流行音乐对中学生的影响及疏导

流行音乐以其独特的旋律、强烈的时代感吸引着一代代中学生,并随风潜入,润物无声地影响着他们的成长和发展。流行音乐已融入中学生的日常生活,也必定在潜移默化中影响着他们的观念和行为方式。因此,必须重视流行音乐对中学生的影响,并采取积极有效的措施发挥流行音乐的正功能,为中学生的成长和发展营造一个良好的文化氛围。     

Pitch distribution,melodic contour or both? Modeling makam schema with multidimensional scaling and self-organizing maps

Experienced listeners internalize musical tonal knowledge via statistical learning of pitch distributions as a result of exposure to musical environment. Cross-cultural studies of music cognition offer new perspectives to investigate the acquisition of tonal schema. Makam music is a rich musical system characterized by modal structures defined by micro-tonal pitch sets, and melodic progression patterns (aka seyir features). Makam schema is possibly acquired by internalizing the seyir in addition to pitch features. In the current study, we examined whether an ideal model of makam schema is built with multidimensional scaling analysis and with self-organizing maps (SOMs). We were interested in whether statistical information about seyir features, in addition to pitch distributions, would form an acceptable makam schema model. We qualitatively analyzed topographical organizations in the models to understand whether they reflect complex relations between makams. Multidimensional scaling analyses did not produce an acceptable model for makam schema. The SOM trained with pitch distributions provided an adequate model for makam schema. However, the SOM trained with both pitch distributions and seyir features was better in capturing the complex relations between makams. Further behavioral research is necessary to understand whether melodic progression patterns are intrinsic features of the tonal knowledge of the experienced listeners of makam music.     

The goal as process: music and the search for the Self

This paper explores and compares the processes of music and analysis from the author's experience as a musician, piano teacher and analyst. It explains how the use of music improvisation in analysis (with simple percussion instruments) can powerfully enhance the dialogue between the unconscious and conscious psyche, as well as deepen the relationship between analyst and analysand. This is connected theoretically to Jung's active imagination and Winnicott's concept of play within the analytic encounter. Finally, the question is raised whether analytic trainings could do more to expose trainees to the possibility of using music within the analytic encounter. This touches on the more basic and controversial issue (which often separates analytical psychology and psychoanalysis) of whether expressive therapy should be used in analysis at all.     

TOWARD A GENERAL THEORY OF HUMAN CREATIVITY

Abstract. The presence of a basic and general form of creativity in people is investigated through experiments with music. The results indicate that "generative" creativity—-the ability to spontaneously generate a music by varying a basic set of musical elements—is a basic human endowment, unlike "constructive" creativity—-the type of creativity exhibited by composers and other artists—-which is the result of training and the spehal development of faculties. Generative creativity's coming to the fore in contemporary people would contribute to the development of the personality and help bring about more fulfilled, better balanced people and societies.     

Music in dreams and the emergence of the self

Abstract :  This paper deals with the presence and possible 'meaning' of music in dreams. The author explores a possible meaning of music as the most fundamental human symbolic experience, which directly points to the emergence of the Self from the primal union mystique with the Great Mother. The relationships between acoustic and visual experiences are taken into account as two basic human forms of coming into existence, although wholly different from each other. The role of music in dreams seems to be that of the most direct representation of the emerging Self in its pure, pre-representational form. Therefore, when music appears in dreams, providing there is the activation of an emotional tone, all other elements—visual and verbal—should be considered as the expression of the sense to which the music is pointing. A clinical example is described in order to better express the author's opinions.     

Neural mechanisms involved in the oral representation of percussion music: An fMRI study

Numerous music cultures use nonsense syllables to represent percussive sounds. Covert reciting of these syllable sequences along with percussion music aids active listeners in keeping track of music. Owing to the acoustic dissimilarity between the representative syllables and the referent percussive sounds, associative learning is necessary for the oral representation of percussion music. We used functional magnetic resonance imaging (fMRI) to explore the neural processes underlying oral rehearsals of music. There were four music conditions in the experiment: (1) passive listening to unlearned percussion music, (2) active listening to learned percussion music, (3) active listening to the syllable representation of (2), and (4) active listening to learned melodic music. Our results specified two neural substrates of the association mechanisms involved in the oral representation of percussion music. First, information integration of heard sounds and the auditory consequences of subvocal rehearsals may engage the right planum temporale during active listening to percussion music. Second, mapping heard sounds to articulatory and laryngeal gestures may engage the left middle premotor cortex.     

Conversations with My Father

ABSTRACT

This article provides a brief review of the literature describing successful aging life tasks, such as reminiscence, meaning-making, and forming substantive connections. Using Relational-Cultural Theory as a base, the article addresses the need for connection and ways that connections can be developed and sustained in later life. Through a personal account, the authors also illustrate how grown children can use music to connect with their parents. Finally, the authors adapt A Musical Chronology and the Emerging Life Song, an intervention that uses music and memories, for use with older adults.     

Rhythm and Melody in Children and Adolescents after Left or Right Temporal Lobectomy

Rhythm (a pattern of onset times and duration of sounds) and melody (a pattern of sound pitches) were studied in 22 children and adolescents several years after temporal lobectomy for intractable epilepsy. Left and right lobectomy groups discriminated rhythms equally well, but the right lobectomy group was poorer at discriminating melodies. Children and adolescents with right lobectomy, but not those with left temporal lobectomy, had higher melody scores with increasing age. Rhythm but not melody was related to memory for the right lobectomy group. In neither group was melody related to age at onset of non-febrile seizures, time from surgery to music tests, or the linear amount of temporal lobe resection. Pitch and melodic contour show different patterns of lateralization after temporal lobectomy in childhood or adolescence.     

Locus of Control and Hostility: Sex Differences

The Nowicki-Strickland Internal-External locus of control scale and the Hostility and Direction of Hostility Questionnaire were administered to 35 male and 35 female college students. In both the total sample and the female sample, significant correlations were observed between locus of control and hostility with an external locus of control being associated with greater hostility. Although locus of control was significantly related to all of the hostility scores in the female sample, the male sample generally showed no significant relationship between locus of control and hostility. The sex differences in the data and the possibility of item overlap between the locus of control and hostility measures are discussed.