Araştırma Makalesi
BibTex RIS Kaynak Göster

THE EFFECT OF MOOD CHANGE ON PERCEPTION OF HARMONIC BICHORD INTERVAL HEARING

Yıl 2021, Cilt: 21 Sayı: 2, 519 - 539, 15.06.2021
https://doi.org/10.17240/aibuefd.2021.21.62826-905325

Öz

This study was conducted to determine the relationship between mood changes and harmonic bichord interval hearing perception of high school students (n.57) who received intensive musical education (Fine Arts High School) between the ages of 16-19. With the research, students in two different experimental groups whose mood was positively and negatively manipulated and in the control group had different moods (e.g., positive-experiment I, negative-experiment II, neutral-control), what examined harmonic bichord interval (m2, M2, M3, P4, Triton, P5, m6, M6, m7, M7, Octave) hearing perceptions. In the method of the study, a quasi-experimental model with a paired post-test control group was used. As a result of the research, mood changes did not make a significant difference in that the consonance and dissonance intervals hearing perceptions of the students. In addition, there is a moderate relationship between students with different moods and their total success scores in hearing only the M7 interval; It was concluded that there was no correlation between total achievement scores in hearing for other intervals (P5, m7, m6, M2, Octave, m2, P4, M3, m2, Triton, M6). In the negative mood group, less hearing of the incompatible M7 interval is associated with the Broaden and Built Theory. It is concluded that individuals with negative moods narrow their attention focus and are less successful when they feel unhappy. When examining the answers given to the study's interval hearing perception scale, the scale questions were from the easiest to the most difficult: m2, octave, m2, P4, M3, P5, M6, m6, M2, Triton, M7. Although the m2 interval is the most obvious perceived interval, it is concluded that students have difficulty in perceiving other consonance intervals.

