박사

음악 감상의 정서조절 기능

이정윤 2015년
논문상세정보
' 음악 감상의 정서조절 기능' 의 주제별 논문영향력
논문영향력 선정 방법
논문영향력 요약
주제
  • 개인차
  • 심전도
  • 음악감상
  • 정서
  • 정서 조절
  • 한국판 음악 사용 기분조절 척도(k-mmr)
동일주제 총논문수 논문피인용 총횟수 주제별 논문영향력의 평균
1,207 0

0.0%

' 음악 감상의 정서조절 기능' 의 참고문헌

  • 차별적 정서척도(DES-Ⅳ)의 타당화
    김보미 유성은 이선화 한국심리학회지: 일반, 31(1), 147-167 [2012]
  • 정서표현에 대한 갈등과 억제 연구
    최해연 서울대학교 박사학위논문 [2008]
  • 정서조절 방략 사용에서의 개인차 : 인지적 재해석인과 정서표현 억제인의 비교
    손재민 서울대학교 석사학위 논문 [2005]
  • 정서심리학[Emotion]. (민경환, 이옥경, 김지현, 김민희, 김수안 역). 서울: 시그마프레스
    Kalat, J. W. Shiota, M. N. (원전은 2007에 출판) [2007]
  • 음악심리학
    이석원 심설당 [1994]
  • 억압적 성격 성향자의 정서적 특성과 정서 조절 방략
    옥수정 서울대학교 석사학위 논문 [2001]
  • 슬픔성향인과 분노성향인의 인지 및 성격 특성
    한승희 서울대학교 석사학위 논문 [2003]
  • 성인 애착 유형에 따른 분노 경험 양상의 차이
    김세진 서울대학교 석사학위 논문 [1999]
  • 성격심리학
    민경환 법문사 [2002]
  • 성격 특질이 기분의 수준 및 변화성에 미치는 영향
    이유정 중앙대학교 박사학위 논문 [1994]
  • 부정적 감정과 정보처리 유형이 추론에 미치는 영향: 분노와 슬픔을 중심으로. 한국심리학회지: 소비자?
    양윤 조수완 광고, 10(2),299-319 [2009]
  • 구조방정식 모형의 적합도 지수 선정기준과 그 근거
    홍세희 한국심리학회지: 임상, 19(1), 161-177 [2000]
  • 구조방정식 모형의 기초 이론과 적용
    홍세희 에스앤엠 리서치그룹 [2014]
  • Zentner, M., & Eerola, T. (2010). Self-report measures and models. InP. N. Juslin & J. A. Sloboda (Eds.), Handbook of music andemotion: Theory, research, applications (pp. 187-221). New York:Oxford University Press.
  • Yerkes, R. M., & Dodson, J. D. (1908). The relation of strength of stimulus to rapidity of habit-formation. Journal of Comparative Neurology and Psychology. 18(5), 459-482.
  • Witvliet, C., & Vrana, S. (2007). Play it again Sam: Repeatedexposure to emotionally evocative music polarizes liking andsmiling responses, and influences other affects reports, facialEMG, and heart rate. Cognition & Emotion, 21(1), 3-25.
  • West, S. G., Finch, J. F., & Curran, P. J. (1995). Structural equationmodels with nonnormal variables: problems and remedies. In R. H.Hoyle (Ed.), Structural equation modeling: concepts, issues andapplications (pp. 56-75). Newbury Park, CA: Sage.
  • Wells, A., & Hakanen, E. A. (1991). The emotional use of popularmusic by adolescents. J ournalism Quarterly, 68(3), 445-454.
  • Weld, H. (1912). An experimental study of musical enjoyment.American J ournal of Psychology, 23(2), 245-308.
  • Webster,G.D.& Weir,C.G.(2005).Emotionalresponses to music:Interactiveeffectsofmode,texture,and tempo.Motivation andEmotion,29(1),19-39.
  • Weaver, J. B. (1991). Exploring the links between personality andmedia preferences. Personality and Individual Differences, 12(12),1293-1299.
  • Watson, D., Clark, L., & Tellegen, A. (1988). Development andvalidation of brief measures of positive and negative affect: ThePANAS scales. J ournal of Personality and Social Psychology,54(6), 1063-1070.
  • Watson, D., & Clark, L. A. (1984). Negative affectivity: Thedisposition to experience aversive emotional states. PsychologicalBulletin, 96(3), 465-490.
