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‫ﺟﻮﺩﯼﺍﻡ‪ .‬ﺗﯿﻠﻮﺭ‪،‬‬
‫ﺑﻮﺭﻟﯽﺟﯽ ﺭﻭ‬
‫»ﻣﻮﺗﺴﺎﺭﺕ‬
‫ﺍﺛﺮ«ﻭ‬
‫ﺭﯾﺎﺿﯽ‬
‫ﺍﺭﺗﺒﺎﻁ‬
‫ﻣﺮﺑﯿﺎﻥﻫﻤﯿﺸﻪ ﺑﻪ ﺩﻧﺒﺎﻝ ﺭﺍﻩ ﻫﺎﯾﯽ ﺑﺮﺍﯼ ﺍﻓﺰﺍﯾﺶ ﻋﻤﻠﮑﺮﺩ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﺩﺭ ﺍﺭﺯﯾﺎﺑﯽ ﻧﺘﯿﺠﻪ‬
‫ﻫﺴﺘﻨﺪ‪.‬ﺗﺤﻘﯿﻘﺎﺕ ﻓﺰﺍﯾﻨﺪﻩ ﺍﯼ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﻣﺰﺍﯾﺎﯼ ﻣﻮﺳﯿﻘﯽ ﺭﺍ ﺑﺮ ﻋﻤﻠﮑﺮﺩ ﺁﻣﻮﺯﺷﯽ ﻧﺸﺎﻥ‬
‫ﻣﯽﺩﻫﺪ‪ .‬ﻫﺪﻑ ﺍﺯ ﺍﯾﻦ ﻣﻄﺎﻟﻌﻪ ﺗﻌﯿﯿﻦ ﺍﯾﻦ ﺑﻮﺩ ﮐﻪ ﺁﯾﺎ »ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ« ﻋﻤﻠﮑﺮﺩ ﺩﺍﻧﺶ ﺁﻣﻮﺯ ﺭﺍ‬
‫ﺩﺭﺍﺭﺯﯾﺎﺑﯽ ﻫﺎﯼ ﻧﺘﯿﺠﻪ ﺩﺭ ﺭﯾﺎﺿﯿﺎﺕ ﺑﻬﺒﻮﺩ ﻣﯽ ﺑﺨﺸﺪ ﯾﺎ ﺧﯿﺮ‪ .‬ﺩﺭ ﺍﯾﻦ ﻣﻄﺎﻟﻌﻪ‪ ،‬ﻃﯽ ﺷﺶ‬
‫ﺁﺯﻣﻮﻥﺍﺻﻠﯽ ﮐﻪ ﺑﺮﺍﯼ ﺳﻪ ﮐﻼﺱ ﻣﺜﻠﺜﺎﺕ ﮐﺎﻟﺞ ﺩﺍﺩﻩ ﺷﺪ )‪ (69=n‬ﯾﮏ ﺳﯽ ﺩﯼ ﺍﺯ ﻣﻮﺳﯿﻘﯽ‬
‫ﻣﻮﺗﺰﺍﺭﺕﺩﺭ ﻃﻮﻝ ﻣﺪﺕ ﺁﺯﻣﻮﻥ ﭘﺨﺶ ﺷﺪ‪ .‬ﻧﺘﺎﯾﺞ ﺑﺎ ﺳﻪ ﮐﻼﺱ ﻣﺜﻠﺜﺎﺕ ﻣﻘﺎﯾﺴﻪ ﺷﺪ )‪=n‬‬
‫‪ (59‬ﮐﻪ ﺷﺶ ﺗﺴﺖ ﺍﺻﻠﯽ ﻣﺜﻠﺜﺎﺗﯽ ﺑﺪﻭﻥ ﭘﺨﺶ ﻣﻮﺳﯿﻘﯽ ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﻧﺘﺎﯾﺞ ﻧﺸﺎﻥ‬

‫‪O‬‬
‫ﻣﯽ ﺩﻫﺪﮐﻪ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﺯﻣﺎﻧﯽ ﮐﻪ ﻣﻮﺗﺰﺍﺭﺕ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺩﺭ ﻃﻮﻝ‬
‫ﺍﺭﺯﯾﺎﺑﯽﻧﺘﯿﺠﻪ ﻧﻮﺍﺧﺘﻪ ﻣﯽ ﺷﺪ‪ ،‬ﺑﻪ ﻃﻮﺭ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺑﻬﺘﺮ ﻋﻤﻞ ﮐﺮﺩﻧﺪ‪ .‬ﺍﯾﻦ ﻣﻄﺎﻟﻌﻪ ﺑﻪ "ﺍﺛﺮ‬
‫ﻣﻮﺗﺰﺍﺭﺕ" ﺍﻋﺘﺒﺎﺭ ﻣﯽ ﺑﺨﺸﺪ ﻭ ﺍﺛﺮﺑﺨﺸﯽ ﺑﻬﺒﻮﺩ ﯾﺎﻓﺘﻪ ﺭﺍ ﺑﺮﺍﯼ ﺑﺮﺧﯽ ﺍﺯ ﯾﺎﺩﮔﯿﺮﻧﺪﮔﺎﻥ ﺍﺯ ﻃﺮﯾﻖ‬
‫ﻣﺤﯿﻂﻫﺎﯼ ﺍﺭﺯﯾﺎﺑﯽ ﺗﻐﯿﯿﺮ ﯾﺎﻓﺘﻪ ﺩﺭ ﻧﻈﺮ ﻣﯽ ﮔﯿﺮﺩ‪.‬‬

‫ﺩﺭ‪ 17‬ﺳﺎﻝ ﮔﺬﺷﺘﻪ‪ ،‬ﻣﺤﻘﻘﺎﻥ‬

‫ﺍﺩﻋﺎﮐﺮﺩﻩ ﺍﻧﺪ ﮐﻪ "ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ" ﻫﻤﻪ ﭼﯿﺰ ﺭﺍ ﺍﺯ ﺍﻓﺰﺍﯾﺶ ﻣﻮﻗﺖ ﺿﺮﯾﺐ ﻫﻮﺷﯽ ﮔﺮﻓﺘﻪ ﺗﺎ‬
‫ﺍﯾﺠﺎﺩﻣﮑﺎﻧﯿﺴﻢ ﺫﻫﻨﯽ ﻣﻮﺭﺩ ﻧﯿﺎﺯ ﺑﺮﺍﯼ ﺭﺷﺪ ﺍﺳﺘﺪﻻﻝ ﻭ ﻗﺪﺭﺕ ﺗﺤﻠﯿﻠﯽ ﻧﻮﺯﺍﺩﺍﻥ ﺍﻧﺠﺎﻡ ﻣﯽ‬
‫ﺩﻫﺪ‪.‬ﺍﺻﻄﻼﺡ »ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ« ﺑﻪ ﻃﻮﺭ ﺧﺎﺹ ﺑﻪ ﺗﺤﻘﯿﻘﺎﺕ ﻋﺼﺐ ﺭﻭﺍﻥ ﺷﻨﺎﺳﯽ ﺭﺍﺷﺮ‪ ،‬ﺷﺎﻭ‬
‫ﻭﮐﯽ )‪ (1995 ،1993‬ﻣﺮﺑﻮﻁ ﻣﯽ ﺷﻮﺩ ﮐﻪ ﺍﻓﺰﺍﯾﺶ ﻣﻮﻗﺘﯽ ﺩﺭ ﺗﻮﺍﻧﺎﯾﯽ ﺩﺍﻧﺸﺠﻮﯾﺎﻥ ﮐﺎﻟﺞ‬
‫ﺑﺮﺍﯼﺍﻧﺠﺎﻡ ﻭﻇﺎﯾﻒ ﻣﮑﺎﻧﯽ‪-‬ﺯﻣﺎﻧﯽ ﺭﺍ ﮔﺰﺍﺭﺵ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﺑﺎ ﺍﻓﺰﺍﯾﺶ ﻧﻤﺮﺍﺕ ‪ IQ‬ﭘﺲ ﺍﺯ ﮔﻮﺵ‬
‫ﺩﺍﺩﻥﻏﯿﺮﻓﻌﺎﻝ ﺑﻪ ‪ 10‬ﺩﻗﯿﻘﻪ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪ .‬ﺍﺯ ﺳﻮﻧﺎﺕ ﻣﻮﺗﺰﺍﺭﺕ ‪ .K. 448‬ﺍﺳﺘﺪﻻﻝ ﻣﮑﺎﻧﯽ‪-‬‬
‫ﺯﻣﺎﻧﯽﺗﻮﺍﻧﺎﯾﯽ ﺗﺠﺴﻢ ﺍﻟﮕﻮﻫﺎﯼ ﻓﻀﺎﯾﯽ ﻭ ﺩﺳﺘﮑﺎﺭﯼ ﺫﻫﻨﯽ ﺁﻧﻬﺎ ﺩﺭ ﻃﻮﻝ ﯾﮏ ﺗﻮﺍﻟﯽ ﻣﺮﺗﺐ‬
‫ﺷﺪﻩﺯﻣﺎﻧﯽ ﺍﺯ ﺩﮔﺮﮔﻮﻧﯽ ﻫﺎﯼ ﻣﮑﺎﻧﯽ ﺍﺳﺖ‪ .‬ﭘﺲ ﺍﺯ ﮔﺰﺍﺭﺵ ﺍﻭﻟﯿﻪ ﺭﺍﻭﺷﺮ‪ ،‬ﯾﮏ ﺑﺤﺚ ﻋﻠﻤﯽ‬
‫ﺩﻗﯿﻖﺩﺭ ﺍﺩﺑﯿﺎﺕ ﺭﻭﺍﻥ ﺷﻨﺎﺧﺘﯽ ﻭ ﺁﻣﻮﺯﺷﯽ ﺑﺎ ﯾﺎﻓﺘﻪ ﻫﺎﯾﯽ ﮐﻪ ﺍﺯ ﻣﻄﺎﻟﻌﺎﺕ ﺭﺍﻭﺷﺮ ﺣﻤﺎﯾﺖ‬
‫ﻣﯽ ﮐﺮﺩ‪،‬ﺁﻏﺎﺯ ﺷﺪ‪.‬‬

‫‪51‬‬ ‫"ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ" ﻭ ﺍﺭﺗﺒﺎﻁ ﺭﯾﺎﺿﯽ‬

 ‫ﻣﺠﻠﻪﮐﺎﻟﺞ ﺧﻮﺍﻧﺪﻥ ﻭ ﯾﺎﺩﮔﯿﺮﯼ‪ ،(2) 42 ،‬ﺑﻬﺎﺭ ‪2012‬‬ ‫‪52‬‬

‫‪ Stough, Kerkin, Bates, & Mangan, 1994(.‬؛‪Stoecker, 1999‬‬

‫& ‪ Steele, Brown,‬؛‪ Steele, Ball, & Runk, 1997‬؛‪al., 1995‬‬
‫‪ RascherewmantedName‬ﻭ ﺁﻧﻬﺎﯾﯽ ﮐﻪ ﺍﺯ ﯾﺎﻓﺘﻪ ﻫﺎﯼ (‪Wilson & Brown, 1997‬‬
‫;‪& Laubach, 1996; Rideout & Taylor, 1997; Sarnthein et al., 1997‬‬
‫‪)Rauscher & Shaw, 1998; Rideout, Dougherty, & Wernert, 1998; Rideout‬‬
‫ﻧﺎﺗﻮﺍﻧﯽﺑﺮﺧﯽ ﺩﺭ ﺗﮑﺮﺍﺭ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺩﺭ ﺁﺯﻣﺎﯾﺶ ﻫﺎﯼ ﺁﺯﻣﺎﯾﺸﮕﺎﻫﯽ ﻣﺸﺎﺑﻪ )ﺍﺳﺘﯿﻞ‪،‬‬
‫‪2006 ،2003 ،2001،2000‬؛ ﺍﺳﺘﯿﻞ‪ ،‬ﺑﺮﺍﻭﻥ‪ ،‬ﻭ ﺍﺳﺘﻮﮐﺮ‪ (1999 ،‬ﺗﻨﻬﺎ ﺑﻪ ﭘﺎﺳﺦ ﻫﺎﯼ ﻗﺎﻃﻊ‬
‫ﺍﺭﺩﻭﮔﺎﻩﺭﺍﻭﺷﺮ ﻭ ﺑﺴﻂ ﺷﻮﺍﻫﺪ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﮐﻤﮏ ﮐﺮﺩ‪Jens, 1998 .‬‬
‫& ‪2000, 2002, 2006; Rauscher & Hinton, 2006; Rauscher, Robinson,‬‬
‫‪Rauscher, 1997,1999,‬؛ ‪Rauscher & Zupan, 2000; Riuscher 19, et al‬‬
‫;‪Riuscher & Hinton, 2006, Rauscher, Robinson, & Jens, 1998‬‬
‫;‪ . .Rauscher & Shaw, 1998; Rauscher & Zupan, 2000‬ﻣﻨﺎﻗﺸﻪ ﺑﺮ ﺳﺮ ﺍﺛﺮ‬
‫ﻣﻮﺗﺰﺍﺭﺕﺩﺭ ﻧﺘﯿﺠﻪ ﺍﯾﻦ ﺗﺼﻮﺭ ﻏﻠﻂ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺗﺰﺍﺭﺕ ﻣﯽ ﺗﻮﺍﻧﺪ ﻫﻮﺵ‬
‫ﻋﻤﻮﻣﯽﺭﺍ ﺍﻓﺰﺍﯾﺶ ﺩﻫﺪ )ﻧﯿﻮﻣﻦ ﻭ ﻫﻤﮑﺎﺭﺍﻥ‪1995 ،‬؛ ﺭﺍﻭﺷﺮ‪1999 ،‬؛ ﺍﺳﺘﯿﻞ‪ ،‬ﺑﺎﻝ‪ ،‬ﻭ ﺭﺍﻧﮏ‪،‬‬
‫‪ .(1997‬ﺭﺍﻭﺷﺮ‪ ،‬ﺷﺎﻭ ﻭ ﮐﯽ )‪ (1995 ،1993‬ﺗﻨﻬﺎ ﺍﺩﻋﺎ ﮐﺮﺩﻧﺪ ﮐﻪ ﺗﻮﺍﻧﺎﯾﯽ ﺩﺍﻧﺸﺠﻮﯾﺎﻥ ﮐﺎﻟﺞ‬
‫ﺑﺮﺍﯼﺍﻧﺠﺎﻡ ﻭﻇﺎﯾﻒ ﻣﮑﺎﻧﯽ‪-‬ﺯﻣﺎﻧﯽ ﺑﻪ ﻃﻮﺭ ﻣﻮﻗﺖ ﺍﻓﺰﺍﯾﺶ ﻣﯽ ﯾﺎﺑﺪ‪ ،‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺑﺎ ﺍﻓﺰﺍﯾﺶ‬
‫ﻧﻤﺮﺍﺕﺿﺮﯾﺐ ﻫﻮﺷﯽ ﭘﺲ ﺍﺯ ﮔﻮﺵ ﺩﺍﺩﻥ ﻣﻨﻔﻌﻼﻧﻪ ﺑﻪ ﻣﻮﺗﺰﺍﺭﺕ ﻣﺸﻬﻮﺩ ﺍﺳﺖ‪ .‬ﻧﺘﺎﯾﺞ‬
‫ﻣﺘﻨﺎﻗﺾﺣﺎﺻﻞ ﺍﺯ ﻣﺘﺎﺁﻧﺎﻟﯿﺰﻫﺎ ﻭ ﺍﺑﻄﺎﻝ ﻫﺎ ﺑﻪ ﺍﯾﻦ ﺑﺤﺚ ﺩﺍﻣﻦ ﺯﺩ )ﭼﺎﺑﺮﯾﺲ‪1999 ،‬؛ ﻫﺘﻠﻨﺪ‪،‬‬
‫‪2000‬؛ﺭﺍﻭﺷﺮ‪1999 ،‬؛ ﺍﺳﺘﯿﻞ ﻭ ﻫﻤﮑﺎﺭﺍﻥ‪ (1999 ،‬ﻭ ﺗﺤﻘﯿﻘﺎﺕ ﻣﺪﺍﻭﻡ ﺩﺭ ﻣﻮﺭﺩ ﭘﺪﯾﺪﻩ ﺍﺛﺮ‬
‫ﻣﻮﺗﺰﺍﺭﺕﺭﺍ ﺑﺮﺍﻧﮕﯿﺨﺖ ﮐﻪ ﺑﺎﺭ ﺩﯾﮕﺮ ﺑﻪ ﻧﺘﺎﯾﺞ ﻣﺘﻔﺎﻭﺗﯽ ﻣﻨﺠﺮ ﺷﺪ )ﺑﺮﯾﺠﺖ ﻭ ﺳﺉﻮ(‪2000 ، .‬؛‬
‫‪Hui، 2006‬؛ ‪ Jausovec‬ﻭ ‪Habe، 2004‬؛ ‪ Jausovec، Jausovec‬ﻭ ‪Gerlic، 2006‬؛‬
‫‪McKelvie & Low، 2002‬؛ ‪ ،Standing، Verpaeist‬ﻭ ‪Ulmer، 2008‬؛ ‪ Zhu‬ﻭ‬
‫ﻫﻤﮑﺎﺭﺍﻥ‪ .(2008،‬ﭼﺎﺑﺮﯾﺲ )‪ (1999‬ﯾﮏ ﻣﺘﺎﺁﻧﺎﻟﯿﺰ ﺍﺯ ‪ 16‬ﻣﻄﺎﻟﻌﻪ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺍﻧﺠﺎﻡ ﺩﺍﺩ ﮐﻪ‬
‫ﻫﯿﭻﺗﻐﯿﯿﺮﯼ ﺩﺭ ‪ IQ‬ﯾﺎ ﺗﻮﺍﻧﺎﯾﯽ ﺍﺳﺘﺪﻻﻝ ﻓﻀﺎﯾﯽ ﭘﯿﺪﺍ ﻧﮑﺮﺩ‪ .‬ﺑﻪ ﮔﻔﺘﻪ ﺭﺍﺷﺮ ﻭ ﻫﯿﻨﺘﻮﻥ )‪(2006‬‬
‫‪،‬ﭼﺎﺑﺮﯾﺲ ﺍﺯ "ﻭﻇﺎﯾﻒ‪ ،‬ﻣﻮﺳﯿﻘﯽ ﻭ ﺭﻭﺵ ﻫﺎﯼ ﭘﮋﻭﻫﺸﯽ ﻧﺎﻣﻨﺎﺳﺐ" )ﺹ ‪ (233‬ﺍﺳﺘﻔﺎﺩﻩ‬
‫ﮐﺮﺩ‪.‬ﻣﺘﺎﺁﻧﺎﻟﯿﺰ ﺟﺪﯾﺪﺗﺮﯼ ﮐﻪ ﺗﻮﺳﻂ ﻫﺘﻠﻨﺪ )‪ (2000‬ﺍﻧﺠﺎﻡ ﺷﺪ ﮐﻪ ﺷﺎﻣﻞ ‪ 36‬ﻣﻄﺎﻟﻌﻪ ﻭ ﺷﺎﻣﻞ‬
‫‪2465‬ﺷﺮﮐﺖ ﮐﻨﻨﺪﻩ ﺑﻮﺩ‪ ،‬ﻧﺸﺎﻥ ﺩﺍﺩ ﮐﻪ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ ،‬ﺍﻣﺎ »ﺑﻪ ﻧﻮﻉ ﺧﺎﺻﯽ ﺍﺯ ﮐﺎﺭ‬
‫ﻓﻀﺎﯾﯽﻣﺤﺪﻭﺩ ﻣﯽ ﺷﻮﺩ ﮐﻪ ﻧﯿﺎﺯ ﺑﻪ ﭼﺮﺧﺶ ﺫﻫﻨﯽ ﺩﺭ ﻏﯿﺎﺏ ﻣﺪﻝ ﻓﯿﺰﯾﮑﯽ ﺩﺍﺭﺩ‪) ” .‬ﺹ‬
‫‪ .(136‬ﺳﺆﺍﻻﺕ ﻧﻈﺮﯼ ﻭ ﺁﻣﻮﺯﺷﯽ ﺩﺭ ﻣﻮﺭﺩ ﻭﺟﻮﺩ ﻭ ﮐﺎﺭﺑﺮﺩ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺣﻞ ﻧﺸﺪﻩ ﺑﺎﻗﯽ‬
‫ﻣﺎﻧﺪﻩﺍﺳﺖ‪.‬‬

‫ﺣﺘﯽﺑﺎ ﻭﺟﻮﺩ ﺍﯾﻨﮑﻪ ﺑﺤﺚ ﺑﺮ ﺳﺮ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺍﺩﺍﻣﻪ ﺩﺍﺷﺖ‪ ،‬ﺑﺮﺧﯽ ﺣﺎﺿﺮ ﺑﻪ ﺭﯾﺴﮏ‬
‫ﺑﻮﺩﻧﺪ‪.‬ﻓﮑﺮ ﺭﺍﻩ ﺣﻠﯽ ﺳﺮﯾﻊ ﺑﺮﺍﯼ ﺭﺷﺪ ﺑﻬﺘﺮ ﺫﻫﻦ ﻧﻮﺯﺍﺩﺍﻥ ﺗﻮﺟﻪ ﻋﻤﻮﻡ ﺭﺍ ﺑﻪ ﺧﻮﺩ ﺟﻠﺐ ﮐﺮﺩ‪.‬‬
‫ﺯﻝﻣﯿﻠﺮ‪ ،‬ﻓﺮﻣﺎﻧﺪﺍﺭ ﺟﻮﺭﺟﯿﺎ ﺩﺭ ﺁﻥ ﺯﻣﺎﻥ‪ ،‬ﺍﻋﺘﺒﺎﺭﯼ ﺭﺍ ﺑﺮﺍﯼ ﻣﺮﺩﻡ ﺑﻪ ﻏﻀﺐ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﻭﺍﻡ‬
‫ﺩﺍﺩﮐﻪ ﻧﯿﺎﺯﻣﻨﺪ ﺗﻮﺯﯾﻊ ﺳﯽ ﺩﯼ ﻫﺎﯼ ﻣﻮﺳﯿﻘﯽ ﮐﻼﺳﯿﮏ ﺑﺮﺍﯼ ﻫﻤﻪ ﻧﻮﺯﺍﺩﺍﻥ ﻣﺘﻮﻟﺪ ﺷﺪﻩ ﺩﺭ‬
‫ﺟﻮﺭﺟﯿﺎﺑﻮﺩ )‪ .(Winner & Hetland، 1999‬ﺍﯾﺎﻟﺖ ﻫﺎﯼ ﺩﯾﮕﺮ ﻧﯿﺰ ﺑﻪ ﺯﻭﺩﯼ ﺩﻧﺒﺎﻝ ﺷﺪﻧﺪ ﻭ‬
‫ﻣﻮﺳﯿﻘﯽﮐﻼﺳﯿﮏ ﺭﺍ ﻣﻠﺰﻡ ﮐﺮﺩﻧﺪ ﮐﻪ ﺩﺭ ﻣﻬﺪﮐﻮﺩﮎ ﻫﺎ ﻭ ﺣﺘﯽ ﺑﺮﺍﯼ ﺯﻧﺪﺍﻧﯿﺎﻥ ﺩﺭ ﺯﻧﺪﺍﻥ ﭘﺨﺶ‬
‫ﺷﻮﺩ)‪ .(Bangerter & Heath, 2004‬ﺩﺭ ﺍﻭﺝ ﺧﻮﺩ‪ ،‬ﻣﻔﻬﻮﻡ ﺭﺍﯾﺞ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺑﻪ ﯾﮏ‬
‫ﺗﺒﺪﯾﻞﺷﺪ‬
‫‪53‬‬ ‫"ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ" ﻭ ﺍﺭﺗﺒﺎﻁ ﺭﯾﺎﺿﯽ‬