Kaynakça

  • Apel, W. (1945). Harvard dictionary of music. Harvard University Press.
  • Bar, M. (2009). A cognitive neuroscience hypothesis of mood and depression. Trends in Cognitive Science, 13, 456–463.
  • Bharucha, J. J., Curtis, M., & Paroo, K. (2006). Varieties of musical experience. Cognition, 100(1), 131-172.
  • Bidelman, G. M., & Krishnan, A. (2009). Neural correlates of consonance, dissonance, and the hierarchy of musical pitch in the human brainstem. Journal of Neuroscience, 29(42), 13165-13171.
  • Bidelman, G. M., & Heinz, M. G. (2011). Auditory-nerve responses predict pitch attributes related to musical consonance-dissonance for normal and impaired hearing. The Journal of the Acoustical Society of America, 130(3), 1488-1502.
  • Bless, H., Bohner, G., Schwarz, N., & Strack, F. (1990). Mood and persuasion: A cognitive response analysis. Personality and Social Psychology Bulletin, 16, 331–345.
  • Bodenhausen, G. V. (1993). Emotions, arousal, and stereotypic judgments: A heuristic model of affect and stereotyping. In D. M. Mackie & D. L. Hamilton (Eds.), Affect cognition and stereotyping interactive processes in group perception (pp. 13-37). Academic Press
  • Cangal, N. (2008). Armoni. Arkadaş Yayınevi.
  • Cazden, N. (1945). Musical consonance/dissonance: A cultural criterion. Journal of Aesthetics and Art Criticism, 4, 3-11.
  • Collier, G. L. (2007). Beyond valence and activity in the emotional connotations of music. Psychology of Music, 35(1), 110-131.
  • Coşkun, H. & Gültepe, B. (2013) Duygudurum ve bazı davranışlarımız: Yeni bulgular ışığında bir değerlendirme. AİBÜ Sosyal Bilimler Enstitüsü Dergisi, 13(2), 81-100.
  • Costa, M., Bitti, P. E. R., & Bonfiglioli, L. (2000). Psychological connotations of harmonic musical intervals. Psychology of Music, 28(1), 4-22.
  • Crowder, R. G. (1984). Perception of the major/minor distinction: I. historical and theoretical foundations. Psychomusicology: A Journal of Research in Music Cognition, 4(1-2), 3–12. https://doi.org/10.1037/h0094207
  • Crowder, R. G. (1985a). Perception of the major/minor distinction: II. experimental investigations. Psychomusicology: A Journal of Research in Music Cognition, 5(1-2), 3–24. https://doi.org/10.1037/h0094203
  • Crowder, R. G. (1985b). Perception of the major/minor distinction: III. Hedonic, musical, and affective discriminations. Bulletin of the Psychonomic Society, 23, 314–316. https://doi.org/10.3758/BF0333016
  • Cunningham, J. G., & Sterling, R. S. (1988). Developmental change in the understanding of affective meaning in music. Motivation and Emotion, 12(4), 399-413.
  • Dalla Bella, S., Peretz, I., Rousseau, L., & Gosselin, N. (2001). A developmental study of the affective value of tempo and mode in music. Cognition, 80(3), B1-B10.
  • Davies, J. B., & Barclay, G. (1977). Consonance–dissonance with simultaneous tones and fusion of consecutive tones. Psychology of Music, 5(1), 19-22.
  • DeWitt, L. A., & Crowder, R. G. (1987). Tonal fusion of consonant musical intervals: The oomph in Stumpf. Perception & Psychophysics, 41(1), 73-84.
  • Dolgin, K. G., & Adelson, E. H. (1990). Age changes in the ability to interpret affect in sung and instrumentally-presented melodies. Psychology of Music, 18(1), 87-98.
  • Ece, A. S., Kilmen, S., & Ömür, Ö. (2013). A psychometric analysis of the questions related to the measuring of auditory skills in musical skills examinations in Turkey. In A. Drujinin, Z. Kostova, I. Sharuho & E. Atasoy (Eds.), The science and education at the beginning of the 21th century in Turkey (pp. 1072-1087). St.Kliment Ohridski University Press.
  • Eerola, T., & Vuoskoski, J. K. (2013). A review of music and emotion studies approaches, emotion models, and stimuli. Music Perception an Interdisciplinary Journal, 30(3), 307-340.
  • Erol, A. (2009). Müzik üzerine düşünmek. Bağlam Yayınları.
  • Fredrickson, B. L. (2000). Cultivating positive emotions to optimize health and wellbeing. Prevention & Treatment, 3, 1-25
  • Gasper, K., & Clore, G. L. (2002). Attending to the big picture: Mood and global versus local processing of visual information. Psychological Science, 13, 34–40.
