...Music and the Brain: A Relaxing State of Mind Tina Wireman ENG 102-2132 Argumentative Analysis Essay Baker College Music and the Brain: A Relaxing State of Mind The study of how music affects the mind has been a subject of interest for many. The interconnection between music and the physical and mental health of humans has been researched for many years. Research has shown that music does have positive effects on the mind. It has the power of healing certain aliments. Indian classical music has been found to have the strongest healing power in music. Music has a calming effect on the mind. It is known to speed the recovery of health aliments. It helps fight anxiety and has a reassuring effect on the brain. Music soothes the savage beast, they say, but can it calm a stressed-out mom or help someone get over an illness? Can it transport a person into the realm of imagination? Can music make you focus better and rise to your peak in competition? You probably know what the answer is already. Yes. Music can do this, and more. It can be said that music is a very powerful and awesome tool, that can have positive effects, virtually lifesaving mentally and physically when used in the right context, but has equally destructive and detrimental potential if used negatively. For music to have a positive effect on the mind and brain, it should be complex enough to involve brain activity. It should be simultaneous and generate sound waves that are in tune with the body’s internal rhythm...
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...Music Therapy Essay Eliza B. Johnson Box Elder High School Abstract This essay outlines my current understanding of music therapy and different ways that music affects the brain, including research from Oliver Sacks, Jodi Picoult, and Laurence O’Donnell. It also includes my personal experiences relating to music therapy, including experience with special needs populations that I have worked with, experience with instrumental/ensemble work, and any other qualifications I may have that make me an adequate prospect for the music therapy program at Utah State University. It covers my motivations and driving factors for being interested in the career and major of music therapy. Music Therapy Essay Music therapy:...
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...Country: Germany/England See Here the Conqu'ring Hero Comes is one of Handel's most popular pieces. Three minutes and three seconds (3:03) long, it is a movement within a longer composition entitled Judas Maccabaeus written for an ensemble (group) of musicians. If you think of Judas Maccabaeus as a book, then See Here the Conq'ring Hero Comes acts as a chapter in that book. A movement may be enjoyed by itself; however, like a chapter in a book, it also fits into the structure of a larger composition. While you listen to this piece, ask yourself questions such as: what do you hear in this selection? In what way does this piece demonstrate unity and variety? Does listening to this music have any emotional or physical effect on you? Musical Ideas Now that you have listened to the entire piece, let's look at the structure of the work broken down into smaller sections. In this movement, there are two main...
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...Acknowledgment This research paper would not have been possible without the support and help of many people. First, I would like to thank Dr. Tharwat M. EL-Sakran who gave me permission and helped me in the research. I would like to express my appreciation to Writing Center members who looked closely at the research and offering suggestion for improvement. I express my deep sense of gratitude to my friend Mr.Majid who assisted in the survey. Abstract Cartoons have become the most attractive and the most viewed shows for children. Most of the cartoons are filled with violence and therefore has a negative impact on a child’s mind. Watching too much cartoons has mental and emotional problems on the children.They may even become the victims of brain and eye...
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...the use of multi-sensory devices in the arts create a better experience for the viewer? Sarah Rachel Kemp Manchester Metropolitan University, Fine Art - Printmaking “Synaesthetes may be more likely to participate in creative activities (Rich, Bradshaw & Mattingley 2005), and some studies have suggested a correlation between synaesthesia and creativity (Domino 1989; Dailey, Martindale & Borkum 1997).”[i] After reading an extract on sense experience from the text Phenomenology of Perception by Maurice Merleau Ponty, I decided to find out more about the condition of synaesthesia. I discovered the quote above and became intrigued by the idea that creativity could be linked to a specific genetically predisposed condition in the brain, as I had always believed that while some people are just naturally gifted when it comes to creativity, that to think in a creative way could be learned and developed through practice. If the experience of perceiving more than one sense at the same time is simply a natural part of the way we experience the world, then maybe multi-sensory art can be better appreciated by more people than an art piece that involves the use of only one of our senses to experience it? I decided to research further into the condition of synaesthesia in order to help me determine if the use of multi-sensory techniques and devices in the arts creates a better experience for the viewer. What is Synaesthesia? Synaesthesia is probably best described...