‫ﺍﻓﺴﺎﻧﻪﻋﻠﻤﯽ )‪ ،(Bangerter & Heath, 2004‬ﺑﺎﺯﺍﺭ ﺑﺰﺭﮒ ﺭﺳﺎﻧﻪ ﻫﺎﯼ ﺍﻟﮑﺘﺮﻭﻧﯿﮑﯽ ﺭﺍ‬
‫ﻫﺪﺍﯾﺖﻣﯽ ﮐﻨﺪ ﮐﻪ ﻣﻮﺳﯿﻘﯽ ﮐﻼﺳﯿﮏ ﻭ ﺗﺼﺎﻭﯾﺮ ﺳﺎﺩﻩ ﺭﺍ ﺩﺭ ﺍﻧﻮﺍﻉ ﻭﯾﺪﯾﻮﻫﺎ ﻭ ﺳﺎﯾﺮ‬
‫ﻣﺤﺼﻮﻻﺗﯽﮐﻪ ﺑﺮﺍﯼ ﺗﺴﺮﯾﻊ ﺁﻣﻮﺯﺵ ﺑﺮﺍﯼ ﻧﻮﺯﺍﺩﺍﻥ ﻭ ﮐﻮﺩﮐﺎﻥ ﻧﻮﭘﺎ ﺗﺮﻭﯾﺞ ﻣﯽ ﺷﻮﺩ‪ ،‬ﻫﻤﺮﺍﻩ ﻣﯽ‬
‫ﮐﻨﺪ‪.‬ﺣﺒﺎﺏ ﺑﺎﺯﺍﺭ ﻣﺤﺒﻮﺏ ﺯﻣﺎﻧﯽ ﺗﺮﮐﯿﺪ ﮐﻪ ﺁﮐﺎﺩﻣﯽ ﺍﻃﻔﺎﻝ ﺁﻣﺮﯾﮑﺎ ﺗﻮﺻﯿﻪ ﺧﻮﺩ ﺭﺍ ﻣﺒﻨﯽ ﺑﺮ‬
‫ﺍﯾﻨﮑﻪﮐﻮﺩﮐﺎﻥ ﺯﯾﺮ ﺩﻭ ﺳﺎﻝ ﺩﺭ ﻣﻌﺮﺽ ﺗﻤﺎﺷﺎﯼ ﺗﻠﻮﯾﺰﯾﻮﻥ ﯾﺎ ﻭﯾﺪﯾﻮ ﻗﺮﺍﺭ ﻧﮕﯿﺮﻧﺪ ﻣﻨﺘﺸﺮ ﮐﺮﺩ‬
‫)‪ .(Wolf, 2010‬ﺷﺮﮐﺖ ﻭﺍﻟﺖ ﺩﯾﺰﻧﯽ )ﺗﻮﺯﯾﻊ ﮐﻨﻨﺪﻩ ﻓﻌﻠﯽﻋﺰﯾﺰﻡ ﺍﻧﯿﺸﺘﯿﻦﻭﯾﺪﯾﻮﻫﺎ( ﭘﺮﭼﻢ‬
‫ﺳﻔﯿﺪﺭﺍ ﺑﺮﺍﻓﺮﺍﺷﺖ ﻭ ﭘﯿﺸﻨﻬﺎﺩ ﺩﺍﺩ ﮐﻪ ﺗﻤﺎﻡ ﻗﯿﻤﺖ ﺧﺮﯾﺪ ﺭﺍ ﺑﻪ ﻫﻤﻪ ﮐﺴﺎﻧﯽ ﮐﻪ ﺁﻥ ﺭﺍ‬
‫ﺧﺮﯾﺪﺍﺭﯼﮐﺮﺩﻩ ﺍﻧﺪ ﺑﺎﺯﭘﺮﺩﺍﺧﺖ ﮐﻨﺪﻋﺰﯾﺰﻡ ﺍﻧﯿﺸﺘﯿﻦﻭﯾﺪﯾﻮﻫﺎ ﺍﺯ ﺳﺎﻝ ‪) 2004‬ﻟﻮﯾﻦ‪.(2009 ،‬‬

‫ﺍﮔﺮﭼﻪﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺗﺰﺍﺭﺕ ﻣﻤﮑﻦ ﺍﺳﺖ ﻧﻮﺯﺍﺩﺍﻥ ﺭﺍ ﺑﻪ ﻧﺎﺑﻐﻪ ﻫﺎﯼ ﺭﯾﺎﺿﯽ ﺗﺒﺪﯾﻞ‬
‫ﻧﮑﻨﺪ‪،‬ﺍﻣﺎ ﺍﺩﺑﯿﺎﺕ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺩﺭ ﺗﺤﻘﯿﻘﺎﺕ ﭘﺎﯾﻪ ﻭ ﮐﺎﺭﺑﺮﺩﯼ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺍﺛﺮﺑﺨﺸﯽ ﻣﻮﺳﯿﻘﯽ‪،‬‬
‫ﺑﻪﻃﻮﺭ ﮐﻠﯽ‪ ،‬ﻭ ﻣﻮﺗﺰﺍﺭﺕ‪ ،‬ﺑﻪ ﻃﻮﺭ ﺧﺎﺹ‪ ،‬ﺩﺭ ﻣﺤﯿﻂ ﻫﺎﯼ ﺩﺭﻣﺎﻧﯽ ﻭ ﺁﻣﻮﺯﺷﯽ ﺩﺭ ﺣﺎﻝ ﺗﻮﺳﻌﻪ‬
‫ﺍﺳﺖ‪.‬ﺍﺳﺘﺪﻻﻝ ﻣﮑﺎﻧﯽ ﺯﻣﺎﻧﯽ ﺑﺮﺍﯼ ﭘﯿﺸﻨﻬﺎﺩ ﺳﻄﺢ ﺑﺎﻻﺗﺮﯼ ﺍﺯ ﺗﻔﮑﺮ ﻋﻠﻤﯽ ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ‬
‫ﺷﻮﺩ‪.‬ﺍﯾﻦ ﺗﻮﺍﻧﺎﯾﯽ ﺑﺮﺍﯼ ﺗﻮﻟﯿﺪ ﻭ ﻣﻔﻬﻮﻡ ﺳﺎﺯﯼ ﺭﺍﻩ ﺣﻞ ﻫﺎﯾﯽ ﺑﺮﺍﯼ ﻣﺴﺎﺉﻞ ﭼﻨﺪ ﻣﺮﺣﻠﻪ ﺍﯼ‬
‫ﮐﻪﺩﺭ ﺯﻣﯿﻨﻪ ﻫﺎﯾﯽ ﻣﺎﻧﻨﺪ ﻣﻌﻤﺎﺭﯼ‪ ،‬ﻣﻬﻨﺪﺳﯽ‪ ،‬ﻋﻠﻮﻡ‪ ،‬ﺭﯾﺎﺿﯿﺎﺕ‪ ،‬ﻫﻨﺮ‪ ،‬ﺑﺎﺯﯼ ﻫﺎ ﻭ ﺯﻧﺪﮔﯽ‬
‫ﺭﻭﺯﻣﺮﻩﺑﻪ ﻭﺟﻮﺩ ﻣﯽ ﺁﯾﻨﺪ‪ ،‬ﻣﻬﻢ ﺍﺳﺖ‪ .‬ﺍﺳﺘﺪﻻﻝ ﻣﮑﺎﻧﯽ ﺯﻣﺎﻧﯽ ﻣﯽ ﺗﻮﺍﻧﺪ ﺑﻪ ﻫﻤﺎﻥ ﺍﻧﺪﺍﺯﻩ ﯾﺎ‬
‫ﺑﯿﺸﺘﺮﺑﺎ ﯾﮑﯽ ﺍﺯ ﭘﻨﺞ ﺣﺎﻟﺖ ﺍﺻﻠﯽ ﺗﻔﮑﺮ ﺩﯾﮕﺮ ﻣﺮﺗﺒﻂ ﺑﺎﺷﺪ‪ :‬ﺣﺎﻟﺖ ﻫﺎﯼ ﻣﻨﻄﻘﯽ )ﺭﯾﺎﺿﯽ‪/‬‬
‫ﺳﯿﺴﺘﻤﯽ(‪ ،‬ﺑﺼﺮﯼ‪ ،‬ﮐﻼﻣﯽ‪ ،‬ﻓﯿﺰﯾﮑﯽ )ﺟﻨﺒﺸﯽ( ﻭ ﺷﻨﯿﺪﺍﺭﯼ )ﻣﻮﺳﯿﻘﯽ(‪ .‬ﺭﺍﻭﺷﺮ ﻣﺠﻤﻮﻋﻪ ﺍﯼ‬
‫ﺍﺯﻣﻄﺎﻟﻌﺎﺕ ﺭﺍ ﺑﺎ ﺗﻮﺟﻪ ﺑﻪ ﺗﺄﺛﯿﺮ ﺁﻣﻮﺯﺵ ﻣﻮﺳﯿﻘﯽ ﺑﺮ ﺷﻨﺎﺧﺖ ﻣﮑﺎﻧﯽ‪-‬ﺯﻣﺎﻧﯽ ﻭ ﺗﺄﺛﯿﺮ ﻧﺎﺷﯽ ﺍﺯ‬
‫ﺁﻥﺑﺮ ﺁﻣﻮﺯﺵ ﺍﻭﻟﯿﻪ ﺍﻧﺠﺎﻡ ﺩﺍﺩ )ﺭﺍﻭﺷﺮ‪1997 ،‬؛ ﺭﺍﻭﺷﺮ ﻭ ﻫﻤﮑﺎﺭﺍﻥ‪1997 ،‬؛ ﺭﺍﻭﺷﺮ ﻭ ﺯﻭﭘﺎﻥ‪،‬‬
‫‪ .(2000‬ﺑﺮ ﺍﺳﺎﺱ ﻣﺪﻝ ﺗﺮﯾﻮﻥ ﻟﻨﮓ ﻭ ﺷﺎﻭ )‪ ،(1991‬ﺭﺍﻭﺷﺮ )‪ (1997‬ﻓﺮﺽ ﮐﺮﺩ ﮐﻪ ﻓﻌﺎﻟﯿﺖ‬
‫ﻣﻮﺳﯿﻘﯽ‪،‬ﺍﻟﮕﻮﻫﺎﯼ ﺷﻠﯿﮏ ﻋﺼﺒﯽ ﺭﺍ ﺩﺭ ﻣﻨﺎﻃﻖ ﺑﺰﺭﮔﯽ ﺍﺯ ﻗﺸﺮ ﻣﻐﺰ ﺗﻘﻮﯾﺖ ﻣﯽ ﮐﻨﺪ‪ ،‬ﮐﻪ‬
‫ﻫﻤﺎﻥﻧﻮﻉ ﺍﻟﮕﻮﻫﺎﯼ ﺷﻠﯿﮏ ﻣﻮﺭﺩ ﻧﯿﺎﺯ ﺑﺮﺍﯼ ﻭﻇﺎﯾﻒ ﺍﺳﺘﺪﻻﻝ ﻣﮑﺎﻧﯽ‪-‬ﺯﻣﺎﻧﯽ ﺍﺳﺖ‪ .‬ﺭﺍﻭﺷﺮ ﻭ‬
‫ﺷﺎﻭ)‪ (1998‬ﻣﺪﻝ ﺗﺮﯾﻮﻥ ﺭﺍ ﭼﻨﯿﻦ ﺗﻌﺮﯾﻒ ﮐﺮﺩﻧﺪ‬

‫ﺗﺤﻘﻖﺭﯾﺎﺿﯽ ﺑﺴﯿﺎﺭ ﺳﺎﺧﺘﺎﺭ ﯾﺎﻓﺘﻪ ﺍﺯ ﺍﺻﻞ ﺳﺎﺯﻣﺎﻧﯽ ‪ Mountcastle‬ﺑﺮﺍﯼ ﻗﺸﺮ ﻣﻐﺰ‪.‬‬

‫‪ Mountcastle‬ﭘﯿﺸﻨﻬﺎﺩ ﮐﺮﺩ ﮐﻪ ﺳﺘﻮﻥ ﻗﺸﺮﯼ‪ ،‬ﺷﺒﮑﻪ ﻋﺼﺒﯽ ﭘﺎﯾﻪ ﻗﺸﺮ‪ ،‬ﻣﯽ ﺗﻮﺍﻧﺪ ﺑﻪ‬
‫ﺍﻟﮕﻮﻫﺎﯼﺷﻠﯿﮏ ﭘﯿﭽﯿﺪﻩ ﺍﯼ ﺑﺮﺍﻧﮕﯿﺨﺘﻪ ﺷﻮﺩ ﮐﻪ‪ ،‬ﺩﺭ ﻣﺪﻝ ﺗﺮﯾﻮﻥ‪ ،‬ﺩﺭ ﺍﺟﺮﺍﯼ ﻭﻇﺎﯾﻔﯽ ﮐﻪ‬
‫ﻧﯿﺎﺯﺑﻪ ﺗﻮﺍﻧﺎﯾﯽ ﺗﺸﺨﯿﺺ ﻭ ﻃﺒﻘﻪ ﺑﻨﺪﯼ ﺷﺒﺎﻫﺖ ﻫﺎﯼ ﻓﯿﺰﯾﮑﯽ ﺑﯿﻦ ﺍﺷﯿﺎء ﺩﺍﺭﻧﺪ‪ ،‬ﻣﻮﺭﺩ‬
‫ﺍﺳﺘﻔﺎﺩﻩﻗﺮﺍﺭ ﻣﯽ ﮔﯿﺮﻧﺪ‪.‬ﻭﻇﺎﯾﻒ ﺗﺸﺨﯿﺺ ﻓﻀﺎﯾﯽ‪) .‬ﺹ ‪(835‬‬

‫ﺭﺍﻭﺷﺮﺍﯾﻦ ﻧﻈﺮﯾﻪ ﺭﺍ ﻣﻄﺮﺡ ﮐﺮﺩ ﮐﻪ ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺳﯿﻘﯽ ﯾﺎ ﺷﺮﮐﺖ ﺩﺭ ﺁﻣﻮﺯﺵ‬

‫ﻣﻮﺳﯿﻘﯽ‪،‬ﺍﻟﮕﻮﻫﺎﯼ ﺷﻠﯿﮏ ﻗﺸﺮﯼ ﻻﺯﻡ ﺑﺮﺍﯼ ﺍﺳﺘﺪﻻﻝ ﻣﮑﺎﻧﯽ‪-‬ﺯﻣﺎﻧﯽ ﺭﺍ ﺑﺮﺍﻧﮕﯿﺨﺘﻪ ﻭ ﺁﻏﺎﺯ ﻣﯽ‬
‫ﮐﻨﺪ‪.‬ﻧﺘﺎﯾﺞ ﺭﺍﻭﺷﺮ ﻭ ﺯﻭﭘﺎﻥ )‪ (2000‬ﺍﺯ ﻣﺪﻝ ﻟﻨﮓ ﻭ ﺷﺎﻭ )‪ (1991‬ﭘﺸﺘﯿﺒﺎﻧﯽ ﮐﺮﺩﻧﺪ ﻭ ﮔﺰﺍﺭﺵ‬
‫ﺩﺍﺩﻧﺪﮐﻪ ﺁﻣﻮﺯﺵ ﻣﻮﺳﯿﻘﯽ ﺍﻭﻟﯿﻪ ﺍﺳﺘﺪﻻﻝ ﻣﮑﺎﻧﯽ‪-‬ﺯﻣﺎﻧﯽ ﺭﺍ ﺩﺭ ﮐﻮﺩﮐﺎﻥ ﻣﻬﺪﮐﻮﺩﮎ ﺍﻓﺰﺍﯾﺶ‬
‫ﻣﯽ ﺩﻫﺪ‪.‬‬
 ‫ﻣﺠﻠﻪﮐﺎﻟﺞ ﺧﻮﺍﻧﺪﻥ ﻭ ﯾﺎﺩﮔﯿﺮﯼ‪ ،(2) 42 ،‬ﺑﻬﺎﺭ ‪2012‬‬ ‫‪54‬‬

‫ﻣﻮﺳﯿﻘﯽﭘﺲ ﺯﻣﯿﻨﻪ‬
‫ﺗﺤﻘﯿﻘﺎﺗﯽﮐﻪ ﺑﻪ ﺑﺮﺭﺳﯽ ﺗﺄﺛﯿﺮﺍﺕ ﻣﻮﺳﯿﻘﯽ ﺑﺮ ﺧﻠﻖ ﻭ ﺧﻮﯼ‪ ،‬ﻋﻮﺍﻃﻒ ﻭ ﺭﻓﺘﺎﺭ ﻣﯽ ﭘﺮﺩﺍﺯﺩ‬
‫ﺩﺭﺑﺴﯿﺎﺭﯼ ﺍﺯ ﺯﻣﯿﻨﻪ ﻫﺎ ﺍﺯ ﺟﻤﻠﻪ ﺗﺠﺎﺭﺕ‪ ،‬ﺁﻣﻮﺯﺵ‪ ،‬ﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﻭ ﻣﻮﺍﺭﺩ ﺩﯾﮕﺮ ﻣﻮﺭﺩ ﺑﺮﺭﺳﯽ‬
‫ﻗﺮﺍﺭﻣﯽ ﮔﯿﺮﺩ )ﮔﺎﺳﺘﻮﻥ‪1968 ،‬؛ ﻫﺎﺭﮔﺮﯾﻮﺯ ﻭ ﻧﻮﺭﺙ‪1997 ،‬؛ ﻣﺮﯾﺎﻡ‪ .(1964 ،‬ﻣﻮﺳﯿﻘﯽ‬
‫ﭘﺲ ﺯﻣﯿﻨﻪﺑﻪ ﻃﻮﺭ ﮔﺴﺘﺮﺩﻩ ﺗﻮﺳﻂ ﺍﻓﺮﺍﺩ ﺍﺳﺘﻔﺎﺩﻩ ﻣﯽ ﺷﻮﺩ ﻭ ﻫﻤﭽﻨﯿﻦ ﺩﺭ ﺑﯿﺸﺘﺮ‬
‫ﻋﺮﺻﻪ ﻫﺎﯼﻋﻤﻮﻣﯽ ﺭﺍﯾﺞ ﺍﺳﺖ‪ :‬ﻓﺮﻭﺷﮕﺎﻩ ﻫﺎﯼ ﻣﻮﺍﺩ ﻏﺬﺍﯾﯽ‪ ،‬ﻣﺮﺍﮐﺰ ﺧﺮﯾﺪ‪ ،‬ﻓﺮﻭﺩﮔﺎﻩ ﻫﺎ‪،‬‬
‫ﺍﺗﺎﻕ ﻫﺎﯼﺍﻧﺘﻈﺎﺭ ﺑﺮﺍﯼ ﺍﻧﻮﺍﻉ ﺩﻓﺎﺗﺮ‪ ،‬ﻭ ﻃﯿﻒ ﮔﺴﺘﺮﺩﻩ ﺍﯼ ﺍﺯ ﻣﮑﺎﻥ ﻫﺎﯼ ﺩﯾﮕﺮ‪ .‬ﺍﺯ ﺁﻧﺠﺎﯾﯽ ﮐﻪ‬
‫ﻣﻮﺳﯿﻘﯽﭘﺲ ﺯﻣﯿﻨﻪ ﻧﻘﺶ ﻣﻬﻤﯽ ﺩﺭ ﺯﻧﺪﮔﯽ ﺧﺼﻮﺻﯽ ﻭ ﻋﻤﻮﻣﯽ ﺭﻭﺯﻣﺮﻩ ﯾﮏ ﻓﺮﺩ ﺍﯾﻔﺎ‬
‫ﻣﯽ ﮐﻨﺪ‪،‬ﺍﯾﻦ ﯾﮏ ﭘﯿﺸﺮﻓﺖ ﻃﺒﯿﻌﯽ ﺑﺮﺍﯼ ﻣﺤﻘﻘﺎﻥ ﺁﻣﻮﺯﺷﯽ ﺍﺳﺖ ﮐﻪ ﺑﭙﺮﺳﻨﺪ ﺁﯾﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬
‫ﻣﻮﺳﯿﻘﯽﭘﺲ ﺯﻣﯿﻨﻪ ﺑﺎﻋﺚ ﺗﺤﺮﯾﮏ ﯾﺎﺩﮔﯿﺮﯼ ﺩﺭ ﮐﻼﺱ ﺩﺭﺱ ﻣﯽ ﺷﻮﺩ ﯾﺎ ﺧﯿﺮ‪ .‬ﭼﻨﯿﻦ‬
‫ﺳﻮﺍﻻﺗﯽﺑﺮﺍﯼ ﺳﺎﻟﻬﺎﯼ ﻣﺘﻤﺎﺩﯼ ﺑﺎ ﻧﺘﺎﯾﺞ ﻣﺘﻔﺎﻭﺕ ﻣﻮﺭﺩ ﺑﺮﺭﺳﯽ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻪ ﺍﻧﺪ )ﻓﻮﮔﻠﺴﻮﻥ‪،‬‬
‫‪1973‬؛ﻫﺎﻝ‪1952 ،‬؛ ﮐﯿﮕﺮ‪1989 ،‬؛ ﻣﯿﭽﻞ‪ .(1949 ،‬ﻣﻄﺎﻟﻌﺎﺕ ﺟﺪﯾﺪﺗﺮ ﻧﺘﺎﯾﺞ ﻣﺜﺒﺘﯽ ﺭﺍ‬
‫ﻧﺸﺎﻥﻣﯽ ﺩﻫﺪ ﮐﻪ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﻋﻤﻠﮑﺮﺩ ﺩﺭ ﮐﺎﺭﻫﺎﯼ ﺷﻨﺎﺧﺘﯽ ﺭﺍ ﺩﺭ ﻧﺘﯿﺠﻪ‬
‫ﺑﺮﺍﻧﮕﯿﺨﺘﮕﯽﯾﺎ ﺧﻠﻖ ﻭ ﺧﻮﯼ ﺍﻓﺰﺍﯾﺶ ﻣﯽ ﺩﻫﺪ )‪2002; Isen, 2000; Savan, 1999‬‬
‫‪ .(Hallam & Price, 1998; Hallam, Price, & Katsarou‬ﺍﯾﻦ ﯾﺎﻓﺘﻪ ﺑﺎ ﺍﺩﺑﯿﺎﺕ ﻣﻮﺟﻮﺩ‬
‫ﺑﺮﺍﻧﮕﯿﺨﺘﮕﯽﻭ ﺧﻠﻖ ﻭ ﺧﻮﯼ ﺣﻤﺎﯾﺖ ﮐﻨﻨﺪﻩ ﺍﺯ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﻣﻄﺎﺑﻘﺖ ﺩﺍﺭﺩ )ﻧﺎﻧﺘﺎﻧﯿﺲ ﻭ‬
‫ﺷﻠﻨﺒﺮﮒ‪1999،‬؛ ﺗﺎﻣﭙﺴﻮﻥ‪ ،‬ﺷﻠﻨﺒﺮﮒ‪ ،‬ﻭ ﺣﺴﯿﻦ‪ .(2001 ،‬ﺍﺩﺑﯿﺎﺕ ﺍﺧﯿﺮ ﻫﻤﭽﻨﯿﻦ ﺑﻪ ﺍﯾﻦ‬
‫ﻧﺘﯿﺠﻪﺭﺳﯿﺪﻩ ﺍﺳﺖ ﮐﻪ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺩﺭ ﻣﺤﯿﻂ ﻫﺎﯼ ﺁﻣﻮﺯﺷﯽ ﺍﺿﻄﺮﺍﺏ ﺭﺍ ﮐﺎﻫﺶ‬
‫ﻣﯽ ﺩﻫﺪ)‪Crncec, Wilson, & Prior, 2006‬؛ ‪Mulhall, 2009‬‬
‫& ‪Graham, Robinson,‬؛ ‪Hallam & Price, 1998‬؛ ‪.(Hallam et al., 2002‬‬