  • Grawitch, M. J., Munz, D. C., Elliott, E. K., & Mathis, A. (2003). Promoting creativity in temporary problem-solving groups: The effects of positive mood and autonomy in problem definition on idea-generating performance. Group Dynamics: Theory, Research, and Practice, 7(3), 200-213. https://psycnet.apa.org/doi/10.1037/1089-2699.7.3.200
  • Gültepe, B., & Coskun, H. (2016). Music and cognitive stimulation influence idea generation. Psychology of Music, 44(1), 3-14.
  • Juslin, P. N., & Laukka, P. (2004). Expression, perception, and induction of musical emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research, 33(3), 217-238.
  • Hall, D. E., & Hess, J. T. (1984). Perception of musical interval tuning. Music Perception: An Interdisciplinary Journal, 2(2), 166-195.
  • Hanze, M., & Hesse, F. W. (1993). Emotional influences on semantic priming. Cognition ve Emotion, 7(2), 195–205.
  • Hirt, E. R., Levine, G., McDonald, H., Melton, R., & Martin, L. L. (1997). The role of mood in quantitative and qualitative aspects of performance: Single or multiple mechanisms? Journal of Experimental Social Psychology, 33, 602–629.
  • Horn, K., & Costa-Giomi, E. (2011). Fast/major and slow/minor pairings in J.S. Bach’s well tempered clavier books 1 and 2. Empirical Musicology Review, 6(3), 155-163.
  • Houston, D., & Haddock, G. (2007). On auditing auditory information the influence of mood on memory for music. Psychology of Music, 35(2), 201-212.
  • Huron, D. (1991). Tonal consonance versus tonal fusion in polyphonic sonorities. Music Perception: An Interdisciplinary Journal, 9(2), 135-154.
  • Kallinen, K. (2005). Emotional ratings of music excerpts in the western art music repertoire and their self-organization in the Kohonen neural network. Psychology of Music, 33(4), 373-393.
  • Koelsch, S., Fritz, T., v. Cramon, D. Y., Müller, K., & Friederici, A. D. (2006). Investigating emotion with music: An fMRI study. Human Brain Mapping, 27(3), 239-250.
  • Konečni, V. J., Brown, A., & Wanic, R. A. (2008). Comparative effects of music and recalled life-events on emotional state. Psychology of Music, 36(3), 289-308.
  • Krumhansl, C. L. (1990). Cognitive foundations of musical pitch. Oxford.
  • Krumhansl, C. L. (1997). An exploratory study of musical emotions and psychophysiology. Canadian Journal of Experimental Psychology, 51, 336–352.
  • Maher, T. F. (1980). A rigorous test of the proposition that musical intervals have different psychological effects. The American Journal of Psychology, 93(2), 309-327.
  • Malmberg, C. F. (1918). The perception of consonance and dissonance. Psychological Monographs, 25(2), 93-133.
  • Martin, M. (1990). On the induction of mood. Clinical Psychology Review, 10(6), 669–697. https://doi.org/10.1016/0272-7358(90)90075-L
  • McDermott, J., & Hauser, M. (2004). Are consonant intervals music to their ears? Spontaneous acoustic preferences in a nonhuman primate. Cognition, 94(2), B11-B21.
  • Meyer, L. (1994). Emotion and meaning in music. In R. Aiello & J. Sloboda (Eds.), Musical perceptions. Oxford University Press.
  • Nawrot, E. S. (2003). The perception of emotional expression in music: Evidence from infants, children and adults. Society for Education Music and Psychology Research, 31(1), 75-92.
  • Okay, H. H. (2014). Çocuklarda mutluluk ve üzüntü duygusu yaratan müziği ayırt etme becerisi. 2014 MÜZED bölge konferansı bildiriler kitabı içinde (ss. 308-314). Sevda Cenap And Muzik Vakfı Yayınları.
  • Öğüt, Ç. M. (2014). Müziğin özelliklerinin beyin fırtınasında yaratıcılığa etkisi [Yayımlanmamış yüksek lisans tezi]. Abant İzzet Baysal Üniversitesi.
  • Özgür, Ü. & Aydoğan, S. (2009). Müziksel işitme okuma eğitimi ve kuramı (5. baskı). Sözkesen Matbaası.
  • Panksepp, J. (1995). The emotional sources of "Chills" induced by music. Music Perception: An Interdisciplinary Journal, 13(2), 171-207.
  • Parncutt, R. (1989). Harmony: A psychoacoustical approach. Springer-Verlag.
  • Parncutt, R., & Hair, G. (2011). Consonance and dissonance in music theory and psychology: Disentangling dissonant dichotomies. Journal of Interdisciplinary Music Studies, 5(2), 119-166.
  • Pham, M. T. (2007). Emotion and rationality: A critical review and interpretation of empirical evidence. Review of General Psychology, 11(2), 155-178.
  • Plomp, R., & Levelt, W. J. M. (1965). Tonal consonance and critical bandwidth. The Journal of the Acoustical Society of America, 38(4), 548-560.
