Lipps accompanied Freud throughout his scientific career from 1898 to 1938. Like all foundations, that of psychoanalysis was shaped by a system of inclusions and exclusions. The exclusion of the element of sound and music is understandable in view of the cultural background to the development of the concepts of the representational unconscious and infantile sexuality. While the consequences have been far reaching, the knowledge accumulated since that exclusion enables us to resume, albeit on a different basis, the composition of the ‘unfinished symphony’ of the relationship between psychoanalysis and music. 相似文献
305.
SAAM TRIVEDI 《Metaphilosophy》2008,39(1):124-143
Abstract: In this article, I assume that musical works are abstract types, and I raise and address a new question concerning musical ontology that may take the types view at least a step further: When do musical works cease to exist? I then propound my view about musical works as types, which is somewhat like the Aristotelian Realist position concerning universals. Next, I address some objections to that view. Finally, I provide some grounds for rejecting alternative views that see Western classical musical works before 1950 (the sorts of musical works the discussion here is restricted to) either as classes or else as kinds. 相似文献
306.
The present study investigated the effects of differential negative reinforcement of other behavior (DNRO) on problem behavior evoked by music in a 7-year-old child with pervasive developmental disorder. Following an auditory stimulus assessment, DNRO was used to reduce problem behavior to near-zero levels. Results are discussed in terms of identifying establishing operations to govern treatment options and the use of negative reinforcement when arbitrarily imposed positive reinforcers do not compete with escape from auditory stimulation. 相似文献
307.
Alexithymia is a multifaceted personality construct which encompasses difficulties in identifying and expressing feelings along with an externally oriented cognitive style. We investigated whether congruent vs. incongruent emotional musical priming (happy and angry music) during encoding would moderate the effects of alexithymia on recognition rates. We found that high alexithymia scorers recognized fewer joy and anger words than low scorers. Angry music decreased recognition rates in high alexithymia scorers compared to low alexithymia scorers. The congruency and incongruency effects between music and words depended on alexithymia level. The anger deficit in high alexithymia scorers and the possible support provided by happiness cues are discussed. Copyright © 2010 John Wiley & Sons, Ltd. 相似文献
308.
Rachel Barr Lauren Shuck Katherine Salerno Emily Atkinson Deborah L. Linebarger 《Infant and child development》2010,19(3):313-331
Infants are frequently exposed to music during daily activities, including free play, and while viewing infant‐directed videotapes that contain instrumental music soundtracks. In Experiment 1, an instrumental music soundtrack was played during a live or televised demonstration to examine its effects on deferred imitation by 6‐, 12‐, and 18‐month‐old infants. Transfer of information was indexed via deferred imitation of the target actions following a 24‐h delay. For half the infants, the music context was also reinstated at the time of test. Performance by experimental groups was compared to that of a baseline control group that participated in the test session without prior exposure to the demonstration. Imitation performance was above baseline for the live groups but not for the video groups regardless of age or the music context at test. In Experiment 2, we added matched sound effects to the video demonstration and infants performed above baseline. We conclude that the music track creates additional cognitive load, disrupts selective attention to the target actions and inhibits transfer of learning from television of the imitation task. Music may impair an infant's ability to translate information from a two‐dimensional to three‐dimensional world even if the auditory context remains the same. Copyright © 2010 John Wiley & Sons, Ltd. 相似文献
309.
Barend JM Steyn Margaretha H Steyn David JF Maree Clorinda Panebianco-Warrens 《Journal of Psychology in Africa》2016,26(2):167-171
This study explored the efficacy of psychological skills and mindfulness training intervention on the psychological wellbeing of undergraduate music students. Participants were undergraduate music students (n = 36) from the Department of Music at a South African university, 21 of whom were elected to take the psychological skills and mindfulness training intervention. Data on their self-reported psychological wellbeing, psychological skills, mindfulness and performance anxiety levels were collected pre-and post-intervention. The analysis applied non-parametric procedures to determine changes in students’ psychological wellbeing after the seven-week intervention programme. Findings suggest improvements in psychological wellbeing, psychological skills, mindfulness and performance anxiety with training. Psychological skills and mindfulness training may have benefits to the psychological wellbeing of music students. 相似文献
310.
Jonathan L. Friedmann 《Journal of Modern Jewish Studies》2016,15(3):436-450
Nathan Ausubel (1898–1986) achieved unprecedented popularity as a compiler and translator of Jewish folklore during the 1940s and 1950s. Beneath the inspiring stories and charming sayings was a leftist ideologue preoccupied with the demise of Jewish life in Europe and the loss of Jewish identity to capitalist forces in the United States. Ausubel's agenda is elucidated in his polemical essays, which advocate using folklore as a means of bolstering Jewish pride and solidarity. Part of his strategy involved exaggerating the influence of Jewish culture on famous non-Jews, including Bach, Beethoven, and Schubert. This article examines these dubious musical claims and how they furthered Ausubel's activist agenda. 相似文献