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  1. NTU Theses and Dissertations Repository
  2. 工學院
  3. 土木工程學系
Please use this identifier to cite or link to this item: http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/1197
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???org.dspace.app.webui.jsptag.ItemTag.dcfield???ValueLanguage
dc.contributor.advisor康仕仲(Shih-Chung Kang)
dc.contributor.authorYun-Chen Changen
dc.contributor.author張沄真zh_TW
dc.date.accessioned2021-05-12T09:34:05Z-
dc.date.available2018-07-23
dc.date.available2021-05-12T09:34:05Z-
dc.date.copyright2018-07-23
dc.date.issued2018
dc.date.submitted2018-07-09
dc.identifier.citationBarret, H. C. (2006). Researching and evaluating digital storytelling as a deep learning tool. Proceedings of the Society for Information Technology & Teacher Education International Conference, Chesapeake, VA, pp. 647-654.
Baumgartner, T., Lutz, K., Schmidt, C., & Jäncke, L. (2006). The emotional power of music: How music enhances the feeling of affective pictures. Brain Research, 1075(1), 151-164.
Berenguer, J. (2007). The effect of empathy in proenvironmental attitudes and behaviors. Environment and Behavior, 39(2), 269-283.

Boltz, M., Schulkind, M., & Kantra, S. (1991). Effects of background music on the remembering of filmed events. Memory & Cognition, 19(6), 593-606.

Boltz, M. (2001). Musical soundtracks as a schematic influence on the cognitive processing of filmed events. Music Perception, 18(4), 427-454.
Boltz, M. (2004). The cognitive processing of film and musical soundtracks. Memory & Cognition, 32(7), 1194-1205.
Bullerjahn, C., & Güldenring, M. (1994). An empirical investigation of effects of film music using qualitative content analysis. Psychomusicology: A Journal of Research in Music Cognition, 13(1-2), 99-118.
Cheng, Y., Lou, S., Kuo, S., & Shih, R. (2013). Investigating elementary school students' technology acceptance by applying digital game-based learning to environmental education. Australasian Journal of Educational Technology, 29(1).

Cohen, A. J. (1999). The functions of music in multimedia: A cognitive approach. In S. W. Yi (Ed.), Music, mind, and science (pp. 53-69). Seoul, Korea: Seoul National University Press.
Cohen, A. J. (2001). Music as a source of emotion in film. In P. Juslin & J. Sloboda (Eds.), Music and emotion (pp. 249-272). Oxford, UK: Oxford University Press.
Copland, A. (1939). What to listen for in music. New York: Whittlesey House.
Eerola, T., Friberg, A., & Bresin, R. (2013). Emotional expression in music: contribution, linearity, and additivity of primary musical cues. Frontiers in Psychology, 4.

Farmer, J., Knapp, D., & Benton, G. (2007). An elementary school environmental education field trip: Long-term effects on ecological and environmental knowledge and attitude development. The Journal of Environmental Education, 38(3), 33-42.


Forte, A. (1973). The Structure of Atonal Music. New Haven and London: Yale University Press.
Hevner, K. (1936). Experimental studies of the elements of expression in music. The American Journal of Psychology, 48(2), 246.
Hill, J., & Nelson, A. (2011). New technology, new pedagogy? Employing video podcasts in learning and teaching about exotic ecosystems. Environmental Education Research, 17(3), 393-408.

Hinton, C., Miyamoto, K., & Della-Chiesa, B. (2008). Brain research, learning and emotions: implications for education research, policy and practice1. European Journal of Education, 43(1), 87-103.
Juslin, P. N., and Lindström, E. (2010). Musical expression of emotions: modeling listeners’ judgements of composed and performed features. Music Analysis. 29, 334–364.
Kalinak, K. (1992). Settling the score. Madison, Wis: Univ. of Wisconsin Press.

Kuo, K. L. (2013). Is a computer game a positive motivation trigger for disaster education? A flood protection game example (Master’s thesis). Available from
Lipscomb, S., & Kendall, R. (1994). Perceptual judgement of the relationship between musical and visual components in film. Psychomusicology: A Journal of Research in Music Cognition, 13(1-2), 60-98.

Perrin, J. (2011). Emotional Responses to Environmental Messages and Future Behavioral Intentions. Applied Environmental Education & Communication, 10(3), 146-157.

