Motlhalosi Tlotleng Doctor of Business Administration Business Administration and Finance Botswana |
Mmoloki Moreo Master of Management and Leadership Educational Management and Leadership Botswana |
Kamila De Oliveira Barros Bachelor of Science Psychology Brazil |
Hugo Patricio Muñoz Aravena Bachelor of Science Psychology Chi |
William Diaz Henao Doctor of Business Administration Business and Finance Colombia |
Burbano Rosero Adriana Rocio Bachelor of Education Preschool Education Ecuador |
Phineas Londiya Nhlanhla Magagula Doctor of Philosop hy Business Administration Eswatini |
Janice Firebrand Johnson Master of Arts Diplomacy and World Affairs Ghana |
Bernadette Touwendsida Nikiema Master of Science Psychology Ghana |
Lilian Beatriz Hernández Guerra Doctor of Legal Studies International Legal Studies Guatemala |
Rozana Chand Bachelor of Science Project Management Guyana |
Jose Abraham Alvarez Martinez Bachelor of Business Administration Business Administration Honduras |
Josué Daniel Crespo Elliot Bachelor of Science Industrial Engineering Honduras |
Navit Shahar Nirhod Bachelor of Arts Psychology Israel |
Yaman Jaad Msarwe Bachelor of Education Education Israel |
Terron Hewitt Bachelor of Accounting Accounting Jamaica |
Isabelle Jerop Kandagor Doctor of Philosop hy Sustainable Telecommunications Kenya |
Roxanny A. del Pilar Moulas Vargas Bachelor of Science Psychology Mexico |
Jose Juan Ruiz Ruelas Bachelor of Science Civil Engineering Mexico |
Emmanuel Ucheoma Ojobah Bachelor of Science Psychology Nigeria |
Nwonye Emmanuel Ifebuche Doctor of Business and Economics Project Management Nigeria |
Christopher Jeremiah Abimiku Doctor of Philosop hy Business Management Nigeria |
Edem Chigozie Eucharia Doctor of Science Social and Human Development Nigeria |
Usman Kolawole Aleshinloye Doctor of Management Project Management Nigeria |
Francis Ezike Okagu Master of Business and Economics Project Management Nigeria |
Farzin Shahrokhi Doctor of Psychology Psychology Norway |
Jesus Martin Pacheco Rivera Bachelor of Science Electromechanical Engineering Panama |
Arlito P. Cuvin Bachelor of Science Architecture Philipp ines |
Victoria Cupet Doctor of Education Education Romania |
Francio Frans Buys Doctor of Science Public Health South Africa |
Mohammed Ajak Abdalla Arke Bachelor of Public Administration International Relations South Sudan |
Mathokoza Mntambo Bachelor of Science Computer Science Swaziland |
Kerim Çolakoğlu Bachelor of Science Mechanical Engineering Türkiye |
Selim Çolakoğlu Bachelor of Science Mechanical Engineering Türkiye |
Agnes Kabanda K Doctor of Project Management Project Management Uganda |
Mauricio Adrian Kanigina Cap Bachelor of Science Psychology Uruguay |
Jenipher Mhlanga Bachelor of Science Psychology US A |
Atriel Arias Bachelor of Science Psychology and Human Development US A |
Erminda Eli Pacheco Caseres Bachelor of Business Administration Business Administration US A |
Fahimeh Raoufi Doctor of Science Biology US A |
Michel Peña Del Rosario Bachelor of Science Psychology US A |
Duviel Rodriguez Doctor of Philosop hy Psychology US A |
Devan Lane Pope Doctor of Arts English Literature and Language US A |
Edson Rivera Román Bachelor of Science Architecture US A |
Rosemary N. Situmbeko Kabwe Doctor of Philosop hy Health Care Administration Zambia |
Rosemary N. Situmbeko Kabwe Doctor of Philosop hy Health Care Administration Zambia |
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We observe every day the
relationship and development
of nations and ask
ourselves: Where are we going
as a society?