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...range of human memory capabilities. Much of our memory is submerged from conscious view (e.g., skills such as driving or typewriting). Performance on complex tasks such as playing a musical instrument can even be disrupted when conscious awareness intrudes. We learn and remember how to use language often without having to be conscious of its grammatical rules. A better description of memory could be ‘the ability to retain and utilize acquired information or knowledge’. Memory is an integral part of our existence, yet it is only vaguely understood. Through empirical studies on people, the methods of cognitive psychology have lead to some useful descriptions, distinctions and theoretical advances in our understanding of different types of memory. These approaches have paid little attention to the biological substrate of memory – the brain. This is probably partly because, until recently, the tremendous complexity of the brain has hampered our ability to gain useful insights into memory from it. But now, our understanding of the brain is beginning to reach a level of sophistication that may allow this. Tentative links between brain processes and cognitive theories are beginning to emerge in our quest to understand memory. 1 This essay is about some of these tentative links between brain and mind, and how they are may set the stage for some...
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...WORSHIP MANUAL by David C. Stone Third edition (May 1998) Revised (October 1998) © 1998 David C. Stone. All rights reserved. This document is very much a continuing effort. It is an attempt to express a theology and philosophy of corporate worship that is becoming increasingly prevalent in churches across both denominational and international borders. This third edition contains greatly expanded content in chapter 1 (The Meaning of Worship) and some additional material in chapter 2 (Corporate Worship). This includes corrections, additional references and a short Bible survey that fills in some of the background material to the text. The first revision finally includes the material on the Tabernacle (section 2.5) and the beginnings of a study on the history of worship (chapter 3, incomplete), as well as some minor section renumbering. I still fully intend to add a chapter on leading worship, but I got a little sidetracked! If you enjoy reading this document, or have any comments or suggestions, please write to me at the address below. I look forward to hearing from you! post: David C. Stone 25 Mabelle Avenue, Apt. 2702 Etobicoke, ON M9A 4Y1 Canada email: dstone@chem.toronto.edu Notice: this email address is provided for comments and requests regarding this document only. Please do not send commercial or bulk mailings to this address, or add this address to any mailing list(s). Your cooperation is greatly appreciated. Contents Copyright Notice &...
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...Development through the life stages The human lifespan Throughout this essay I will be going into depth of the life of Michael Jackson. I will be informing you on what he went through in each life stage he went experienced and also including debates on nature and nurture and discussing which sides affected him as a person. Infancy Michael Jackson was born in a poverty stricken area called Gary, in Indiana. He was born in 1958 and was the 7th of nine children. He was raised in a poor, lower class family this may be because he had one working parent which was his father called Joe Jackson, He was a steel worker in a factory however his mother was a home maker. For every infant the same developments occur. As there isn’t a lot of information about Michael when in infancy I can still figure out what happened during the ages 0-3 years old. Reflexes and motor skills are learnt at the ages between 0-2, this is when an infant will learn the different sensations. The reflexes involve, sucking, grasping, blinking and stepping. It’s also normal for an infant’s weight to change so Michael also experienced weight change whilst growing in this stage. Michael would have developed gross motor skills at this stage, this means he had the ability to turn and hold his head up. Other motor skills would be learning to sit up, roll over, stand up and also walk. Social development of an infant is the social skills that are learnt at the ages of 0-3 years old. Michael would have experienced many...
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...CREATIVE DANCE History of Creative Dance Creative dance is perceived differently by different sectors of the education system. In many provinces, creative dance is part of the physical education curriculum. More recently, two provinces— British Columbia and Saskatchewan— have considered placing dance under the rubric of arts education. The aspect of creative dance that is emphasized reflects the position creative dance is assigned in the curriculum. When in the physical education curriculum, creative dance lessons typically focus on development of the motor skills involved, with little concern for the experience’s aesthetic potential. In arts education, the primary focus is creative dance’s aesthetic potential. Advocates view creative dance not only as having potential for developing motor skills or aesthetic sensibility, but as a means to improve students’ self-concept and as a valuable component of an integrated curriculum. Upon closer scrutiny, however, these different ways of justifying creative dance may prove contradictory. “Creative dance” is a particular form of dance. This form is typically taught in elementary schools because unlike other dance forms, it does not require years of training. Basically, creative dance involves the use of movement elements to express thoughts and feelings. Dimondstein (1974) expands on this definition when she considers dance to be “the interpretation of a child’s ideas, feelings, and sensory impressions expressed symbolically in movement...
