Avaliação dos efeitos psicológicos da música através de um diferencial semântico

Francisco  Blasco

doi:10.51914/brjmt.2.1996.127

Artigos

ANO I – NÚMERO 2 – 1996

Avaliação dos efeitos psicológicos da música através de um diferencial semântico

Francisco Blasco

PDF (Español (España))

DOI: https://doi.org/10.51914/brjmt.2.1996.127
Enviado: 20 maio 2021
Publicado: 30-12-1996

Resumo

Músicos, psicólogos e filósofos concordam que a música pode causar mudanças nas pessoas que a ouvem. Essas mudanças podem ser emocionais e / ou fisiológicas. Tradicionalmente, as técnicas de avaliação de respostas à música têm sido baseadas em respostas fisiológicas, listas de adjetivos e indagações filosóficas. As hipóteses da maioria dos estudos fisiológicos são de que a frequência e / ou amplitude dos processos humanos controlados pelo sistema nervoso refletem as respostas à música. Os mais frequentemente estudados referem-se à velocidade do coração, à velocidade da respiração, à sua amplitude e à resposta psicogalvânica do pé. Outras medidas que foram incluídas são eletroencefalografia, eletromiografia, eletrooculografia, pupilografia, eletrogastrografia, ...

Referências

ABELES, H.F. (1980). Responses to Music. En D.A. Hodges (Ed.), Handbook of Music Psychology (pp. 105–140). Lawrence, KS: National Association for Music Therapy.
ACCURSO, R. (1967). (Citado por Miller, 1992). The Development and Application of a Semantic Differential for Sounds.
ASMUS, E.P., Jr. (1985). The Effect of Time Manipulation on Affective Responses to a Musical Stimulus. En G.C. Turk (Ed.), Proceedings of the Research Symposium on the Psychology and Acoustics of Music (pp. 97–110). Lawrence: University of Kansas.
BENENZON, R. (1981). Manual de Musicoterapia. Ed. Paidós Educador. Barcelona.
BRAGG, B. y CROZIER, J. (1974). The Development With Age of Exploratory Sound Sequences Varying in Uncertainty Level. En D.E. Berlyne (Ed.), Studies in the New Experimental Aesthetics. New York: John Wiley.
CROZIER, J. (1974). Verbal and Exploratory Responses to Sound Sequences Varying in Uncertainty Level. En D.E. Berlyne (Ed.), The New Experimental Aesthetics (pp. 27–90). New York: John Wiley.
DOMÉNECH, Blasco y LÓPEZ. (1987). Musicoterapia en la Formación del Terapeuta. Ed. Nau Llibres. Valencia.
EAGLE, (1971). Citado por Radocy, R. E. y Boyle, J. D. (1988). Psychological Foundations of Musical Behavior. Ed. Charles C. Thomas. Springfield, Illinois.
GABRIELSSON, A. (1973). Adjective Ratings and Dimension Analyses of Auditory Rhythm Patterns. Scandinavian Journal of Psychology, 14, 244–260. DOI: https://doi.org/10.1111/j.1467-9450.1973.tb00118.x
GABRIELSSON, A. (1979). Dimension Analyses of Perceived Sound Quality of Sound-Reproducing Systems. Scandinavian Journal of Psychology, 20, 159–169. DOI: https://doi.org/10.1111/j.1467-9450.1979.tb00697.x
HARGREAVES, D. J. (1986). The Developmental Psychology of Music. Ed. Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511521225
HARGREAVES, D.J., y COLEMAN, A.M. (1981). The Dimensions of Aesthetic Reactions to Music. Psychology of Music, 9, 15–20. DOI: https://doi.org/10.1177/03057356810090010301
HYLTON, J. (1981). Dimensionality in High School Student Participants' Perceptions of the Meaning of Choral Singing Experience. Journal of Research in Music Education, 29, 287–304. DOI: https://doi.org/10.2307/3345005
KEIL, C. y KEIL, A. (1966). Musical Meaning: A Preliminary Report. Ethnomusicology, 10(2), 153–173. DOI: https://doi.org/10.2307/924696
MILLER, R.F. (1992). En Colwell, R. Handbook of Research on Music Teaching and Learning. Ed. McMillan.
O’BRIANT, M. y WILBANKS, W. (1978). The Effect of Context on the Perception of Music. Bulletin of the Psychonomic Society, 12(6), 441–443. DOI: https://doi.org/10.3758/BF03329731
RADOCY, R. E. y BOYLE, J. D. (1988). Psychological Foundations of Musical Behavior. Ed. Charles C. Thomas. Springfield, Illinois.
SCHOEN, M. y GATEWOOD, E.L. (1927). An Experimental Study of the Nature of Musical Enjoyment. En M. Schoen (Ed.), The Effects of Music. New York: Harcourt, Brace.