The world we know is made
up of our solar system in
which our planet Earth is. In
turn, our planet Earth is made
up of flora, fauna and human
beings; with all of us we build
our social world. We live from
what our planet produces and
in our social world we create
science. We develop science
through formal education.
What world are we in? What
do we have to learn? Where
is science going? Every day
it seems that we have new
answers. The answer to the
first question, at first glance,
seems to be simple. We are in
a world where nature is not
seen to be protected. Nature
is the source of life for flora,
fauna and the human species.
We have created an unsustainable
development:
extraction of non-renewable
products, dependence on fossil
fuels, and little care for natural
resources, such as water.
It is maintained, as in the
United Nations-UN, that
global warming can’t rise
more than 1.5 Celsius. This is
the result of the United Nations
Conference on Climate Change-Conference of the
Parties (COP21), held in Paris
on December 12, 2015, and
whose agreement was signed
by 196 countries on November
4, 2016. At this Conference,
the countries committed to
reviewing them every 5 years.
At COP26, held in Glasgow,
Scotland, UK, the same agreements
for climate change were
also met, but the same: they
aren’t complied with for one
reason or another.
In the Conference of the
Parties of the UN-COP27, held
in Egypt, in November 2022, it
deals with the same theme of
the Paris Agreement, where the
countries sign, but the changes
are offered by many, until
2050, because they say no to be
able to switch energy from oil
and coal as quickly as needed.
Let’s see now what education
is. Education has the two
known aspects: informal education
and formal education.
Informal education is the
cultural values that we learn
from coexistence. Formal education
is what States organize
based on what they want about
human being will be: it is
structured based on the needs
of nations to develop culture,
economy, and human values.
There are Open and Closed
Curricular Designs. At Atlantic
International University (AIU),
where you are studying, you
have both modalities of Curricular
Design.
In an Open Curriculum
Design, the student can choose
the disciplines that are of
interest. In a Closed Curricular
Design, the institution offers
the study plan to follow.
In the Open Curricular
Design, also in the Closed Curricular
Design the institution
chooses its Philosophy and its
Policy. Philosophy is what the
institution believes in: learning,
society, social relations
and ultimate goals of education.
Policies are the rules by
which the institution is guided in each of its departments.
Formal education can be
face-to-face, which means
attendance at facilities with
teachers who, through appropriate
resources, show students
the procedures to follow or
review the activities developed
by them. In formal education
we have psychological and
pedagogical methods that seek
better student learning.
Nowadays there is a strong
development of modalities
to learn more every day: we
are talking about virtual or
online education. In any case,
students: have to use virtual or
online media even if they are
in face-to-face education, to
carry out all the activities. Students
in face-to-face classes
also have the use of virtual or
online media as subjects.
Regarding the third question
of “Where is science
going?” what we notice is that
every human being, nowadays,
thinks he or her knows
everything. In addition, all the
falsehoods that one can imagine
are published through the
Platforms. Those who are unaware
of the existing problem
regarding the dissemination of
what is believed to be scientific
repeat falsehood and a half.
Science, nowadays, is more
popular but you have to know
where to look for reliable
information. One of the functions
of universities is the dissemination of science. It
also joins this way of working
with the truth, which
must correspond to a theory
already proven and accepted
by the international scientific
community.
Nowadays society is very
confused with what freedom is:
everyone does and says what
comes to mind, which is why
we live in chaos. We say to be
in chaos because:
a While some enjoy extreme
abundance, others die of
hunger.
b Some maintain scientifically
that it is necessary to regulate
the heat on the planet
while others deny it.
c Some want to continue
producing energy from oil
while others deny that it is a
problem of survival.
d Some want production to be
based on green energy and
others want fossil fuels such
as coal.
e Science is done with procedures,
theories and laws
agreed upon by the international
scientific community it
is not saying what you want.
f There must be respect for the
other while others are only
concerned with their benefit
regardless of what may happen
to others.
g Some have the right to education
while others barely
reach basic studies.