‫ﻣﻮﺯﺍﯾﯿﮏﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ‬
‫ﺍﯾﻮﺍﻧﻮﻑﻭ ﮔﯿﮏ )‪ ،(2003‬ﺩﺭ ﻣﻄﺎﻟﻌﻪ ﺍﺧﯿﺮ ﺩﺭ ﻣﻮﺭﺩ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ‪ ،‬ﺑﻪ ﺍﯾﻦ ﻧﺘﯿﺠﻪ ﺭﺳﯿﺪﻧﺪ‬
‫ﮐﻪﺗﻌﺪﺍﺩﯼ ﺍﺯ ﻣﺴﺎﺉﻞ ﭘﯿﺮﺍﻣﻮﻥ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﮐﻪ ﺑﺮﺭﺳﯽ ﺑﯿﺸﺘﺮ ﺁﻥ ﺭﺍ ﺗﻮﺟﯿﻪ ﻣﯽ‬
‫ﮐﻨﺪ‪ ،Overy )1998( .‬ﺩﺭ ﺑﺤﺚ ﺳﺮﻣﻘﺎﻟﻪ ﺍﯼ ﺍﺯ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ‪ ،‬ﺗﺄﮐﯿﺪ ﮐﺮﺩ ﮐﻪ ﺍﺭﺗﺒﺎﻁ ﺑﯿﻦ‬
‫ﻣﻮﺳﯿﻘﯽﻭ ﺗﻮﺳﻌﻪ ﻓﺮﺁﯾﻨﺪﻫﺎﯼ ﺷﻨﺎﺧﺘﯽ ﺑﻪ ﻭﺿﻮﺡ ﻣﺸﺨﺺ ﻧﯿﺴﺖ‪ .‬ﺍﻭ ﻧﻪ ﺗﻨﻬﺎ ﺗﻮﺳﻌﻪ‬
‫ﻓﺮﺁﯾﻨﺪﻫﺎﯼﺷﻨﺎﺧﺘﯽ‪ ،‬ﺑﻠﮑﻪ ﻗﺎﺑﻠﯿﺖ ﺍﻧﺘﻘﺎﻝ ﺑﻪ ﺳﺎﯾﺮ ﺣﻮﺯﻩ ﻫﺎﯼ ﯾﺎﺩﮔﯿﺮﯼ ﺭﺍ ﺯﯾﺮ ﺳﻮﺍﻝ ﺑﺮﺩ‪.‬‬
‫ﺳﺮﺍﻧﺠﺎﻡﺭﺍﻭﺷﺮ )‪ (2000‬ﺍﻇﻬﺎﺭ ﺩﺍﺷﺖ‪» :‬ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﻧﻪ ﺟﺎﺩﻭ ﺍﺳﺖ ﻭ ﻧﻪ ﯾﮏ ﺍﻋﺘﻘﺎﺩ‬
‫ﺍﻋﺘﻘﺎﺩﯼ‪،‬ﺑﻠﮑﻪ ﻣﻮﺿﻮﻉ ﺗﺤﻘﯿﻖ ﺟﺪﯼ ﻣﺪﺍﻭﻡ ﺍﺳﺖ‪ «.‬ﺑﻪ ﺍﯾﻦ ﺗﺮﺗﯿﺐ‪ ،‬ﺭﺍﻭﺷﺮ )‪ (2000‬ﺍﻇﻬﺎﺭ‬
‫ﺩﺍﺷﺖﮐﻪ "ﻧﻪ ﺗﻨﻬﺎ ﺑﻪ ﺩﻟﯿﻞ ﺍﻫﻤﯿﺖ ﻧﻈﺮﯼ‪ ،‬ﺑﻠﮑﻪ ﻫﻤﭽﻨﯿﻦ ﭘﯿﺎﻣﺪﻫﺎﯼ ﻋﻤﻠﯽ ﺑﺎﻟﻘﻮﻩ ﺁﻥ‪ ،‬ﺑﻪ‬
‫ﻭﯾﮋﻩﺩﺭ ﺁﻣﻮﺯﺵ‪ ،‬ﺍﺭﺯﺵ ﺗﺤﻘﯿﻘﺎﺕ ﻣﺪﺍﻭﻡ ﺭﺍ ﺩﺍﺭﺩ" )ﭘﺎﺭﺍﮔﺮﺍﻑ ‪.(17‬‬

‫ﺍﺩﺑﯿﺎﺕﻣﻮﺟﻮﺩ ﺩﺭ ﺭﺍﺑﻄﻪ ﺑﺎ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺑﻪ ﯾﮏ ﻣﻮﺯﺍﯾﯿﮏ ﺗﺒﺪﯾﻞ ﺷﺪﻩ ﺍﺳﺖ‪ :‬ﺩﺭ ﺳﻄﺢ‬
‫ﺑﯿﻦﺍﻟﻤﻠﻠﯽ ﺑﺎ ﺗﺤﻘﯿﻘﺎﺕ ﺍﺳﺘﺮﺍﻟﯿﺎ‪ ،‬ﮐﺎﻧﺎﺩﺍ‪ ،‬ﭼﯿﻦ‪ ،‬ﺍﺭﻭﭘﺎ‪ ،‬ﮊﺍﭘﻦ‪ ،‬ﻧﯿﻮﺯﻟﻨﺪ ﻭ ﺍﯾﺎﻻﺕ ﻣﺘﺤﺪﻩ ﺁﻣﯿﺨﺘﻪ‬
‫ﺷﺪﻩﺍﺳﺖ ﻭ ﺍﺯ ﻧﻈﺮ ﻧﺴﻠﯽ ﺑﻪ ﭘﺪﺭﺑﺰﺭﮒ ﻫﺎ‪ ،‬ﻭﺍﻟﺪﯾﻦ‪ ،‬ﻣﺮﺑﯿﺎﻥ ﻭ ﻓﺮﺯﻧﺪﺍﻥ ﻣﺮﺑﻮﻁ ﻣﯽ ﺷﻮﺩ‪ .‬ﺍﯾﻦ‬
‫ﭘﮋﻭﻫﺶﻫﻢ ﺗﺤﻘﯿﻘﺎﺕ ﭘﺎﯾﻪ ﻭ ﻫﻢ ﮐﺎﺭﺑﺮﺩﯼ ﺭﺍ ﭘﯿﻮﻧﺪ ﻣﯽ ﺩﻫﺪ ﻭ ﺩﺭ ﺭﺷﺘﻪ ﻫﺎﯼ ﻣﺨﺘﻠﻔﯽ ﻣﺎﻧﻨﺪ‬
‫ﺭﻭﺍﻥ ﺷﻨﺎﺳﯽ‪،‬ﻋﻠﻮﻡ ﺍﻋﺼﺎﺏ‪ ،‬ﻣﻮﺳﯿﻘﯽ‪ ،‬ﺁﻣﻮﺯﺵ‪ ،‬ﺗﺠﺎﺭﺕ ﻭ ﺣﻘﻮﻕ ﺍﻣﺘﺪﺍﺩ ﻣﯽ ﯾﺎﺑﺪ‪.‬‬
‫‪55‬‬ ‫"ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ" ﻭ ﺍﺭﺗﺒﺎﻁ ﺭﯾﺎﺿﯽ‬

‫ﻣﺸﺎﺭﮐﺖﻣﺎ ﺩﺭ ﻣﻮﺯﺍﯾﯿﮏ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺍﺳﺎﺳﺎ ًﺑﺮ ﺭﻭﯼ ﺍﺛﺮ ﭘﺮﺍﯾﻤﯿﻨﮓ ﻣﺘﻘﺎﺑﻞ ﺍﺳﺘﻮﺍﺭ ﺍﺳﺖ‬
‫)ﻟﻨﮓ ﻭ ﺷﺎﻭ‪1991 ،‬؛ ﺭﺍﻭﺷﺮ ﻭ ﺯﻭﭘﺎﻥ‪ ،(2000 ،‬ﺑﺮﺭﺳﯽ ﺗﺄﺛﯿﺮ ﻏﯿﺮﻣﺴﺘﻘﯿﻢ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺑﺮ‬
‫ﺍﺭﺯﯾﺎﺑﯽﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯽ ﺗﻮﺳﻂ ﺩﺍﻧﺸﺠﻮﯾﺎﻥ‪ .‬ﭘﺮﺍﯾﻤﯿﻨﮓ ﻣﺘﻘﺎﻃﻊ ﯾﮏ ﺍﺛﺮ ﺣﺎﻓﻈﻪ ﺍﺳﺖ ﮐﻪ ﺩﺭ‬
‫ﺁﻥﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﺩﺭ ﻣﻌﺮﺽ ﻧﻮﻋﯽ ﻣﺤﺮﮎ‪ ،‬ﯾﺎﺩﺁﻭﺭﯼ ﺍﻃﻼﻋﺎﺕ ﻗﺒﻠﯽ ﺭﺍ ﺍﻓﺰﺍﯾﺶ ﻣﯽ ﺩﻫﺪ‪ .‬ﺑﺎ‬
‫ﭘﯿﻮﻧﺪﺑﻪ ﺍﺩﺑﯿﺎﺕ ﺑﺮﺍﻧﮕﯿﺨﺘﮕﯽ ﻭ ﺧﻠﻖ ﻭ ﺧﻮﯼ )‪Nantanis & Schellenberg، 1999‬؛‬
‫ﺗﺎﻣﭙﺴﻮﻥﻭ ﻫﻤﮑﺎﺭﺍﻥ‪ ،(2001 ،‬ﻣﺎ ﺍﺯ ﯾﮏ ﺭﻭﯾﮑﺮﺩ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺍﺻﻼﺡ ﺷﺪﻩ ﺍﺳﺘﻔﺎﺩﻩ‬
‫ﮐﺮﺩﯾﻢ‪،‬ﮐﻪ ﺑﻪ ﺩﺭﻣﺎﻥ ﻣﻮﺳﯿﻘﯽ ﺍﺟﺎﺯﻩ ﻣﯽ ﺩﻫﺪ ﺗﺎ ﻓﺎﺻﻠﻪ ‪ 55‬ﺩﻗﯿﻘﻪ ﺍﯼ ﻣﻮﺭﺩ ﻧﯿﺎﺯ ﺍﺭﺯﯾﺎﺑﯽ‬
‫ﻋﻤﻠﮑﺮﺩﺭﯾﺎﺿﯿﺎﺕ ﺭﺍ ﮔﺴﺘﺮﺵ ﺩﻫﺪ‪ .‬ﻣﺎ ﺗﺼﻤﯿﻢ ﺧﻮﺩ ﺭﺍ ﺑﺮﺍﯼ ﻃﻮﻻﻧﯽ ﮐﺮﺩﻥ ﺯﻣﺎﻥ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ‬
‫ﺩﺭﻣﻌﺮﺽ ﻣﻮﺳﯿﻘﯽ ﺑﺮ ﺍﺳﺎﺱ ﭘﯿﺸﻨﻬﺎﺩﺍﺕ ﺟﻨﮑﯿﻨﺰ )‪ (2001‬ﺍﺳﺘﻮﺍﺭ ﮐﺮﺩﯾﻢ‪.‬‬

‫ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥﺩﺭﻣﺎﻥ ﻣﻮﺳﯿﻘﯽ ﻣﺎ ﻭ ﻫﻤﭽﻨﯿﻦ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﮔﺮﻭﻩ ﮐﻨﺘﺮﻝ‪ ،‬ﺍﺭﺯﯾﺎﺑﯽ ﻋﻤﻠﮑﺮﺩ‬
‫ﺭﯾﺎﺿﯽﺭﺍ ﺩﺭ ﻣﺤﯿﻂ ﻃﺒﯿﻌﯽ ﮐﻼﺱ ﺩﺭﺱ ﺧﻮﺩ ﺗﮑﻤﯿﻞ ﮐﺮﺩﻧﺪ‪ .‬ﺑﻨﺎﺑﺮﺍﯾﻦ‪ ،‬ﮔﺮﻭﻩ ﮐﻨﺘﺮﻝ "ﺳﮑﻮﺕ‬
‫" ﺻﺪﺍﯼ ﭘﺲ ﺯﻣﯿﻨﻪ ﻣﻌﻤﻮﻝ ﺩﺭ ﻣﺤﯿﻂ ﮐﻼﺱ ﺍﺳﺖ )ﺍﯾﻮﺍﻧﻒ ﻭ ﮔﯿﮏ‪2003 ،‬؛ ﺟﮑﺴﻮﻥ ﻭ‬
‫ﺗﻼﮐﺎ‪ Standing، Verpaeist .(2004،‬ﻭ (‪ Ulmer )2008‬ﮔﺰﺍﺭﺵ ﺩﺍﺩﻧﺪ ﮐﻪ ﺷﺮﮐﺖ‬
‫ﮐﻨﻨﺪﮔﺎﻥﺩﺭ ﻫﻨﮕﺎﻡ ﺍﺭﺍﺉﻪ ﯾﮏ ﺍﻋﻼﻥ ﺧﻨﺜﯽ ﺩﺭ ﻣﻮﺭﺩ ﺗﺄﺛﯿﺮ ﻣﻮﺳﯿﻘﯽ ﺩﺭ ﻣﻘﺎﺑﻞ ﺍﻋﻼﻥ ﻣﺜﺒﺖ ﯾﺎ‬
‫ﻣﻨﻔﯽ‪،‬ﻧﻤﺮﺍﺕ ﻫﻮﺵ ﻓﻀﺎﯾﯽ ﻭ ﮐﻼﻣﯽ ﺑﺎﻻﺗﺮﯼ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩﻧﺪ‪ .‬ﺑﺮﺍﯼ ﺟﻠﻮﮔﯿﺮﯼ ﺍﺯ ﻫﺮ ﮔﻮﻧﻪ‬
‫ﺗﻔﺴﯿﺮﯼﺗﻮﺳﻂ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﮐﻪ ﭘﺎﺳﺦ ﺁﻧﻬﺎ ﺭﺍ ﻧﺴﺒﺖ ﺑﻪ ﺩﺭﻣﺎﻥ ﻣﻮﺳﯿﻘﯽ ﺳﻮﮔﯿﺮﯼ‬
‫ﻣﯽ ﮐﻨﺪ‪،‬ﻣﺎ ﺗﺼﻤﯿﻢ ﮔﺮﻓﺘﯿﻢ ﮐﻪ ﻗﺒﻞ ﻭ ﯾﺎ ﺑﻌﺪ ﺍﺯ ﺍﺭﺯﯾﺎﺑﯽ ﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯿﺎﺕ ﺩﺭ ﻣﻮﺭﺩ ﺗﺄﺛﯿﺮ‬
‫ﻣﻮﺭﺩﺍﻧﺘﻈﺎﺭ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﻫﯿﭻ ﺍﻋﻼﻣﯿﻪ ﺍﯼ ﻧﺪﻫﯿﻢ‪.‬‬

‫ﺩﺭﻧﻬﺎﯾﺖ‪ ،‬ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﯿﻢ ﮐﻪ ﺩﺭ ﻫﻨﮕﺎﻡ ﺍﺭﺯﯾﺎﺑﯽ‪ ،‬ﮐﺪﺍﻡ ﻣﻮﺳﯿﻘﯽ ﺭﺍ ﺩﺭ ﭘﺲ ﺯﻣﯿﻨﻪ ﭘﺨﺶ‬
‫ﮐﻨﯿﻢ‪.‬ﻫﯿﻮﺯ ﻭ ﻓﯿﻨﻮ )‪ (2000‬ﺗﻌﯿﯿﻦ ﮐﺮﺩﻧﺪ ﮐﻪ ﺗﻌﺪﺍﺩ ﺯﯾﺎﺩﯼ ﺍﺯ ﺍﻧﺘﺨﺎﺏ ﻫﺎﯼ ﻣﻮﺗﺰﺍﺭﺕ ﻭ ﺩﻭ‬
‫ﺍﻧﺘﺨﺎﺏﺑﺎﺥ ﺩﺍﺭﺍﯼ ﺩﺭﺟﻪ ﺑﺎﻻﯾﯽ ﺍﺯ ﺗﻨﺎﻭﺏ ﻃﻮﻻﻧﯽ ﻣﺪﺕ ﻫﺴﺘﻨﺪ ﮐﻪ ﺗﻮﺳﻂ ﺟﻨﮑﯿﻨﺰ )‪(2001‬‬
‫ﺑﻪﻋﻨﻮﺍﻥ ﻋﻨﺼﺮ ﺍﺳﺎﺳﯽ ﮐﻪ ﻣﻮﺳﯿﻘﯽ ﻣﻮﺗﺰﺍﺭﺕ ﺭﺍ ﺩﺭ ﺁﻏﺎﺯﮔﺮﻫﺎﯼ ﻣﺘﻘﺎﺑﻞ ﺍﺛﺮﺑﺨﺶ ﻣﯽ ﮐﻨﺪ‬
‫ﺗﻔﺴﯿﺮﻣﯽ ﺷﻮﺩ‪ . .‬ﻣﺎﺭﺳﺪﻥ )‪ (1987‬ﭘﯿﭽﯿﺪﮔﯽ ﻣﻮﺳﯿﻘﯽ ﻣﻮﺗﺰﺍﺭﺕ ﺭﺍ ﻣﻄﺎﻟﻌﻪ ﮐﺮﺩ ﻭ‬
‫ﺩﺭﯾﺎﻓﺖﮐﻪ ﻣﻮﺳﯿﻘﯽ ﻣﻮﺗﺰﺍﺭﺕ ﻧﻪ ﺷﻨﻮﻧﺪﻩ ﺭﺍ ﺑﺎ ﺗﻘﺎﺿﺎﯼ ﺷﻨﺎﺧﺘﯽ ﮐﻢ ﺧﺴﺘﻪ ﻣﯽ ﮐﻨﺪ ﻭ ﻧﻪ‬
‫ﺷﻨﻮﻧﺪﻩﺑﺎ ﺗﻘﺎﺿﺎﯼ ﺷﻨﺎﺧﺘﯽ ﺑﺎﻻ ﺭﺍ ﺑﯿﺶ ﺍﺯ ﺣﺪ ﺗﺤﺮﯾﮏ ﻣﯽ ﮐﻨﺪ‪ .‬ﺑﻪ ﻗﻮﻝ ﻣﺎﺭﺳﺪﻥ‪،‬‬
‫»ﻗﻄﻌﻪ ﻫﺎﯼﻣﻮﺳﯿﻘﯽ ﻣﻮﺗﺰﺍﺭﺕ‪ ...‬ﺳﻄﺢ ﺛﺎﺑﺘﯽ ﺍﺯ ﺗﻘﺎﺿﺎﯼ ﺷﻨﺎﺧﺘﯽ ﺭﺍ ﺩﺭ ﺳﺮﺍﺳﺮ ﺟﻬﺎﻥ‬
‫ﺣﻔﻆﻣﯽ ﮐﻨﻨﺪ« )ﺹ‪ .(57 .‬ﺑﻨﺎﺑﺮﺍﯾﻦ ﺗﺼﻤﯿﻢ ﮔﺮﻓﺘﯿﻢ ﺍﺯ ﻣﻮﺳﯿﻘﯽ ﻣﻮﺗﺰﺍﺭﺕ ﺍﺳﺘﻔﺎﺩﻩ ﮐﻨﯿﻢ‪.‬‬
‫ﺑﺮﺍﯼﺍﺯ ﺑﯿﻦ ﺑﺮﺩﻥ ﺧﺴﺘﮕﯽ ﺷﻨﻮﻧﺪﻩ ﮐﻪ ﻣﻤﮑﻦ ﺍﺳﺖ ﺑﺎ ﺗﮑﺮﺍﺭ ﻫﻤﺎﻥ ﺍﻧﺘﺨﺎﺏ ﮐﻮﺗﺎﻩ ﻣﻮﺗﺰﺍﺭﺕ‬
‫ﺩﺭﻃﻮﻝ ‪ 55‬ﺩﻗﯿﻘﻪ ﺍﯾﺠﺎﺩ ﺷﻮﺩ ﻭ ﺑﺮﺍﯼ ﺑﺮﺭﺳﯽ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺍﻧﺘﺨﺎﺏ ﻫﺎﯾﯽ ﻏﯿﺮ ﺍﺯ ﺳﻮﻧﺎﺕ‬
‫ﻣﻮﺗﺰﺍﺭﺕ‪ ،K. 448‬ﺗﺼﻤﯿﻢ ﮔﺮﻓﺘﯿﻢ ﮐﻪ ﻣﺠﻤﻮﻋﻪ ﺑﺰﺭﮔﺘﺮﯼ ﺍﺯ ﻣﻮﺳﯿﻘﯽ ﻣﻮﺗﺴﺎﺭﺕ ﺭﺍ ﭘﺨﺶ‬
‫ﮐﻨﯿﻢ‪.‬ﺗﺮﮐﯿﺐ ﺍﯾﻦ ﻋﻮﺍﻣﻞ ﺩﺭ ﻃﺮﺍﺣﯽ ﺁﺯﻣﺎﯾﺸﯽ ﺑﺎ ﮔﺴﺘﺮﺵ ﺍﺩﺑﯿﺎﺕ ﻣﻮﺟﻮﺩ‪ ،‬ﯾﮏ ﻗﻄﻌﻪ ﺩﯾﮕﺮ‬
‫ﺑﻪﻣﻮﺯﺍﯾﯿﮏ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺍﺿﺎﻓﻪ ﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﻣﻄﺎﻟﻌﻪﺣﺎﺿﺮ ﺑﻪ ﺩﻧﺒﺎﻝ ﭘﺎﺳﺦ ﺑﻪ ﺍﯾﻦ ﺳﻮﺍﻝ ﺍﺳﺖ‪ :‬ﺁﯾﺎ "ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ" ﺑﺮﺍﯼ ﺍﺭﺯﯾﺎﺑﯽ ﻧﺘﯿﺠﻪ‬
‫ﺑﺮﺍﯼﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻧﯽ ﮐﻪ ﺩﻭﺭﻩ ﻣﺜﻠﺜﺎﺕ ﺭﺍ ﻣﯽ ﮔﺬﺭﺍﻧﻨﺪ ﻭﺟﻮﺩ ﺩﺍﺭﺩ؟‬
 ‫ﻣﺠﻠﻪﮐﺎﻟﺞ ﺧﻮﺍﻧﺪﻥ ﻭ ﯾﺎﺩﮔﯿﺮﯼ‪ ،(2) 42 ،‬ﺑﻬﺎﺭ ‪2012‬‬ ‫‪56‬‬

