Bangert, Daniel

[["dc.bibliographiccitation.firstpage","46"],["dc.bibliographiccitation.journal","The Arts in Psychotherapy"],["dc.bibliographiccitation.lastpage","53"],["dc.bibliographiccitation.volume","51"],["dc.contributor.author","Garrido, Sandra"],["dc.contributor.author","Schubert, Emery"],["dc.contributor.author","Bangert, Daniel"],["dc.date.accessioned","2019-11-27T08:30:55Z"],["dc.date.available","2019-11-27T08:30:55Z"],["dc.date.issued","2016"],["dc.description.abstract","Background Music is used in a variety of health contexts for mood regulation purposes. However, while research demonstrates that self-selected music is most effective in using music to alter mood in a positive direction, some people, particularly those with tendencies to depression, may incline towards music that perpetuates a negative mood. Methods Participants were randomly assigned to Happy and Sad music groups and listened to a prescribed playlist for four weeks. Pre- and post- mood measures were taken as well as diaries of mood responses, which were analysed both qualitatively and quantitatively. Results No long-term mood effects were observed. The affective impact was less positive for people with high scores in rumination. However, the diary-taking exercise raised participant awareness of mood impacts and increased deliberateness of music use in some participants. Conclusions Researcher-selected music is limited in effectiveness to a single listening session even where playlists are carefully designed to appeal to the sample. However, consciousness-raising programs may be effective in changing the long-term listening habits of people who for whom music choice is sub-optimal as a coping strategy."],["dc.identifier.doi","10.1016/j.aip.2016.09.002"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/62686"],["dc.language.iso","en"],["dc.relation.issn","0197-4556"],["dc.title","Musical prescriptions for mood improvement: An experimental study"],["dc.type","journal_article"],["dc.type.internalPublication","no"],["dspace.entity.type","Publication"]]

[["dc.bibliographiccitation.firstpage","320"],["dc.bibliographiccitation.journal","Frontiers in Psychology"],["dc.bibliographiccitation.volume","5"],["dc.contributor.author","Bangert, Daniel"],["dc.contributor.author","Schubert, Emery"],["dc.contributor.author","Fabian, Dorottya"],["dc.date.accessioned","2018-11-28T09:42:07Z"],["dc.date.available","2018-11-28T09:42:07Z"],["dc.date.issued","2014"],["dc.description.abstract","This paper describes a model of how musicians make decisions about performing notated music. The model builds on psychological theories of decision-making and was developed from empirical studies of Western art music performance that aimed to identify intuitive and deliberate processes of decision-making, a distinction consistent with dual-process theories of cognition. The model proposes that the proportion of intuitive (Type 1) and deliberate (Type 2) decision-making processes changes with increasing expertise and conceptualizes this change as movement along a continually narrowing upward spiral where the primary axis signifies principal decision-making type and the vertical axis marks level of expertise. The model is intended to have implications for the development of expertise as described in two main phases. The first is movement from a primarily intuitive approach in the early stages of learning toward greater deliberation as analytical techniques are applied during practice. The second phase occurs as deliberate decisions gradually become automatic (procedural), increasing the role of intuitive processes. As a performer examines more issues or reconsiders decisions, the spiral motion toward the deliberate side and back to the intuitive is repeated indefinitely. With increasing expertise, the spiral tightens to signify greater control over decision type selection. The model draws on existing theories, particularly Evans' (2011) Intervention Model of dual-process theories, Cognitive Continuum Theory Hammond et al. (1987), Hammond (2007), Baylor's (2001) U-shaped model for the development of intuition by level of expertise. By theorizing how musical decision-making operates over time and with increasing expertise, this model could be used as a framework for future research in music performance studies and performance science more generally."],["dc.identifier.doi","10.3389/fpsyg.2014.00320"],["dc.identifier.pmid","24795673"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/56980"],["dc.language.iso","en"],["dc.notes.status","zu prüfen"],["dc.title","A spiral model of musical decision-making"],["dc.type","journal_article"],["dc.type.internalPublication","unknown"],["dspace.entity.type","Publication"]]