Philips, W. (2014). A Composer’s Guide to Game Music. London, England: The MIT Press.
Rigg, M. (1964). The mood effects of music: A comparison of data from four investigators. The Journal of Psychology, 58(2), 427-438.http://dx.doi.org/10.1080/00223980.1964.9916765
Robin, B. (2006). The educational uses of digital storytelling. In C. Crawford et al. (Eds.), Proceedings of Society for Information Technology and Teacher Education International Conference (pp. 709-716). Retrieved from
http://faculty.coe.uh.edu/brobin/homepage/Educational-Uses-DS.pdf
Scherer, K. (1978). Personality inference from voice quality: The loud voice of extroversion. European Journal of Social Psychology, 8(4), 467-487.

Schifrin, L. (2011). Music Composition for Film and Television. Boston, USA: Berklee Press.
Schutz, P., Hong, J., Cross, D., & Osbon, J. (2006). Reflections on investigating emotion in educational activity settings. Educational Psychology Review, 18(4), 343-360.
Slattery, P., & Rapp, D. (2003). Ethics and the foundation of education. Boston: Allyn & Bacon.
Thompson, W., Russo, F., & Sinclair, D. (1994). Effects of underscoring on the perception of closure in filmed events. Psychomusicology: A Journal of Research In Music Cognition, 13(1-2), 9-27.