We ask ourselves: where are the values? Where the respect
is for the other? The theories
are still valid over time and
present elements on which you
can continue working.
Speaking of chaos, here is
the theory: Where does chaos
come from and how situations
are resolved in the face of it.
Ilya Romanovich Prigogine,
Moscow, January 25, 1917-
Brussels, May 28, 2003. He was
naturalized Belgian in 1949. He
studied Chemistry at the Free
University of Brussels, also at
the same institution he studied
Physics. He received the 1977
Nobel Prize in Chemistry for
his work on the Theory of Dissipative
Structures.
Prigogine said: “Our world
is a world of change, exchange
and innovation. To understand
it, a theory of processes,
lifetimes beginnings and ends
is necessary; we need a theory
of qualitative diversity, of the
appearance of the qualitatively
new. (Prigogine 2009, pp . 70-71).
This was said by Prigogine
working at the beginning of
this century. We know that it
has cost a lot of effort in the
field of research to introduce
the qualitative. How is it possible
to move from chaos to balance.
According to Prigogine:
“We have called the order
generated by the state of nonequilibrium
“order by fluctuations”.
Indeed, when, instead
of disappearing, a fluctuation increases within a system,
beyond the critical threshold of
stability, the system undergoes
a profound transformation, it
adopts a completely different
mode of operation, structured
in time and space, functionally
organized. What then emerges
is a process of self-organization,
what we have called “dissipative
structure”. (Prigogine,
2009, p. 89).
We go from chaos, which is
the non-equilibrium of a system,
to the search by the same
system for its equilibrium.
Nowadays society, which is
in chaos, where any thought is
true, where it doesn’t matter
what happens with the way
nature is used, where values
don’t matter, where respect for
others are not necessary: you
will find your own balance.
We don’t know how long it
will be necessary for the system
which is the current world
with education, science and the
values that the human being
has to find the balance which
will be peace to build a world
and to build in them a better
human being where life is for
growth instead of the destruction
we live.
Take advantage of your
time to build.
Take advantage of your
study time at AIU to be
and make a better world.
BIBLIOGRAPHY. ONU-Acuerdo de París COP21. París 2015
Retrieved from: https://www.un.org/es/climatechange/paris-agreement | ONU
COP21. París 2015 | Retrieved from: https://www.diplomatie.gouv.fr/es/politica-
exterior/clima-y-medio-ambiente/la-lucha-contra-el-cambio-climatico/
conferencia-de-paris-o-cop21/ | Prigogine, I. 2009. ¿Tan solo una ilusion?
Barcelona: Tusquets Editores.
1. Introduction
Why are some sounds regarded
as ‘noise’ while others
are experienced as music? When
we perform or listen to music,
what occurs at the level of the
sound wave, the ear, and the
brain? How do musical abilities
emerge, develop, and refine as
one gains experience with music?
What gives the music such
a strong emotional impact and
the ability to influence social
behavior in so many different
cultural contexts? These are a
several of the frequent questions
that define the field of
“Music Psychology”.
In this essay, I’d want to
present a comprehensive overview
of classic and contemporary
studies in music psychology,
as well as critical critiques
of existing research. I want
to explore sound and music
on an acoustic level, describing
auditory phenomena in
terms of ear and brain function.
I’d want to focus on melody,
rhythm, and formal structure
perception and cognition, as
well as the origin and development
of musical talents, before
moving on to the most practical
components of music psychology:
gender in music, customers
behavior, the emotional power
of music. I sincerely believe that
my work may contribute to a
broader discussion of music’s
meaning in terms of its social,
emotional, philosophical, and
cultural relevance.
2. The subject of Music
Psychology
People have always chosen
specific sound patterns for
special attention all around the
world and for which we have
records. Some of these patterns
are what we refer to as ‘music.’
