Happy Songs Research Articles

Relationships among happy songs, store brand image, and store brand awareness

In this study we investigated the relationship between happy songs and store brand equity. In particular, we emphasized two pivotal components of brand equity (store brand image and store brand awareness), and explored the underlying mediating mechanism of these relationships. A survey study was conducted in a fashion store, where 266 customers (127 men and 99 women) reported their perception of happy songs, store brand image, and store brand awareness. Structural equation modeling revealed a positive relationship between happy songs and store brand image, and this link was, in turn, positively related to store brand awareness. Thus, store brand image played a mediating role in the relationship between happy songs and store brand awareness. This study contributes to better understanding of the relationship between store music and store brand equity, providing practical insights for retailers to build brand equity by using music cues in their stores.

What Got You through Lockdown?

What Got You through Lockdown?

ANALISIS NILAI KARAKTER LAGU ANAK KARYA ABDULLAH TOTONG MAHMUD PADA BUKU SISWA KELAS II SD/MI KURIKULUM 2013


 Anarchist behavior, strife and brawls, vigilantism, an increasingly free transformation of global ethics, drug abuse if examined carefully, all begin ina crisis of morality. This is a problem in the life of society, nation, and state so that through character education programs applied in the scope of education can be a solution or solution. One of the efforts to instill character values in elementary school children can be done through children's songs. This study aims to determine and analyze the character values contained in the lyrics of children's songs by Abdulloh Totong Mahmud in the book of grade II elementary / mi students curriculum 2013. This research method uses a qualitative descriptive approach with literature research methods. The research subjects studied were thirteen children's songs by A.T Mahmud in the 2013 Curriculum Grade II student book. Based on the results of this study (1) religious values are found in happy songs of gathering, throwing garbage, rainbows, fireflies, cypresses, uncle come, scenery, thank God and the moon (2) nationalist values are found in father's bell songs (3) independent values are found in happy songs of gathering, rowing, my chicken, lizards (4) mutual aid values are contained in happy songs gathering (5) The value of integrity is contained in the song of throwing garbage.

Music listening according to the iso principle modulates affective state

Music listening can modulate affective states. Individuals can choose music that is congruent or incongruent with their current affective state. Music therapy intervention manuals suggest that individuals who suffer from mental disorders should listen to music according to the iso principle. This involves listening to music that initially matches the current affective state, and then gradually shifting to listening to music that represents a desired state. In the current study, 59 healthy participants underwent a sadness induction by being shown a movie clip designed to induce sadness. They were subsequently divided into two experimental groups: the iso group and the compensatory group. The iso group listened to a sad song first, followed by a happy song. The compensatory group listened to two happy songs. All participants rated their current affective state prior to and after the sadness induction, and after listening to each of the songs. In addition, trait affect and personality were assessed. The results indicated that the movie clip induced sadness in both experimental groups. After listening to the two songs, the iso group reported significantly lower negative affect than the compensatory group. Final affective state was related to trait affect and personality. We conclude that listening to music according to the iso principle is effective in modulating affective state. Individuals who listen to music according to the iso principle should experience changes of affect in line with the music’s affective shift.

Music as an alternative self-regulation strategy to snack foods following a negative mood induction in 5-7-year-old children: Interactions with parental use of food as a reward

This study aimed to extend studies that have looked at snack food consumption following a negative mood induction, and examine whether listening to a happy song would counteract these effects in children. A second aim was to examine whether parental feeding practices (use of food as a reward and the use of food to regulate emotions) and child Body Mass Index (BMI) would moderate any differences. Eighty 5-7-year-old children took part in a negative mood induction and were then assigned to either a happy music condition or a silent control condition. The weight (g) consumed of four snack foods was measured (fruit hearts, crisps, chocolate biscuits, and breadsticks). Parents filled in baseline measures of feeding practices. There were no significant differences in food consumption between conditions. There was, however, a significant interaction between the high use of food as a reward and the condition on the amount of food eaten. In particular, following a negative -mood induction, those children whose parents reported using food as a reward and who were in the silent condition ate significantly more snack foods. There were no significant interactions with child BMI or with parental use of food to regulate emotions. This research suggests that the use of certain parental strategies may influence how children respond to novel emotion regulation techniques. Further research is needed to evaluate the best types of music to regulate emotions in children, and whether parents can be encouraged to replace maladaptive feeding practices with more adaptive non-food practices.