  • Post, O., & Huron, D. (2009). Western classical music in the minor mode is slower (except in the romantic period). Empirical Musicology Review 4(1), 2-10.
  • Rawlings, D., & Leow, S. H. (2008). Investigating the role of psychoticism and sensation seeking in predicting emotional reactions to music. Psychology of Music, 36(3), 269–287. https://doi.org/10.1177/0305735607086042
  • Rowe, G., Hirsh, J. B. & Anderson, A. K. (2007). Positive affect increases the breadth of attentional selection. Proceedings of the National Academy of Sciences, 104, 383–388.
  • Russell, J. A. (1980). A circumplex model of affect. Journal of Personality and Social Psychology, 39(6), 1161-1178. https://psycnet.apa.org/doi/10.1037/h0077714
  • Schellenberg, E. G., & Trehub, S. E. (1996). Natural musical intervals: Evidence from infant listeners. Psychological Science, 7(5), 272-277.
  • Schwarz, N. (1994). Judgment in a social context: Biases, shortcomings, and the logic of conversation. Advances in Experimental Social Psychology, 26, 123–162.
  • Sevgi, A. (1997). Çoksesliliği duyabilme. Müzik eğitimi sempozyumu bildiriler kitabı içinde. Abant İzzet Baysal Üniversitesi Eğitim Fakültesi.
  • Sevgi, A. & Şengül, C. (2003). Müzik eğitimi bölümlerinin giriş-yetenek sınavlarına başvuran adayların müziksel işitme-yineleme sınavındaki soru tiplerine göre başarı durumlarının belirlenmesi. Cumhuriyetimizin 80. yılında müzik sempozyumu bildiriler kitabı içinde (ss. 232-239). İnönü Üniversitesi.
  • Sinclair, R. C., & Mark, M. M. (1995). The effects of mood state on judgmental accuracy: Processing strategy as a mechanism. Cognition and Emotion, 9, 417– 438.
  • Sinclair, R. C. (1988). Mood, categorization breadth, and performance appraisal: The effects of order of information acquisition and affective state on halo, accuracy, information retrieval, and evaluations. Organizational Behavior and Human Decision Processes, 42, 22-46.
  • Sloboda, J. (2005). Exploring the musical mind: Cognition, emotion, ability, function. Oxford University Pres.
  • Stumpf, C. (1883, 1890). Tonpsychologie (1st and 2nd volumes). Hirzel.
  • Tenney, J. (1988). A history of consonance and dissonance. Excelsior.
  • Terhardt, E. (1984). The concept of musical consonance: A link between music and psychoacoustics. Music Perception, 1(3), 276-295.
  • Terwogt, M. M., & Van Grinsven, F. (1988). Recognition of emotions in music by children and adults. Perceptual and Motor Skills, 67(3), 697-698.
  • Thompson, C. A., & Opfer, J. E. (2005). Everyday constraints on learning: Children’s and adults’ development of the major/minor distinction [Yayımlanmamış Doktora Tezi]. Ohio State University.
  • Trainor, L. J., Tsang, C. D., & Cheung, V. H. W. (2002). Preference for sensory consonance in 2-and 4-month-old infants. Music Perception, 20, 187-194.
  • Trainor, L. J., & Heinmiller, B. M. (1998). The development of evaluative responses to music: Infants prefer to listen to consonance over dissonance. Infant Behavior and Development, 21(1), 77-88.
  • Vieillard, S., Peretz, I., Gosselin, N., Khalfa, S., Gagnon, L., & Bouchard, B. (2008). Happy, sad, scary and peaceful musical excerpts for research on emotions. Cognition & Emotion, 22(4), 720-752. https://doi.org/10.1080/02699930701503567
  • Von Helmholtz, H. L. F. Von (1863). Die lehre von den tonempfindungen als physiologische grundlage für die theorie der musik. Vieweg.
  • Von Helmholtz, H. (1912). On the sensations of tone as a physiological basis for the theory of music. Longmans, Green.
  • Von Helmholtz H. L. F. Von (1954). On the sensations of tone. Dover, 194. (Orijinal çalışmanın ilk basım yılı 1877).
  • Watson, D., & Tellegen, A. (1985). Toward a consensual structure of mood. Psychological Bulletin, 98(2), 219-235. https://doi.org/10.1037//0033-2909.98.2.219
  • Worth, L. T., & Mackie, D. M. (1987). Cognitive mediation of positive affect in persuasion, Social Cognition, 5, 76-94.
  • Yayla, F. (2006). Müziksel işitmenin temel prensipleri. Mehmet Akif Ersoy Üniversitesi Eğitim Fakültesi Dergisi, 7(12), 28-38.
  • Zentner, M. R., & Kagan, J. (1998). Infants' perception of consonance and dissonance in music. Infant Behavior and Development, 21(3), 483-492.