‫ﺭﻭﺵ‬
‫ﺷﺮﻛﺖﻛﻨﻨﺪﮔﺎﻥ‬
‫ﺷﺮﮐﺖﮐﻨﻨﺪﮔﺎﻥ ‪ 128‬ﺩﺍﻧﺸﺠﻮﯼ ﮐﺎﺭﺷﻨﺎﺳﯽ ﻫﻮﺍﻧﻮﺭﺩﯼ )‪ 25‬ﺯﻥ ﻭ ‪ 103‬ﭘﺴﺮ( ﺑﻮﺩﻧﺪ ﮐﻪ‬
‫ﺍﻣﺘﯿﺎﺯﺩﻭﺭﻩ ﺭﺍ ﺩﺭﯾﺎﻓﺖ ﮐﺮﺩﻧﺪ‪ 59 .‬ﺩﺍﻧﺶ ﺁﻣﻮﺯ )ﻧﻪ ﺩﺧﺘﺮ ﻭ ‪ 50‬ﭘﺴﺮ( ﺩﺭ ﮔﺮﻭﻩ ﺑﻮﺩﻧﺪ ﮐﻪ ﺩﺭ‬
‫ﺳﮑﻮﺕﺗﺴﺖ ﺩﺍﺩﻧﺪ ﻭ ‪ 69‬ﺩﺍﻧﺶ ﺁﻣﻮﺯ )‪ 16‬ﺩﺧﺘﺮ ﻭ ‪ 53‬ﭘﺴﺮ( ﺩﺭ ﺣﯿﻦ ﺗﺴﺖ ﺑﻪ ﻣﻮﺗﺰﺍﺭﺕ‬
‫ﮔﻮﺵﺩﺍﺩﻧﺪ‪ .‬ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﺩﺭ ﮐﻼﺱ ﻣﺜﻠﺜﺎﺕ ﻣﻮﺭﺩ ﻧﯿﺎﺯ ﺛﺒﺖ ﻧﺎﻡ ﮐﺮﺩﻧﺪ‪ .‬ﺍﻧﺘﺨﺎﺏ ﺭﺷﺘﻪ ﺑﺮﺍﯼ‬
‫ﻣﻄﺎﻟﻌﻪﺑﻪ ﺻﻼﺣﺪﯾﺪ ﻣﺤﻘﻖ ﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﻣﺤﻘﻖ ﻫﺮ ﺑﻬﺎﺭ ﺳﻪ ﮐﻼﺱ ﻣﺜﻠﺜﺎﺕ ﺗﺪﺭﯾﺲ ﻣﯽ ﮐﻨﺪ‬
‫ﮐﻪﺣﺠﻢ ﻧﻤﻮﻧﻪ ﺑﺰﺭﮒ ﺗﺮﯼ ﺭﺍ ﻣﻤﮑﻦ ﻣﯽ ﺳﺎﺯﺩ‪ .‬ﻧﻤﺮﺍﺕ ‪ SAT‬ﺑﺮﺍﯼ ﺗﻌﺪﺍﺩ ﺯﯾﺎﺩﯼ ﺍﺯ ﺷﺮﮐﺖ‬
‫ﮐﻨﻨﺪﮔﺎﻥﺩﺭ ﻣﻄﺎﻟﻌﻪ ﺗﺎ ﺣﺪ ﺍﻣﮑﺎﻥ ﺑﺮﺍﯼ ﺁﺯﻣﺎﯾﺶ ﻫﻤﮕﻨﯽ ﮔﺮﻭﻩ ﻫﺎ ﺑﻪ ﺩﺳﺖ ﺁﻣﺪ‪.‬‬

‫ﻣﻮﺍﺩ‬
‫ﺍﺭﺯﯾﺎﺑﯽﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯽ ﯾﮏ ﻧﻤﺮﻩ ﺗﺮﮐﯿﺒﯽ ﺍﺳﺖ ﮐﻪ ﺍﺯ ﻣﺠﻤﻮﻉ ﻧﻤﺮﺍﺕ ﺷﺶ ﺁﺯﻣﻮﻥ‬
‫ﻣﺜﻠﺜﺎﺗﯽﮐﻪ ﺑﺮﺍﯼ ﻫﺮ ﺩﺍﻧﺶ ﺁﻣﻮﺯ ﺩﺭ ﻃﻮﻝ ﺩﻭﺭﻩ ﻣﺜﻠﺜﺎﺕ ﺩﺭ ﻃﻮﻝ ﺗﺮﻡ ﺍﻧﺠﺎﻡ ﻣﯽ ﺷﻮﺩ‪،‬‬
‫ﺗﺸﮑﯿﻞﺷﺪﻩ ﺍﺳﺖ‪ .‬ﻫﺮ ﺁﺯﻣﻮﻥ ﺷﺎﻣﻞ ‪ 25‬ﺗﺎ ‪ 35‬ﺳﻮﺍﻝ ﺑﻮﺩ ﮐﻪ ﺑﯿﺎﻧﮕﺮ ﻣﻔﺎﻫﯿﻢ ﻣﻄﺮﺡ ﺷﺪﻩ‬
‫ﺩﺭﻓﺼﻞ ﻫﺎﯼ ﻣﺮﺑﻮﻃﻪ ﺩﺭﺱ ﻣﺜﻠﺜﺎﺕ ﺑﻮﺩ‪ .‬ﺑﺮﺍﯼ ﺩﺭﻣﺎﻥ ﻣﻮﺳﯿﻘﯽ‪ ،‬ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺩﺭ‬
‫ﻃﻮﻝﻣﺪﺕ ﻫﺮ ﯾﮏ ﺍﺯ ﺗﺴﺖ ﻫﺎ ﺭﻭﯼ ﯾﮏ ﭘﺨﺶ ﮐﻨﻨﺪﻩ ‪ CD‬ﺑﺎ ﮐﯿﻔﯿﺖ ﻣﻌﻤﻮﻟﯽ ﺑﺎ ﺻﺪﺍﯼ‬
‫ﻧﺴﺒﺘﺎ ًﮐﻢ ﭘﺨﺶ ﺷﺪ ﮐﻪ ﺑﺮﺍﯼ ﻫﻤﻪ ﺍﻓﺮﺍﺩ ﺩﺭ ﮐﻼﺱ ﺷﻨﯿﺪﻩ ﻣﯽ ﺷﺪ‪ .‬ﻣﻮﺳﯿﻘﯽ ﭘﺨﺶ ﺷﺪﻩ‬
‫ﺷﺎﻣﻞ‪ 12‬ﻗﻄﻌﻪ ﻣﻮﺗﺰﺍﺭﺕ ﺑﻮﺩ )ﺑﻪ ﭘﯿﻮﺳﺖ ﻣﺮﺍﺟﻌﻪ ﮐﻨﯿﺪ(‪.‬‬

‫ﺭﻭﺵ‬
‫ﺑﻪﻫﺮ ﺷﺮﮐﺖ ﮐﻨﻨﺪﻩ ﺩﺭ ﻣﺠﻤﻮﻉ ﺷﺶ ﺗﺴﺖ ﺩﺭ ﻃﻮﻝ ﯾﮏ ﺗﺮﻡ ﺩﺍﺩﻩ ﺷﺪ‪ .‬ﻣﺠﻤﻮﻉ ﻧﻤﺮﺍﺕ‬
‫ﺷﺶﺁﺯﻣﻮﻥ‪ ،‬ﻣﺘﻐﯿﺮ ﺍﺭﺯﯾﺎﺑﯽ ﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯽ ﺩﺭ ﺁﺯﻣﺎﯾﺶ ﺭﺍ ﺗﺸﮑﯿﻞ ﻣﯽ ﺩﻫﺪ‪ .‬ﺩﺭ ﻃﻮﻝ ﺩﻭ‬
‫ﺗﺮﻡﮐﻪ ﺩﺭ ﺁﻥ ﺁﺯﻣﺎﯾﺶ ﺍﻧﺠﺎﻡ ﺷﺪ )ﺑﻬﺎﺭ ‪ 2008‬ﺑﺮﺍﯼ ﮔﺮﻭﻩ ﮐﻨﺘﺮﻝ ﺳﮑﻮﺕ ﻭ ﺑﻬﺎﺭ ‪ 2009‬ﺑﺮﺍﯼ‬
‫ﮔﺮﻭﻩﺩﺭﻣﺎﻥ ﻣﻮﺳﯿﻘﯽ(‪ ،‬ﻫﻤﻪ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﺷﺮﮐﺖ ﮐﻨﻨﺪﻩ ﺁﻣﻮﺯﺵ ﺭﯾﺎﺿﯽ ﺭﺍ ﺍﺯ ﻫﻤﺎﻥ‬
‫ﺍﺳﺘﺎﺩﺩﺭﯾﺎﻓﺖ ﮐﺮﺩﻧﺪ‪ .‬ﺩﻗﯿﻘﺎ ًﺗﮑﺎﻟﯿﻒ ﻣﺸﺎﺑﻬﯽ ﺑﻪ ﺁﻧﻬﺎ ﻣﺤﻮﻝ ﺷﺪ ﻭ ﺩﻗﯿﻘﺎ ًﻫﻤﺎﻥ ﺷﺶ‬
‫ﺗﺴﺖﺑﻪ ﺁﻧﻬﺎ ﺩﺍﺩﻩ ﺷﺪ‪.‬‬

‫ﮔﺮﻭﻩﮐﻨﺘﺮﻝ )ﺍﺯ ﺍﯾﻦ ﭘﺲ ﺑﻪ ﻋﻨﻮﺍﻥ ﮔﺮﻭﻩ ﺳﮑﻮﺕ ﻧﺎﻣﯿﺪﻩ ﻣﯽ ﺷﻮﺩ( ﻫﺮ ﺷﺶ ﺁﺯﻣﻮﻥ ﺷﺎﻣﻞ‬
‫ﺍﺭﺯﯾﺎﺑﯽﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯽ ﺭﺍ ﺩﺭ ﺗﺮﻡ ﺑﻬﺎﺭ ‪ 2008‬ﺗﮑﻤﯿﻞ ﮐﺮﺩﻧﺪ‪ .‬ﺍﯾﻦ ﺁﺯﻣﻮﻥ ﻫﺎ ﺩﺭ ﮐﻼﺱ‬
‫ﻣﻌﻤﻮﻟﯽﺁﻧﻬﺎ ﺑﺪﻭﻥ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺍﺟﺮﺍ ﺷﺪ‪ .‬ﺑﺎ ﻃﺮﺍﺣﯽ ﺁﺯﻣﺎﯾﺸﯽ‪ ،‬ﻣﺤﯿﻂ ﻃﺒﯿﻌﯽ‬
‫ﮐﻼﺱﺩﺭﺱ ﺑﺎ ﺻﺪﺍﻫﺎﯼ ﺭﺍﯾﺞ ﻣﺤﯿﻂ ﺁﺯﻣﻮﻥ ﮐﻼﺱ ﺩﺭﺱ ﺟﺎﯾﮕﺰﯾﻦ ﻣﻮﺳﯿﻘﯽ ﺩﺭ ﮔﺮﻭﻩ ﮐﻨﺘﺮﻝ‬
‫ﻣﯽﺷﻮﺩ‪ .‬ﺩﺭ ﺑﻬﺎﺭ ‪ ،2009‬ﮔﺮﻭﻩ ﺩﺭﻣﺎﻥ ﻣﻮﺳﯿﻘﯽ )ﺍﺯ ﺍﯾﻦ ﭘﺲ ﺑﻪ ﻋﻨﻮﺍﻥ ﮔﺮﻭﻩ ﻣﻮﺗﺰﺍﺭﺕ‬
‫ﻧﺎﻣﯿﺪﻩﻣﯽ ﺷﻮﺩ( ﻫﺮ ﺷﺶ ﺗﺴﺖ ﺭﺍ ﮐﻪ ﺷﺎﻣﻞ ﺍﺭﺯﯾﺎﺑﯽ ﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯽ ﻣﯽ ﺷﺪ‪ ،‬ﺗﮑﻤﯿﻞ‬
‫ﮐﺮﺩﻧﺪ‪.‬ﮔﺮﻭﻩ ﻣﻮﺗﺰﺍﺭﺕ ﺑﻪ ﻣﻮﺳﯿﻘﯽ ﻣﻮﺗﺰﺍﺭﺕ ﺑﺎ ﭘﺲ ﺯﻣﯿﻨﻪ ﯼ ﮐﻢ ﮔﻮﺵ ﻣﯽ ﺩﺍﺩﻧﺪ ﻭ‬
‫ﭘﺮﻭﻓﺴﻮﺭﺗﺤﻮﯾﻞ ﻣﯽ ﺩﺍﺩ‬
‫‪57‬‬ ‫"ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ" ﻭ ﺍﺭﺗﺒﺎﻁ ﺭﯾﺎﺿﯽ‬

‫ﺗﺴﺖﻫﺎ ﺭﺍ ﺑﺪﻭﻥ ﻧﻈﺮ ﺩﺭ ﻣﻮﺭﺩ ﻣﻮﺳﯿﻘﯽ ﺍﻧﺠﺎﻡ ﺩﻫﯿﺪ‪ .‬ﺩﺍﻧﺶ ﺁﻣﻮﺯ ﮐﻼﺱ ﺩﻭﻡ ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ‬
‫ﻣﻮﺳﯿﻘﯽﺩﺭ ﺣﺎﻝ ﭘﺨﺶ ﺑﻮﺩ ﻭﺍﺭﺩ ﺍﺗﺎﻕ ﺷﺪ ﻭ ﺍﺯ ﻣﺮﺑﯽ ﭘﺮﺳﯿﺪ ﮐﻪ ﺁﯾﺎ ﻗﺮﺍﺭ ﺍﺳﺖ ﺁﻥ ﻣﻮﺳﯿﻘﯽ‬
‫ﺩﺭﺣﯿﻦ ﺁﺯﻣﻮﻥ ﭘﺨﺶ ﺷﻮﺩ؟ ﻣﺮﺑﯽ ﺑﻪ ﺩﺍﻧﺶ ﺁﻣﻮﺯ ﮔﻔﺖ ﺍﮔﺮ ﻣﻮﺳﯿﻘﯽ ﺑﺎﻋﺚ ﺣﻮﺍﺱ ﭘﺮﺗﯽ‬
‫ﻣﯽﺷﻮﺩ‪ ،‬ﺩﺍﻧﺶ ﺁﻣﻮﺯ ﻣﯽ ﺗﻮﺍﻧﺪ ﺑﺮﺍﯼ ﺷﺮﮐﺖ ﺩﺭ ﺁﺯﻣﻮﻥ ﺑﻪ ﻣﺮﮐﺰ ﺁﺯﻣﻮﻥ ﻣﺮﺍﺟﻌﻪ ﮐﻨﺪ‪ .‬ﺍﮔﺮ‬
‫ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥﺍﺯ ﻓﻮﺍﯾﺪ ﻣﻮﺳﯿﻘﯽ ﺳﺆﺍﻝ ﻣﯽ ﮐﺮﺩﻧﺪ‪ ،‬ﯾﺎ ﻓﮑﺮ ﻣﯽ ﮐﺮﺩﻧﺪ ﮐﻪ ﻣﻮﺳﯿﻘﯽ ﺑﺮﺍﯼ ﺁﻧﻬﺎ‬
‫ﺳﻮﺩﯼﻧﺪﺍﺭﺩ‪ ،‬ﺑﻪ ﺁﻧﻬﺎ ﺍﺟﺎﺯﻩ ﺩﺍﺩﻩ ﻣﯽ ﺷﺪ ﺩﺭ ﯾﮏ ﻣﮑﺎﻥ ﺟﺎﯾﮕﺰﯾﻦ ﺩﺭ ﺳﮑﻮﺕ ﺍﻣﺘﺤﺎﻥ ﺑﺪﻫﻨﺪ‪.‬‬
‫ﺍﮔﺮﭼﻪﻫﯿﭻ ﺩﺍﻧﺶ ﺁﻣﻮﺯﯼ ﺩﺭ ﮔﺮﻭﻩ ﻣﻮﺗﺰﺍﺭﺕ ﺩﺭﺧﻮﺍﺳﺘﯽ ﺑﺮﺍﯼ ﺷﺮﮐﺖ ﺩﺭ ﺁﺯﻣﻮﻥ ﻫﺎ ﺩﺭ ﻣﮑﺎﻥ‬
‫ﺟﺎﯾﮕﺰﯾﻦﻧﮑﺮﺩ‪ ،‬ﺍﻣﺎ ﺩﺭ ﺻﻮﺭﺕ ﺩﺭﺧﻮﺍﺳﺖ‪ ،‬ﭼﻨﯿﻦ ﻣﮑﺎﻥ ﻫﺎﯾﯽ ﺍﺯ ﻗﺒﻞ ﺗﺪﺍﺭﮎ ﺩﯾﺪﻩ ﺷﺪﻩ ﺑﻮﺩ‪.‬‬

‫ﺩﺭﭘﺎﯾﺎﻥ ﺗﺮﻡ‪ ،‬ﺍﺳﺘﺎﺩ ﺑﻪ ﮔﺮﻭﻩ ﻣﻮﺗﺰﺍﺭﺕ ﺗﻮﺿﯿﺢ ﺩﺍﺩ ﮐﻪ ﻣﺠﻤﻮﻋﻪ ﺍﯼ ﺍﺯ ﺗﺤﻘﯿﻘﺎﺕ ﻭﺟﻮﺩ‬
‫ﺩﺍﺭﺩﮐﻪ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺗﺰﺍﺭﺕ ﺩﺭ ﻃﻮﻝ ﺗﺴﺖ ﻣﻤﮑﻦ ﺍﺳﺖ ﺗﻮﺍﻧﺎﯾﯽ ﺁﻧﻬﺎ‬
‫ﺭﺍﺑﺮﺍﯼ ﺗﻔﮑﺮ ﺍﺯ ﻃﺮﯾﻖ ﺣﻞ ﻣﺴﺉﻠﻪ ﺭﯾﺎﺿﯽ ﺍﻓﺰﺍﯾﺶ ﺩﻫﺪ‪ .‬ﭘﺲ ﺍﺯ ﺗﻮﺿﯿﺤﺎﺕ‪ ،‬ﺑﻪ ﺩﺍﻧﺶ‬
‫ﺁﻣﻮﺯﺍﻥﺍﯾﻦ ﻓﺮﺻﺖ ﺩﺍﺩﻩ ﺷﺪ ﺗﺎ ﺍﺟﺎﺯﻩ ﺩﻫﻨﺪ ﺍﺯ ﻧﻤﺮﺍﺕ ﺁﺯﻣﻮﻥ ﺧﻮﺩ ﺑﺮﺍﯼ ﺍﻫﺪﺍﻑ ﺗﺠﺰﯾﻪ ﻭ‬
‫ﺗﺤﻠﯿﻞﺍﺳﺘﻔﺎﺩﻩ ﺷﻮﺩ‪ .‬ﺩﺍﻧﺸﺠﻮﯾﺎﻥ ﯾﮏ ﻓﺮﻡ ﺭﺿﺎﯾﺖ ﻧﺎﻣﻪ ﺭﺍ ﺍﻣﻀﺎ ﮐﺮﺩﻧﺪ ﮐﻪ ﺑﻪ ﻣﺤﻘﻖ ﺍﺟﺎﺯﻩ‬
‫ﺍﺳﺘﻔﺎﺩﻩﺍﺯ ﻧﻤﺮﺍﺕ ﺑﺮﺍﯼ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﺭﺍ ﻣﯽ ﺩﺍﺩ‪.‬‬

‫ﺗﺠﺰﯾﻪﻭ ﺗﺤﻠﯿﻞ ﻣﯽ ﮐﻨﺪ‬

‫ﺑﺎﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻧﺮﻡ ﺍﻓﺰﺍﺭ ‪ ،SPSS‬ﺗﺤﻠﯿﻞ ﺭﮔﺮﺳﯿﻮﻥ ﺣﺪﺍﻗﻞ ﻣﺮﺑﻌﺎﺕ ﻭ ﺗﺤﻠﯿﻞ ﻭﺍﺭﯾﺎﻧﺲ ﺍﻧﺠﺎﻡ‬
‫ﺷﺪ‪.‬ﺁﻣﺎﺭ ﺗﻮﺻﯿﻔﯽ ﮔﺰﺍﺭﺵ ﺷﺪ‪ .‬ﻓﺮﺿﯿﻪ ﺻﻔﺮ )‪ (H0‬ﺑﺮ ﺭﻭﯼ ﺭﮔﺮﺳﯿﻮﻥ ﺑﺮ ﺭﻭﯼ ﻣﺘﻐﯿﺮ‬
‫ﻣﻮﺳﯿﻘﯽﺍﯾﻦ ﺑﻮﺩ ﮐﻪ ﺗﺄﺛﯿﺮ ﻣﻌﻨﺎﺩﺍﺭﯼ ﻧﺨﻮﺍﻫﺪ ﺩﺍﺷﺖ‪ .‬ﺟﺎﯾﮕﺰﯾﻦ )‪ (H1‬ﺑﺮﺍﯼ ﺭﮔﺮﺳﯿﻮﻥ ﺑﺮ ﺭﻭﯼ‬
‫ﻣﺘﻐﯿﺮﻣﻮﺳﯿﻘﯽ ﺍﯾﻦ ﺑﻮﺩ ﮐﻪ ﺗﺄﺛﯿﺮ ﻗﺎﺑﻞ ﺗﻮﺟﻬﯽ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪.‬‬