Female madness in Paulina Chiziane's novels as a strategy of resistance

The following work brings a brief study on how writer Paulina Chiziane turns madness into an observable resistance strategy in almost all of her characters. Here the analysis will be about Maria das Dores, from the novel “The happy song of the partridge” (2010), the crazy woman from the river who dared to invade the exclusive bank of men on the Licungo river and affronted everyone with her nudity. However, the analysis will be transversal between the characters of other novels by Chiziane, such as Rami, by “Niketche: a story of polygamy” (2004); Cláudia, from “The seventh oath” (2005) and Wusheni, from “Apocalypse winds” (1999). The phenomenon of madness will be reflected in the light of Michel Foucault's text, “The history of madness in the classical age” (1978) and the text “The Foucault and Derrida debate: reasons or unreasons of thought” (2017).

The Effects of Mood, Language, and Order of Songs on Writing Productivity

With music consumption being increasingly prominent in everyday modern life, it has become critical to examine the impact of music on the performance of cognitive tasks. Despite preexisting academic literature on the correlation between music and memorization, test-taking ability, and executive planning, conclusions from past studies regarding these cognitive tasks may not be directly applicable to writing, leaving the effects of music on writing tasks a relatively unexplored territory. Given the prevalence of music in the 21st century among all age groups, the current study explores the effects of induced mood (happy versus sad) and language (native versus foreign) of popular songs on writing productivity, measured by number of words written in a set time period. Participants in the experiment were randomly separated into four conditions based on the language and mood of songs, and each given two argumentative writing prompts to complete while listening to the songs assigned to them. Results revealed that the induced mood of the songs significantly affected the writing productivity, with participants listening to sad music producing word counts that are significantly higher than those given happy songs. No effects, however, were found for the language of the music’s lyrical content, suggesting that the language of a song has no significant impact on writing productivity.

The colours of love: facial thermal reactions of people thinking about their lovers

ABSTRACTRomantic love involves peculiar psychological and neural processes that are closely connected with autonomic-visceral changes. The present study aimed at investigating the thermal response associated to the love induction task. The facial thermal imprints of forty-four people who were in love and in romantic relationships at the time of the experiment were recorded. Thermal signals were extracted from six regions of interest (ROIs), positioned on the tip of the nose, the upper nose and the perioral areas. The experimental protocol was composed of two conditions, randomised among the subjects: love and control conditions. In the first one, participants were initially asked to think about their partners, then to keep continuing this task while listening to a song related to their relationships; in the second one, they were asked to think about someone else’s relationship, then keep continuing this task while listening to positive-content song, unknown to the specific participant.The results showed that, when experiencing the love condition, the temperature of the nasal tip of the subjects increased, compared to the control condition. Moreover, the data showed that music induced a far more intense peripheral response. Thinking about their partners whilst listening to the love song caused higher peripheral (nose temperature) and subjective responses than with the unknown happy song, which suggests that love induction task activates peculiar patterns that go beyond mere positive feelings.

A Song Remembered in Place: Tlingit Composer Mary Sheakley (Loo) and Huna Tlingits in Glacier Bay National Park, Alaska

Songs among the Tlingit of Alaska and Canada are important means for communicating and aligning relationships, knowledges, and emotions among humans, non-human persons, and ancestral lands. As potent expressions of individual and collective identity, heritage, and destiny, songs encapsulate ethnobiological, social, and geographic knowledges in a melodious, interspecific lingua franca. A particular ancestral or communal context, such as a potlatch or u.eex', may call for a spiritual, mournful, or happy song to help effect a transition, for example from mourning to celebration or death to rebirth. Ceremonial songs are typically owned as property and performed by particular Tlingit matrilineal groups, known as clans, or their house groups. However, songs are in the first instance composed by individuals, typically in response to other unique events, such as extraordinary encounters with wildlife, disasters, or other remarkable circumstances. The composers of such songs, both men and women, are respected and honored for their skills. Mary Sheakley (Loo) is one such figure. She composed the song presented here in response to a group of wolves that came to the beach and howled as she and her fellow paddler left their subsistence camp in what is now Glacier Bay National Park and Preserve around the turn of the twentieth century. In 1996, the song was spontaneously remembered by a contemporary elder and younger clan sister to Mary Sheakley, Amy Marvin, who, in turn, taught it to her younger clan daughter during a berry picking trip to Glacier Bay. Later, during that same trip, Amy Marvin deployed the song to cap an impromptu ritual of commemoration for Tlingit relatives that died in a tragic boating accident in the Park in the late twentieth century. The song was thus not only revived but elevated in status to become a “clan song,” which is now considered sacred property (at.oow) and performed during ceremonies, such as the potlatch or u.eex'.