Yang, S. H. (2017). Object View Story: Changing Environmental Attitude by Stimulating Emotional Arousal in Water Education (Master’s thesis). Available from http://www.airitilibrary.com.
dc.identifier.urihttp://tdr.lib.ntu.edu.tw/handle/123456789/1197-
dc.description.abstract透過情緒的觸發能增進個體對環境議題的認知與行為改變;因此,如何提升人與自然之間的情感連結是環境教育的重要課題。多媒體教材,例如:影片、遊戲與數位故事…等被認為是能夠有效引發情感連結的教學媒介,近年來也被應用在環境教育的領域。研究顯示配樂很可能是多媒體教材中引發情感反應的強力因素之一,然而,這些配樂普遍未經專業譜曲或設計,因此也未能有效與影像結合並增強觀看者的情緒反應,達致教育目標。本研究延續同一研究團隊的系統性與縱貫性研究,以水環境教育教學影片<<水寶>>為素材,並依據歸納出的作曲理論為其專門設計配樂,並研究配樂如何配合教學媒材引發情緒反應。本研究的目標是比較「設計配樂」與「現成配樂」所引發之情緒反應是否符合預期與假設。36位大學生經過第一階的篩選,根據其對音樂的感受與環境的感受被分配成背景均等的兩組,其中一組觀看配有設計配樂的<<水寶>>,另一組則觀看使用現成音樂作為配樂的<<水寶>>。觀看過程中,受測者必須以研究者所特別設計的紀錄工具同步紀錄其情緒反應(正向、負向,或其他),情緒資料則使用視覺化工具進行紀錄、轉化與分析。看完影片後,受測者被邀請立即進行關於影片觀看過程情緒感受的追蹤訪談。研究結果顯示配有設計配樂的<<水寶>>能引發觀看者較精準(亦即符合設計)的情緒反應,現成音樂則容易使觀看者對影片產生與設計意圖不符之解讀。從訪談中,受測者指出現今教育媒材的配樂確實需要改進,並提出影片長度、旁白字詞與情緒的多寡、影片知識的難度、劇情的可預測性,以及影片的教學場合皆是影響配樂設計準則的因素。zh_TW
dc.description.abstractInducting learners’ emotional connection with nature is crucial in environmental education. Educational multimedia, like videos and games have been recognized and gradually applied to induce students’ emotions, from influencing awareness, attitude and then lead to behavioral change. Soundtrack, an effective emotion stimulus, however, has rarely been professionally dealt with or integrated to enhance educational multimedia.  Follow upon previous longitudinal study from the same research team, the present study fills a void by linking the emotional induce effects with composed soundtracks and continuing to explore the affective aspects of educational multimedia. Specifically, soundtrack, come along with WaterBob, a digital storybook previous created by the same research team, was composed by the researcher in the current study. The purpose of the present research is to investigate effects of soundtracks (composed or compiled canned soundtracks) and emotional inducing on environmentally responsible behavioral intentions. The sample consisted of 36 college students. Participants were randomly assigned into two groups. One group listened to composed soundtracks, whereas another group listened to compiled soundtracks downloaded from online musical service platform while watching the videos. Participants were simultaneously asked to provide emotional reactions (positive, negative, or mixture). A visualization tool was developed to document and further analyze the data. The result indicated a significant difference in emotional induce between the two groups. The follow-up interview showed a reliable relation between emotional induce and environmentally responsible behavioral intentions. In addition, the duration, the complexity of the content, the narration, the predictability of the plot, and the educational occasion are considered important factors for soundtrack design, and were further discussed. Following a proposed designed principle and practical example of soundtrack design, including the story characters, theme, as well as the soundtrack design of WaterBob. Practical and theoretical implications are discussed.en
dc.description.provenanceMade available in DSpace on 2021-05-12T09:34:05Z (GMT). No. of bitstreams: 1
ntu-107-R05521604-1.pdf: 20150931 bytes, checksum: b48d41398e09a3ee73dec1bb9eb13291 (MD5)
Previous issue date: 2018
en
dc.description.tableofcontents中文摘要………………………………………………………………………………………....i
ABSTRACT…………………………………………………………………………………..…ii
TABLE OF CONTENTS…………………………………………………………………….....iv
LIST OF FIGURES……………………………………………………………………………..vi
LIST OF TABLES……………………………………………………………………………...vii
Chapter 1. Introduction………………………………………………………………………….1
1.1 Background……………………………………………………………………………….1
1.2 Research Goal…………………………………………………………………………….3
1.3 Research Questions……………………………………………………………………….3
1.4 Definitions of Terms……………………………………………………………………...4
Chapter 2. Literature Review……………………………………………………………………5
2.1 Educational multimedia in environmental education…………………………………….5
2.2 The Functions of Soundtracks in the Context of Multimedia……………………………9
2.3 The Difference between Composed and Compiled Soundtracks………………….……11
2.4 Summary………………………………………………………………………………..13
Chapter 3. Soundtrack Design………………………………………………………………...14
3.1 Soundtrack Elements Inducing Emotion……………………………………………….14
3.2 The Audio-Visual Counterpoint………………………………………………………..15
3.3 Leitmotiv……………………………………………………………………………….17
3.4 The Analysis of Mode………………………………………………………………….17
3.5 Practices of Soundtrack Design………………………………………………………...20
3.6 Soundtrack Design of WaterBob……………………………………………………….21
Chapter 4. Methodology………………………………………………………………………28
4.1 The Educational Multimedia – WaterBob……………………………………………...28
4.2 Participants……………………………………………………………………………...30
4.3 Data Collection………………………………………………………………………….32
4.4 Experiment Design and Data Analysis………………………………………………….34
4.5 Procedure………………………………………………………………………………..34
Chapter 5. Results and Discussion……………………………………………………………..37
5.1 The Heat Map of Emotional Induction………………………………………………….37
5.2 Soundtrack Design Issues and Principles……………………………………………….44
Chapter 6. Conclusion…………………………………………………………………………47
Reference……………………………………………………………………………………...49
Appendix 1. Full Content of WaterBob……………………………………………………….52
Appendix 2. Sheet of WaterBob………………………………………………………………79
dc.language.isozh-TW
dc.subject環境教育zh_TW
dc.subject教育多媒體zh_TW
dc.subject情緒反應zh_TW
dc.subject數位故事zh_TW
dc.subject配樂zh_TW
dc.subjectenvironmental educationen
dc.subjectsoundtracken
dc.subjecteducational multimediaen
dc.subjectemotional induceen
dc.subjectdigital storyen
dc.title環境教育應用:數位繪本的配樂如何引發情感連結zh_TW
dc.titleEmotional Induction Effects of Soundtracks in the Educational Multimedia: A Case Study from Environmental Educationen
dc.typeThesis
dc.date.schoolyear106-2
dc.description.degree碩士
dc.contributor.coadvisor曾敬梅
dc.contributor.oralexamcommittee蔡家文,蔡佳芬
dc.subject.keyword配樂,教育多媒體,情緒反應,數位故事,環境教育,zh_TW
dc.subject.keywordsoundtrack,educational multimedia,emotional induce,digital story,environmental education,en
dc.relation.page85
dc.identifier.doi10.6342/NTU201801179
dc.rights.note同意授權(全球公開)
dc.date.accepted2018-07-09
dc.contributor.author-college工學院zh_TW
dc.contributor.author-dept土木工程學研究所zh_TW
Appears in Collections:土木工程學系

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