  • Vastfjall, D. (2010). Indirect perceptual, cognitive, and behavioralmeasures. In P. N. Juslin & J. A. Sloboda (Eds.), Music andemotion: theory, research, applications (pp. 255-277). New York:Oxford University Press.
  • Vastfjall, D. (2001-2002). A review of the musical mood inductionprocedure. Musicae Scientiae Special Issue: 173-212.
  • Trait Meta-Mood Scale의 타당화에 관한 연구: 정서지능의 하위 요인에 대한 탐색
    이수정 이훈구 한국심리학회지: 사회 및 성격,11(1), 95-116 [1997]
  • Thomson, C. J., Reece, J. E., & Benedetto, M. D. (2014). Therelationship between music-related mood regulation andpsychopathology in young people. Musicae Scientiae, 18(2),150-165.
  • Thompson, R. A., & Calkins, S. D. (1996). The double-edged sword:Emotional regulation for children at risk. Developmental andPsychopathology, 8(1), 163-182.
  • Thoma, M. V., Scholz, U., Ehlert, U., & Nater, U. M. (2012).Listening to music and physiological and psychologicalfunctioning: the mediating role of emotion regulation and stressreactivity. Psychology and Health, 27(2), 227-241.
  • Thayer, R. E., Newman, J. R., & McClain, T. M. (1994).Self-regulation of mood: strategies for changing a bad mood,raising energy, and reducing tension. J ournal of Personality andSocial Psychology, 67(5), 910-925.
  • Thayer, J. F., & Sinclair, R. C. (1987). Psychological distress: Ahierarchical factor model of the MAACL. J ournal ofPsychopathology and Behavioral Assessment, 9(2), 229-233.
  • Thaut, M. H., & Abiru, M. (2010). Rhythmic auditory stimulation inrehabilitation of movement disorders: A review of currentresearch. Music Perception, 27(4), 263-269.
  • Tervo, J. (2001). Music therapy for adolescents. Clinical ChildPsychology and Psychiatry, 6(1), 79-91.
  • Task Force of the European Society of Cardiology and the NorthAmerican Society of Pacing and Electrophysiology (1996). Heartrate variability: standards of measurement, physiologicalinterpretation, and clinical use. European Heart Journal, 17,354-381.
  • Spychiger, M., Patry, J., Lauper, G., Zimmerman, E., & Weber, E.(1993). Does more music teaching lead to a better social climate?In R. Olechowski & G. Svik (Eds.), Experimental research inteaching and learning (pp. 322-326). Bern, Switzerland: PeterLang.
  • Spielberger, C. D., Jacobs, G., Russell, S., & Crane, R. (1983).Assessment of anger: the state-trait anger scale. In J. N. Butcher& C. D. Spielberger(Eds.), Advances in PersonalityAssessment(Vol. 2, pp. 54-79) . Hillsdale, NJ. Erlbaum.
  • Sloboda, J. A., & Juslin, P. N. (2010). At the interface between theinner and outer world: Psychological perspectives. In P. N. Juslin& J. A. Sloboda (Eds.), Music and emotion: theory, research,applications (pp. 73-97). New York: Oxford University Press.
  • Sloboda, J. A. (2010). Music in everyday life: The role of emotions.In P. N. Juslin & J. A. Sloboda (Eds.), Handbook of music andemotion: Theory, research, applications (pp. 493-514). New York:Oxford University Press.
  • Sloboda, J. A. (1992). Empirical studies of emotional responses tomusic. In M. R. Jones & S. Holleran (Eds.), Cognitive bases ofmusical communication (pp. 33-45). Washington, DC: AmericanPsychological Association.
  • Schwartz,K.D.,& Fouts,G.T.(2003).Musicpreferences,personalitystyle,anddevelopmentalissuesofadolescents.JournalofYouthandAdolescence,32(3),205-213.
  • Scherer, K. R., & Zentner, M. R. (2001). Emotional effects of music:Production rules. In P. N. Juslin & J. A. Sloboda (Eds.), Musicand emotion: theory and research (pp. 361-392). Oxford: OxfordUniversity Press.
  • Schellenberg, E. G., & Hallam, S. (2005). Music listening andcognitive abilities in 10- and 11-year-olds: The blur effect.Annals of the New York Academy of Sciences, 1060, 202-209.