The three phases of rock music in the Czech lands

In the Czech lands (included in Czechoslovakia until the end of 1992), rock music has evolved through three phases. In the first phase, lasting until 1968, rock musicians had no ambition to offer social or political commentaries. This began as the era of rock ‘n’ roll, which is to say music being performed for dancing. The second phase began after the Soviet bloc invasion of Czechoslovakia in August 1968, lasting until the end of the communist era in 1989. In this phase, rock musicians (no longer playing rock ‘n’ roll were closely monitored by the authorities and were expected to sing happy songs, submitting their song texts to the authorities for approval in advance of performing them. In spite of this control, some rock groups purposefully sang political texts in the 1970s and 1980s, mocking or criticizing the communists, albeit often cryptically. Finally, in the third phase – since 1989 – having lost their ideological foe, Czech rock groups have for the most part become politically disengaged.

What makes a happy song? Chances are it has more seventh chords

What makes a happy song? Chances are it has more seventh chords

On the Self-Evidence of Blackness: An Interview with Charl Landvreugd

On the Self-Evidence of Blackness: An Interview with Charl Landvreugd

Iranian Language Learners' Conceptions of the Ideal English Lesson: Form-focused or Communicative

This study aimed to investigate the Iranian language learners' ideas of the ideal English lesson. Two kinds of English lessons, form-focused and communicative were taken into account. Moreover, the current study set out to investigate the relationship between the learners’ conceptions of ideal lesson and their gender. The collection of data was accomplished by administering a modified 10-item survey questionnaire to 100 advanced English learners of a language institute in Hamedan. The participants were randomly selected to complete the questionnaire, reflecting their opinions regarding the ideal English lesson. Accordingly, the results of the study indicated that advanced Iranian learners preferred communicative activities such as having lots of active discussions, working independently of the teacher, doing funny activities (e.g., singing happy songs and playing games) and using real-life materials (e.g., TV, magazines) more than form-focused activities such as teaching items of language (e.g., grammar and vocabulary), correct pronunciation, revising grammar, correcting most of the grammatical mistakes and guiding most of what they do. It was also found that there is a significant difference in learners' orientations towards communicative activities based on their gender, with males scoring higher on those items.

Re-Exploring the Influence of Sad Mood on Music Preference

We conducted three experiments to rectify methodological limitations of prior studies on selective exposure to music and, thereby, clarify the nature of the impact of sad mood on music preference. In all studies, we experimentally manipulated mood (sad vs. neutral in Experiments 1 and 2; sad vs. neutral vs. happy in Experiment 3) and then assessed participants' preferences for expressively happy versus sad musical selections. To further help illuminate the reasons for their music preferences, we also asked participants to indicate how they believed listening to each song would affect their current emotional state as well as how appropriate they felt it would be to select a given song. Results suggested that individuals in sad moods were not reliably inclined to listen to sad songs, but rather, were strongly averse to listening to happy songs, apparently out of concern that choosing such songs would feel inappropriate. We discuss implications of these findings for theories of selective media exposure and emotion regulation.

Time estimation: Musical training and emotional content of stimuli

In this study we investigated the effect of musical training and emotional content of stimuli on time estimation. Eighty students aged 12 to 15 years were equally divided into two main groups (musicians, non-musicians) based on whether they had formal music education or not. The participants took part in a music listening task and were asked to estimate the duration of a happy or a sad song. The results showed that: musical training affects temporal perception by allowing individuals to make more accurate estimations of time durations; the emotional content of the song affects time estimation, especially in the case of non-musicians; non-musicians overestimate the duration of sad songs while they underestimate the duration in the case of happy songs. These results emphasize the close relationship between time estimation, musical training, and emotion.

Canadian and Japanese preschoolers’ creation of happy and sad songs.