What distinguishes the sound
patterns that we identify as
music? What is it about these
sound patterns that has such a
profound meaning for humans?
All audible noises begin with
energy propagation into the
environment. It may be a gentle
breeze rustling a thousand fluttering
leaves, the plucking of harp strings, or the thud of a
bass drum. What makes some
air molecule dances ‘musical,’
whereas other air molecule
disturbances appear to produce
only sounds? Or is it the noise?
A symphonic orchestra concert
is a music. Music festivals
are music as well. Advertising
jingles are musical creations.
Many people consider church
bells, which ring out a basic
tune, to be music. Not every
sound, however, is music.
Could we come up with a
comparable list of noises that
everyone agrees aren’t music?
A sound pattern that is indicative
of non-music may be the
roar of a road drill or the sound
of a tractor. The bubbling of a
dishwasher or the screech of a
vacuum cleaner may strike us
as apparent examples of nonmusic.
What about the sound
of the waves crashing on the
shore? Is that a wolf howl? Or
perhaps a bird’s song?
While the extremes appear
to be well defined, there is no
obvious distinction between
music and noises that are not
music. Though we can fairly
clearly distinguish between
prototypical situations of music
and non-music, there are
many sound patterns that are
difficult to categorize as one or
the other.
Music definitions that are
all-encompassing may be difficult
to come by. Despite the hazy borders of the realm of
music, it appears that there are
auditory occurrences that we
can all agree constitute music,
and that have been agreed
upon in various cultures and
historical periods. Humans are
the ones who create and perceive
music. Performers must
master the abilities required to
produce organized sounds in
meaningful patterns. Listeners
must learn to perceive such
qualities of organized sound
patterns as music through
experience or education. A
comprehensive examination of
all of these talents, as different
as they are, is certainly needed.
The fusion of psychology and
music pave the way for such
investigations and opens up
options for research into a wide
range of themes. Newcomers
are sometimes taken aback by
the breadth and depth of this
vast discipline. The psychology
of music in the twenty-first
century is preoccupied with
several issues. It is concerned,
along with other things, with
how people perceive, respond
to, and produce music, also,
how they incorporate it into
their lives. These themes
include everything from how
the ear determines a tone’s
pitch to how music is used
to express or change moods.
Though cognitive psychology is
heavily used in this discipline,
it also draws on many other
schools of psychology, sensation
and perception, neuropsychology,
developmental
psychology, social psychology,
and practical subjects such as
classroom management are all
examples of psychology.
Not only psychologists and
musicians are drawn to music
psychology, but also scientists
and researchers from a variety
of fields. Perspectives from
acoustics, neurology, musicology,
education, philosophy,
and ethnomusicology are also
included in this collection. Musical
performance necessitates
the development of a complex
set of abilities and a developing
body of knowledge that allows
for sensitive musical interpretation.
A composition must
first be created before it can be
performed. This, too, necessitates
a complex set of abilities.
Then there’s improvisation as
a creative endeavor; Western
jazz and Indian classical movement
performances are famous
examples. Innovative music
education techniques presume
that all children are musical
and immerse young children in
creative and sensitive musical
interaction with the goal of
building the foundations for a
lifetime of musicality.
Moreover, because music is
divided into many diverse musical
cultures across the world,
an anthropological approach
that emphasizes the study of
different human civilizations
and their music is also helpful
in understanding the psychology
of music. Finding out what
is universal across all musical
cultures and what appears to
be distinctive to each one sheds
a lot of insight on psychological
issues. These investigations
aid in distinguishing between
cultural sources of musical
repertoire characteristics and
those that may arise from the
biological underpinnings of
musical perception.
3. Music and gender
The widespread categorization
of instruments and
performance genres as male or
female- appropriate has been
recorded by anthropologists
and historians. Koskoff (1995),
for example, demonstrates that
while gender stereotyping in
music took different forms in
different societies at different
eras, its consequences are
pervasive. Ideas concerning
gender-appropriate instrument
choice and manner of performance
have been particularly
prominent on occasions for
courting and ritual.
