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This study explored undergraduate music majors' strategies in two-part dictation. Sixty volunteers answered a questionnaire on their musical background, learning styles, and dictation methods. They then took part in three dictation sessions. Two sessions directed attention to rhythm first or pitch first, and one session was a non-directed control dictation. Treatments were counterbalanced across 6 groups (n = 10). Dependent measures were pitch and rhythm accuracy scores on dictations. Analysis of variance showed no order effects. A repeated measures MANOVA (pitch and rhythm by 3 conditions) showed a significant effect for condition ($p < .0001$). Higher rhythm accuracy resulted from the rhythm-first condition, compared to the non-directed ($p < .05$) and pitch-first ($p < .0001$) conditions. Pitch accuracy was not affected by condition. Accuracy was unrelated to any of the covariates examined (instrumental information, years of theory and counterpoint study, keyboard skill, learning style and private strategy). Results suggest that in polyphonic dictation, attending to rhythm first and pitch afterwards may be an effective way of maximizing rhythmic accuracy.

Thesis (doctoral)--Universität, Köln, 2008. / Includes bibliographical references (p. [281]-283).

Submitted by CARLOS HENRIQUE CASCARELLI IAFELICE null (iafelice86@gmail.com) on 2016-02-05T21:11:05Z No. of bitstreams: 1 Dissertação final - HOMOLOGAÇÃO (revisado)_.pdf: 39695923 bytes, checksum: c710a4b98b877ab98bbe802fb7e892fa (MD5) / Approved for entry into archive by Sandra Manzano de Almeida (smanzano@marilia.unesp.br) on 2016-02-12T11:34:58Z (GMT) No. of bitstreams: 1 lafelice_chc_me_ia.pdf: 39695923 bytes, checksum: c710a4b98b877ab98bbe802fb7e892fa (MD5) / Made available in DSpace on 2016-02-12T11:34:58Z (GMT). No. of bitstreams: 1 lafelice_chc_me_ia.pdf: 39695923 bytes, checksum: c710a4b98b877ab98bbe802fb7e892fa (MD5) Previous issue date: 2015-12-14 / Fundamentado a partir de três eixos do conhecimento da polifonia (teórico, prático e especulativo), este trabalho apresenta o ‘conceito das protoformas do cânone’, que consiste em cinco matrizes ou formas-base que sintetizam as variadas manifestações do cânone durante os séculos XIII ao XVI. Para a fundamentação da pesquisa, são considerados primariamente aspectos relacionados à periodicidade motívica em tratados e exemplos musicais do séc. XIII, limitando-se à compreensão do termo como apresentado nos tratados práticos do séc. XVI, propiciando assim, materiais e indícios que apontam as variadas etapas do desenvolvimento e realização do cânone. Ao longo da exposição do estudo, uma série de comentários de excertos diretamente ligados às fontes primárias são apresentados, resultando em uma contribuição teórica às questões terminológicas e conceituais concernentes à sua história. / Based from three axes of polyphony’s knowledge (theoretical, practical and speculative), this work presents the 'concept of the canon’s protoforms', which consists of five matrices or forms-based synthesizing the varied manifestations of the canon during the 13th-16th centuries. In order to support the research, they are considered primarily aspects related to motivic periodicity in treatises and musical examples in 13th century, being limited on understanding of the term as presented in practical treatises in 16th-century, thus providing materials and evidences that link the various stages of development and realization of the canon. Throughout the study’s exposition, a series of excerpts and comments directly related to the primary sources are presented, resulting in a theoretical contribution to the terminological and conceptual issues concerning they history.

Flera studier har gjorts kring hur musik påverkar människor. Bullerjahn och Güldenring genomförde en studie där en egenskapad scen musiklades på flera olika sätt, Cohen gjorde liknande studier men kopplade det till psykologi. Resultaten de fick fram var att musik påverkade tittaren på det sättet som musiken var tänkt att göra.För att få svar på hur musik påverkar en filmscen skapades problemformuleringen: Hur påverkas upplevelsen samt förståelsen av en films dödsscen när den musikläggs på två olika sätt; empathetic eller anempathetic musikläggning utöver filmens originalljudeffekter?För att få svar på frågeställningen så genomfördes ett antal intervjuer där respondenterna fick se samma självmordsscen tre gånger men musiklagd på tre olika sätt. Enbart ljudeffekter, empathetic eller anempathetic.Ett antal filmscener analyserades och musik skapades för att återskapa både empathetic och anempathetic musik som användes i studien. Nio respondenter intervjuades och utifrån deras svar kom resultatet att musik inte påverkade deras uppfattning eller förståelse av scenen nämnvärt.För att få fram ett mer rättvisande resultat hade fler intervjuer behövt genomföras. Skapandet av en egen scen hade antagligen hjälpt studien då man hade haft full kontroll över flera delar som t.ex. längd och handling.

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Heinrich Baryphonus (1581-1655) and Heinrich Grimm’s (1592/3-1637) didactic treatise, Pleiades musicae (1615/1630), provides a vivid testimony to the state of music education and music theory pedagogy in Protestant Germany in the early seventeenth century. Published initially by Baryphonus for use at the Gymnasium in Quedlinburg and reissued in an expanded format by Grimm for use at the Gymnasium in Magdeburg, the text examines the fundamentals of pitch, intervals, counterpoint, and, in the second edition, triadic theory and composition. Throughout the remainder of the seventeenth century and into the eighteenth century, music theorists including Johann Andreas Herbst (1588-1666), Otto Gibel (1612-1682), and Andreas Werckmeister (1645-1706), used the document as a source for their own musical writings, solidifying its status as a significant contribution to the field of music theory. Recently, scholars such as Carl Dahlhaus, Benito Rivera, and Joel Lester have found value in Pleiades musicae for its role in the early stages of the development of triadic theory and the emergence of harmonic tonality. However, with the exception of the passages on triadic theory, the treatise continues to be relatively unknown. In order to understand the full extent of Baryphonus and Grimm’s contributions to the history of music theory, and to provide a multifaceted context for situating Pleiades musicae in the culture of its time and place of origin, the present study examines both editions of the text from biographical, cultural, educational, philosophical, music-theoretical, and historical perspectives, and includes modern Latin editions and English translations of the two editions of the treatise.

The Czech-born music theorist, Václav Philomathes, wrote the Musicorum libri quattuor in 1512 while attending the University of Vienna. This didactic treatise became one of the most widely published theory treatise of its time with 26 copies of five editions remaining today and covers the topics of Gregorian chant practice, Solmization, Mensural Notation, Choir Practice and Conducting, and Four-voice Counterpoint. Of particular note, is the section on choir practice and conducting, of which there is no equivalent prior example extant today. This dissertation provides a Latin-English translation of Philomathes’s work, as well as produces a critical commentary and comparison of the five editions while positioning the editions within the context of the musico-theoretical background of early-to-mid-16th century scholarship in Central Europe.

In this project I aimed to deepen my insight into musical craftsmanship, form conclusions about counterpoint, harmony and melody (both written and improvisational) and how these can intertwine in order to create a larger coherent musical work. Whilst working on the project I used a wide plethora of jazz and classical techniques to create programmatic music molded after the great Swedish novel Doktor Glas. The music was written for a small orchestra with musicians with backgrounds in jazz, classical and folk music, and was performed live at KMH on the 12th of April 2022.

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