DUYGUDURUM DEĞİŞİMLERİNİN DİKEY ÇİFT SESLİ ARALIK İŞİTME ALGISINA ETKİSİ

Yıl 2021, Cilt: 21 Sayı: 2, 519 - 539, 15.06.2021
https://doi.org/10.17240/aibuefd.2021.21.62826-905325

Öz

Bu araştırma, 16–19 yaş aralığında yoğun müzik eğitimi (Güzel Sanatlar Lisesi) alan lise öğrencilerinin (n.57) duygudurum değişimleri ile dikey aralık işitme algısı arasındaki ilişkiyi belirlemek amacıyla yapılmıştır. Yapılan araştırma ile duygudurumu pozitif ve negatif manipüle edilen iki farklı deney grubunda ve kontrol grubunda yer alan lise öğrencilerinin, farklı duygudurumlarda (örn: pozitif-deney I, negatif-deney II, nötr-kontrol), dikey çift sesli aralık (k2, B2, B3, T4, Triton, T5, k6, B6, k7, B7, Oktav) işitme algıları incelenmiştir. Araştırmanın yönteminde, eşleştirilmiş sontest kontrol gruplu, yarı deneysel model kullanılmıştır. Araştırma sonucunda, duygudurum değişimlerinin, öğrencilerin uyumlu ve uyumsuz aralıkları işitme algıları üzerinde anlamlı bir fark oluşturmadığı sonucuna ulaşılmıştır. Ayrıca farklı duygudurumdaki öğrencilerin yalnızca B7’li aralığı işitmedeki toplam başarı puanları arasında orta düzeyde ilişki olduğu; diğer aralıkları (T5, k7, k6, B2, Oktav, k2, T4, B3, k2, Triton, B6) işitmedeki toplam başarı puanları arasında ilişki olmadığı sonucuna varılmıştır. Olumsuz duygudurum grubunda, uyumsuz B7’li aralığın daha az işitilmesi, Genişletme ve İnşa Etme Duygudurum Kuramı ile ilişkilendirilmekte, olumsuz duygudurumdaki bireylerin dikkat odağının daraldığı ve kendilerini mutsuz hissettiklerinde daha az başarılı oldukları sonucuna ulaşılmaktadır. Araştırmanın dikey çift sesli aralık işitme algı ölçeğine verilen yanıtlar incelendiğinde, ölçek üzerinde yer alan sorular en kolaydan en zora, k2, oktav, k2, T4, B3, T5, B6, k6, B2, +4/-5 triton, B7, k7 olarak yer almaktadır. k2’li aralığın en belirgin algılanan aralık olmasına karşın diğer uyumsuz aralıkların algılanmasında öğrencilerin zorlandığı sonucuna ulaşılmaktadır.