  • Schellenberg, E. G. (2012). Cognitive performance after musiclistening: A review of the Mozart effect. In R. A. R. MacDonald,G. Kreutz, & L. Mitchell (Eds.), Music, health and wellbeing (pp.324-338). Oxford, U.K.: Oxford University Press.
  • Salovey, P., Mayer, J. D., Golman, S. L., Turvey, C., & Palfai, T. P.(1995). Emotional attention, clarity, and repair: exploring emotionalintelligence using the trait meta-mood scale. In J. W. Pennebaker(Ed.), Emotion, disclosure, and health (pp. 125-154). Washington,DC: American Psychological Association.
  • Salovey, P., Bedell, B. T., Detweiler, J. B., & Mayer, J. D. (1999).Coping intelligently: Emotional intelligence and the coping process.In C. R. Snyder (Ed.), Coping: the psychology of what works.New York: Oxford University Press.
  • Salovey, P. & Mayer, J. D. (1990). Emotional Intelligence. Imagination, Cognition and Personality, 9, 185-211.
  • Saarikallio, S., Nieminen, S., & Brattico, E. (2012). Affective reactionsto musical stimuli reflect emotional use of music in everyday life.Musicae Scientiae, 17(1), 27-39.
  • Saarikallio, S. (2012). Development and validation of the brief musicin mood regulation scale(B-MMR). Music Perception, 30(1),97-105.
  • Saarikallio, S. (2010). Music as emotional self-regulation throughoutadulthood. Psychology of Music, 39(3), 307-327.
  • Saarikallio, S. (2008). Music in mood regulation: initial scaledevelopment. Musicae Scientiae, 12(2), 291-309.
  • Saarikallio, S. & Erkkila, J. (2007). The role of music in adolescent’smood regulation. Psychology of Music, 35(1), 88-109.
  • Ruud, E. (1997). Music and the quality of life. Nordic J ournal ofMusic Therapy, 6(2), 86-97.
  • Russell, J. A. (1980). Circumplex model of affect. J ournal ofPersonality and Social Psychology, 39(6), 1161-1178.
  • Russell, B. (1945). A history of Western Philosophy, and itsconnection with political and social circumstances from theearliest times to present study. New York: Simon and Schuster.
  • Roe, K. (1985). Swedish youth and music: listening patterns andmotivations. Communication Research, 12(3), 353-362.
  • Roccas, S., Sagiv, L., Schwartz, S., & Knafo, A. (2002). The Big Fivepersonality factors and personal values. Personality and SocialPsychology Bulletin, 28(6), 789-801.
  • Roberts, D. F., Henriksen, L., & Foehr, U. G. (2009). Adolescence,adolescents, and media. In R. M. Lerner & L. Steinberg (Eds.),Handbook of adolescent psychology, Volume 2: Contextualinfluences on adolescent development (pp. 314-344). Hoboken, NJ:Wiley.
  • Richard, N. (2004). Intense emotional responses to music: a test ofthe physiological arousal hypothesis. Psychology of Music, 32(4),371-388.
  • Rentfrow, P. J., & McDonald, J. A. (2010). Preference, personality, andemotion. In P. N. Juslin & J. A. Sloboda (Eds.), Handbook ofmusic and emotion: Theory, research, applications (pp. 669-695).New York: Oxford University Press.
  • Rentfrow, P. J., & Gosling, S. D. (2003). The do re mi’s of everydaylife. The structure and personality correlates of music preferences.J ournal of Personality and Social Psychology, 84(6), 1236-1256.
  • Rawlings, D., Hodge, M., Sherr, D., & Dempsey, A. (1995).Toughmindedness and preference for musical excerpts, categoriesand triads. Psychology of Music, 23(1), 63-80.
  • Rawlings, D., & Ciancarelli, V. (1997). Music preference and thefive-factor model of the NEO Personality Inventory. Psychology ofMusic, 25(2), 120-132.
  • Rauscher, F. H., Shaw, G. L., & Ky, K. (1993). Music and spatialtask performance. Nature, 365(6447), 611.
  • Potteiger, J. A., Schroeder, J. M., & Goff, K. L. (2000). Influence ofmusic on ratings of perceived exertion during 20 minutes ofmoderate intensity exercise. Perceptual and Motor Skills, 91(3),848-854.