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...LSRC reference Learning styles and pedagogy in post-16 learning A systematic and critical review This report critically reviews the literature on learning styles and examines in detail 13 of the most influential models. The report concludes that it matters fundamentally which instrument is chosen. The implications for teaching and learning in post-16 learning are serious and should be of concern to learners, teachers and trainers, managers, researchers and inspectors. Learning styles and pedagogy in post-16 learning A systematic and critical review LSRC reference Learning styles and pedagogy in post-16 learning A systematic and critical review LSRC reference LSRC reference Learning styles and pedagogy in post-16 learning A systematic and critical review Frank Coffield Institute of Education University of London David Moseley University of Newcastle Elaine Hall University of Newcastle Kathryn Ecclestone University of Exeter The Learning and Skills Research Centre is supported by the Learning and Skills Council and the Department for Education and Skills The views expressed in this publication are those of the authors and do not necessarily reflect the views of the Learning and Skills Research Centre or the Learning and Skills Development Agency Published by the Learning and Skills Research Centre www.LSRC.ac.uk Feedback should be sent to: Sally Faraday Research Manager Learning and Skills Development Agency Regent Arcade House 19–25 Argyll Street London...
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...Application Chapter 1: Being a Leader U2-C1-L1 Leadership Defined U2-C1-L2 Leadership Reshuffled U2-C1-L3 Leadership from the Inside Out U2-C1-L4 Principles and Leadership U2-C1-L5 Sexual Harassment/Assault Chapter 2: Leadership Skills U2-C2-L1 Steps from the Past U2-C2-L2 Roles of Leaders and Followers in Drill U2-C2-L3 Using Your Leadership Skills/Taking Charge 57 61 67 73 77 81 85 89 Unit 3 - Foundations for Success Chapter 1: Know Yourself – Socrates U3-C1-L1 Self Awareness U3-C1-L2 Appreciating Diversity through Winning Colors U3-C1-L3 Personal Growth Plan U3-C1-L4 Becoming an Active Learner U3-C1-L5 Pathways To Success (QBOL) Chapter 2: Learning to Learn U3-C2-L1 Brain Structure and Function U3-C2-L2 Left and Right Brain Functions U3-C2-L3 Learning Style and Processing Preferences U3-C2-L4 Multiple Intelligences Chapter 3: Study Skills U3-C3-L1 Thinking Maps U3-C3-L2 Reading For Meaning U3-C3-L3 Study Habits that Work for You Chapter 4: Communication Skills U3-C4-L1 The Communication Process U3-C4-L2 Becoming a Better Listener Chapter 5: Conflict Resolution U3-C5-L1 Causes of Conflict U3-C5-L2 Conflict Resolution Techniques Chapter 8: Making a Difference with Service Learning U3-C8-L1 Orientation to Service Learning...
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...Learning with Technology Evidence that technology can, and does, support learning. A white paper prepared for Cable in the Classroom James M. Marshall, Ph.D. San Diego State University May 2002 Executive Summary “We’ve wired the schools — now what?” This question resonates with educators, and troubles them at the same time. After countless local and national efforts have boosted the infrastructure of our schools, the significant issues now arise. Should we continue to pump money into educational technology for our schools? Do computers really help students learn? How can students and teachers best learn from the World Wide Web and its content? These questions are not new, nor unique to the dawn of Internet-connected schools. Earlier technologies, from textbook and illustration to film, television, and multimedia computer, have prompted similar ponderings. If technology is to have a significant role in schools, we need assurance that it works. More emphatically, we need confidence that use of educational technology results in learning. Research, both historical and contemporary, suggests that technology-based instruction can and does result in learning. Witness these examples of television, multimedia, and computer technologies delivering content to support learning: • Watching the television program Blue’s Clues has strong effects on developing preschool viewers’ flexible thinking, problem solving, and prosocial behaviors (Bryant, Mullikin, McCollum...
