• 沒有找到結果。

In the present study, the researcher developed a novel experiential intervention with a purpose to extend our understanding of the emotional induction effects of soundtracks in educational multimedia. Specifically, the researcher developed soundtracks based on composing theories. In addition, one of the unique contributions is the introduction and interpretation of audio-visual counterpoint, the relationship between characters and music (Leitmotiv), and the mode of music.

Based on our preliminary analysis exhibit on heat maps, two results converged. First, compared to compiled soundtracks, intentionally design ones significantly induced emotions in most sections and plots. Second, intentionally design soundtracks are meaningfully going along with digital stories, especially when they are designed based on composing theories. In addition, the follow-up interview also indicated that most of the participants recognize the value of adding soundtracks to educational multimedia, and further proved to be an effective strategy for promoting intention to actively engage in pro-environmental activities.

A lingering question is the connection between each response to different types of educational multimedia. Specifically, if the scenarios and plots changed, the soundtrack design method remain unclear. Limitations of the experiment design were noted in two aspects: the sample selected and the frequency of intervention. The sample, consisting of 67% female college students, could limit the generalizability of the results. Gender may cause differences in their emotional responses. Indeed, the measures process and calculating of interactive emotional responses were designed arbitrarily by the researcher and research team, that could be further elaborated. To yield further insight into the effectiveness of the water conservation in the context of environmental education, future research should recruit a broader range of participants from different populations. In addition, the outcomes of repeated interventions, e.g.

composed soundtracks going along with different types of digital stories, and measurements of

doi:10.6342/NTU201801179 the environmental behavior have to be considered. The current study found positive effects of

interactive emotional response, but the psychological model, such as cognitive effects on attitude or behavior intention, and the extent of responsibility and emotion aroused, should be investigated in detail.

doi:10.6342/NTU201801179

Reference

Barret, 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.

doi:10.6342/NTU201801179 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.

doi:10.6342/NTU201801179 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.

doi:10.6342/NTU201801179

Appendix 1

Full content of WaterBob (available online: http://water.caece.net/382633069335672.html)

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

Appendix 2

Sheet of WaterBob

&

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179

doi:10.6342/NTU201801179