  • Pelletier, C. L. (2004). The effect of music on decreasing arousal dueto stress: A meta-analysis. J ournal of Music Therapy, 41(3),192-214.
  • Parkinson, B., Totterdell, P., Briner, R. B., & Reynolds, S. (1996).Changing moods: The psychology of mood and mood regulation.London: Longman.
  • Parker, J. D. A., & Endler, N. S. (1996). Coping and defense: Ahistorical overview. In M. Zeidner & N. S. Endler (Eds.),Handbook of coping: Theory, research, applications (pp. 3-23).New York: Wiley.
  • Parker, G. B., & Brown, L. B. (1982). Coping behaviors that mediatebetween life events and depression. Archives of GeneralPsychiatry, 39(12), 1386-1391.
  • Orne, M. T. (1962). On the social psychology of the psychologicalexperiment with particular reference to demand characteristics andtheir implications. American Psychologist, 17(11), 776-783.
  • Nykli?ek, I., Thayer, J. F., & Van Doornen, L. J. P. (1997).Cardiorespiratory differentiation of musically induced emotions.J ournal of Psychophysiology, 11(4), 304-321.
  • North, A. C., Hargreaves, D. J., & O’Neill, S. A. (2000). Theimportance of music to adolescents. British J ournal of EducationalPsychology, 70(2), 255-272.
  • North, A. C., Hargreaves, D. J. (2007). Lifestyle correlates of musicalpreference: 2. Media, leisure time and music. Psychology of Music,35(2), 179-200.
  • Nolen-Hoeksema, S., Parker, L. E., & Larson, J. (1994). Ruminativecoping with depressed mood following loss. J ournal of Personalityand Social Psychology, 67(1), 92-104.
  • Niedenthal, P. M., Tangney, J. P., & Gavanski, I. (1994). “If only Iweren’t” versus “If only I hadn’t”: Distinguishing shame and guiltin counterfactual thinking. Journal of Personality and SocialPsychology, 67(4), 585-595.
  • Miranda, D., & Claes, M. (2009). Music listening, coping, peeraffiliation and depression in adolescence. Psychology of Music,37(2), 215-233.
  • Miranda, D., & Claes, M. (2008). Personality traits, music preferenceand depression in adolescence. International J ournal ofAdolescence and Youth, 14(3), 277-298.
  • Miranda, D. (2013). The role of music in adolescent development:much more than the same old song. International J ournal ofAdolescence and Youth, 18(1), 5-22.
  • Meyer, L. B. (1956). Emotion and meaning in music. Chicago, IL:Chicago University Press.
  • McCrae, R. R., & Costa, P. T., Jr. (1991). Adding liebe und arbeit;The full five-factor model and well-being. Personality and SocialPsychology Bulletin, 17(2), 227-232.
  • Mayer, J. D., & Salovey, P. (1997). What is emotional intelligence? In P. Salovey & D. Sluyter (Eds.), Emotional development and emotional intelligence: Implications for educators(pp. 3-31). New York: Basic Books.
  • Mauss, I. B., Evers, C., Wilhelm, F. H., & Gross, J. J. (2006). How tobite your tongue without blowing your top: Implicit evaluation ofemotion regulation predicts affective responding to angerprovocation. Personality and Social Psychology Bulletin, 32(5),589-602.
  • Masters, J. C. (1991). Strategies and mechanisms for the personal andsocial control of emotion. In J. Garber & K. A. Dodge (Eds.), Thedevelopment of emotion regulation and dysregulation (pp.182-207). Cambridge, UK: Cambridge University Press.
  • MacCallum, R. C., Widaman, K. F., Zhang, S., & Hong, S. (1999).Sample size in factor analysis. Psychological Methods, 4(1),84-99.
  • Lundqvist, L., Carlsson, F., Hilmersson, P., & Juslin, P. N. (2009).Emotional responses to music: experience, expression, andphysiology. Psychology of Music, 37(1), 61-90.
  • Lull, J. (1987). Listener’s communicative uses of popular music. In J.Lull (Ed.), Popular music and communication. Newbury Park, CA:Sage.
  • Litle, P., & Zuckerman, M. (1986). Sensation seeking and musicpreferences. Personality and Individual Differences, 7(4), 575-577.
  • Lischetzke, T., & Eid, M. (2003). Is attention to feelings beneficial ordetrimental to affective well-being? Mood regulation as amoderator variable. Emotion, 3(4), 361-377.