ABSTRACT - Canadian and Japanese 4- and 5-yearold children were asked to create a happy song or a sad song. Approximately 60% of Canadian preschoolers produced a song under these circumstances in contrast to roughly 40% of Japanese preschoolers. Of the Japanese children who produced a song, most simply reproduced a familiar song. By contrast, Canadian children typically included novel words, melodies, or both. The lyrics of Canadian children's happy songs focused on candy, friends, family, and vigorous physical activity. Their sad lyrics focused on thwarted goals and the absence of family and friends. Their happy melodies showed influences of the major mode, along with dotted or syncopated rhythms, whereas their sad songs showed suppressed melodic range and contour. Japanese children made much less use of emotion words or emotion-evoking events in their happy or sad songs. We discuss socialization and early music education differences across cultures that may contribute to the observed differences. KEYWORDS - invented song, emotion, preschool children, cross-cultural Although there has been considerable investigation of preschool children's of invented and standard songs (e.g., Campbell, 1998; Davidson, 1985; Davidson, McKernon, & Gardner, 1981; Davidson & Scripp, 1994; Bowling, 1984; Kelley & SuttonSmith, 1987; McKernon, 1979; Moog, 1968/1976; Moorhead & Pond, 1941, 1942; Orni, 1994), relatively little is known about the communication of expressive intentions in their singing. In musically oriented homes, mothers often convey information to toddlers in the context of improvised songs, and toddlers respond by joining the singing conversation (Kelley & Sutton-Smith, 1987). These sung exchanges are likely to continue beyond toddlerhood, with mother and child taking turns at improvising song variations (Umezawa, 1990, cited in Adachi, 1994). Young children generate idiosyncratic songs for communicative purposes such as stopping a baby brother from touching food (Orni, 1994). These spontaneous songs, or utterances (Campbell, 1998, p. 67), often trigger improvised musical exchanges among friends, who repeat, modify, and extend the melodic motif while transmitting ideas and messages to each other (Campbell, 1998, pp. 28-30; Whiteman, 2001). Although preschoolers successfully communicate verbal instructions in their invented songs, it is unclear whether they can create songs to convey distinct emotional messages. Much research on the communication of emotion in music has focused on musicians' contrastive performances (e.g., happy, sad) of the same piece of music or on listeners' perception of the intended emotion (Gabrielsson & Juslin, 1996; Juslin, 1997; Juslin & Sloboda, 2001; Ohgushi & Hattori, 1996; Senju & Ohgushi, 1987). By contrast, relatively few studies have explored how musically untrained adults (Yamasaki, 2002) and children communicate emotion in their musical performances (Adachi, 2000; Adachi & Trehub, 1998, 1999a; Umemoto, 1994; Yamasaki, 2006). Such research has indicated that untrained Japanese adults and young children (5- to 6-year-olds) use variations in loudness and tempo to express happiness, sadness, and anger in their improvised percussion performances (Yamasaki, 2002, 2006). In addition to variations in loudness and tempo, Canadian children 4-12 years of age vary pitch level and tone of voice to distinguish happy from sad versions of a familiar song (Adachi & Trehub, 1998). In their invented songs, Canadian 6- to 12-yearolds express happiness by means of dotted or syncopated rhythms, and they express sadness by means of isochronous rhythms, legato articulation, and affectively negative lyrics (Adachi & Trehub, 1999a, 1999b). Japanese 8- to 10-year-olds vary tempo, loudness, rhythm, and interval size to generate distinctive melodies to go with prescribed happy and sad lyrics, but the melodies generated by 5- and 6-year-olds are unrelated to the emotions expressed in the lyrics (Umemoto, 1999, pp. …