Como Citar

Blasco, F. . (1996). Avaliação dos efeitos psicológicos da música através de um diferencial semântico. Brazilian Journal of Music Therapy, (2). https://doi.org/10.51914/brjmt.2.1996.127

Este trabalho está licenciado sob uma licença Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License.

[1] ABELES, H.F. (1980). Responses to Music. En D.A. Hodges (Ed.), Handbook of Music Psychology (pp. 105–140). Lawrence, KS: National Association for Music Therapy.

[2] ACCURSO, R. (1967). (Citado por Miller, 1992). The Development and Application of a Semantic Differential for Sounds.

[3] ASMUS, E.P., Jr. (1985). The Effect of Time Manipulation on Affective Responses to a Musical Stimulus. En G.C. Turk (Ed.), Proceedings of the Research Symposium on the Psychology and Acoustics of Music (pp. 97–110). Lawrence: University of Kansas.

[4] BENENZON, R. (1981). Manual de Musicoterapia. Ed. Paidós Educador. Barcelona.

[5] BRAGG, B. y CROZIER, J. (1974). The Development With Age of Exploratory Sound Sequences Varying in Uncertainty Level. En D.E. Berlyne (Ed.), Studies in the New Experimental Aesthetics. New York: John Wiley.

[6] CROZIER, J. (1974). Verbal and Exploratory Responses to Sound Sequences Varying in Uncertainty Level. En D.E. Berlyne (Ed.), The New Experimental Aesthetics (pp. 27–90). New York: John Wiley.

[7] DOMÉNECH, Blasco y LÓPEZ. (1987). Musicoterapia en la Formación del Terapeuta. Ed. Nau Llibres. Valencia.

[8] EAGLE, (1971). Citado por Radocy, R. E. y Boyle, J. D. (1988). Psychological Foundations of Musical Behavior. Ed. Charles C. Thomas. Springfield, Illinois.

[9] GABRIELSSON, A. (1973). Adjective Ratings and Dimension Analyses of Auditory Rhythm Patterns. Scandinavian Journal of Psychology, 14, 244–260. DOI: https://doi.org/10.1111/j.1467-9450.1973.tb00118.x

[10] GABRIELSSON, A. (1979). Dimension Analyses of Perceived Sound Quality of Sound-Reproducing Systems. Scandinavian Journal of Psychology, 20, 159–169. DOI: https://doi.org/10.1111/j.1467-9450.1979.tb00697.x

[11] HARGREAVES, D. J. (1986). The Developmental Psychology of Music. Ed. Cambridge University Press. DOI: https://doi.org/10.1017/CBO9780511521225

[12] HARGREAVES, D.J., y COLEMAN, A.M. (1981). The Dimensions of Aesthetic Reactions to Music. Psychology of Music, 9, 15–20. DOI: https://doi.org/10.1177/03057356810090010301

[13] HYLTON, J. (1981). Dimensionality in High School Student Participants' Perceptions of the Meaning of Choral Singing Experience. Journal of Research in Music Education, 29, 287–304. DOI: https://doi.org/10.2307/3345005

[14] KEIL, C. y KEIL, A. (1966). Musical Meaning: A Preliminary Report. Ethnomusicology, 10(2), 153–173. DOI: https://doi.org/10.2307/924696

[15] MILLER, R.F. (1992). En Colwell, R. Handbook of Research on Music Teaching and Learning. Ed. McMillan.

[16] O’BRIANT, M. y WILBANKS, W. (1978). The Effect of Context on the Perception of Music. Bulletin of the Psychonomic Society, 12(6), 441–443. DOI: https://doi.org/10.3758/BF03329731

[17] RADOCY, R. E. y BOYLE, J. D. (1988). Psychological Foundations of Musical Behavior. Ed. Charles C. Thomas. Springfield, Illinois.

[18] SCHOEN, M. y GATEWOOD, E.L. (1927). An Experimental Study of the Nature of Musical Enjoyment. En M. Schoen (Ed.), The Effects of Music. New York: Harcourt, Brace.