  • Levenson, R. W. (2003). Autonomic specificity and emotion. In R. J.Davidson, K. R. Scherer, & H. H. Goldsmith (Eds.), Handbook ofaffective sciences (pp. 212-214). Oxford: Oxford University Press.
  • Levenson, R. W. (1988). Emotion and the autonomic nervous system:A prospectus for research on autonomic specificity. In H. L.Wagner (Ed.), Social Psychophysiology and emotion: Theory andclinical applications (pp. 17-42). New York: Wiley.
  • Laxtha, Inc. (n. d.)
    심전도의 RRV 분석 개요.http://www.laxtha.com/SiteView.asp?x=7&y=45&z=37&infid=160에서자료 얻음 [2014]
  • Larsen, R. J. (2000). Toward a science of mood regulation.Psychological Inquiry, 11(3), 129-141.
  • Larsen, R. (1995). Secrets in the bedroom: Adolescents’ private use ofmedia. J ournal of Youth and Adolescence, 24(5), 535-549.
  • Lang, P. J. (1995). The emotion probe: Studies of motivation andattention. American Psychologist, 50(5), 372-385.
  • Krumhansl,C.L.(1997).Anexploratorystudyofmusicalemotionsandpsychophysiology.CanadianJournalofExperimentalPsychology,51(4),336-352.
  • Kreutz, G., Ott, U., Teichmann, D., Osawa, P., & Vaitl, D. (2008).Using music to induce emotion: influences of musical preferenceand absorption. Psychology of Music, 36(1), 101-126.
  • Koelsch, S., Kasper, E., Sammler, D., Schulze, K., Gunter, T., &Friederici, A. D. (2004). Music, language and meaning: Brainsignatures of semantic processing. Nature Neuroscience, 7(3),302-307.
  • Koelsch, S., Fritz, T., von Cramon, D. Y., Muller, K., & Friederici, A.D. (2006). Investigating emotion with music: An fMRI study.Human Brain Mapping, 27(3), 239-250.
  • Kivy, P. (1990). Music alone: Reflections on a purely musicalexperience. Ithaca, NY: Cornell University Press.
  • Kenny, D. T., & Faunce, G. (2004). The impact of group singing onmood, coping and perceived pain in chronic pain patients attendinga multidisciplinary pain clinic. J ournal of Music Therapy, 41(3),241-258.
  • Juslin, P. N., & Sloboda, J. A. (2010). Introduction: Aims,organization, and terminology. In P. N. Juslin & J. A. Sloboda(Eds.), Handbook of music and emotion: Theory, research,applications (pp. 3-12). New York: Oxford University Press.
  • Jourdain, R. (1998). Music, the brain, and ecstasy: How musiccaptures our imagination. New York: Harper Collins.
  • Johnsen, B. H., Thayer, J. F., & Hugdahl, K. (1995). Affectivejudgment of the Ekman faces: A dimensional approach. J ournal ofPsychophysiology, 9(3), 193-202.
  • John, O. P., & Gross, J. J. (2007). Individual differences in emotionregulation. In J. J. Gross (Ed.), Handbook of emotion regulation(pp. 47-68). New York: Guildford Press.
  • Janata, P., Birk, J. L., Van Horn, J. D., Leman, M., Tillmann, B., &Bharucha, J. J. (2002). The cortical topography of tonal structuresunderlying Western music. Science, 298(5601), 2167-2170.
  • Izard, C. E., Libero, D. Z., Putnam, P., & Hayes, O. M. (1993).Stability of emotional experiences and their relations to traits ofpersonality. J ournal of Personality and Social Psychology, 64(5),847-860.
  • Izard, C. E.(2002). Translating emotion theory and research into preventive interventions. Psychological Bulletin, 128(5), 796-824.
  • Izard, C. E. (2009). Emotion theory and research: Highlights,unanswered questions, and emerging issues. Annual Review ofPsychology, 60(1), 1-25.
  • Husain, G., Thompson, W. F., & Schellenberg, E. G. (2002). Effects ofmusical tempo and mode on arousal, mood, and spatial abilities.Music Perception, 20(2), 151-171.
  • Hu, L. T., & Bentler, P. M. (1999). Cutoff criteria for fit indexes in covariance structure analysis: Conventional criteria versus new alternatives. Structural equation modeling, 6(1), 1-55.
