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Battledore and shuttlecock, or jeu de volant, is a sport related to the professional sport of badminton. The game is played by two or more people using small rackets (battledores), made of parchment or rows of gut stretched across wooden frames, and shuttlecocks , made of a base of some light material, such as cork, with trimmed feathers fixed ...
Music is the most adaptable of the arts being utilized with individuals, groups, and in various locations. Through participation or listening, music may lessen feelings of loneliness. Music elicits moods derived from emotions and has the capability of communicating one's good feeling for another.
The Nordoff–Robbins approach to music therapy is a method developed to help children with psychological, physical, or developmental disabilities. [1] It originated from the 17-year collaboration of Paul Nordoff and Clive Robbins [2] beginning in 1958, [3] with early influences from Rudolph Steiner and anthroposophical philosophy and teachings. [4]
Games employing shuttlecocks have been played for centuries across Eurasia, [a] but the modern game of badminton developed in the mid-19th century among the expatriate officers of British India as a variant of the earlier game of battledore and shuttlecock. ("Battledore" was an older term for "racquet".) [4] Its exact
In an article, about Music therapy and group work, the authors discuss how music and active listening play an important role in helping someone suffering from a mental illness improve their well-being. [1] For example, in music, attunement, is how listeners are able to connect with others while listening to and making the music. [1]
The psychology of music, or music psychology, may be regarded as a branch of psychology, cognitive science, neuroscience, and/or musicology.It aims to explain and understand musical behaviour and experience, including the processes through which music is perceived, created, responded to, and incorporated into everyday life.
Meyer used this basis to form a theory about music, combining musical expectations in a specific cultural context with emotion and meaning elicited. [1] His work went on to influence theorists both in and outside music, as well as providing a basis for cognitive psychology research into music and our responses to it.
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