Gradual pitch change and aesthetic responses of music majors

Bulletin of the Council for Research in Music Education

Volumn , Issue 161-162, 2004, Pages 135-144

  Madsen, Clifford K ^a   Geringer, John M ^a  

^a FLORIDA STATE UNIVERSITY   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 60950165940     PISSN: 00109894     EISSN: None     Source Type: Journal    
DOI: None     Document Type: Article

References (39)

1. Adams, B. L. (1994). The effect of visual/aural conditions on the emotional response to music. Unpublished doctoral dissertation, Florida State University, Tallahassee.
2. Aiello, R. (Ed.) with J. A. Sloboda (1994.). Musical perceptions. New York: Oxford University Press.
3. Berlyne, D. E. (Ed.). (1974). Studies in the new experimental aesthetics: Steps toward an objective psychology of aesthetic appreciation. New York: Halsted Press
4. Byrnes, S. R. (1997). Different-age and mentally handicapped listeners' response to Western art music selections. Journal of Research in Music Education, 45, 568-579.
5. Capperella, D. A. (1989). Reliability of the continuous response digital interface for data collection in a study of auditory perception. Southeastern Journal of Music Education, 1, 19-32.
6. Flowers, P. J. (1983). The effect of instruction in vocabulary and listening on nonmusicians' descriptions of changes in music. Journal of Research in Music Education, 31, 179-189.
7. Flowers, P. J. (1984). Attention to elements of music and effect of instruction in vocabulary on written descriptions of music by children and undergraduates. Psychology of Music, 12, 167-24.
8. Fredrickson, W. E. (1995). A comparison of perceived musical tension and aesthetic response, Psychology of Music, 23, 81-87.
9. Fredrickson, W. E. (1997). Elementary, middle, and high school student perceptions of tension in music. Journal of Research in Music Education, 45, 626-635.
10. Geringer, J. M. & Madsen, C. K. (1995/1996). Focus of attention to elements: Listening patterns of musicians and nonmusicians. Bulletin of the Council of Research in Music Education, 127, 80-87.
11. Geringer, J. M. & Madsen, C. K. (2003). Gradual tempo change and aesthetic response of music majors. International Journal of Music Education, 40, 3-15.
12. Gregory, D. (1989). Using computers to measure continuous music responses. Psychomusicology, 8, 127-134.
13. Hevner, K. (1936). Experimental studies of the elements of expression in music. American Journal of Psychology, 48, 248-268.
14. Hare, F. G. (1977). Dimensions of music perception. Scientific Aesthetics, 1, 271-280.
15. Lychner, J. A. (1998). An empirical study concerning terminology relating to aesthetic response to music. Journal of Research in Music Education, 46, 303-319.
16. Madsen, C. K. (1982). The effect of contingent teacher approval and withholding music performance on improving attentiveness. Psychology of Music, Special issue, 76-81.
17. Madsen, C. K. (1987). Background music: Competition for focus of attention. In C. K. Madsen & C. A. Prickett (Eds.), Applications for research in music behavior, (pp. 315-325). Tuscaloosa, Al: University of Alabama Press.
18. Madsen, C. K., (1990) Measuring musical response. Music Educators Journal, 77, (3), 26-28.
19. Madsen, C. K. (1997). Focus of attention and aesthetic response. Journal of Research in Music Education, 45, 80-89.
20. Madsen, C. K. (1998). Emotion versus tension in Haydn's Symphony no. 104 as measured by the two-dimensional continuous response digital interface. Journal of Research in Music Education, 46, 546-554.
21. Madsen, C. K., Brittin, R. V. & Capperella-Sheldon, D. A. (1993). An empirical investigation of the aesthetic response to music. Journal of Research in Music Education, 41 (1), 57-69.
22. Madsen, C. K., Byrnes, S. R., Capperella-Sheldon. D. A. & Brittin, R. V. (1993). Aesthetic responses to music: Musicians vs. nonmusicians. Journal of Music Therapy, 30 (3) 174-191.
23. Madsen, C. K., Edmonson, F. A. & Madsen, C. H., Jr. (1969). Modulated frequency discrimination in relationship to age and musical training. Journal of the Acoustical Society of America, 46 (6), 1468-1472.
24. Madsen, C. K. & Fredrickson, W. E. (1993). The experience of musical tension: A replication of Nielsen's research using the continuous response digital interface. Journal of Music Therapy, 30, 46-57.
25. Madsen, C. K. & Geringer, J. M. (1981). The effect of a distraction index on improving practice attentiveness and musical performance. Bulletin of the Council for Research in Music Education, 66-67, 46-52.
26. Madsen, C. K. & Geringer, J. M. (1983). Attending behavior as a function of in-class activity in university music classes. Journal of Music Therapy, 20(1), 30-38.
27. Madsen, C. K. & Geringer, J. M. (1990). Differential patterns of music listening: Focus of attention of musicians versus nonmusicians. Bulletin of the Council for Research in Music Education, 105, 45-47.
28. Madsen, C. K., Geringer, J. M. & Fredrickson, W. E. (1997). Focus of attention to musical elements in Haydn's Symphony #104. Council for Research in Music Education, 133, 57-63.
29. nd ed.). Raleigh, North Carolina: Contemporary Publishing.
30. rd ed.). Raleigh, North Carolina: Contemporary Publishing, pp. 44-45.
31. Madsen, C. K., Moore, R. S., Wagner, M. J. & Yarbrough, C. (1975). A comparison of music as reinforcement for correct mathematical responses versus music as reinforcement for attentiveness. Journal of Music Therapy, 12(2), 84-95.
32. Madsen, C. K. & Wolfe, D. E. (1979). The effect of interrupted music and incompatible responses on bodily movement and music attentiveness. Journal of Music Therapy, 16, 17-30. =
33. Martin, M. (1977). Reading while listening: A linear model of selective attention. Journal of Verbal Learning and Verbal Behavior, 16, 453-463.
34. Montgomery, B. (1978). Basic aural discrimination: Third grade children's perception of changes in music. Unpublished doctoral dissertation, Florida State University, Tallahassee.
35. Nielsen, F. V. (1987). Musical 'tension' and related concepts. In T. A. Sebeok & J. Umiker-Sebeok (Eds.). The Semiotic Web '86. An International Yearbook (pp. 491-514). Berlin: Mouton de Gruyter.
36. Nielzen, S. & Cesarek, Z. (1982). Emotional experience of music as a function of musical structure. Psychology of Music, 10 (2), 7-17.
37. Price, H. E. (1983). The effect of conductor academic task presentation, conductor reinforcement, and ensemble practice on performer's musical achievement, attentiveness, and attitude. Journal of Research in Music Education, 31, 245-257.
38. Sloboda, J. A. (1991). Music structure and emotional response: Some empirical findings. Psychology of Music, 19 (2), 110-120.
39. Standley, J. M. & Prickett, C. A. (Eds.) (1994). Research in music therapy: A tradition of excellence. Outstanding reprints from the Journal of Music Therapy. Silver Spring, Maryland: National Association for Music Therapy, Inc.