  • Hodges, D. A. (2010). Psychophysiological measures. In P. N. Juslin& J. A. Sloboda (Eds.), Music and emotion: theory, research,applications (pp. 279-311). New York: Oxford University Press.
  • Hevner, K. (1935). The affective character of the major and minormodes in music. American J ournal of Psychology, 47(1), 103-118.
  • Heatherton, T. F., Striepe, M., & Wittenberg, L. (1998). Emotionaldistress and disinhibited eating: the role of the self. Personalityand Social Psychology Bulletin, 24(3), 301-313.
  • Harland, J., Kinder, K., Lord, P., Stott, A., Schagen, I., & Haynes, J.(2000). Arts education in secondary schools: Effects andeffectiveness. London: NFER/The Arts Council of England.
  • Hargreaves, D. J., & Colman, A. M. (1981). The dimensions ofaesthetic reactions to music. Psychology of Music, 9(1), 15-20.
  • Hanser, S. B. (2010). Music, health, and well-being. In P. N. Juslin &J. A. Sloboda (Eds.), Handbook of music and emotion: Theory,research, applications (pp. 849-877). New York: Oxford UniversityPress.
  • Hansen, C. H., & Hansen, R. D. (1991). Constructing personality andsocial reality through music: Individual differences among fans ofpunk and heavy metal music. J ournal of Broadcasting &Electronic Media, 35(3), 335-350.
  • Hallam, S., Shaw, J., & Rhamie, J. (2006). Evaluation of the primarybehaviour and attendance pilot. Research report. London:Department for Education and Skills.
  • Hallam, S. (2010). Music education: the role of affect. In P. N. Juslin& J. A. Sloboda (Eds.), Music and emotion: theory, research,applications (pp. 791-817). New York: Oxford University Press.
  • Gross, J. J., Richard, J. M., & John, O. P. (2006). Emotion regulationin everyday life. In D. K. Snyder, J. A. Simpson, & J. N. Hughes(Eds.), Emotion regulation in couples and families: Pathways todysfunction and health (pp. 13-35). Washington, DC: AmericanPsychological Association.
  • Gross, J. J., & Thompson, R. A. (2007). Emotion regulation:conceptual foundations. In J. J. Gross (Ed.), Handbook of emotionregulation (pp. 3-24). New York: Guilford Press.
  • Gross, J. J., & John, O. P. (2003). Individual differences in two emotion regulationprocesses : Implications for affect, relationships, and well-being. Journal ofPersonality and Social Psychology, 85(2), 348-362.
  • Gross, J. J. (1998b). Sharpening the focus: emotion regulation, arousal,and social competence. Psychological Inquiry, 9(4), 287-290.
  • Gross, J. J. (1998a). The emerging field of emotion regulation: anintegrative review. Review of General Psychology, 2(3), 271-299.
  • Gregory, A. H., & Varney, N. (1996). Cross-cultural comparison inthe affective response to music. Psychology of Music, 24(1),47-52.
  • Green, L. (1999). Research in the sociology of music education: someintroductory concepts. Music Education Research, 1(2), 159-169.
  • Goleman,D.(1995).Emotionalintelligence.New York:Bantam Books.
  • Goldberg, L. R. (1992). The structure of phenotypic personality traits.American Psychologist, 48(1), 26-34.
  • Galambos, N. L., Berenbaum, S. A., & McHale, S. M. (2009). Genderdevelopment in adolescence. In R. M. Lerner & L. Steinberg(Eds.), Handbook of adolescent psychology (pp. 305-357). Hoboken,NJ: John Wiley & Sons.
  • Gabrielsson, A., & Lindstrom, E. (2010). The role of structure in themusical expression of emotions. In N. P. Juslin, & J. A. Sloboda(Eds.) Music and Emotion: Theory, Research, Applications, pp.367-400. Oxford: Oxford University Press.
  • Gabrielsson, A., & Lindstrom, E. (2001). The influence of musicalstruture of emotional expression. In N. P. Juslin, & J. A. Sloboda(Eds.) Music and Emotion: Theory and Research, pp. 223-248.Oxford: Oxford University Press.
  • Gabrielsson, A., & Lindstom Wik, S. (2003). Strong experiencesrelated to music: a descriptive system. Musicae Scientiae, 7(2),157-217.
