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Lecanuet, J.-P. Granier-Deferre, C., & Busnel, M.-C. (1988). Fetal cardiac and motor responses to octave-band noises as a function of cerebral frequency, intensity and heart rate variability. Early Human Development, 18:81-93 Glenn. (2006) Long-Term Positive Associations Between Music Lessons and IQ. Journal of Educational Psychology, 98(2): 457-468.
Lorch, C.A., Lorch, V., Diefendor, O and Early, P.W. (1994). Effect of Stimulative and Sedative Music on Systolic Blood Pressure, Heart Rate, and Respiratory Rate in Premature Infants. Journal of Music Therapy 31: 105-18
Lynch, M.P, Short L.B, and Chua, R.. (1995): Contributions of Experience to the Development of Musical Processing in Infancy. Developmental Psychobiology 28
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Malyarenko, T.N., Kuraev, G.A., Malyarenko, Y.E., Khvatova, M.V., Romanova, N.G., & Gurina, V.I. (1996). The development of brain electric activity in 4-year-old children by long-term sensory stimulation with music. Human Physiology, 22: 76- 81.
Scott, L.K. (2004) Early childhood brain development and elementary music curricula: are they in tune. 18(1)
Strickland, S.J.(2001) Music and the brain in childhood development. (Review of Research. Childhood Education 78(2)100-104.
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Campbell, P.S. (2002). The musical cultures of children. In L. Bresler & C. Marme Thompson (Eds), the arts in children's lives: Context, culture, and curriculum (pp. 57-69). Dordrecht: Kluwer Academic.
The Extramusical Effects of Music Lessons on Preschoolers. Contributors: Peter Devries - author. Journal Title: Australian Journal of Early Childhood.…
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Aristoxenos, two centuries after Pythagoras released his model, sought to discredit the standing theories held by Pythagorean devotees. In his works, he established that numbers are not relevant to music, and that music is based on perception of what one hears, not any mathematical equation. Descartes as well as Vincenzo Galilei (Galileo's father) both also discredited the music-to-math theories that formed the revolutionary basis for Pythagoras' music work, but not
Studies here included in this set are evaluations of large multisite and single site after school programs; evaluations of school- and community-based models; evaluations assessing a narrow to a broad range of outcomes; key developmental research studies; and key meta-analyses and research syntheses (Little, Wimer, and Weiss, 2007, 3). In Music for Citizenship, David J. Elliott, he elaborates upon the vision of Paul Woodford in Democracy and Music Education who
Development of Music Education in AmericaIntroductionMichael L. Mark�s �A Concise History of American Music Education� is a detailed and insightful look at the development of music education in the United States. Mark traces the origins of music education back to the early days of the republic, when musical training was seen as an essential part of a well-rounded education. He goes on to discuss the rise of professional music educators
In other words each music performance is different and the impulsiveness of each performance confirms the concept of indeterminate music. 6) Describe an Indonesian Gamelan. (Textbook p. 282-283) It said that Debussy, when he heard the Indonesian ensemble called gamelan was surprisingly delighted at its diverse and delicate timbers, and decided to use the elements in the impressionistic sound which he was working at developing. The gamelan, a distinctive Indonesian orchestra consisting
Education of Women in Renaissance Several methods relating to the education of women in Renaissance changed the world. However, these methods of Humanists and the queries of religious reformers had no impact on the lives of early modern European Women. Education, changing drastically between the 15th and 17th centuries was certainly kept from women although the rich and powerful were able to receive some education: it was not always used. Opportunities
From the research I know he was a ladies man. In Joan Peyser's book (The Memory of All That: The Life of George Gershwin) it is 1927 and Gershwin is discovered in bed with one of the attractive women from a show he and Harry Richman were working on. Caught with his shirt and pants still in his hand, Gershwin offered: "Mr. Richman, what can I say to you?