‫ﺑﺮﺍﯼﺗﺤﻠﯿﻞ ﻭﺍﺭﯾﺎﻧﺲ‪ ،‬ﻓﺮﺿﯿﻪ ﺻﻔﺮ )‪ (H0‬ﺍﯾﻦ ﺑﻮﺩ ﮐﻪ ﺗﻔﺎﻭﺕ ﻣﻌﻨﯽ ﺩﺍﺭﯼ ﺩﺭ ﻣﯿﺎﻧﮕﯿﻦ‬
‫ﻋﻤﻠﮑﺮﺩﺩﺭ ﺍﺭﺯﯾﺎﺑﯽ ﺭﯾﺎﺿﯽ ﺑﯿﻦ ﮔﺮﻭﻩ ﻫﺎﯼ ﺳﮑﻮﺕ ﻭ ﻣﻮﺗﺰﺍﺭﺕ ﺩﺭ ﺁﺯﻣﻮﻥ ﻫﺎ ﻭﺟﻮﺩ ﻧﺨﻮﺍﻫﺪ‬
‫ﺩﺍﺷﺖ‪.‬ﻓﺮﺿﯿﻪ ﺟﺎﯾﮕﺰﯾﻦ )‪ (H1‬ﺍﯾﻦ ﺑﻮﺩ ﮐﻪ ﺗﻔﺎﻭﺕ ﻣﻌﻨﯽ ﺩﺍﺭﯼ ﺩﺭ ﻣﯿﺎﻧﮕﯿﻦ ﻋﻤﻠﮑﺮﺩ ﺩﺭ‬
‫ﺍﺭﺯﯾﺎﺑﯽﺭﯾﺎﺿﯽ ﺑﯿﻦ ﮔﺮﻭﻩ ﻫﺎﯼ ﺳﮑﻮﺕ ﻭ ﻣﻮﺗﺰﺍﺭﺕ ﺩﺭ ﺁﺯﻣﻮﻥ ﻫﺎ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﯾﮏ ‪ANOVA‬‬
‫ﺑﻪﻣﻮﺍﺭﺩ ﺯﯾﺮ ﻧﯿﺎﺯ ﺩﺍﺭﺩ‪ :‬ﯾﮏ ﻣﺘﻐﯿﺮ ﻣﺴﺘﻘﻞ ﻭ ﻃﺒﻘﻪ ﺑﻨﺪﯼ ﮐﻪ ﺩﺍﺭﺍﯼ ﺩﻭ ﺳﻄﺢ ﺍﺳﺖ ﻭ ﯾﮏ‬
‫ﻣﺘﻐﯿﺮﻭﺍﺑﺴﺘﻪ‪ ANOVA .‬ﻣﺴﺘﻠﺰﻡ ﺁﻥ ﺍﺳﺖ ﮐﻪ ﻣﺘﻐﯿﺮ ﻭﺍﺑﺴﺘﻪ ﺗﻘﺮﯾﺒﺎ ًﺑﻪ ﻃﻮﺭ ﻣﻌﻤﻮﻝ ﺩﺭ ﻫﺮ‬
‫ﮔﺮﻭﻩﺗﻮﺯﯾﻊ ﺷﻮﺩ )‪ .(Pallant، 2001‬ﺑﻪ ﻣﻨﻈﻮﺭ ﺗﻌﯿﯿﻦ ﻧﺮﻣﺎﻝ ﺑﻮﺩﻥ‪ ،‬ﻣﯽ ﺗﻮﺍﻥ ﯾﮏ ﻃﺮﺡ ‪QQ‬‬
‫ﻣﻌﻤﻮﻟﯽﺍﯾﺠﺎﺩ ﮐﺮﺩ‪ .‬ﻧﻤﻮﺩﺍﺭﻫﺎﯼ ‪ QQ‬ﺑﺮﺍﯼ ﺩﺍﺩﻩ ﻫﺎﯼ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺗﻘﺮﯾﺒﺎ ًﺑﻪ ﻃﻮﺭ ﻣﻌﻤﻮﻝ‬
‫ﺗﻮﺯﯾﻊﺷﺪﻩ ﺍﻧﺪ ﻭ ﺍﻟﺰﺍﻣﺎﺕ ﺍﺟﺮﺍﯼ ‪ ANOVA‬ﺭﺍ ﺑﺮﺁﻭﺭﺩﻩ ﻣﯽ ﮐﻨﻨﺪ‪.‬‬

‫ﻧﺘﺎﯾﺞ‬
‫ﺁﻣﺎﺭﺗﻮﺻﯿﻔﯽ‬
‫ﻣﯿﺎﻧﮕﯿﻦﺷﺶ ﺁﺯﻣﻮﻥ ﺑﺮﺍﯼ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻧﯽ ﮐﻪ ﺑﻪ ﻣﻮﺗﺰﺍﺭﺕ ﮔﻮﺵ ﻣﯽ ﺩﺍﺩﻧﺪ‪ ،‬ﺑﻮﺩ‬
‫ﺑﻪﺗﺮﺗﯿﺐ ‪ 94.83 ،80.70 ،73.16 ،94.06 ،81.55‬ﻭ ‪) 71.67‬ﻫﺎ ‪،16.15 ،14.59SD‬‬
‫‪ ،16.91 ،18.79،20.47‬ﻭ ‪(15.99‬؛ ﺟﺪﻭﻝ ‪ 1‬ﺭﺍ ﺑﺒﯿﻨﯿﺪ‪ .‬ﻣﯿﺎﻧﮕﯿﻦ ﺗﺮﮐﯿﺒﯽ ﺑﺮﺍﯼ ﻫﻤﻪ‬
 ‫ﻣﺠﻠﻪﮐﺎﻟﺞ ﺧﻮﺍﻧﺪﻥ ﻭ ﯾﺎﺩﮔﯿﺮﯼ‪ ،(2) 42 ،‬ﺑﻬﺎﺭ ‪2012‬‬ ‫‪58‬‬

‫ﻣﯿﺰ‪1‬‬
‫ﺁﻣﺎﺭﺗﻮﺻﯿﻔﯽ ﻧﻤﺮﺍﺕ ﻣﻮﺳﯿﻘﯽ ﻭ ﺳﮑﻮﺕ ﺑﺮﺍﯼ ﺁﺯﻣﻮﻥ ﻫﺎﯼ ﺁﺯﻣﺎﯾﺸﯽ‪ ،‬ﮐﻨﺘﺮﻝ ﻭ ﻫﺮ‬
‫ﺩﻭﮔﺮﻭﻩ ﺑﺮﺍﯼ ﺷﺶ ﺁﺯﻣﻮﻥ ﻣﺜﻠﺜﺎﺕ‬

‫ﺗﺴﺖﻫﺎﯼ ﻣﺜﻠﺜﺎﺗﯽ‬

‫ﺗﺴﺖ‪3‬‬ ‫ﺗﺴﺖ‪2‬‬ ‫ﺗﺴﺖ‪1‬‬

‫ﻫﺮﺩﻭ ‪Exp Control‬‬ ‫ﻫﺮﺩﻭ ‪Exp Control‬‬ ‫ﻫﺮﺩﻭ ‪Exp Control‬‬

‫)= ‪(128=n) (59=n) (69n‬‬ ‫)= ‪(128=n) (59=n) (69n‬‬ ‫)= ‪(128=n) (59=n) (69n‬‬

‫‪65.41 56.3673.16‬‬ ‫‪91.31 88.1094.06‬‬ ‫‪80.71 79.7381.55‬‬ ‫ﻣﻨﻈﻮﺭﺩﺍﺷﺘﻦ‬

‫‪24.13 25.0720.47‬‬ ‫‪17.73 19.0616.15‬‬ ‫‪14.10 13.5614.59‬‬ ‫‪SD‬‬

‫‪2.13 3.262.47‬‬ ‫‪1.57 2.481.95‬‬ ‫‪1.25 1.771.77‬‬ ‫‪SE‬‬

‫ﺗﺴﺖ‪6‬‬ ‫ﺗﺴﺖ‪5‬‬ ‫ﺗﺴﺖ‪4‬‬

‫ﻫﺮﺩﻭ ‪Exp Control‬‬ ‫ﻫﺮﺩﻭ ‪Exp Control‬‬ ‫ﻫﺮﺩﻭ ‪Exp Control‬‬

‫)= ‪(128=n) (59=n) (69n‬‬ ‫)= ‪(128=n) (59=n) (69n‬‬ ‫)= ‪(128=n) (59=n) (69n‬‬

‫‪70.87 69.9371.67‬‬ ‫‪92.16 89.0394.83‬‬ ‫‪82.05 83.6480.70‬‬ ‫ﻣﻨﻈﻮﺭﺩﺍﺷﺘﻦ‬

‫‪16.73 17.6515.99‬‬ ‫‪16.74 16.1016.91‬‬ ‫‪18.54 18.2718.79‬‬ ‫‪SD‬‬

‫‪1.48 2.301.92‬‬ ‫‪1.48 2.102.04‬‬ ‫‪1.64 2.392.26‬‬ ‫‪SE‬‬

‫ﻫﻤﻪﺗﺴﺖ ﻫﺎ‬

‫ﻫﺮﺩﻭ ‪Exp Control‬‬

‫)= ‪(128=n) (59=n) (69n‬‬

‫)= ‪(128=n) (59=n) (69n‬‬

‫‪80.42 77.8082.66‬‬ ‫ﻣﻨﻈﻮﺭﺩﺍﺷﺘﻦ‬

‫‪20.67 21.7819.41‬‬ ‫‪SD‬‬

‫‪75. 1.16 95.‬‬ ‫‪SE‬‬

‫‪59‬‬ ‫"ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ" ﻭ ﺍﺭﺗﺒﺎﻁ ﺭﯾﺎﺿﯽ‬

‫ﻧﻤﺮﺍﺕﮔﺮﻭﻩ ﻣﻮﺳﯿﻘﯽ ﺩﺭﻣﺎﻧﯽ ‪ 82.66‬ﺑﺎ ﺍﻧﺤﺮﺍﻑ ﻣﻌﯿﺎﺭ ‪ 19.41‬ﺑﻮﺩ‪ .‬ﻣﯿﺎﻧﮕﯿﻦ ﺷﺶ ﺁﺯﻣﻮﻥ‬

‫ﺑﺮﺍﯼﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻧﯽ ﮐﻪ ﺩﺭ ﺳﮑﻮﺕ ﺷﺮﮐﺖ ﮐﺮﺩﻧﺪ ﺑﻪ ﺗﺮﺗﯿﺐ ‪/83 ،36/56 ،10/88 ،73/79‬‬
‫‪ 03/89،64‬ﻭ ‪ 93/69‬ﺑﻮﺩ‪.‬ﻫﺎ ‪ ،16.10 ،18.27 ،25.07 ،19.06 ،13.56SD‬ﻭ ‪.(17.65‬‬
‫ﻣﯿﺎﻧﮕﯿﻦﺗﺮﮐﯿﺒﯽ ﺑﺮﺍﯼ ﻫﻤﻪ ﻧﻤﺮﺍﺕ ﺑﺮﺍﯼ ﮔﺮﻭﻩ ﮐﻨﺘﺮﻝ ﺳﮑﻮﺕ ‪ 77.80‬ﺑﺎ ﺍﻧﺤﺮﺍﻑ ﻣﻌﯿﺎﺭ‬
‫‪21.78‬ﺑﻮﺩ‪.‬‬

‫ﻧﻤﺮﺍﺕ‪ SAT‬ﺑﺮﺍﯼ ﺗﻌﺪﺍﺩ ﺯﯾﺎﺩﯼ ﺍﺯ ﺷﺮﮐﺖ ﮐﻨﻨﺪﮔﺎﻥ ﺩﺭ ﻣﻄﺎﻟﻌﻪ ﺑﻪ ﺩﺳﺖ ﺁﻣﺪ‪ .‬ﻫﺮ ﺩﺍﻧﺶ‬
‫ﺁﻣﻮﺯﯼﮐﻪ ﻧﻤﺮﻩ ‪ SAT‬ﺑﺮﺍﯼ ﺍﻭ ﺑﻪ ﺩﺳﺖ ﻧﯿﺎﻣﺪ ﺍﺯ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﺣﺬﻑ ﺷﺪﻧﺪ‪ .‬ﻧﻤﺮﺍﺕ ‪SAT‬‬
‫ﺑﺮﺍﯼﺍﻃﻤﯿﻨﺎﻥ ﺍﺯ ﻫﻤﮕﻨﯽ ﮔﺮﻭﻩ ﺳﮑﻮﺕ ﻭ ﮔﺮﻭﻩ ﻣﻮﺗﺰﺍﺭﺕ ﺍﺳﺘﻔﺎﺩﻩ ﺷﺪ‪ .‬ﻓﺮﺽ ﻫﻤﮕﻨﯽ‬
‫ﻭﺍﺭﯾﺎﻧﺲﺭﺍ ﻣﯽ ﺗﻮﺍﻥ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﺁﺯﻣﻮﻥ ﺑﺮﺍﺑﺮﯼ ﻭﺍﺭﯾﺎﻧﺲ ﻟﻮﻭﻥ ﺁﺯﻣﺎﯾﺶ ﮐﺮﺩ‪ .‬ﺁﺯﻣﻮﻥ ﻟﻮﯾﻦ‬
‫ﻭﺍﺭﯾﺎﻧﺲﺑﺮﺍﺑﺮ ﺭﺍ ﻧﺸﺎﻥ ﺩﺍﺩ )ﺍﻑ=‪ ,1,766‬ﭖ=‪ .(12‬ﺗﻔﺎﻭﺕ ﻣﻌﻨﯽ ﺩﺍﺭﯼ ﺩﺭ ﻣﯿﺎﻧﮕﯿﻦ ﻧﻤﺮﺍﺕ‬
‫‪ SAT‬ﺩﻭ ﮔﺮﻭﻩ ﻭﺟﻮﺩ ﻧﺪﺍﺷﺖ‪.‬‬

‫ﺗﺠﺰﯾﻪﻭ ﺗﺤﻠﯿﻞ ﺁﺯﻣﺎﯾﺶ‬

‫ﺗﺠﺰﯾﻪﻭ ﺗﺤﻠﯿﻞ ﺭﮔﺮﺳﯿﻮﻥ ﺣﺪﺍﻗﻞ ﻣﺮﺑﻌﺎﺕ ﻭ ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﻭﺍﺭﯾﺎﻧﺲ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ‪SPSS‬‬
‫ﺑﺮﺍﯼﺑﺮﺭﺳﯽ ﺗﺄﺛﯿﺮ ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻧﻤﺮﺍﺕ ﻣﻮﺗﺰﺍﺭﺕ ﻭ ‪ SAT‬ﺑﺮ ﻧﻤﺮﻩ ﺍﺭﺯﯾﺎﺑﯽ ﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯽ‬
‫ﺗﺮﮐﯿﺒﯽﺍﻧﺠﺎﻡ ﺷﺪ‪ .‬ﻣﺘﻐﯿﺮ ﻭﺍﺑﺴﺘﻪ ﻧﻤﺮﻩ ﺍﺭﺯﯾﺎﺑﯽ ﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯽ ﺑﻮﺩ ﮐﻪ ﺍﺯ ﻧﻤﺮﺍﺕ ﺷﺶ‬
‫ﺗﺴﺖﻣﺜﻠﺜﺎﺗﯽ ﺗﺸﮑﯿﻞ ﺷﺪﻩ ﺑﻮﺩ ﮐﻪ ﺗﻮﺳﻂ ﺍﻣﺘﺤﺎﻧﺎﺕ ﺍﯾﺠﺎﺩ ﺷﺪﻩ ﺗﻮﺳﻂ ﺍﺳﺘﺎﺩ ﺍﻧﺪﺍﺯﻩ ﮔﯿﺮﯼ‬
‫ﺷﺪﮐﻪ ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﻣﻔﺎﻫﯿﻢ ﺭﯾﺎﺿﯽ ﺗﺤﺖ ﭘﻮﺷﺶ ﺩﺭ ﻫﺮ ﻓﺼﻞ ﻣﺜﻠﺜﺎﺕ ﺑﻮﺩ‪ .‬ﻧﻤﺮﺍﺕ‬
‫ﺁﺯﻣﻮﻥﺑﺮﺍﯼ ﻫﺮ ﺷﺶ ﺍﻣﺘﺤﺎﻥ ﺟﻤﻊ ﺁﻭﺭﯼ ﺷﺪ ﺗﺎ ﻣﻌﯿﺎﺭ ﺍﺭﺯﯾﺎﺑﯽ ﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯽ ﺍﯾﺠﺎﺩ ﺷﻮﺩ‪.‬‬
‫ﻣﺘﻐﯿﺮﻫﺎﯼﻣﺴﺘﻘﻞ ﺍﻣﺘﯿﺎﺯ ‪ SAT‬ﻭ ﻣﻮﺳﯿﻘﯽ ﺑﻮﺩﻧﺪ‪ .‬ﻣﻮﺳﯿﻘﯽ ﯾﮏ ﻣﺘﻐﯿﺮ ﺑﺎﯾﻨﺮﯼ ﺑﻮﺩ ﮐﻪ ﺩﺭ‬
‫ﺁﻥ‪ 1‬ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ ﮔﺮﻭﻩ ﻣﻮﺗﺰﺍﺭﺕ ﺑﺎ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺩﺭ ﺣﯿﻦ ﺍﺭﺯﯾﺎﺑﯽ ﻭ ‪ 0‬ﻧﺸﺎﻥ ﺩﻫﻨﺪﻩ‬
‫ﮔﺮﻭﻩﺳﮑﻮﺕ ﺑﺪﻭﻥ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺩﺭ ﺣﯿﻦ ﺍﺭﺯﯾﺎﺑﯽ ﺑﻮﺩ‪ .‬ﺷﺮﮐﺖ ﮐﻨﻨﺪﮔﺎﻥ ﺑﻪ ﺩﻭ ﮔﺮﻭﻩ‬
‫ﺗﻘﺴﯿﻢﺷﺪﻧﺪ‪ .‬ﮔﺮﻭﻩ ﺳﮑﻮﺕ )‪ (59=n‬ﺩﺭ ﺳﮑﻮﺕ ﺁﺯﻣﺎﯾﺶ ﺷﺪ‪ ،‬ﺩﺭ ﺣﺎﻟﯽ ﮐﻪ ﮔﺮﻭﻩ ﻣﻮﺗﺰﺍﺭﺕ )‪n‬‬
‫=‪ (69‬ﺩﺭ ﺣﯿﻦ ﺁﺯﻣﺎﯾﺶ ﺑﻪ ﺩﻭﺍﺯﺩﻩ ﺍﻧﺘﺨﺎﺏ ﻣﻮﺗﺰﺍﺭﺕ ﺑﻪ ﻋﻨﻮﺍﻥ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﮔﻮﺵ‬
‫ﺩﺍﺩ‪.‬‬

‫ﺩﺭﺭﮔﺮﺳﯿﻮﻥ ﺣﺪﺍﻗﻞ ﻣﺮﺑﻌﺎﺕ‪ ،‬ﺑﺮﺍﺯﺵ ﻣﺪﻝ )ﺗﺄﺛﯿﺮ ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻧﻤﺮﺍﺕ ﻣﻮﺗﺰﺍﺭﺕ ﻭ ‪SAT‬‬
‫ﺑﺮﻧﻤﺮﻩ ﺍﺭﺯﯾﺎﺑﯽ ﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯽ ﺗﺮﮐﯿﺒﯽ( ﺍﺯ ﻧﻈﺮ ﺁﻣﺎﺭﯼ ﻣﻌﻨﯽ ﺩﺍﺭ ﺑﻮﺩ‪.‬ﺍﻑ)‪،32.947 = (2765‬‬
‫ﭖ>‪ [0001.‬ﺑﺎ ﺗﻨﻈﯿﻢ ﺷﺪﻩﺁﺭ‪-‬ﻣﺮﺑﻊ ‪ ;0.077‬ﺍﮔﺮﭼﻪ ﻣﺘﻐﯿﺮ ﻓﺮﺩﯼ ﺩﺭ ﺍﯾﻦ ﻣﺪﻝ ﻣﻌﻨﺎﺩﺍﺭ ﺑﻮﺩ‪،‬‬
‫ﺍﻣﺎﻫﻤﭽﻨﺎﻥ ‪ 93‬ﺩﺭﺻﺪ ﺍﺯ ﺗﻨﻮﻉ ﺩﺭ ﻧﻤﺮﺍﺕ ﺁﺯﻣﻮﻥ ﻏﯿﺮﻗﺎﺑﻞ ﺗﻮﺿﯿﺢ ﺑﺎﻗﯽ ﻣﺎﻧﺪﻩ ﺍﺳﺖ‪ .‬ﻫﺮ ﺩﻭ‬
‫ﻣﺘﻐﯿﺮ‪ SAT‬ﻭ ﻣﺘﻐﯿﺮ ‪ Music‬ﺍﺯ ﻧﻈﺮ ﺁﻣﺎﺭﯼ ﻣﻌﻨﯽ ﺩﺍﺭ ﺑﻮﺩﻧﺪ )ﭖ> ‪ 0001.‬ﺑﺮﺍﯼ ﻫﺮ ﺩﻭ(‪ ،‬ﺑﺎ‬
‫ﺿﺮﺍﯾﺐﻣﺜﺒﺖ‪ .‬ﻣﺘﻐﯿﺮ ‪ SAT‬ﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﻣﺘﻐﯿﺮ ﮐﻨﺘﺮﻝ ﻋﻤﻞ ﻣﯽ ﮐﻨﺪ‪ .‬ﺿﺮﯾﺐ ﺭﮔﺮﺳﯿﻮﻥ‬
‫ﺑﺮﺍﯼﻣﺘﻐﯿﺮ ‪ SAT 0.08‬ﺑﻮﺩ‪ .‬ﺿﺮﯾﺐ ﻣﺜﺒﺖ ﻭ ﻣﻌﻨﯽ ﺩﺍﺭ ﺁﻣﺎﺭﯼ )‪ (52/5‬ﺑﺮﺍﯼ ﻣﺘﻐﯿﺮ ‪Music‬‬
‫ﻧﺸﺎﻥﺩﻫﻨﺪﻩ ﺗﺄﺛﯿﺮ ﻣﺜﺒﺖ ﻣﻮﺗﺰﺍﺭﺕ ﺑﺮﺍﯼ ﮔﺮﻭﻩ ﻣﻮﺗﺰﺍﺭﺕ ﺍﺳﺖ‪.‬‬
 ‫ﻣﺠﻠﻪﮐﺎﻟﺞ ﺧﻮﺍﻧﺪﻥ ﻭ ﯾﺎﺩﮔﯿﺮﯼ‪ ،(2) 42 ،‬ﺑﻬﺎﺭ ‪2012‬‬ ‫‪60‬‬