Then, We Knew Everything

44 THEN, WE KNEW EVERYTHING EMILY SINCLAIR O ne of us saw her in a magazine. It was on a weekend in the luxurious mountain town of Crystal that one of us idly opened the copy of Crystal Life! the hotel had generously supplied. There, among the society photos of standard-issue-blonde, weather-worn women in expensive dresses, was Lydia Collins. She was holding a glass of champagne and standing between an older, silver-haired man and the artistic director for the Crystal Ballet. Her name was given as Sybille Moreau, and she was listed as a dancer. Our cell phones began buzzing. What Lydia C. said is True! She’s French, too. Text me back! When we knew her some years ago, Lydia Collins was wife to Walt, mother to Elsa, Henry, and Bronson. She was delicate and olive-skinned, with slender arms and legs and round, full breasts. Lydia had pushed the children to preschool in an oldstyle British pram. The children wore coats with big buttons and shoes that closed with real buckles, instead of Velcro. She spoke in a breathy Continental accent, like Audrey Hepburn. She lived her life alongside ours, but more gracefully than we did, and now, as we slid into the middle of our lives, trenchantly ourselves, Lydia had become, at forty, Sybille, the French dancer . What, we wondered, did it mean for us—the other mothers, who’d thickened in the middle and learned disappointment, the lumpenmutter, we called ourselves—that the goddess among us had gone away and begun again? The story of Lydia’s defection is the story of those of us who stayed. The children are two. Neurally speaking, they stand at a developmental precipice: Little dendritic connections are forming all over their brains, and all the pathways that don’t get used will die off very soon. It is our job, as mothers, to ensure the frantic and wide-ranging development of their brains so that connec- 45 Sinclair 45 tions are retained. We hug them, we sing to them, and we are in a church, waiting for a music class developed by child experts. On the worn carpet of the church meeting room, Lydia sits, her wavy hair flung over a shoulder, her legs, encased in tall black boots, stretched out in front of her. We eye her. Lydia absentmindedly rocks a baby in a car seat, and a small, still girl sits next to her. When we go around the circle, introducing ourselves , Lydia says, “This is my daughter, Elsa, and my son, who will either be called Hunter or Bramble.” We nod. “Welcome, Lydia! Welcome, Elsa!” we say. Hunter and Bramble are stupid names and how could you not have named your baby already?—but we try not to judge. We tap our finger cymbals and try to find the beat while keeping the egg shakers out of our toddlers’ mouths. The toddlers rock from side to side on sturdy legs as we hold our infants, with their wide, wet eyes, in our arms. Lydia is a beautiful woman with beautiful, chocolate-eyed children. We will absorb her into us. We sing happy songs and watch through the window as autumn leaves release themselves from the trees. Our bodies have run marathons , given birth, fed our young. Our lives are rich and tender and the intensity of feeling nearly unbearable. At the end of class, we ask Lydia if she liked it. “I miss New York,” she says, shrugging. “Oh, well,” we say, somewhat at a loss for words. “Denver’s not New York. But Denver’s a really nice place to raise children .” We gather at the white wooden fence of the little Montessori school on Snyder Street, waiting for our children to come out of their morning toddler class. We wear jeans and ponytails, and we carry paper cups of expensive coffees. We have parked our minivans and station wagons and suvs at the curb, some with sleeping younger siblings in car seats. We have groceries in the backs of our cars. Some of us have on clothes from the gym or yoga studio. We were lawyers, doctors, teachers, and editors before...

"I am too young to die": Children and the Cold War

For many Americans, one of the most enduring images of the Cold War is a little black-and-white cartoon turtle. “Burt,” as he was named by the Federal Civil Defense Administration, rose to iconic status after he starred in a 1951 film telling children that in case of nuclear fallout, the best line of defense was to “duck and cover” (1). Footage of children diving under desks to Burt's happy song epitomizes our early twenty-first century impression of the naiveté of Americans who seemed to believe that such a flimsy maneuver might actually safeguard them from a nuclear attack, let alone the sickening effects of radiation. Our collective historical memory of Burt emphasizes the innocence and vulnerability of young children who are victims of anticommunist panic and the threat of nuclear war. If we let ourselves think broadly about the history of children during the Cold War, however, more...

The Color of Music: Correspondence through Emotion

College students listened to four song clips. Following each clip, the students indicated which color(s) corresponded to each of the four songs by distributing five points among eleven basic color names. Each song had previously been identified as either a “happy” or “sad” song. Each participant listened to two “happy” and two “sad” songs in random order. There was more agreement in color choice for the songs eliciting the same emotions than for songs eliciting different emotions. Brighter colors such as yellow, red, green, and blue were usually assigned to the happy songs and gray was usually assigned to the sad songs. It was concluded that music-color correspondences occur via the underlying emotion common to the two stimuli.

"And I wrote my happy songs, / Every child may joy to hear": The Poetry of William Blake in the Middle School Classroom

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