The Ga people of Ghana
have funeral rites that require
specific types of songs
to be sung solely by women.
Only women (and children) in
Afghanistan play a popular instrument
known as the ‘chang’
(a mouth harp). Steblin (1995,
p. 144), in a historical study
of musical stereotyping in
Western Europe, alludes to the
middle-class tradition of perceiving
the virginal and piano
as the most acceptable instruments
for ‘young girls’ because
they could be performed to
small groups of friends and
family within the home. Prior
to the mid-nineteenth century,
it was considered impolite for
women to perform in public,
and most orchestras refused to
recruit women (O’Neill, 1997).
By the time youngsters
take their first music lessons,
gender prejudices about music
have already emerged. Music
is typically stereotyped as a
more ‘feminine’ topic, with significantly more girls than
males taking music classes
and participating in musical
events during their school
years. Furthermore, children’s
instrument selections are
limited by what they consider
to be gender appropriate.
Many studies have consistently
shown that Western schoolage
children consider flutes,
violins, and clarinets to be appropriate
instruments for girls
to play, while drums, trumpets,
and guitars are considered to
be appropriate instruments for
boys (e.g., O’Neill & Boulton,
1996, who studied 9- to
11-year-old English children,
tho similar conclusions were
shown in young kids).
Some studies have found
that by providing instances of
gender and instrument mismatches
that conform to popular
expectations, children’s
opinions shift —however, the
impacts are minor and not
necessarily in the desired direction.
For example, Harrison
and O’Neill (2000) showed live
counter-gender-stereotyped
figures to youngsters and
found at least a modest shift
in indicated preferences for
gender-specific instrument
assignments among both girls
and boys. This strategy, on the
other hand, appears to lower
preference for instruments
considered to be gender- appropriate
in the past (For
example, after viewing a male
pianist, females expressed a
lower preference for the piano,
while boys expressed a lower
choice for the guitar after
watching a female guitarist).
Another Australian study that
employed video presentations
and counter- stereotypical
drawings discovered that girls
were more likely than boys to
experiment with non- traditional
player and instrument
combinations (Pickering and
Repacholi, 2001).
The number of female musicians
in professional bands
and orchestras is growing, and
the instruments they play are
diverse. However, this may be
more true of classical music
ensembles, whereas gender
equality in other genres, such
as jazz, has a long way to go.
McKeage (2004), for example,
revealed that in a study of over
600 students, substantially
fewer girls than men are active
in performing jazz in high
school or college. In addition,
despite the fact that 62% of
guys who played jazz in high
school continued to play in
college, just 26% of females
who played jazz in high school
did so. Female jazz musicians,
in particular, lacked confidence
in their ability to improvise.
Wehr-Flowers (2006)
discovered that girls in jazz
ensembles were significantly
less confident, nervous and
had a poorer feeling of selfefficacy
in jazz improvisation
than men, using a scale
that assesses attitudes toward
mathematics. Wehr-Flowers
says that while most studies
have not identified substantial
differences in male and female
jazz improvisation talents,
“we must therefore seek to
alternate causes for the gender
imbalance in the jazz sector”.
Females may not be socialized
to feel as comfortable as
males in participating in jazz
rituals such as showing off
one’s chops,’ and there is an
insufficient social framework
to support females because the
networks through which one
obtains informal jazz technique
training and advances one’s
career are predominantly male
(McKeage, 2004).
Music composition is one
area of music where women
are noticeably underrepresented.
According to research using
the ‘Goldberg paradigm,’ social
perception may have a part in
the tiny proportion of females
deemed to be prominent
composers in various genres of
music (Colley, North, & Hargreaves,
2003). This strategy was
first used in a famous 1968
research by Goldberg, which
found that journal publications
credited to John McKay
were rated more positively
than those ascribed to Joan
McKay in diverse domains of
competence.