‫ﻣﯿﺎﻧﮕﯿﻦﺍﺭﺯﯾﺎﺑﯽ ﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯽ ﺑﺮﺍﯼ ﮔﺮﻭﻩ ﻣﻮﺗﺰﺍﺭﺕ )‪ (66/82‬ﺑﯿﺸﺘﺮ ﺍﺯ ﮔﺮﻭﻩ ﺳﮑﻮﺕ‬

‫)‪ (80/77‬ﺑﻮﺩ‪ .‬ﺗﺠﺰﯾﻪ ﻭ ﺗﺤﻠﯿﻞ ﻭﺍﺭﯾﺎﻧﺲ ﻣﻨﺠﺮ ﺑﻪ ﺗﻔﺎﻭﺕ ﻣﻌﻨﯽ ﺩﺍﺭ ﺁﻣﺎﺭﯼ ﺑﺮﺍﯼ ﻣﺘﻐﯿﺮ‬
‫ﻣﻮﺗﺰﺍﺭﺕﺷﺪﺍﻑ)‪،10.68 = (766 ،1‬ﭖ=‪ ،001‬ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﯾﮏ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺑﺮﺍﯼ‬
‫ﺳﻨﺠﺶﻋﻤﻠﮑﺮﺩ ﺭﯾﺎﺿﯿﺎﺕ ﻭﺟﻮﺩ ﺩﺍﺭﺩ‪ .‬ﺟﺪﻭﻝ ‪ 2‬ﺭﺍ ﺑﺒﯿﻨﯿﺪ‪.‬‬

‫ﻧﺘﺎﯾﺞﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﻣﯿﺎﻧﮕﯿﻦ ﺗﻔﺎﻭﺕ ﻋﻤﻠﮑﺮﺩ ﺩﺭ ﺍﺭﺯﯾﺎﺑﯽ ﻫﺎﯼ ﺭﯾﺎﺿﯽ ﺍﺯ ﻧﻈﺮ ﺁﻣﺎﺭﯼ‬
‫ﻣﻌﻨﯽ ﺩﺍﺭﺍﺳﺖ‪.‬‬

‫ﺑﺤﺚ‬
‫ﺑﺮﺭﺳﯽﻣﺎ ﺍﺯ ﺳﻪ ﮐﻼﺱ ﻣﺜﻠﺜﺎﺕ ﮐﺎﻟﺞ‪ ،‬ﺗﺤﻘﯿﻘﺎﺕ ﻣﺘﻨﻮﻋﯽ ﺭﺍ ﺑﺮﺍﯼ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﻦ ﺍﺛﺮﺍﺕ‬
‫ﺷﻨﺎﺧﺘﯽﺯﻣﺎﻧﯽ ﻣﺪﺍﺧﻠﻪ ﻣﻮﺳﯿﻘﯽ ﻏﯿﺮﻓﻌﺎﻝ ﺩﺭ ﺍﺭﺯﯾﺎﺑﯽ ﯾﺎﺩﮔﯿﺮﯼ ﺩﺭ ﺭﯾﺎﺿﯿﺎﺕ ﮔﺮﺩ ﻫﻢ‬
‫ﻣﯽ ﺁﻭﺭﺩ‪.‬ﻫﺪﻑ ﺍﺯ ﺍﯾﻦ ﻣﻄﺎﻟﻌﻪ ﺗﻌﯿﯿﻦ ﺍﯾﻦ ﺑﻮﺩ ﮐﻪ ﺁﯾﺎ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﻣﻤﮑﻦ ﺍﺳﺖ ﻋﻤﻠﮑﺮﺩ‬
‫ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥﺭﺍ ﺩﺭ ﺍﺭﺯﯾﺎﺑﯽ ﻫﺎﯼ ﻧﺘﯿﺠﻪ ﺩﺭ ﺭﯾﺎﺿﯿﺎﺕ ﺑﻬﺒﻮﺩ ﺑﺨﺸﺪ‪ .‬ﺑﺮ ﺍﺳﺎﺱ ﮐﺎﺭﻫﺎﯼ ﻗﺒﻠﯽ‬
‫ﺩﺭﻣﻮﺯﺍﯾﯿﮏ ﺍﻓﮑﺖ ﻣﻮﺗﺰﺍﺭﺕ‪ ،‬ﻣﺎ ﺩﺭ ﻧﻈﺮ ﮔﺮﻓﺘﯿﻢ ﮐﻪ ﮐﺪﺍﻡ ﻣﻮﺳﯿﻘﯽ ﭘﺨﺶ ﺷﻮﺩ‪ ،‬ﭼﻪ ﺯﻣﺎﻧﯽ‬
‫ﺑﺎﯾﺪﭘﺨﺶ ﺷﻮﺩ‪ ،‬ﭼﻪ ﻣﺪﺕ ﺑﺎﯾﺪ ﭘﺨﺶ ﺷﻮﺩ ﻭ ﺩﺭ ﭼﻪ ﻣﺤﯿﻄﯽ ﺑﺎﯾﺪ ﭘﺨﺶ ﺷﻮﺩ‪ .‬ﺗﺼﻤﯿﻤﺎﺕ‬
‫ﻣﺎﺩﺭ ﻣﻮﺭﺩ ﺍﯾﻦ ﻋﻨﺎﺻﺮ ﻃﺮﺍﺣﯽ ﺑﻪ ﻣﻄﺎﻟﻌﻪ ﻣﺎ ﺍﺟﺎﺯﻩ ﻣﯽ ﺩﻫﺪ ﺗﺎ ﺳﻬﻢ ﻣﻨﺤﺼﺮ ﺑﻪ ﻓﺮﺩﯼ ﺩﺭ‬
‫ﭘﺎﯾﮕﺎﻩﺍﺩﺑﯿﺎﺕ ﻓﻌﻠﯽ ﺩﺍﺷﺘﻪ ﺑﺎﺷﺪ‪ .‬ﺍﺑﺘﺪﺍ‪ ،‬ﻣﺎ ﺗﺄﺛﯿﺮ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺭﺍ ﺑﻪ ﻃﻮﺭ ﻏﯿﺮﻣﺴﺘﻘﯿﻢ ﺩﺭ ﻧﻈﺮ‬
‫ﮔﺮﻓﺘﯿﻢ‪،‬ﻫﻤﺎﻧﻄﻮﺭ ﮐﻪ ﺩﺭ ﺍﺭﺯﯾﺎﺑﯽ ﻭﺍﻗﻌﯽ ﯾﮏ ﺗﺠﺮﺑﻪ ﯾﺎﺩﮔﯿﺮﯼ ﺁﺷﮑﺎﺭ ﺷﺪ‪ .‬ﺩﻭﻡ‪ ،‬ﺑﺮ ﺍﺳﺎﺱ‬
‫ﺗﺤﻘﯿﻘﺎﺕﻗﺒﻠﯽ ﮐﻪ ﻧﺸﺎﻥ ﻣﯽ ﺩﺍﺩ ﻣﻮﺳﯿﻘﯽ ﻣﻮﺗﺰﺍﺭﺕ ﺩﺭ ﺁﻏﺎﺯ ﻓﻌﺎﻟﯿﺖ ﻫﺎﯼ ﻣﻐﺰ ﻣﺘﻘﺎﻃﻊ‬
‫ﮐﺎﺭﺁﻣﺪﺗﺮﺍﺳﺖ‪ ،‬ﺗﺼﻤﯿﻢ ﮔﺮﻓﺘﯿﻢ ﺯﻣﺎﻥ ﮔﻮﺵ ﺩﺍﺩﻥ ﺭﺍ ﺑﻪ ‪ 55‬ﺩﻗﯿﻘﻪ ﺍﻓﺰﺍﯾﺶ ﺩﻫﯿﻢ ﻭ ﺍﻧﺘﺨﺎﺏ‬
‫ﮔﺴﺘﺮﺩﻩ ﺍﯼﺍﺯ ﻣﻮﺗﺰﺍﺭﺕ ﺭﺍ ﺑﻨﻮﺍﺯﯾﻢ‪ .‬ﺳﻮﻡ‪ ،‬ﻣﺎ ﺗﺼﻤﯿﻢ ﮔﺮﻓﺘﯿﻢ ﻣﻄﺎﻟﻌﻪ ﺧﻮﺩ ﺭﺍ ﺩﺭ ﻣﺤﯿﻂ‬
‫ﻃﺒﯿﻌﯽﯾﮏ ﮐﻼﺱ ﺩﺭﺱ ﻗﺮﺍﺭ ﺩﻫﯿﻢ ﺗﺎ ﺗﻌﻤﯿﻢ ﭘﺬﯾﺮﯼ ﺁﺯﻣﺎﯾﺶ ﻫﺎﯼ ﺁﺯﻣﺎﯾﺸﮕﺎﻫﯽ ﻗﺒﻠﯽ ﺭﺍ ﺩﺭ‬
‫ﻣﺤﯿﻂﮐﻼﺱ ﺩﺭﺱ ﺭﺍﯾﺞ ﺗﺮ ﺁﺯﻣﺎﯾﺶ ﮐﻨﯿﻢ‪ .‬ﺩﺭ ﻧﻬﺎﯾﺖ‪ ،‬ﺍﺩﺑﯿﺎﺕ ﺧﻠﻖ ﻭ ﺧﻮﯼ ﺑﺮﺍﻧﮕﯿﺨﺘﮕﯽ ﻭ‬
‫ﺍﺩﺑﯿﺎﺕﻣﺪﻝ ﺗﺮﯾﻮﻥ ﺭﺍ ﺑﺮﺍﯼ ﮐﻤﮏ ﺑﻪ ﺗﻮﺿﯿﺢ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﭘﯿﻮﻧﺪ ﺩﺍﺩﯾﻢ‪.‬‬

‫ﯾﺎﻓﺘﻪﻫﺎﯼ ﻣﺎ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﺪ ﮐﻪ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺑﺮ ﻧﻤﺎﯾﺶ ﯾﺎﺩﮔﯿﺮﯼ ﺩﺭ ﺭﯾﺎﺿﯿﺎﺕ ﺗﺄﺛﯿﺮ ﻣﯽ‬
‫ﮔﺬﺍﺭﺩ‪.‬ﺍﯾﻦ ﮐﻪ ﺁﯾﺎ ﺍﯾﻦ ﺍﺯ ﻃﺮﯾﻖ ﺍﻟﮕﻮﻫﺎﯼ ﺷﻠﯿﮏ ﻗﺸﺮ ﻣﻐﺰ‪ ،‬ﮐﺎﻫﺶ ﺍﺿﻄﺮﺍﺏ‪ ،‬ﻭ‪/‬ﯾﺎ ﺍﯾﺠﺎﺩ‬
‫ﺑﺮﺍﻧﮕﯿﺨﺘﮕﯽﺑﺎﺷﺪ‪ ،‬ﻣﻮﺿﻮﻋﯽ ﻧﻈﺮﯼ ﻓﺮﺍﺗﺮ ﺍﺯ ﻣﺤﺪﻭﺩﻩ ﺍﯾﻦ ﺁﺯﻣﺎﯾﺶ ﺍﺳﺖ‪ .‬ﺑﯿﺸﺘﺮﯾﻦ ﺍﻫﻤﯿﺖ‬
‫ﺑﺮﺍﯼﻣﺮﺑﯿﺎﻥ ﺍﯾﻦ ﺍﺳﺖ ﮐﻪ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺻﺮﻓﺎ ًﯾﮏ ﺗﺠﺮﺑﻪ ﺁﺯﻣﺎﯾﺸﮕﺎﻫﯽ ﻧﯿﺴﺖ‪ ،‬ﺑﻠﮑﻪ‬
‫ﭘﺘﺎﻧﺴﯿﻠﯽﺑﺮﺍﯼ ﮐﻤﮏ ﺑﻪ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﺩﺭ ﺍﻧﺠﺎﻡ ﺑﻬﺘﺮﯾﻦ ﻋﻤﻠﮑﺮﺩ ﺩﺭ ﺍﺭﺯﯾﺎﺑﯽ ﻫﺎﯼ ﺭﯾﺎﺿﯽ‬
‫ﺩﺍﺭﺩ‪.‬‬

‫ﻣﻄﺎﻟﻌﺎﺕﺑﯿﺸﺘﺮﯼ ﺩﺭ ﻣﻮﺭﺩ ﭼﮕﻮﻧﮕﯽ ﺍﺳﺘﻔﺎﺩﻩ ﺑﻬﯿﻨﻪ ﺍﺯ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺩﺭ ﺯﻣﯿﻨﻪ ﻫﺎﯼ ﺩﯾﮕﺮ‬
‫ﻣﺎﻧﻨﺪﻣﺮﺣﻠﻪ ﺁﻣﻮﺯﺵ ﻭ ﻫﻤﭽﻨﯿﻦ ﺩﺭ ﻣﺮﺣﻠﻪ ﺍﺭﺯﯾﺎﺑﯽ ﻣﻮﺭﺩ ﻧﯿﺎﺯ ﺍﺳﺖ‪ .‬ﺳﺎﯾﺮ ﺭﻭﺵ ﻫﺎ ﻣﯽ‬
‫ﺗﻮﺍﻧﻨﺪﺑﺮﺭﺳﯽ ﮐﻨﻨﺪ ﮐﻪ ﺁﯾﺎ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺩﺭ ﺭﺷﺘﻪ ﻫﺎﯼ ﮐﺎﺭﺑﺮﺩﯼ ﻣﺎﻧﻨﺪ ﺣﺴﺎﺑﺪﺍﺭﯼ‪ ،‬ﻣﺪﯾﺮﯾﺖ‬
‫ﺑﺎﺯﺭﮔﺎﻧﯽﯾﺎ ﺍﻣﻮﺭ ﻣﺎﻟﯽ ﻭﺟﻮﺩ ﺩﺍﺭﺩ ﯾﺎ ﺧﯿﺮ‪ .‬ﺩﺭ ﻧﻬﺎﯾﺖ‪ ،‬ﺑﺮﺭﺳﯽ ﺑﯿﺸﺘﺮ ﻣﯽ ﺗﻮﺍﻧﺪ ﺑﻪ ﺩﻧﺒﺎﻝ‬
‫ﺗﻌﯿﯿﻦﺍﻧﻮﺍﻉ ﺩﯾﮕﺮﯼ ﺍﺯ ﻣﻮﺳﯿﻘﯽ ﺑﺎﺷﺪ ﮐﻪ ﻓﺮﺁﯾﻨﺪ ﯾﺎﺩﮔﯿﺮﯼ ﺭﺍ ﺗﺴﻬﯿﻞ ﻣﯽ ﮐﻨﺪ‪.‬‬
‫‪61‬‬ ‫"ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ" ﻭ ﺍﺭﺗﺒﺎﻁ ﺭﯾﺎﺿﯽ‬

‫ﺟﺪﻭﻝ‪2‬‬
‫ﺗﺠﺰﯾﻪﻭ ﺗﺤﻠﯿﻞ ﯾﮏ ﻃﺮﻓﻪ ﻭﺍﺭﯾﺎﻧﺲ ﻣﻮﺳﯿﻘﯽ ﻭ ﺳﮑﻮﺕ ﺩﺭ ﺷﺶ ﺗﺴﺖ‬
‫ﻣﺜﻠﺜﺎﺗﯽﻭ ﻫﻤﻪ ﺗﺴﺖ ﻫﺎ‬

‫ﺳﯿﮓ‬ ‫ﺍﻑ‬ ‫ﺍﻡ ﺍﺱ‬ ‫ﺍﺱﺍﺱ‬ ‫‪df‬‬ ‫ﻣﺘﻐﯿﺮﻭ ﻣﻨﺒﻊ‬

‫ﺗﺴﺖ‪1‬‬
‫‪47 .‬‬ ‫‪53 .‬‬ ‫‪105.57105.57‬‬ ‫‪1‬‬ ‫ﺑﯿﻦﮔﺮﻭﻩ ﻫﺎ‬

‫‪199.53‬‬ ‫‪25140.73‬‬ ‫‪126‬‬ ‫ﺩﺭﻭﻥﮔﺮﻭﻩ ﻫﺎ‬

‫ﺗﺴﺖ‪2‬‬
‫‪05 .‬‬ ‫‪3.66‬‬ ‫‪1128.341128.34‬‬ ‫‪1‬‬ ‫ﺑﯿﻦﮔﺮﻭﻩ ﻫﺎ‬

‫‪308.04‬‬ ‫‪38813.15‬‬ ‫‪126‬‬ ‫ﺩﺭﻭﻥﮔﺮﻭﻩ ﻫﺎ‬

‫ﺗﺴﺖ‪3‬‬
‫‪0001.>17.42‬‬ ‫‪8920.888920.88‬‬ ‫‪1‬‬ ‫ﺑﯿﻦﮔﺮﻭﻩ ﻫﺎ‬

‫‪515.55‬‬ ‫‪64958.77‬‬ ‫‪126‬‬ ‫ﺩﺭﻭﻥﮔﺮﻭﻩ ﻫﺎ‬

‫ﺗﺴﺖ‪4‬‬
‫‪37 .‬‬ ‫‪804.‬‬ ‫‪276.48276.48‬‬ ‫‪1‬‬ ‫ﺑﯿﻦﮔﺮﻭﻩ ﻫﺎ‬

‫‪344.10‬‬ ‫‪43356.13‬‬ ‫‪126‬‬ ‫ﺩﺭﻭﻥﮔﺮﻭﻩ ﻫﺎ‬

‫ﺗﺴﺖ‪5‬‬
‫‪05 .‬‬ ‫‪3.90‬‬ ‫‪1067.031067.03‬‬ ‫‪1‬‬ ‫ﺑﯿﻦﮔﺮﻭﻩ ﻫﺎ‬

‫‪273.84‬‬ ‫‪34503.85‬‬ ‫‪126‬‬ ‫ﺩﺭﻭﻥﮔﺮﻭﻩ ﻫﺎ‬

‫ﺗﺴﺖ‪6‬‬
‫‪56 .‬‬ ‫‪34 .‬‬ ‫‪95.68‬‬ ‫‪95.68‬‬ ‫‪1‬‬ ‫ﺑﯿﻦﮔﺮﻭﻩ ﻫﺎ‬

‫‪281.34‬‬ ‫‪35449.06‬‬ ‫‪126‬‬ ‫ﺩﺭﻭﻥﮔﺮﻭﻩ ﻫﺎ‬

‫ﺗﺴﺖﻫﻤﻪ‬
‫‪001.‬‬ ‫‪10.68‬‬ ‫‪4507.264507.26‬‬ ‫‪1‬‬ ‫ﺑﯿﻦﮔﺮﻭﻩ ﻫﺎ‬

‫‪421.72‬‬ ‫‪323041.74‬‬ ‫‪766‬‬ ‫ﺩﺭﻭﻥﮔﺮﻭﻩ ﻫﺎ‬

 ‫ﻣﺠﻠﻪﮐﺎﻟﺞ ﺧﻮﺍﻧﺪﻥ ﻭ ﯾﺎﺩﮔﯿﺮﯼ‪ ،(2) 42 ،‬ﺑﻬﺎﺭ ‪2012‬‬ ‫‪62‬‬

‫ﻧﺘﺎﯾﺞﺍﯾﻦ ﻣﻄﺎﻟﻌﻪ ﺣﺎﮐﯽ ﺍﺯ ﺁﻥ ﺍﺳﺖ ﮐﻪ ﻧﻮﺍﺧﺘﻦ ﻣﻮﺗﺰﺍﺭﺕ ﺩﺭ ﺣﯿﻦ ﺍﺭﺯﯾﺎﺑﯽ ﻧﺘﯿﺠﻪ ﺭﯾﺎﺿﯽ‬
‫ﻧﻤﺮﺍﺕﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﺭﺍ ﺑﻬﺒﻮﺩ ﻣﯽ ﺑﺨﺸﺪ‪ .‬ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﺩﺭ ﮐﻼﺱ ﻫﺎﯼ ﻣﺜﻠﺜﺎﺕ ﺍﺯ ﻧﻈﺮ‬
‫ﺁﻣﺎﺭﯼﺩﺭ ﺍﺭﺯﯾﺎﺑﯽ ﻧﺘﯿﺠﻪ ﺭﯾﺎﺿﯽ ﺩﺭ ﺣﯿﻦ ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺗﺰﺍﺭﺕ ﺑﻬﺘﺮ ﻋﻤﻞ ﮐﺮﺩﻧﺪ‪ .‬ﺍﯾﻦ‬
‫ﻣﻄﺎﻟﻌﻪﯾﮏ ﮐﺎﺷﯽ ﺭﻧﮕﯽ ﺩﯾﮕﺮ ﺭﺍ ﺑﻪ ﻣﻮﺯﺍﯾﯿﮏ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺍﺿﺎﻓﻪ ﻣﯽ ﮐﻨﺪ‪ ،‬ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺭﺍ‬
‫ﺍﻋﺘﺒﺎﺭﻣﯽ ﺑﺨﺸﺪ ﻭ ﺭﻭﺷﯽ ﺭﺍ ﺑﺮﺍﯼ ﺑﻬﺒﻮﺩ ﻋﻤﻠﮑﺮﺩ ﯾﺎﺩﮔﯿﺮﻧﺪﻩ ﺍﺯ ﻃﺮﯾﻖ ﺗﻐﯿﯿﺮ ﻣﺤﯿﻂ ﺍﺭﺯﯾﺎﺑﯽ‬
‫ﭘﯿﺸﻨﻬﺎﺩﻣﯽ ﮐﻨﺪ‪.‬‬