Kaynakça

  • Apel, W. (1945). Harvard dictionary of music. Harvard University Press.
  • Bar, M. (2009). A cognitive neuroscience hypothesis of mood and depression. Trends in Cognitive Science, 13, 456–463.
  • Bharucha, J. J., Curtis, M., & Paroo, K. (2006). Varieties of musical experience. Cognition, 100(1), 131-172.
  • Bidelman, G. M., & Krishnan, A. (2009). Neural correlates of consonance, dissonance, and the hierarchy of musical pitch in the human brainstem. Journal of Neuroscience, 29(42), 13165-13171.
  • Bidelman, G. M., & Heinz, M. G. (2011). Auditory-nerve responses predict pitch attributes related to musical consonance-dissonance for normal and impaired hearing. The Journal of the Acoustical Society of America, 130(3), 1488-1502.
  • Bless, H., Bohner, G., Schwarz, N., & Strack, F. (1990). Mood and persuasion: A cognitive response analysis. Personality and Social Psychology Bulletin, 16, 331–345.
  • Bodenhausen, G. V. (1993). Emotions, arousal, and stereotypic judgments: A heuristic model of affect and stereotyping. In D. M. Mackie & D. L. Hamilton (Eds.), Affect cognition and stereotyping interactive processes in group perception (pp. 13-37). Academic Press
  • Cangal, N. (2008). Armoni. Arkadaş Yayınevi.
  • Cazden, N. (1945). Musical consonance/dissonance: A cultural criterion. Journal of Aesthetics and Art Criticism, 4, 3-11.
  • Collier, G. L. (2007). Beyond valence and activity in the emotional connotations of music. Psychology of Music, 35(1), 110-131.
  • Coşkun, H. & Gültepe, B. (2013) Duygudurum ve bazı davranışlarımız: Yeni bulgular ışığında bir değerlendirme. AİBÜ Sosyal Bilimler Enstitüsü Dergisi, 13(2), 81-100.
  • Costa, M., Bitti, P. E. R., & Bonfiglioli, L. (2000). Psychological connotations of harmonic musical intervals. Psychology of Music, 28(1), 4-22.
  • Crowder, R. G. (1984). Perception of the major/minor distinction: I. historical and theoretical foundations. Psychomusicology: A Journal of Research in Music Cognition, 4(1-2), 3–12. https://doi.org/10.1037/h0094207
  • Crowder, R. G. (1985a). Perception of the major/minor distinction: II. experimental investigations. Psychomusicology: A Journal of Research in Music Cognition, 5(1-2), 3–24. https://doi.org/10.1037/h0094203
  • Crowder, R. G. (1985b). Perception of the major/minor distinction: III. Hedonic, musical, and affective discriminations. Bulletin of the Psychonomic Society, 23, 314–316. https://doi.org/10.3758/BF0333016
  • Cunningham, J. G., & Sterling, R. S. (1988). Developmental change in the understanding of affective meaning in music. Motivation and Emotion, 12(4), 399-413.
  • Dalla Bella, S., Peretz, I., Rousseau, L., & Gosselin, N. (2001). A developmental study of the affective value of tempo and mode in music. Cognition, 80(3), B1-B10.
  • Davies, J. B., & Barclay, G. (1977). Consonance–dissonance with simultaneous tones and fusion of consecutive tones. Psychology of Music, 5(1), 19-22.
  • DeWitt, L. A., & Crowder, R. G. (1987). Tonal fusion of consonant musical intervals: The oomph in Stumpf. Perception & Psychophysics, 41(1), 73-84.
  • Dolgin, K. G., & Adelson, E. H. (1990). Age changes in the ability to interpret affect in sung and instrumentally-presented melodies. Psychology of Music, 18(1), 87-98.
  • Ece, A. S., Kilmen, S., & Ömür, Ö. (2013). A psychometric analysis of the questions related to the measuring of auditory skills in musical skills examinations in Turkey. In A. Drujinin, Z. Kostova, I. Sharuho & E. Atasoy (Eds.), The science and education at the beginning of the 21th century in Turkey (pp. 1072-1087). St.Kliment Ohridski University Press.
  • Eerola, T., & Vuoskoski, J. K. (2013). A review of music and emotion studies approaches, emotion models, and stimuli. Music Perception an Interdisciplinary Journal, 30(3), 307-340.
  • Erol, A. (2009). Müzik üzerine düşünmek. Bağlam Yayınları.
  • Fredrickson, B. L. (2000). Cultivating positive emotions to optimize health and wellbeing. Prevention & Treatment, 3, 1-25
  • Gasper, K., & Clore, G. L. (2002). Attending to the big picture: Mood and global versus local processing of visual information. Psychological Science, 13, 34–40.
  • Grawitch, M. J., Munz, D. C., Elliott, E. K., & Mathis, A. (2003). Promoting creativity in temporary problem-solving groups: The effects of positive mood and autonomy in problem definition on idea-generating performance. Group Dynamics: Theory, Research, and Practice, 7(3), 200-213. https://psycnet.apa.org/doi/10.1037/1089-2699.7.3.200