  • Gabrielsson, A. (2010). Strong experiences with music. In P. N. Juslin& J. A. Sloboda (Eds.), Handbook of music and emotion: Theory,research, applications (pp. 547-574). New York: Oxford UniversityPress.
  • Gable, S. L., Reis, H. T., Impett, E. A., & Asher, E. R. (2004). Whatdo you do when things go right? the intrapersonal andinterpersonal benefits of sharing positive events. J ournal ofPersonality and Social Psychology, 87(2), 228-245.
  • Furnham, A., Trew, S., & Sneade, I., (1999). The distracting effectsof vocal and instrumental music on the cognitive test performanceof introverts and extraverts. Personality and IndividualDifferences, 27(2), 381-392.
  • Furnham, A., & Strbac, L. (2002). Music is as distracting as noise:The differential distraction of background music and noise on thecognitive test performance of introverts and extraverts.Ergonomics, 45(3), 203-217.
  • Furnham, A., & Bradley, A. (1997). Music while you work: Thedifferential distraction of background music on the cognitive testperformance of introverts and extraverts. Applied CognitivePsychology, 11(5), 445-455.
  • Freeman, W. J. (2000). A neurobiological role of music in socialbonding. In N. wallin, B. Merkur, & S. Brown (Eds.), The originsof music (pp. 411-424). Cambridge, MA: MIT Press.
  • Fredrickson, B. L. (2001). The role of positive emotions in positive psychology: The broaden-and-build theory of positive emotions. American Psychologist, 56(3), 218-226.
  • Fabrigar, L. R., Wegner, D. T., MacCallum, R. C., & Strahan, E. J.(1999). Evaluating the use of exploratory factor analysis inpsychological research. Psychological Methods, 4(3), 272-299.
  • Eysenck, H. J. (1992). Four ways five factors are not basic.Personality and Individual Differences, 13(6), 667-673.
  • Ellis, D., & Brighouse, G. (1952). Effects of music on respiration andheart rate. American J ournal of Psychology, 65(1), 39-47.
  • Ekman, P., Levenson, R. W., & Friesen, W. V. (1983). Autonomicnervous system activity distinguishes among emotions. Science,221(4616), 1208-1210.
  • Ekman, P.(1977). Biological and cultural contributions to body andfacial movement. In J. Blacking (Ed.), Anthropology of the Body(pp. 34-84). London: Academic Press.
  • Durand, V. M., & Mapstone, E. (1998). Influence of ‘mood-inducing’music on challenging behavior. American J ournal on MentalRetardation, 102(5), 367-378.
  • Dollinger, S. J. (1993). Research note: Personality and musicpreference: Extraversion and excitement seeking or openness toexperience? Psychology of Music, 21(1), 73-77.
  • Diener, E., Sandvik, E., Pavot, W., & Fujita, F. (1992). Extraversionand subjective well-being in a U. S. national probability sample.J ournal of Research in Personality, 26(3), 205-215.
  • DeNora, T. (2000). Music in everyday life. Cambridge, UK:Cambridge University Press.
  • DeNora, T. (1999). Music as a technology of the self. Poetics:J ournal of Empirical Research on Literature, the Media, and theArts, 27, 31-56.
  • De Vries, B. (1991). Assessment of the affective response to musicwith Clynes’s Sentograph. Psychology of Music, 19(2), 46-64.
  • Davidson, R. J., Fox, A., & Kalin, N. H. (2007). Neural bases ofemotion regulation in nonhuman primates and humans. In J. J.Gross (Ed.), Handbook of emotion regulation (pp. 47-68). NewYork: Guildford Press.
  • Craig, D. G. (2005). An exploratory study of physiological changeduring “chills” induced by music. Musicae Scientiae, 9(2),273-287.
  • Costa, P., & McCrae, R. (1980). Still stable after all these years:Personality as a key to some issues in aging. In D. Battles & O.G. Brim (Eds.), Lifespan development and behavior(Vol. Ⅲ).
  • Copeland, B. L., & Franks, B. D. (1991). Effects of types andintensities of background music on treadmill endurance. J ournal ofSports Medicine and Physical Fitness, 31(1), 100-103.
  • Cooke, D. (1959). The language of music. London: Oxford UniversityPress.