[["dc.contributor.author","Garrido, Sandra"],["dc.contributor.author","Bangert, Daniel"],["dc.contributor.author","Schubert, Emery"],["dc.date.accessioned","2019-11-27T08:29:29Z"],["dc.date.available","2019-11-27T08:29:29Z"],["dc.date.issued","2017"],["dc.description.abstract","Music is increasingly being used in a variety of health and mental health contexts for mood regulation purposes. Music is also a commonly used stimulus in mood induction studies in a variety of fields. However, basic biological mechanisms can be triggered when listening to music, resulting in intense but relatively short-lived affective responses. In assessing the efficacy of musical interventions or mood induction procedures, researchers face the difficulty of determining whether the responses being evaluated are these immediate emotional responses or whether the music has had an enduring effect on participants’ moods. This case study provides an account of a study in which we used psychometric measures and qualitative reports of mood effects in order to pick up different affective responses to music. The case sheds light on the importance of careful experimental design in music intervention or musical mood induction studies. In particular, we highlight the importance of ensuring that mood measures are carefully selected and that they are administered at appropriate time points in order to measure the desired construct."],["dc.identifier.doi","10.4135/9781473974760"],["dc.identifier.eisbn","978-1-4739-7476-0"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/62685"],["dc.language.iso","en"],["dc.title","Mood Induction Studies: Distinguishing Between Emotional Response and Long-Term Mood Impacts of Music"],["dc.type","book"],["dc.type.internalPublication","unknown"],["dspace.entity.type","Publication"]]

[["dc.bibliographiccitation.firstpage","35"],["dc.bibliographiccitation.issue","1"],["dc.bibliographiccitation.journal","Musicae Scientiae"],["dc.bibliographiccitation.lastpage","52"],["dc.bibliographiccitation.volume","18"],["dc.contributor.author","Bangert, Daniel"],["dc.contributor.author","Fabian, Dorottya"],["dc.contributor.author","Schubert, Emery"],["dc.contributor.author","Yeadon, Daniel"],["dc.date.accessioned","2019-11-27T08:01:47Z"],["dc.date.available","2019-11-27T08:01:47Z"],["dc.date.issued","2013"],["dc.description.abstract","This study explores how an expert period instrument musician makes musical decisions, focusing on the distinction between intuitive (Type 1) and deliberate (Type 2) processes as defined by dual-process theories of cognition (Evans, 2008). A case study of the cellist Daniel Yeadon was conducted over 2 years, during which extensive quasi think-aloud and performance data were collected regarding Yeadon’s interpretation of the Suites for Solo Cello by J. S. Bach (BWV 1007–1012). Analysis of this data resulted in the categorization of 134 musical decisions as intuitive, procedural, deliberate, or deliberate HIP (historically informed performance). Procedural decisions were a subset of intuitive, defined as previously deliberate decisions that had become automatic over time. The category of deliberate HIP consisted of decisions that were explained with reference to specific knowledge of historical performance practices. A large proportion of deliberate decision-making was found (65% overall), with deliberate processes dictating the majority of decisions across all performance features except for tone color and ornamentation. Musical decisions discussed in the study demonstrate that performers often manipulate several features of the music simultaneously (making coding and analysis complicated), whether consciously or otherwise. The highest number of musical decisions related to articulation and phrasing, a result that highlights important components of current HIP style. Implications for dual-process theories include the novel category of procedural that demonstrates differences within intuitive (Type 1) processes."],["dc.identifier.doi","10.1177/1029864913509812"],["dc.identifier.uri","https://resolver.sub.uni-goettingen.de/purl?gro-2/62677"],["dc.language.iso","en"],["dc.relation.issn","1029-8649"],["dc.relation.issn","2045-4147"],["dc.title","Performing solo Bach: A case study of musical decision-making"],["dc.type","journal_article"],["dc.type.internalPublication","no"],["dspace.entity.type","Publication"]]