  • Gültepe, B., & Coskun, H. (2016). Music and cognitive stimulation influence idea generation. Psychology of Music, 44(1), 3-14.
  • Juslin, P. N., & Laukka, P. (2004). Expression, perception, and induction of musical emotions: A review and a questionnaire study of everyday listening. Journal of New Music Research, 33(3), 217-238.
  • Hall, D. E., & Hess, J. T. (1984). Perception of musical interval tuning. Music Perception: An Interdisciplinary Journal, 2(2), 166-195.
  • Hanze, M., & Hesse, F. W. (1993). Emotional influences on semantic priming. Cognition ve Emotion, 7(2), 195–205.
  • Hirt, E. R., Levine, G., McDonald, H., Melton, R., & Martin, L. L. (1997). The role of mood in quantitative and qualitative aspects of performance: Single or multiple mechanisms? Journal of Experimental Social Psychology, 33, 602–629.
  • Horn, K., & Costa-Giomi, E. (2011). Fast/major and slow/minor pairings in J.S. Bach’s well tempered clavier books 1 and 2. Empirical Musicology Review, 6(3), 155-163.
  • Houston, D., & Haddock, G. (2007). On auditing auditory information the influence of mood on memory for music. Psychology of Music, 35(2), 201-212.
  • Huron, D. (1991). Tonal consonance versus tonal fusion in polyphonic sonorities. Music Perception: An Interdisciplinary Journal, 9(2), 135-154.
  • Kallinen, K. (2005). Emotional ratings of music excerpts in the western art music repertoire and their self-organization in the Kohonen neural network. Psychology of Music, 33(4), 373-393.
  • Koelsch, S., Fritz, T., v. Cramon, D. Y., Müller, K., & Friederici, A. D. (2006). Investigating emotion with music: An fMRI study. Human Brain Mapping, 27(3), 239-250.
  • Konečni, V. J., Brown, A., & Wanic, R. A. (2008). Comparative effects of music and recalled life-events on emotional state. Psychology of Music, 36(3), 289-308.
  • Krumhansl, C. L. (1990). Cognitive foundations of musical pitch. Oxford.
  • Krumhansl, C. L. (1997). An exploratory study of musical emotions and psychophysiology. Canadian Journal of Experimental Psychology, 51, 336–352.
  • Maher, T. F. (1980). A rigorous test of the proposition that musical intervals have different psychological effects. The American Journal of Psychology, 93(2), 309-327.
  • Malmberg, C. F. (1918). The perception of consonance and dissonance. Psychological Monographs, 25(2), 93-133.
  • Martin, M. (1990). On the induction of mood. Clinical Psychology Review, 10(6), 669–697. https://doi.org/10.1016/0272-7358(90)90075-L
  • McDermott, J., & Hauser, M. (2004). Are consonant intervals music to their ears? Spontaneous acoustic preferences in a nonhuman primate. Cognition, 94(2), B11-B21.
  • Meyer, L. (1994). Emotion and meaning in music. In R. Aiello & J. Sloboda (Eds.), Musical perceptions. Oxford University Press.
  • Nawrot, E. S. (2003). The perception of emotional expression in music: Evidence from infants, children and adults. Society for Education Music and Psychology Research, 31(1), 75-92.
  • Okay, H. H. (2014). Çocuklarda mutluluk ve üzüntü duygusu yaratan müziği ayırt etme becerisi. 2014 MÜZED bölge konferansı bildiriler kitabı içinde (ss. 308-314). Sevda Cenap And Muzik Vakfı Yayınları.
  • Öğüt, Ç. M. (2014). Müziğin özelliklerinin beyin fırtınasında yaratıcılığa etkisi [Yayımlanmamış yüksek lisans tezi]. Abant İzzet Baysal Üniversitesi.
  • Özgür, Ü. & Aydoğan, S. (2009). Müziksel işitme okuma eğitimi ve kuramı (5. baskı). Sözkesen Matbaası.
  • Panksepp, J. (1995). The emotional sources of "Chills" induced by music. Music Perception: An Interdisciplinary Journal, 13(2), 171-207.
  • Parncutt, R. (1989). Harmony: A psychoacoustical approach. Springer-Verlag.
  • Parncutt, R., & Hair, G. (2011). Consonance and dissonance in music theory and psychology: Disentangling dissonant dichotomies. Journal of Interdisciplinary Music Studies, 5(2), 119-166.
  • Pham, M. T. (2007). Emotion and rationality: A critical review and interpretation of empirical evidence. Review of General Psychology, 11(2), 155-178.
  • Plomp, R., & Levelt, W. J. M. (1965). Tonal consonance and critical bandwidth. The Journal of the Acoustical Society of America, 38(4), 548-560.
  • Post, O., & Huron, D. (2009). Western classical music in the minor mode is slower (except in the romantic period). Empirical Musicology Review 4(1), 2-10.
  • Rawlings, D., & Leow, S. H. (2008). Investigating the role of psychoticism and sensation seeking in predicting emotional reactions to music. Psychology of Music, 36(3), 269–287. https://doi.org/10.1177/0305735607086042