‫ﻣﻨﺎﺑﻊ‬
‫ﺑﻨﮕﺮﺗﺮ‪،‬ﺍ‪ ،.‬ﻭ ﻫﯿﺚ‪ ،‬ﺳﯽ )‪ .(2004‬ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ‪ :‬ﺭﺩﯾﺎﺑﯽ ﺗﮑﺎﻣﻞ ﯾﮏ ﻋﻠﻢ‬
‫ﺍﻓﺴﺎﻧﻪ‪.‬ﻣﺠﻠﻪ ﺑﺮﯾﺘﺎﻧﯿﺎﯾﯽ ﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﺍﺟﺘﻤﺎﻋﯽ‪.605-623،43 ،‬‬
‫ﺑﺮﯾﺠﺖ‪،‬ﺩﯼ ﺟﯽ ﻭ ﮐﻮﻭﺍﺱ‪ ،‬ﺟﯽ )‪ .(2000‬ﺗﺄﺛﯿﺮ ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺗﺰﺍﺭﺕ ﻭ ﺑﺎﺥ ﺑﺮ ﺍﺟﺮﺍ‬
‫ﺁﺯﻣﻮﻥﺭﯾﺎﺿﯽﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‪90 ،‬ﭘﯿﺶ ﺩﺭﺁﻣﺪ ﯾﺎ ﺭﮐﻮﺉﯿﻢ ﺑﺮﺍﯼ »ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ«؟ ‪، CF )1999(.‬‬
‫‪)3(، 1171-1175. Chabris‬ﻃﺒﯿﻌﺖ‪400 ،‬ﻣﺰﺍﯾﺎﯼ ﺷﻨﺎﺧﺘﯽ ﻭ ﺗﺤﺼﯿﻠﯽ ﻣﻮﺳﯿﻘﯽ ‪Prior, M. )2006(.‬‬
‫& ‪)26(، 826-827. Crncec, R., Wilson, SJ,‬‬
‫ﺑﻪﮐﻮﺩﮐﺎﻥ‪ :‬ﺣﻘﺎﯾﻖ ﻭ ﺗﺨﯿﻞ‪.‬ﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﺗﺮﺑﯿﺘﯽ‪.579-594 ،(4)26 ،‬‬
‫ﻓﻮﮔﻠﺴﻮﻥ‪،‬ﺍﺱ‪ .(1973) .‬ﻣﻮﺳﯿﻘﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﻋﺎﻣﻞ ﺣﻮﺍﺱ ﭘﺮﺗﯽ ﺩﺭ ﺍﺟﺮﺍﯼ ﺁﺯﻣﻮﻥ ﺧﻮﺍﻧﺪﻥ ﭘﺎﯾﻪ ﻫﺸﺘﻢ‬
‫ﺩﺍﻧﺶﺁﻣﻮﺯﺍﻥ‪.‬ﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‪ .1265-1266،36 ،‬ﮔﺎﺳﺘﻮﻥ‪ ،‬ﺍﯼ ﺗﯽ‬
‫)‪.(1968‬ﻣﻮﺳﯿﻘﯽ ﺩﺭ ﺩﺭﻣﺎﻥﻧﯿﻮﯾﻮﺭﮎ‪ ،‬ﻧﯿﻮﯾﻮﺭﮎ‪ :‬ﻣﮏ ﻣﯿﻼﻥ‪.‬‬
‫ﮔﺮﺍﻫﺎﻡ‪،‬ﺁﺭ‪ ،.‬ﺭﺍﺑﯿﻨﺴﻮﻥ‪ ،‬ﺟﯽ‪ ،‬ﻭ ﻣﻮﻟﻬﺎﻝ‪ ،‬ﭘﯽ )‪ .(2009‬ﺍﺛﺮﺍﺕ ﮔﻮﺵ ﺩﺍﺩﻥ ﻫﻤﺰﻣﺎﻥ ﻣﻮﺳﯿﻘﯽ ﺑﺮ‬
‫ﭘﺮﺩﺍﺯﺵﻋﺎﻃﻔﯽﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﻣﻮﺳﯿﻘﯽ‪.485-493 ،(4)37 ،‬‬
‫ﻫﺎﻝ‪،‬ﺟﯽ )‪ .(1952‬ﺗﺎﺛﯿﺮ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺑﺮ ﺩﺭﮎ ﻣﻄﻠﺐ ‪278‬‬
‫ﺩﺍﻧﺶﺁﻣﻮﺯﺍﻥ ﭘﺎﯾﻪ ﻫﺸﺘﻢ ﻭ ﻧﻬﻢ‪.‬ﻣﺠﻠﻪ ﺗﺤﻘﯿﻘﺎﺕ ﺁﻣﻮﺯﺷﯽ‪،45 ،‬ﺁﯾﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺑﺎﻋﺚ ﺑﻬﺒﻮﺩ‬
‫ﺭﻓﺘﺎﺭﻭ ‪451-458. Hallam, S., & Price, J. )1998(.‬‬
‫ﻋﻤﻠﮑﺮﺩﺗﺤﺼﯿﻠﯽ ﮐﻮﺩﮐﺎﻥ ﺩﺍﺭﺍﯼ ﻣﺸﮑﻼﺕ ﻋﺎﻃﻔﯽ ﻭ ﺭﻓﺘﺎﺭﯼ؟ﻣﺠﻠﻪ ﺑﺮﯾﺘﺎﻧﯿﺎﯾﯽ ﺁﻣﻮﺯﺵ ﻭﯾﮋﻩ‪.32-35 ،(2)25 ،‬‬

‫ﺗﺄﺛﯿﺮﺍﺕﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺩﺭ ﺍﺑﺘﺪﺍﯾﯽ ‪Hallam, S., Price, J., & Katsarou, G. )2002(.‬‬
‫ﻋﻤﻠﮑﺮﺩﺗﮑﻠﯿﻒ ﺩﺍﻧﺶ ﺁﻣﻮﺯﺍﻥ ﻣﺪﺭﺳﻪﻣﻄﺎﻟﻌﺎﺕ ﺗﺮﺑﯿﺘﯽ‪.111-122 ،(2)28 ،‬‬
‫ﻫﺎﺭﮔﺮﯾﻮﺯ‪،‬ﺩﯼ ﺟﯽ ﻭ ﻧﻮﺭﺙ‪ ،‬ﺍﯼ ﺳﯽ )‪.(1997‬ﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﺍﺟﺘﻤﺎﻋﯽ ﻣﻮﺳﯿﻘﯽﺁﮐﺴﻔﻮﺭﺩ‪ :‬ﺁﮐﺴﻔﻮﺭﺩ‬
‫ﺍﻧﺘﺸﺎﺭﺍﺕﺩﺍﻧﺸﮕﺎﻩ‪.‬‬
‫ﮔﻮﺵﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺳﯿﻘﯽ ﺍﺳﺘﺪﻻﻝ ﻣﮑﺎﻧﯽ‪-‬ﺯﻣﺎﻧﯽ ﺭﺍ ﺗﻘﻮﯾﺖ ﻣﯽ ﮐﻨﺪ‪ :‬ﺷﻮﺍﻫﺪﯼ ﺑﺮﺍﯼ ‪Hetland, L. )2000(.‬‬
‫"ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ"ﻣﺠﻠﻪ ﺗﺮﺑﯿﺖ ﺯﯾﺒﺎﯾﯽ ﺷﻨﺎﺳﯽ‪.105-148 ،(3-4)34 ،‬‬
‫ﻫﯿﻮﺯ‪،‬ﺟﯽ ﺁﺭ‪ ،‬ﻭ ﻓﯿﻨﻮ‪ ،‬ﺟﯽ ﺟﯽ )‪ .(2000‬ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ‪ :‬ﺟﻨﺒﻪ ﻫﺎﯼ ﻣﺘﻤﺎﯾﺰ ﻣﻮﺳﯿﻘﯽ‪a-‬‬
‫ﺳﺮﻧﺨﯽﺑﺮﺍﯼ ﮐﺪﮔﺬﺍﺭﯼ ﻣﻐﺰﺍﻟﮑﺘﺮﻭﺍﻧﺴﻔﺎﻟﻮﮔﺮﺍﻓﯽ ﺑﺎﻟﯿﻨﯽ‪.94-103،31 ،‬‬
‫ﻫﻮﯼ‪،‬ﮎ‪ .(2006) .‬ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺩﺭ ﮐﻮﺩﮐﺎﻥ ﭘﯿﺶ ﺩﺑﺴﺘﺎﻧﯽ؟ﺭﺷﺪ ﻭ ﻣﺮﺍﻗﺒﺖ ﺍﻭﻟﯿﻪ ﮐﻮﺩﮎ‪،‬‬
‫‪.411-419 ،(3-4)176‬‬
‫ﺍﯾﺴﻦ‪ .AM )2000( ،‬ﺗﺎﺛﯿﺮ ﻣﺜﺒﺖ ﻭ ﺗﺼﻤﯿﻢ ﮔﯿﺮﯼ ﺩﺭ ‪M. Lewis & JN Haviland-Jones‬‬
‫)ﻭﯾﺮﺍﯾﺶ(‪،‬ﮐﺘﺎﺑﭽﻪ ﺭﺍﻫﻨﻤﺎﯼ ﺍﺣﺴﺎﺳﺎﺕ)ﭼﺎﭖ ﺩﻭﻡ‪ .(435-417 ،‬ﻧﯿﻮﯾﻮﺭﮎ‪ ،‬ﻧﯿﻮﯾﻮﺭﮎ‪ :‬ﮔﯿﻠﻔﻮﺭﺩ‪.‬‬
‫ﺍﯾﻮﺍﻧﻒ‪،‬ﻭﯼ ﮐﯽ‪ ،‬ﻭ ﮔﯿﮏ‪ ،‬ﺟﯽ ﺟﯽ )‪ .(2003‬ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﻭ ﮐﻮﺩﮐﺎﻥ ﺩﺑﺴﺘﺎﻧﯽ‪.‬ﺭﻭﺍﻧﯽ‪-‬‬
‫ﺭﺷﺘﻪﻣﻮﺳﯿﻘﯽ‪.405-413 ،(4)31 ،‬‬
‫ﺟﮑﺴﻮﻥ‪،‬ﺳﯽ ﺍﺱ‪ ،‬ﻭ ﺗﻼﮐﺎ‪ ،‬ﺍﻡ‪ .(2004) .‬ﯾﺎﺩﮔﯿﺮﯼ ﻣﺴﯿﺮﯼ ﻭ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﺍﺯ‬
‫ﻣﻮﺳﯿﻘﯽ‪.213-219،32،‬‬
‫‪63‬‬ ‫"ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ" ﻭ ﺍﺭﺗﺒﺎﻁ ﺭﯾﺎﺿﯽ‬

‫ﺗﺄﺛﯿﺮﺗﺤﺮﯾﮏ ﭘﺲ ﺯﻣﯿﻨﻪ ﺷﻨﻮﺍﯾﯽ ‪Jausovec, N., & Habe, K. )2004(.‬‬

‫)ﺳﻮﻧﺎﺕ ﻣﻮﺗﺰﺍﺭﺕ ‪ (K. 448‬ﺩﺭ ﻣﻮﺭﺩ ﻓﻌﺎﻟﯿﺖ ﻣﻐﺰ ﺑﯿﻨﺎﯾﯽ‪.‬ﻣﺠﻠﻪ ﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﺭﻭﺍﻧﺸﻨﺎﺳﯽ‪.261-271،51 ،‬‬

‫ﺗﺄﺛﯿﺮﻣﻮﺳﯿﻘﯽ ﻣﻮﺗﺰﺍﺭﺕ ﺑﺮ ﻣﻐﺰ ‪Jausovec, N., Jausovec, K., & Gerlic, I. )2006(.‬‬
‫ﻓﻌﺎﻟﯿﺖﺩﺭ ﻓﺮﺁﯾﻨﺪ ﯾﺎﺩﮔﯿﺮﯼﻧﻮﺭﻭﻓﯿﺰﯾﻮﻟﻮﮊﯼ ﺑﺎﻟﯿﻨﯽ‪ . 2703-2714،117 ،‬ﺟﻨﮑﯿﻨﺰ‪ ،‬ﺟﯽ ﺍﺱ )‪ .(2001‬ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ‬
‫ﻣﺠﻠﻪﺍﻧﺠﻤﻦ ﺳﻠﻄﻨﺘﯽ ﭘﺰﺷﮑﯽ‪ .170-172 ،24،‬ﮐﯿﮕﺮ‪ .DM )1989( ،‬ﺗﺄﺛﯿﺮ ﺑﺎﺭﮔﺬﺍﺭﯼ ﺍﻃﻼﻋﺎﺕ ﻣﻮﺳﯿﻘﯽ ﺑﺮ ﯾﮏ ﮐﺎﺭ‬
‫ﺩﺭﮎﻣﻄﻠﺐ‬
‫ﻣﻬﺎﺭﺕﻫﺎﯼ ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‪.531-534،69 ،‬‬
‫ﻟﻨﮓ‪،‬ﺍﯾﮑﺲ‪ ،‬ﻭ ﺷﺎﻭ‪ ،‬ﺟﯽ ﺍﻝ )‪ .(1991‬ﺑﻪ ﺳﻤﺖ ﯾﮏ ﻧﻈﺮﯾﻪ ﻋﺼﺒﯽ ﻋﻤﻠﮑﺮﺩ ﺑﺎﻻﺗﺮ ﻣﻐﺰ ﺑﺎ ﺍﺳﺘﻔﺎﺩﻩ ﺍﺯ‬
‫ﻣﻮﺳﯿﻘﯽﺑﻪ ﻋﻨﻮﺍﻥ ﯾﮏ ﭘﻨﺠﺮﻩﻣﻔﺎﻫﯿﻢ ﺩﺭ ﻋﻠﻮﻡ ﺍﻋﺼﺎﺏ‪.229-258 ،(2)2 ،‬‬
‫ﻟﻮﯾﻦ‪،‬ﺗﯽ )‪ 23 ،2009‬ﺍﮐﺘﺒﺮ(‪ .‬ﺍﻧﯿﺸﺘﯿﻦ ﺗﻮ ﺗﺨﺘﺖ ﻧﯿﺴﺖ؟ ﺑﺎﺯﭘﺮﺩﺍﺧﺖ ﺩﺭﯾﺎﻓﺖ ﮐﻨﯿﺪ‪.‬ﻣﺠﻠﻪ ﻧﯿﻮﯾﻮﺭﮎ ﺗﺎﯾﻤﺰ‪،‬‬
‫ﺹ‪.A1‬‬
‫‪.‬‬
‫‪ (Marsden، AA )1987‬ﺑﺮﺭﺳﯽ ﺧﻮﺍﺳﺘﻪ ﻫﺎﯼ ﺷﻨﺎﺧﺘﯽ ﺩﺭ ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﭘﻨﺞ ﺁﻫﻨﮓ ﻣﻮﺗﺰﺍﺭﺕ ﺑﺮﺍﯼ‬
‫ﭘﯿﺎﻧﻮﻭ ﺳﺎﺯﻫﺎﯼ ﺑﺎﺩﯼ‪.K.452 ،‬ﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﻣﻮﺳﯿﻘﯽ‪.30-57،15 ،‬‬
‫ﮔﻮﺵﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺗﺴﺎﺭﺕ ﺑﺎﻋﺚ ﺑﻬﺒﻮﺩ ﻓﻀﺎﯼ ﮐﻮﺩﮐﺎﻥ ﻧﻤﯽ ﺷﻮﺩ ‪McKelvie، K.، & Low، J. )2002(.‬‬
‫ﺗﻮﺍﻧﺎﯾﯽ‪:‬ﭘﺮﺩﻩ ﻫﺎﯼ ﻧﻬﺎﯾﯽ ﺑﺮﺍﯼ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ‪.‬ﻣﺠﻠﻪ ﺑﺮﯾﺘﺎﻧﯿﺎﯾﯽ ﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﺭﺷﺪ‪.241-258،20 ،‬‬

‫ﻣﺮﯾﺎﻡ‪.AP )1964( ،‬ﺍﻧﺴﺎﻥ ﺷﻨﺎﺳﯽ ﻣﻮﺳﯿﻘﯽ‪.‬ﺍﻭﺍﻧﺴﺘﻮﻥ‪ :IL ،‬ﺩﺍﻧﺸﮕﺎﻩ ﻧﻮﺭﺙ ﻭﺳﺘﺮﻥ‬

‫ﻣﻄﺒﻮﻋﺎﺕ‪.‬‬

‫ﻣﯿﭽﻞ‪ .AP )1949( ،‬ﺗﺄﺛﯿﺮ ﺑﺮﻧﺎﻣﻪ ﻫﺎﯼ ﺭﺍﺩﯾﻮﯾﯽ ﺑﺮ ﭘﯿﺸﺮﻓﺖ ﺧﻮﺍﻧﺪﻥ ﺻﺎﻣﺖ‬
‫ﺩﺍﻧﺶﺁﻣﻮﺯ ﭘﺎﯾﻪ ﻧﻮﺩ ﻭ ﯾﮏ ﺷﺸﻢ‪.‬ﻣﺠﻠﻪ ﺗﺤﻘﯿﻘﺎﺕ ﺁﻣﻮﺯﺷﯽ‪.42 ،‬ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ‪ :‬ﻣﺼﻨﻮﻉ ﺗﺮﺟﯿﺤﯽ ‪، EG )1999(.‬‬
‫‪ Schellenberg‬ﻭ ‪)6(، 460-470. Nantanis، KM،‬‬
‫ﺍﻧﺠﻤﻦﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﺁﻣﺮﯾﮑﺎ‪.370-373 ،(4)10 ،‬‬
‫‪ Vogt، EE‬ﻭ ‪Newman، J.، Rosenbach، JH، Burns، KL، Latimer، BC، Matocha، HR،‬‬
‫)‪ .(1995‬ﺁﺯﻣﻮﻥ ﺁﺯﻣﺎﯾﺸﯽ "ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ"‪ :‬ﺁﯾﺎ ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺳﯿﻘﯽ ﺍﻭ ﺗﻮﺍﻧﺎﯾﯽ ﻓﻀﺎﯾﯽ ﺭﺍ ﺑﻬﺒﻮﺩ ﻣﯽ ﺑﺨﺸﺪ؟‬
‫ﻣﻬﺎﺭﺕﻫﺎﯼ ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‪.1379-1387،81 ،‬‬
‫ﯾﺎﺩﺩﺍﺷﺖﺑﺤﺚ‪ :‬ﺁﯾﺎ ﻣﻮﺳﯿﻘﯽ ﻭﺍﻗﻌﺎ ًﻣﯽ ﺗﻮﺍﻧﺪ ﺫﻫﻦ ﺭﺍ »ﺑﻬﺒﻮﺩ« ﮐﻨﺪ؟ ‪Overy, K. )1998(.‬ﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﺍﺯ‬
‫ﻣﻮﺳﯿﻘﯽ‪.97-99 ،26،‬‬
‫ﭘﺎﻻﻧﺖ‪،‬ﺟﯽ )‪.(2001‬ﺭﺍﻫﻨﻤﺎﯼ ﺑﻘﺎ ‪.SPSS‬ﺑﺎﮐﯿﻨﮕﻬﺎﻡ‪ :PA ،‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺩﺍﻧﺸﮕﺎﻩ ﺁﺯﺍﺩ‪ .Rauscher, FH )1997( .‬ﻣﺒﻨﺎﯼ‬
‫ﺷﻨﺎﺧﺘﯽﺑﺮﺍﯼ ﺗﺴﻬﯿﻞ ﺷﻨﺎﺧﺖ ﻣﮑﺎﻧﯽ‪-‬ﺯﻣﺎﻧﯽ‬
‫ﺍﺯﻃﺮﯾﻖ ﺁﻣﻮﺯﺵ ﻣﻮﺳﯿﻘﯽ ﺩﺭ ‪) V. Brummett‬ﻭﯾﺮﺍﯾﺶ(‪،‬ﮐﻨﻔﺮﺍﻧﺲ ﺍﯾﺘﺎﮐﺎ ‪ 96‬ﻣﻮﺳﯿﻘﯽ ﺑﻪ ﻋﻨﻮﺍﻥ ﻫﻮﺵ‪ :‬ﮐﺘﺎﺏ‬
‫ﻣﻨﺒﻊ)ﺹ ‪ .(44-31‬ﺍﯾﺘﺎﮐﺎ‪ :‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﮐﺎﻟﺞ ﺍﯾﺘﺎﮐﺎ‪.‬‬
‫ﺭﺍﻭﺷﺮﭘﺎﺳﺦ ﻣﯽ ﺩﻫﺪ‪ :‬ﭘﯿﺶ ﺩﺭﺁﻣﺪ ﯾﺎ ﺭﮐﻮﺉﯿﻢ ﺑﺮﺍﯼ »ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ«؟ ‪Rauscher, FH )1999(.‬‬
‫ﻃﺒﯿﻌﺖ‪.826-827 ،(26)400،‬‬
‫ﺁﯾﺎﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ »ﺣﺬﻑ ﺷﺪﻩ ﺍﺳﺖ«؟ ﺟﻠﺴﻪ ﭘﻮﺳﺘﺮ ﺍﺭﺍﺉﻪ ﺷﺪ ‪(.‬ﺍﻭﺕ ‪Rauscher، FH )2000،‬‬
‫ﺩﺭﻧﺸﺴﺖ ﺩﻭﺳﺎﻻﻧﻪ ﮐﻨﻔﺮﺍﻧﺲ ﺑﯿﻦ ﺍﻟﻤﻠﻠﯽ ﺍﺩﺭﺍﮎ ﻭ ﺷﻨﺎﺧﺖ ﻣﻮﺳﯿﻘﯽ‪ ،‬ﺩﺍﻧﺸﮕﺎﻩ ﮐﯿﻞ‪ :‬ﮐﯿﻞ‪ ،‬ﺍﻧﮕﻠﺴﺘﺎﻥ‪.‬‬

‫ﻣﻮﺗﺰﺍﺭﺕﻭ ﺫﻫﻦ‪ :‬ﺗﺄﺛﯿﺮﺍﺕ ﻭﺍﻗﻌﯽ ﻭ ﺗﺨﯿﻠﯽ ﻣﻮﺯﯾﮑﺎﻝ ‪Rauscher, FH )2002(.‬‬

‫ﻏﻨﯽﺳﺎﺯﯼ ﺩﺭ ‪) J. Aronson‬ﻭﯾﺮﺍﯾﺶ(‪،‬ﺑﻬﺒﻮﺩ ﭘﯿﺸﺮﻓﺖ ﺗﺤﺼﯿﻠﯽ‪ :‬ﺗﺄﺛﯿﺮ ﻋﻮﺍﻣﻞ ﺭﻭﺍﻧﺸﻨﺎﺧﺘﯽ ﺑﺮ ﺁﻣﻮﺯﺵ)ﺹ‬
‫‪ .(278-269‬ﻧﯿﻮﯾﻮﺭﮎ‪ ،‬ﻧﯿﻮﯾﻮﺭﮎ‪ :‬ﺍﻧﺘﺸﺎﺭﺍﺕ ﺁﮐﺎﺩﻣﯿﮏ‪.‬‬
‫ﺍﺛﺮﻣﻮﺗﺰﺍﺭﺕ ﺩﺭ ﻣﻮﺵ ﻫﺎ‪ :‬ﭘﺎﺳﺦ ﺑﻪ ﺍﺳﺘﯿﻞ ‪Rauscher، FH )2006(.‬ﺩﺭﮎ ﻣﻮﺳﯿﻘﯽ‪،‬‬
‫‪.447-453،23‬‬
 ‫ﻣﺠﻠﻪﮐﺎﻟﺞ ﺧﻮﺍﻧﺪﻥ ﻭ ﯾﺎﺩﮔﯿﺮﯼ‪ ،(2) 42 ،‬ﺑﻬﺎﺭ ‪2012‬‬ ‫‪64‬‬

