1,720,956 research outputs found
Reasons for music listening, preferred musical attributes, and choice of song lyrics vary by listener anxiety sensitivity levels
No full textThis research explored how anxiety sensitivity—the tendency to fear sensations associated with anxiety—shapes the way people use music and their musical preferences. The results suggested individuals higher (versus lower) in anxiety sensitivity differ in their reasons for listening, the acoustic features they prefer, and the lyrical content they select. These findings point to the potential for personalized, music-based strategies to help support emotional well-being.Across three studies, this work charted how anxiety sensitivity (AS)—fear of arousal‐related sensations—relates to music engagement at motivational, perceptual, and semantic levels. Study 1 used exploratory factor analysis to identify core reasons for music listening among 788 undergraduates (77.7% women; Mage = 19.20, SDage = 2.46) and explored associations with AS via hierarchical regression. Higher AS predicted relief‐oriented Coping, Conformity, and Connection motives but did not influence reward‐focused Revitalization, Social Enhancement, and Sensory–Motor functions. Study 2 presented 1040 participants (75.3% women; Mage = 19.31, SDage = 3.27) with vignettes designed to prime AS physical, cognitive, or social concerns. Contextual listening endorsement rates were probed via logistic regression and preferred acoustic properties of participant‐nominated tracks were investigated using generalized linear models. Higher AS cognitive and social concerns were associated with greater endorsement of listening but only in a low‐mood context. Higher AS physical concerns were linked to quieter music choices across all scenarios, and higher AS cognitive concerns to faster tempos under low‐mood conditions. Musical mode (i.e., choice of major versus minor key) was not related to AS but the probability of choosing minor key music was lowest in a low-mood context, higher in a social context, and highest in context of physical exercise. Across all scenarios, males were more likely than females to select minor key music. Using LIWC-22 software, Study 3 (also N = 1040; 75.3% women; Mage = 19.31, SDage = 3.27) examined associations between AS and the lyrical content of participant-nominated songs. As predicted, negative binomial regression modeling showed higher AS concerns that matched those primed by a vignette were associated with lyrics containing fewer fear‐relevant words. In contexts incongruent with AS concerns, however, listeners appeared to sometimes avoid, but also (or alternatively) seemed to gravitate toward emotionally charged lyrics, possibly reflecting efforts at exposure or cognitive reappraisal. Together, these findings paint a nuanced portrait of connections between AS and why people listen to music, and which acoustic and lyrical features they choose. Music‐based interventions tailored to individual AS profiles may offer an accessible and effective means of preventing and treating AS‐related emotional disorders
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Variations on the Author
Get PDF“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
Appropriate Similarity Measures for Author Cocitation Analysis
Get PDFWe provide a number of new insights into the methodological discussion about author cocitation analysis. We first argue that the use of the Pearson correlation for measuring the similarity between authors’ cocitation profiles is not very satisfactory. We then discuss what kind of similarity measures may be used as an alternative to the Pearson correlation. We consider three similarity measures in particular. One is the well-known cosine. The other two similarity measures have not been used before in the bibliometric literature. Finally, we show by means of an example that our findings have a high practical relevance.information science;Pearson correlation;cosine;similarity measure;author cocitation analysis
New music compositions
No full textThe Thesis for the Master of Music in Composition degree at the University of British Columbia consists of a recital or recital(s) of original works composed during graduate study. Candidates are expected to have written for the recital(s) approximately 45 minutes to one hour of music for various media. The following compositions were performed on January 31, 2003; April 7, 2003; October 18, 2003; February 26, 2004; March 5, 2004; March 8, 2004; April 5, 2004; April 23, 2004, and April 28, 2004.Arts, Faculty ofMusic, School ofGraduat
Dispelling the Myths Behind First-author Citation Counts
Get PDFWe conducted a full-scale evaluative citation analysis study of scholars in the XML research field to explore just how different from each other author rankings resulting from different citation counting methods actually are, and to demonstrate the capability of emerging data and tools on the Web in supporting more realistic citation counting methods. Our results contest some common arguments for the continued
use of first-author citation counts in the evaluation of scholars, such as high correlations between author rankings by first-author citation counts and other citation
counting methods, and high costs of using more realistic citation counting methods that are not well-supported by the ISI databases. It is argued that increasingly available digital full text research papers make it possible for citation analysis studies to go beyond what the ISI databases have directly supported and to employ more
sophisticated methods
koamabayili/VECTRON-author-checklist: VECTRON author checklist
No full textWe have done our best to complete the author checklist relating to the use of animals in the hut study. Note that the objective for the hut study was to evaluate the IRS treatment applications for residual efficacy against Anopheles mosquitoes, including the local An. coluzzii mosquito population. Cows were only used to attract mosquitoes into the huts and no tests were carried out directly on the cows. The author checklist is intended for use with studies where experiments are carried out on animals, which is why we have had such difficulty in completing this for the hut study, as many of the questions do not relate to how the cows were used
Jack and the blue flower : an aural myth
No full textThis Dissertation, entitled Jack and the Blue Flower: An Aural Myth, establishes a new approach to formal design, referred to henceforth as a Musical Personograph. This 17-minute work presents a highly developed musical portrait of an individual, in this case British writer and philosopher-theologian C. S. (“Jack”) Lewis. The conceptual and compositional designs are a synthesis of (1) the core principles of Personography, a psychological discipline that seeks to empirically determine the ways in which an individual establishes self-identity via an internalized and evolving life-story; (2) leitmotif and thematic transformation techniques, extended and expanded to include not only melody but harmony; rhythm; polyrhythm and polymeter; pitch centers; orchestration; tonality, polytonality, and atonality; (3) stratified textures consisting of perceptually distinct layers of musical material that contribute fundamentally to the overall shape and form of the work. Novel compositional principles applied include (1) an exploration of the expressive possibilities of an updated approach to programmatic music (musical materials with relationships to extra-musical symbols); (2) the use of intrinsically musical narrative and/or dramatic structures—that is, the establishment of a compositional design that imparts a narrative and/or dramatic structure to a work that functions independently of any imposed extra-musical associations. This work’s intrinsically musical narrative is accomplished via forward- and backward-pointing references (in time) to audibly recognizable musical material of primary importance, called Musical Aspects and Narrative Agents; changes to the musical context framing said Aspects and Agents as the work progresses; the use of multiple musical languages and rhetorical devices which, through shared cultural associations, enable the listener to assign dramatic and/or emotional values to the musical narrative as it unfolds.Arts, Faculty ofMusic, School ofGraduat
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