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...Confirmation Bias Chapter 4 - Hindsight Bias Chapter 5 - The Texas Sharpshooter Fallacy Chapter 6 - Procrastination Chapter 7 - Normalcy Bias Chapter 8 - Introspection Chapter 9 - The Availability Heuristic Chapter 10 - The Bystander Effect Chapter 11 - The Dunning-Kruger Effect Chapter 12 - Apophenia Chapter 13 - Brand Loyalty Chapter 14 - The Argument from Authority Chapter 15 - The Argument from Ignorance Chapter 16 - The Straw Man Fallacy Chapter 17 - The Ad Hominem Fallacy Chapter 18 - The Just-World Fallacy Chapter 19 - The Public Goods Game Chapter 20 - The Ultimatum Game Chapter 21 - Subjective Validation Chapter 22 - Cult Indoctrination Chapter 23 - Groupthink Chapter 24 - Supernormal Releasers Chapter 25 - The Affect Heuristic Chapter 26 - Dunbar’s Number Chapter 27 - Selling Out Chapter 28 - Self-Serving Bias Chapter 29 - The Spotlight Effect Chapter 30 - The Third Person Effect Chapter 31 - Catharsis Chapter 32 - The Misinformation Effect Chapter 33 - Conformity Chapter 34 - Extinction Burst Chapter 35 - Social Loafing Chapter 36 - The Illusion of Transparency Chapter 37 - Learned Helplessness Chapter 38 - Embodied Cognition Chapter 39 - The Anchoring Effect Chapter 40 - Attention Chapter 41 - Self-Handicapping Chapter 42 - Self-Fulfilling Prophecies Chapter 43 - The Moment Chapter 44 - Consistency Bias Chapter 45 - The Representativeness Heuristic Chapter 46 - Expectation Chapter 47 - The Illusion of Control Chapter 48 - The...
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...SPM ENGLISH LANGUAGE 1119 SMART MODULE 2 2011 [pic] SPM ENGLISH LANGUAGE 1119 SMART MODULE 2 2011 Patron En. Mansor bin Lat Director of Kedah Education Department Advisor Tn. Hj. Asmee bin Haji Tajuddin Head of the Academic Sector Coordinator Pn. Hjh. Zaliha bt Ahmad The Principal Assistant Director (English Language) Committee Members Pn. Wan Aisyah bt Haris (Assistant District Language Officer for Language, Kota Setar) Pn. Hjh. Fadzillah bt Selamat (Assistant District Language Officer for Languages, Kubang Pasu) En. Yong Kooi Hin (Assistant District Language Officer for Languages, Baling Sik) En. Nordin bin Mohd. Noor (Assistant District Language Officer for Languages, Padang Terap) En. Azmi bin Othman (Assistant District Language Officer for Languages, Kuala Muda Yan) En. Nagaiah Velu (Assistant District Language Officer for Languages, Langkawi) En. Md. Zahir bin Husin (Assistant District Language Officer for Languages, Kulim Bandar Baharu) Pn. Nadia Normala Vimala bt Abdullah (Assistant District Language Officer for Languages, Pendang) Cik Farha bt Sobry (Assistant District Language Officer for English (Secondary), Kuala Muda Yan En. Oslan bin Yum (Assistant District Language Officer for English (Secondary), Kubang Pasu Panel of Smart Module 2 2011 (SPM 1119) 1. Pn. Farah Ikhmar bt Jafri (SMK Sik) 2. En. Lim Swee Teong (SMK Simpang Kuala) ...
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...THE ART OF PERFORMANCE A CRITICAL ANTHOLOGY edited by GREGORY BATTCOCK AND ROBERT NICKAS /ubu editions 2010 The Art of Performance A Critical Anthology 1984 Edited By: Gregory Battcock and Robert Nickas /ubueditions ubu.com/ubu This UbuWeb Edition edited by Lucia della Paolera 2010 2 The original edition was published by E.P. DUTTON, INC. NEW YORK For G. B. Copyright @ 1984 by the Estate of Gregory Battcock and Robert Nickas All rights reserved. Printed in the U.S.A. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording or any information storage and retrieval system now known or to be invented, without permission in writing from the publisher, except by a reviewer who wishes to quote brief passages in connection with a review written for inclusion in a magazine, newspaper or broadcast. Published in the United States by E. P. Dutton, Inc., 2 Park Avenue, New York, N.Y. 10016 Library of Congress Catalog Card Number: 79-53323 ISBN: 0-525-48039-0 Published simultaneously in Canada by Fitzhenry & Whiteside Limited, Toronto 10 9 8 7 6 5 4 3 2 1 First Edition Vito Acconci: "Notebook: On Activity and Performance." Reprinted from Art and Artists 6, no. 2 (May l97l), pp. 68-69, by permission of Art and Artists and the author. Russell Baker: "Observer: Seated One Day At the Cello." Reprinted from The New York Times, May 14, 1967, p. lOE, by permission of The New York Times...
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