‫ﺍﺛﺮﻣﻮﺗﺰﺍﺭﺕ‪ :‬ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺳﯿﻘﯽ ﻣﻮﺳﯿﻘﯽ ﻧﯿﺴﺖ ‪Rauscher, FH, & Hinton, SC )2006(.‬‬
‫ﺩﺳﺘﻮﺭﺍﻟﻌﻤﻞﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﺗﺮﺑﯿﺘﯽ‪.232-238 ،(4)41 ،‬‬
‫ﯾﺎﺩﮔﯿﺮﯼﭘﯿﭻ ﻭ ﺧﻢ ﺑﻬﺒﻮﺩ ﯾﺎﻓﺘﻪ ﺍﺯ ﻃﺮﯾﻖ ‪Rauscher, FH, Robinson, KD, & Jens, JJ )1998(.‬‬
‫ﻗﺮﺍﺭﮔﺮﻓﺘﻦ ﺩﺭ ﻣﻌﺮﺽ ﻣﻮﺳﯿﻘﯽ ﺍﻭﻟﯿﻪ ﺩﺭ ﻣﻮﺵﺗﺤﻘﯿﻘﺎﺕ ﻋﺼﺒﯽ‪.427-432،20 ،‬‬
‫ﺍﺟﺰﺍﯼﺍﺻﻠﯽ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ‪Rauscher, FH, & Shaw, GL )1998(.‬ﺍﺩﺭﺍﮐﯽ‬
‫ﻭﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺣﺮﮐﺘﯽ‪.835-841،86 ،‬‬
‫‪.‬ﺍﺟﺮﺍﯼﺗﮑﻠﯿﻒ ﻣﻮﺳﯿﻘﯽ ﻭ ﻓﻀﺎﯾﯽ ‪Rauscher, FH, Shaw, GL, & Ky, KN )1993(.‬‬
‫ﻃﺒﯿﻌﺖ‪.611 ،(14)365،‬‬
‫ﮔﻮﺵﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺗﺰﺍﺭﺕ ﻓﻀﺎﯾﯽ ﺭﺍ ﺗﻘﻮﯾﺖ ﻣﯽ ﮐﻨﺪ ‪Rauscher, FH, Shaw, GL, & Ky, KN )1995(.‬‬
‫ﺍﺳﺘﺪﻻﻝﺯﻣﺎﻧﯽ‪ :‬ﺑﻪ ﺳﻤﺖ ﯾﮏ ﻣﺒﻨﺎﯼ ﻋﺼﺒﯽ ﻓﯿﺰﯾﻮﻟﻮﮊﯾﮑﯽ‪.‬ﻧﺎﻣﻪ ﻫﺎﯼ ﻋﻠﻮﻡ ﺍﻋﺼﺎﺏ‪، & Newcomb، RL،185 ،‬‬
‫‪44-47. Rauscher، FH، Shaw، GL، Levine، LJ، Wright، EL، Dennis، WR‬‬
‫)‪ .(1997‬ﺁﻣﻮﺯﺵ ﻣﻮﺳﯿﻘﯽ ﺑﺎﻋﺚ ﺗﻘﻮﯾﺖ ﺑﻠﻨﺪﻣﺪﺕ ﺍﺳﺘﺪﻻﻝ ﻣﮑﺎﻧﯽ ﻭ ﺯﻣﺎﻧﯽ ﮐﻮﺩﮐﺎﻥ ﭘﯿﺶ ﺩﺑﺴﺘﺎﻧﯽ ﻣﯽ ﺷﻮﺩ‪.‬‬
‫ﺗﺤﻘﯿﻘﺎﺕﻋﺼﺒﯽ‪.2-8،19 ،‬‬
‫ﺁﻣﻮﺯﺵﺻﻔﺤﻪ ﮐﻠﯿﺪ ﮐﻼﺱ ﺩﺭﺱ ﺭﺍ ﺑﻬﺒﻮﺩ ﻣﯽ ﺑﺨﺸﺪ ‪ Zupan، MA )2000(.‬ﻭ ‪Rauscher، FH،‬‬
‫ﻋﻤﻠﮑﺮﺩﻣﮑﺎﻧﯽ‪-‬ﺯﻣﺎﻧﯽ ﮐﻮﺩﮐﺎﻥ ﮔﺎﺭﺗﻦ‪ :‬ﯾﮏ ﺁﺯﻣﺎﯾﺶ ﻣﯿﺪﺍﻧﯽﻓﺼﻠﻨﺎﻣﻪ ﭘﮋﻭﻫﺸﯽ ﺩﻭﺭﺍﻥ ﮐﻮﺩﮐﯽ‪.215-228 ،(2)15 ،‬‬

‫ﺳﺮﮐﻮﺏﻋﻤﻠﮑﺮﺩ ﺍﺯ ﺭﻭﯾﻪ ﻫﺎﯼ ﮐﻨﺘﺮﻟﯽ ﺍﺳﺎﺱ ﻧﯿﺴﺖ ‪Rideout، BE )1999(.‬‬

‫ﺍﺯﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‪.890،89 ،‬‬
‫‪:‬ﺗﺄﺛﯿﺮﻣﻮﺳﯿﻘﯽ ﺑﺮ ﻋﻤﻠﮑﺮﺩ ﻓﻀﺎﯾﯽ ‪Rideout, BE, Dougherty, S., & Wernert, L., )1998(.‬‬
‫ﺁﺯﻣﻮﻥﻋﻤﻮﻣﯿﺖﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‪.512-514،86 ،‬‬
‫ﺑﺎﺍﻓﺰﺍﯾﺶ ﻋﻤﻠﮑﺮﺩ ﻓﻀﺎﯾﯽ ﺍﺭﺗﺒﺎﻁ ﺩﺍﺭﺩ ‪ Laubach، CM )1996(. EEG‬ﻭ ‪Rideout، BE،‬‬
‫ﺑﻪﺩﻧﺒﺎﻝ ﻗﺮﺍﺭ ﮔﺮﻓﺘﻦ ﺩﺭ ﻣﻌﺮﺽ ﻣﻮﺳﯿﻘﯽﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‪.427-432،82 ،‬‬
‫ﺑﻬﺒﻮﺩﻋﻤﻠﮑﺮﺩ ﻓﻀﺎﯾﯽ ﺑﻌﺪ ﺍﺯ ‪ 10‬ﺩﻗﯿﻘﻪ ‪ Taylor، J. )1997(.‬ﻭ ‪Rideout، BE،‬‬
‫ﻗﺮﺍﺭﮔﺮﻓﺘﻦ ﺩﺭ ﻣﻌﺮﺽ ﻣﻮﺳﯿﻘﯽ‪ :‬ﯾﮏ ﺗﮑﺮﺍﺭ‪.‬ﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‪Shaw, GL،85 ،‬‬
‫& ‪112-114. Sarnthein, J., vonStein, A., Rappelsberger, P., Petsche, H., Rauscher, FH,‬‬
‫)‪ .(1997‬ﺍﻟﮕﻮﻫﺎﯼ ﻣﺪﺍﻭﻡ ﻓﻌﺎﻟﯿﺖ ﻣﻐﺰ‪ :‬ﻣﻄﺎﻟﻌﻪ ﺍﻧﺴﺠﺎﻡ ‪ EEG‬ﺗﺄﺛﯿﺮ ﻣﺜﺒﺖ ﻣﻮﺳﯿﻘﯽ ﺑﺮ ﺍﺳﺘﺪﻻﻝ ﻣﮑﺎﻧﯽ‪-‬ﺯﻣﺎﻧﯽ‪.‬‬
‫ﺗﺤﻘﯿﻘﺎﺕﻋﺼﺒﯽ‪19 ،‬ﺗﺎﺛﯿﺮ ﻣﻮﺳﯿﻘﯽ ﭘﺲ ﺯﻣﯿﻨﻪ ﺑﺮ ﯾﺎﺩﮔﯿﺮﯼ ‪، 107-116. Savan, A. )1999(.‬ﺭﻭﺍﻧﺸﻨﺎﺳﯽ‬
‫ﻣﻮﺳﯿﻘﯽ‪(2)27،‬‬
‫‪.138-146‬‬
‫ﺍﯾﺴﺘﺎﺩﻩ‪ ،LG، Verpaeist، CC،‬ﻭ ﺍﻭﻟﻤﺮ‪ .BK )2008( ،‬ﻧﻤﺎﯾﺶ ﻏﯿﺮﺧﻄﯽ‬
‫ﻭﯾﮋﮔﯽﻫﺎﯼ ﺗﻘﺎﺿﺎ ﺩﺭ ﭘﺎﺭﺍﺩﺍﯾﻢ ﺗﺠﺮﺑﯽ "ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ"‪.‬ﻣﺠﻠﻪ ﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﺁﻣﺮﯾﮑﺎﯼ ﺷﻤﺎﻟﯽ‪.553-564 ،(3)10 ،‬‬

‫ﺍﺳﺘﯿﻞ‪ .KM )2000( ،‬ﻋﻮﺍﻣﻞ ﺑﺮﺍﻧﮕﯿﺨﺘﮕﯽ ﻭ ﺧﻠﻖ ﻭ ﺧﻮ ﺩﺭ "ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ"‪.‬ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‬

‫ﻣﻬﺎﺭﺕﻫﺎ‪.188-190،91 ،‬‬

‫ﺍﺳﺘﯿﻞ‪" .KM )2001( ،‬ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ"‪.‬ﺷﺒﮑﻪ ﻣﻌﻠﻢ ﺭﻭﺍﻧﺸﻨﺎﺳﯽ‪،‬ﻧﻮﺍﻣﺒﺮ ﺩﺳﺎﻣﺒﺮ‪،‬‬

‫‪.2-3‬‬
‫ﺍﺳﺘﯿﻞ‪ .KM )2003( ،‬ﺁﯾﺎ ﻣﻮﺵ ﻫﺎ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﻨﺪ؟ﺩﺭﮎ ﻣﻮﺳﯿﻘﯽ‪ .251-265 ،(2)21 ،‬ﺍﺳﺘﯿﻞ‪،‬‬
‫(‪ KM )2006‬ﺷﻮﺍﻫﺪ ﻏﯿﺮﻗﺎﺑﻞ ﻗﺒﻮﻟﯽ ﻣﺒﻨﯽ ﺑﺮ ﺍﯾﻨﮑﻪ ﻣﻮﺵ ﻫﺎ ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ ﺭﺍ ﻧﺸﺎﻥ ﻣﯽ ﺩﻫﻨﺪ‪.‬ﺩﺭﮎ ﻣﻮﺳﯿﻘﯽ‬
‫‪.455-458 ،(5)tion, 23‬‬
‫ﺍﺳﺘﯿﻞ‪ ،KM،‬ﺗﻮﭖ‪ ،TN ،‬ﻭ ﺭﺍﻧﮏ‪ .R. )1997( ،‬ﮔﻮﺵ ﺩﺍﺩﻥ ﺑﻪ ﻣﻮﺗﺰﺍﺭﺕ ﺑﺎﻋﺚ ﺗﻘﻮﯾﺖ ﭘﺸﺖ ﻧﻤﯽ ﺷﻮﺩ‬
‫ﻋﻤﻠﮑﺮﺩﺩﻫﺎﻧﻪ ﺭﻗﻢ ﺑﺨﺶﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‪.1179-1184 ،84 ،‬‬
‫ﺍﺳﺘﯿﻞ‪ ،KM،‬ﺑﺮﺍﻭﻥ‪ ،‬ﺟﯽ ﺩﯼ‪ ،‬ﻭ ﺍﺳﺘﻮﮐﺮ‪ .JA )1999( ،‬ﻋﺪﻡ ﺗﺎﯾﯿﺪ ‪ Rauscher‬ﻭ‬
‫‪65‬‬ ‫"ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ" ﻭ ﺍﺭﺗﺒﺎﻁ ﺭﯾﺎﺿﯽ‬

‫ﺗﻮﺿﯿﺤﺎﺕﺷﺎﻭ ﺍﺯ ﺑﺎﺯﯾﺎﺑﯽ "ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ"‪.‬ﻣﻬﺎﺭﺕ ﻫﺎﯼ ﺍﺩﺭﺍﮐﯽ ﻭ ﺣﺮﮐﺘﯽ‪ .843-848،88 ،‬ﺍﺳﺘﯿﻞ‪ ،‬ﮐﯽ ﺍﻡ‪ ،‬ﺩﺍﻻ ﺑﻼ‪،‬‬
‫ﺍﺱ‪،.‬ﭘﺮﺗﺰ‪ ،‬ﺁﯼ‪ ،.‬ﺩﺍﻧﻠﻮﭖ‪ ،‬ﺗﯽ‪ ،‬ﺩﺍﻭ‪ ،‬ﻟﺲ ﺁﻧﺠﻠﺲ‪ ،‬ﻫﻤﻔﺮﯼ‪ ،‬ﺟﯽ ﮐﯽ‪ ،‬ﺷﺎﻥ‪-‬‬
‫ﭘﺎﺳﺦ‪:‬ﭘﯿﺶ ﺩﺭﺁﻣﺪ ﯾﺎ ﺭﮐﻮﺉﯿﻢ ﺑﺮﺍﯼ »ﺍﺛﺮ ﻣﻮﺗﺰﺍﺭﺕ«؟ ‪non, RA, Kirby, JL, Jr., & Olmstead, CG )1999(.‬‬
‫ﻃﺒﯿﻌﺖ‪.826-827 ،(26)400،‬‬
‫‪.‬ﻓﻀﺎﯾﯽ‪ IQ‬ﻣﻮﺳﯿﻘﯽ ﻭ ‪Stough, C., Kerkin, B., Bates, T., & Mangan, G., )1994(.‬ﺷﺨﺼﯿﺖ‬
‫ﻭﺗﻔﺎﻭﺕ ﻫﺎﯼ ﻓﺮﺩﯼ‪.695 ،17 ،‬‬
‫ﺗﺎﻣﭙﺴﻮﻥ‪ ،FT،‬ﺷﻠﻨﺒﺮﮒ‪ ،EG ،‬ﻭ ﺣﺴﯿﻦ‪ .B. )2001( ،‬ﺑﺮﺍﻧﮕﯿﺨﺘﮕﯽ‪ ،‬ﺧﻠﻖ ﻭ ﺧﻮ ﻭ ﻣﻮﺗﺰﺍﺭﺕ‬
‫ﺍﺛﺮﺍﻧﺠﻤﻦ ﺭﻭﺍﻧﺸﻨﺎﺳﯽ ﺁﻣﺮﯾﮑﺎ‪.248-251 ،(3)12 ،‬‬
‫ﻭﯾﻠﺴﻮﻥ‪ ،TL،‬ﻭ ﺑﺮﺍﻭﻥ‪ .TL )1997( ،‬ﺑﺮﺭﺳﯽ ﻣﺠﺪﺩ ﺗﺎﺛﯿﺮ ﻣﻮﺳﯿﻘﯽ ﻣﻮﺗﺰﺍﺭﺕ ﺑﺮ‬
‫ﻋﻤﻠﮑﺮﺩﻭﻇﯿﻔﻪ ﻓﻀﺎﯾﯽﻣﺠﻠﻪ ﺭﻭﺍﻧﺸﻨﺎﺳﯽ‪.365-370 ،(4)131 ،‬‬
‫ﻫﺎ‪ SAT‬ﻣﻮﺗﺰﺍﺭﺕ ﻭ ‪(.‬ﻣﺎﺭﺱ ‪Winner, E., & Hetland, L. )1999, 4‬ﻧﯿﻮﯾﻮﺭﮎ ﺗﺎﯾﻤﺰ‪ ،‬ﺻﺺ ‪ .A25‬ﻭﻟﻒ‪ ،‬ﺟﯽ‬
‫)‪.(2010‬ﻣﺤﺪﻭﺩ ﮐﺮﺩﻥ ﺯﻣﺎﻥ ﺻﻔﺤﻪ ﻧﻤﺎﯾﺶ‪ :‬ﻧﺤﻮﻩ ﭘﯿﺮﻭﯼ ﺍﺯ ﺩﺳﺘﻮﺭﺍﻟﻌﻤﻞ ‪.AAP‬ﺑﺮﮔﺮﻓﺘﻪ ﺍﺯ ‪//:http‬‬
‫‪singlespartents.about.com/od/parenting/ss/limitscreentime.htm‬‬
‫ﺍﯾﻦ ‪Zhu, W., Zhao, L., Zhang, J., Ding, X., Lui, H., Ni, E., Ma, Y., & Zhou, C. )2008(.‬‬
‫ﺗﺄﺛﯿﺮﺳﻮﻧﺎﺕ ﻣﻮﺗﺰﺍﺭﺕ ‪ K. 448‬ﺑﺮ ﺗﻮﺟﻪ ﺑﺼﺮﯼ‪ :‬ﻣﻄﺎﻟﻌﻪ ‪.ERP‬ﻧﺎﻣﻪ ﻫﺎﯼ ﻋﻠﻮﻡ ﺍﻋﺼﺎﺏ‪.35-40،434 ،‬‬

‫ﺟﻮﺩﯼﺍﻡ‪ .‬ﺗﯿﻠﻮﺭﺩﺍﻧﺸﯿﺎﺭ ﺭﯾﺎﺿﯿﺎﺕ ﺩﺭ ﺩﺍﻧﺸﮕﺎﻩ ‪ LeTourneau‬ﺍﺳﺖ‪ .‬ﻋﻼﻗﻪ ﭘﮋﻭﻫﺸﯽ ﺍﻭ ﮐﺸﻒ‬

‫ﺑﻬﺘﺮﯾﻦﺷﯿﻮﻩ ﻫﺎ ﺩﺭ ﺗﺪﺭﯾﺲ ﺭﯾﺎﺿﯿﺎﺕ ﺍﺳﺖ‪.‬‬

‫ﺑﻮﺭﻟﯽﺟﯽ ﺭﻭﺩﺍﺭﺍﯼ ﻣﺪﺭﮎ ﻟﯿﺴﺎﻧﺲ ﺍﺯ ﺩﺍﻧﺸﮕﺎﻩ ﻫﯿﻮﺳﺘﻮﻥ‪ MSM ،‬ﺍﺯ ﺩﺍﻧﺸﮕﺎﻩ ﭘﺮﺩﻭ‪ ،‬ﻭ ﺩﮐﺘﺮﺍ ﺍﺯ‬
‫ﺗﮕﺰﺍﺱ‪ A&M‬ﺍﺳﺖ‪.‬‬
 ‫ﻣﺠﻠﻪﮐﺎﻟﺞ ﺧﻮﺍﻧﺪﻥ ﻭ ﯾﺎﺩﮔﯿﺮﯼ‪ ،(2) 42 ،‬ﺑﻬﺎﺭ ‪2012‬‬ ‫‪66‬‬

‫ﺿﻤﯿﻤﻪ‬

‫ﺩﻭﺍﺯﺩﻩﻗﻄﻌﻪ ﻣﻮﺗﺰﺍﺭﺕ‬

‫;ﻋﺎﺷﻘﺎﻧﻪ ”‪“Eine Kleine Nachtmusik,‬‬

‫ﺳﻮﻧﺎﺕﺑﺮﺍﯼ ﻭﯾﻮﻟﻦ ﻭ ﭘﯿﺎﻧﻮ ﺩﺭ ‪;G, K. 301, Allegro‬‬

‫ﺳﻮﻧﺎﺕﺑﺮﺍﯼ ﭘﯿﺎﻧﻮ ﺷﻤﺎﺭﻩ ‪ 11‬ﺩﺭ ﻣﺎﮊﻭﺭ‪;K. 331 ،‬‬

‫;‪، K. 370‬ﮐﻮﺍﺭﺗﺖ ﺑﺮﺍﯼ ﺍﺑﻮﺍ‪ ،‬ﻭﯾﻮﻟﻦ‪ ،‬ﻭﯾﻮﻻ ﻭ ﻭﯾﻮﻟﻦ ﺳﻞ ﺩﺭ ﻓﺎ ﻣﺎﮊﻭﺭ ;‪Ronda alla Turca‬‬

‫ﮐﻮﺍﺭﺗﺖﺑﺮﺍﯼ ﻓﻠﻮﺕ‪ ،‬ﻭﯾﻮﻟﻦ‪ ،‬ﻭﯾﻮﻻ ﻭ ﻭﯾﻮﻟﻦ ﺳﻞ ﺷﻤﺎﺭﻩ ‪ 1‬ﺩﺭ ﺩ ﻣﺎﮊﻭﺭ‪;K. 285، Adagio ،‬‬

‫ﮐﻮﺍﺭﺗﺖﺯﻫﯽ ﺷﻤﺎﺭﻩ ‪ 14‬ﺩﺭ ﺟﯽ ﻣﺎﮊﻭﺭ‪;K. 387-"Spring," Allegro vivace assai ،‬‬

‫ﺩﯾﻮﺭﺗﯿﻤﻨﺘﻮﺩﺭ ﺩ ﻣﺎﮊﻭﺭ‪»-‬ﺳﻤﻔﻮﻧﯽ ﺷﻤﺎﺭﻩ ‪ 1‬ﺳﺎﻟﺰﺑﻮﺭﮒ«‪;K. 136، Andante ،‬‬

‫ﮐﻮﺉﻨﺘﺖﺑﺮﺍﯼ ﮐﻼﺭﯾﻨﺖ‪ ،‬ﻭﯾﻮﻟﻦ‪ ،‬ﻭﯾﻮﻻ ﻭ ﻭﯾﻮﻟﻦ ﺳﻞ ﺩﺭ ﯾﮏ ﻣﺎﮊﻭﺭ‪;K. 581، Larghetto ،‬‬

‫ﮐﻮﺍﺭﺗﺖﺯﻫﯽ ﺷﻤﺎﺭﻩ ‪ 4‬ﺩﺭ ﺳﯽ ﻣﺎﮊﻭﺭ‪ ،K. 157 ،‬ﺁﻟﮕﺮﻭ;‬

‫ﮐﻮﺍﺭﺗﺖﺯﻫﯽ ﺷﻤﺎﺭﻩ ‪ 17‬ﺩﺭ ﺑﯽ ﻣﺴﻄﺢ‪;K. 485—»Hunt«، Minuetto moderato ،‬‬

‫ﺳﻮﻧﺎﺕﺑﺮﺍﯼ ﭘﯿﺎﻧﻮ ﺷﻤﺎﺭﻩ ‪ 8‬ﺩﺭ ﻣﯿﻨﻮﺭ‪;K. 310، Andante cantabile con espressione ،‬‬

‫ﺳﻮﻧﺎﺕﺑﺮﺍﯼ ﻭﯾﻮﻟﻦ ﻭ ﭘﯿﺎﻧﻮ ﺩﺭ ﺑﯽ ﻣﺴﻄﺢ ﻣﺎﮊﻭﺭ‪.K. 378، Andantino sostenuto e cantabile ،‬‬