  • Rowe, G., Hirsh, J. B. & Anderson, A. K. (2007). Positive affect increases the breadth of attentional selection. Proceedings of the National Academy of Sciences, 104, 383–388.
  • Russell, J. A. (1980). A circumplex model of affect. Journal of Personality and Social Psychology, 39(6), 1161-1178. https://psycnet.apa.org/doi/10.1037/h0077714
  • Schellenberg, E. G., & Trehub, S. E. (1996). Natural musical intervals: Evidence from infant listeners. Psychological Science, 7(5), 272-277.
  • Schwarz, N. (1994). Judgment in a social context: Biases, shortcomings, and the logic of conversation. Advances in Experimental Social Psychology, 26, 123–162.
  • Sevgi, A. (1997). Çoksesliliği duyabilme. Müzik eğitimi sempozyumu bildiriler kitabı içinde. Abant İzzet Baysal Üniversitesi Eğitim Fakültesi.
  • Sevgi, A. & Şengül, C. (2003). Müzik eğitimi bölümlerinin giriş-yetenek sınavlarına başvuran adayların müziksel işitme-yineleme sınavındaki soru tiplerine göre başarı durumlarının belirlenmesi. Cumhuriyetimizin 80. yılında müzik sempozyumu bildiriler kitabı içinde (ss. 232-239). İnönü Üniversitesi.
  • Sinclair, R. C., & Mark, M. M. (1995). The effects of mood state on judgmental accuracy: Processing strategy as a mechanism. Cognition and Emotion, 9, 417– 438.
  • Sinclair, R. C. (1988). Mood, categorization breadth, and performance appraisal: The effects of order of information acquisition and affective state on halo, accuracy, information retrieval, and evaluations. Organizational Behavior and Human Decision Processes, 42, 22-46.
  • Sloboda, J. (2005). Exploring the musical mind: Cognition, emotion, ability, function. Oxford University Pres.
  • Stumpf, C. (1883, 1890). Tonpsychologie (1st and 2nd volumes). Hirzel.
  • Tenney, J. (1988). A history of consonance and dissonance. Excelsior.
  • Terhardt, E. (1984). The concept of musical consonance: A link between music and psychoacoustics. Music Perception, 1(3), 276-295.
  • Terwogt, M. M., & Van Grinsven, F. (1988). Recognition of emotions in music by children and adults. Perceptual and Motor Skills, 67(3), 697-698.
  • Thompson, C. A., & Opfer, J. E. (2005). Everyday constraints on learning: Children’s and adults’ development of the major/minor distinction [Yayımlanmamış Doktora Tezi]. Ohio State University.
  • Trainor, L. J., Tsang, C. D., & Cheung, V. H. W. (2002). Preference for sensory consonance in 2-and 4-month-old infants. Music Perception, 20, 187-194.
  • Trainor, L. J., & Heinmiller, B. M. (1998). The development of evaluative responses to music: Infants prefer to listen to consonance over dissonance. Infant Behavior and Development, 21(1), 77-88.
  • Vieillard, S., Peretz, I., Gosselin, N., Khalfa, S., Gagnon, L., & Bouchard, B. (2008). Happy, sad, scary and peaceful musical excerpts for research on emotions. Cognition & Emotion, 22(4), 720-752. https://doi.org/10.1080/02699930701503567
  • Von Helmholtz, H. L. F. Von (1863). Die lehre von den tonempfindungen als physiologische grundlage für die theorie der musik. Vieweg.
  • Von Helmholtz, H. (1912). On the sensations of tone as a physiological basis for the theory of music. Longmans, Green.
  • Von Helmholtz H. L. F. Von (1954). On the sensations of tone. Dover, 194. (Orijinal çalışmanın ilk basım yılı 1877).
  • Watson, D., & Tellegen, A. (1985). Toward a consensual structure of mood. Psychological Bulletin, 98(2), 219-235. https://doi.org/10.1037//0033-2909.98.2.219
  • Worth, L. T., & Mackie, D. M. (1987). Cognitive mediation of positive affect in persuasion, Social Cognition, 5, 76-94.
  • Yayla, F. (2006). Müziksel işitmenin temel prensipleri. Mehmet Akif Ersoy Üniversitesi Eğitim Fakültesi Dergisi, 7(12), 28-38.
  • Zentner, M. R., & Kagan, J. (1998). Infants' perception of consonance and dissonance in music. Infant Behavior and Development, 21(3), 483-492.
Toplam 79 adet kaynakça vardır.

Ayrıntılar

Birincil Dil Türkçe
Bölüm Makaleler
Yazarlar

Seda Eden Ünlü 0000-0002-3947-7442

Ahmet Serkan Ece 0000-0002-1369-5812

Yayımlanma Tarihi 15 Haziran 2021
Gönderilme Tarihi 29 Mart 2021
Yayımlandığı Sayı Yıl 2021 Cilt: 21 Sayı: 2

Kaynak Göster

APA Eden Ünlü, S., & Ece, A. S. (2021). DUYGUDURUM DEĞİŞİMLERİNİN DİKEY ÇİFT SESLİ ARALIK İŞİTME ALGISINA ETKİSİ. Abant İzzet Baysal Üniversitesi Eğitim Fakültesi Dergisi, 21(2), 519-539. https://doi.org/10.17240/aibuefd.2021.21.62826-905325