  • Cole, P. M., Martin, S. E., & Dennis, T. A.(2004). Emotion Regulation as aScientific Construct: Methodological Challenges and Directions for ChildDevelopment Research. Child Development, 75(2), 317-333.
  • Christenson, P. G., DeBenedittis, P., & Lindlof, T. R. (1985).Children’s use of audio media. Communication Research, 12(3),327-343.
  • Chin, T. C., & Richard, N. S. (2011). The Music USE(MUSE)Questionnaire: an instrument to measure engagement in music.Music Perception, 29(4), 429-446.
  • Chin, T. C., & Richard, N. S. (2010). Nonperformance, as well asperformance, based music engagement predicts verbal recall.Music Perception, 27(3), 197-208.
  • Chamorro-Premuzic, T., & Furnham, A. (2007). Personality andmusic: Can traits explain how people use music in everyday life?British J ournal of Psychology, 98(2), 175-185.
  • Chabris, C. (1999). Prelude or requiem for the ‘Mozart effect.’ Nature,400, 826-827.
  • Cattell, R. B., & Saunders, D. R. (1954). Musical preferences andpersonality diagnosis: A factorization of one hundred and twentythemes. J ournal of Social Psychology, 39(1), 3-24.
  • Catanzaro, S. J., & Mearns, J. (1990). Measuring generalizedexpectancies for negative mood regulation: initial scaledevelopment and implications. J ournal of Personality Assessment,54(3), 546-563.
  • Carpentier, F. D., Knobloch, S., & Zillmann, D. (2003). Rock, rap andrebellion: Comparisons of traits predicting selective exposure todefiant music. Personality and Individual Differences, 35(7),1643-1655.
  • Budd, M. (1985). Music and the emotions. The philosophical theories.London: Routledge.
  • Bruner Ⅱ, G. C. (1990). Music, mood and marketing. Journal ofMarketing, 54(4), 94-104.
  • Browne, M. W., & Cudeck, R. (1992). Alternative ways of assessingmodel fit. Sociological Methods and Research, 21(2), 230-258.
  • Bradburn, N., Sudman, S., & Wansing, B. (2004). Asking questions.San Francisco, CA: Jossy-Bass.
  • Boer, D., Fischer, R., Tekman, H. G., Abubakar, A., Njenga, J., &Zenger, M. (2012). Young people’s topography of musicalfunctions: Personal, social and cultural experiences with musicacross genders and six societies. International J ournal ofPsychology, 47(5), 355-369.
  • Blood, A. J., & Zatorre, R. J. (2001). Intensely pleasurable responsesto music correlate with activity in brain regions implicated inreward and emotion. Proceedings of the National Academy ofSciences of the United States of America, 98(20), 11818-11823.
  • Blacking, J. (1973). How musical is man? Seattle: University ofWashington Press.
  • Bhattacharya, J., Petsche, H., Feldmann, U., & Rescher, B. (2001).EEG gamma-band phase synchronization between posterior andfrontal cortex during mental rotation in humans. NeuroscienceLetters, 311(1), 29-32.
  • Berking, M., & Wupperman, P. (2012). Emotion regulation and mentalhealth: Recent findings, current challenges, and future directions.Current Opinion in Psychiatry, 25(2), 128-134.
  • Behne, K. (1997). The development of “Musicerleben” in adolescence:How and why young people listen to music. In I. Deliege & J. A.Sloboda (Eds.), Perception and Cognition of Music (pp, 143-159).Hove, Sussex: Psychology Press.
  • Barrett, F. S., Grimm, K. J., Robins, R. W., Wildschut, T., Sedikides,C., & Janata, P. (2010). Music-evoked nostalgia: Affect, memory,and personality. Emotion, 10(3), 390-403.
  • Aristotle (1997). Poetics. In P. Atherton & J. Baxter (Eds.), Aristotle’spoetics. Montreal: McGill-Queens University Press.
  • Ali, S. O., & Peynircio?lu, Z. F. (2006). Songs and emotions: arelyrics and melodies equal partners? Psychology of Music, 34(4),511-534.
  • Adaman, J. E., & Blaney, P. H. (1995). The effects of musical moodinduction on creativity. J ournal of Creative Behavior, 29(2),95-108.
  • 5요인 성격검사의 개발 및 타당화 연구
    김명언 유태용 이도형 한국심리학회지: 산업 및 조직, 10(1), 85-102 [1997]