Contemporary music compositions
were played to 64
undergrads who rated them
on a set of rating scales in
Colley’s study in 2005, which
extended the approach to the
musical realm.
Participants tended to
offer higher evaluations on
measures relating to musical
skill when the composers
were identified as Klaus Behne
and Simon Healy, compared
to Helena Behne and Sarah
Healy, even though the effects
were only marginally significant.
Higher ratings were
provided on various scales for
music claimed to female composers
under another scenario,
in which a brief biography was
added (that was the same for
all fake artists). ‘Where no information other than social
category is supplied, there
is more pro-male bias,’ the
scientists noted. If, on the
other hand, excellent biographies
are provided, readers
may conclude that the ladies
are especially committed and
have achieved a high degree of
success against the odds.
One hundred fifty-three
late-adolescent participants
were asked to evaluate six
works from the classical, jazz,
and new-age genres in a second
study by the same group
of researchers (North, Colley, &
Hargreaves, 2003). In this study,
(fictitious) composers’ names
and short biographical excerpts
regarding their history and
accomplishments were supplied
in all cases. The findings
diverged slightly from those
of the Colley et al. research,
with the jazz extracts providing
the most remarkable findings.
For starters, participants
definitely saw jazz composing
as a masculine occupation,
although reactions to classical
and new age music were
somewhat skewed the other
way. Second, female participants’
assessments for jazz
compositions exhibited strong
evidence of ‘pro-female prejudice,’
while male participants’
ratings revealed less striking
evidence of ‘anti- female bias.’
Furthermore, when ascribed to
a male composer, the identical
jazz tunes were evaluated as
‘softer’ and ‘warm,’ but when
assigned to a female composer,
they were perceived
as more ‘forceful,’ mirroring
preconceptions about male
and female composers. As with
many other characteristics of
musicality discussed in this
section, societal influences,
rather than sheer aptitude,
may account for discrepancies
in a degree of success and
prominence between male and
female composers.
4. Consumer behavior
in relation to music
as a social force
Kurt Lewin, a pioneering
social psychologist, stated
years ago that one’s social circumstances
have a significant
effect on directing conduct.
Though, as previously said,
this viewpoint has shifted in
recent years, there are compelling
claims that music has such
a function. These ideas may
be traced all the way back to
Plato, who claimed that different
musical modes might cause
different forms of conduct.
Empirical evidence suggests
that music may have a significant
influence on conduct and
that, unlike more explicit types
of persuasion such as verbal
messaging, it can happen
without people being aware
that music is driving their
behavior. This remark was
stated in research by North and
colleagues in the field of consumer
behavior (North, Hargreaves,
& McKendrick, 1997). Music
those evoked connections with
either France (e.g., a soulful
accordion piece) or Germany
(e.g., a soulful accordion piece)
played in the background while
shoppers meandered around
a grocery store (e.g., brassladen
Bierkeller music). The
researchers monitored customers
as they passed through
a wine aisle. Despite the fact
that most buyers were unaware
of the music, shoppers’ wine
tastes went toward the nation
represented by the music! As
a result, music’s influence on
behavior can be significant and
even subconscious.
A number of additional studies
have indicated that music has a
significant impact on people’s
mood and behavior in a variety
of commercial and industrial
environments. In a university
cafeteria, for example, North
and Hargreaves (1998) played
pop music, classical music, easy
listening music, or no sound.
Customers described the cafeteria
as ‘fun’ and ‘upbeat’ when
there was pop music playing,
‘sophisticated’ and ‘upmarket’
when there was classical music
playing, and ‘cheap’ and
‘down market’ when there was
easy listening music playing.
Customers were also willing to
spend more money for a list of
14 goods sold in the cafeteria
while popular music was playing
than when no music or easy
listening music was playing,
and they were willing to spend
the greatest money on the same
things when classical music
was playing. Another experiment
conducted at a university
cafeteria found that music can
influence consumers’ activity
rates. To be continued
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