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Enculturation to Western Musical Pitch Structure in Young ChildrenCorrigall, Kathleen A. 10 1900 (has links)
<p>I examined the development of sensitivity to two fundamental aspects of Western musical pitch structure, key membership and harmony, which can be acquired without formal training. In Chapter 2 (Experiment 1), I describe the novel and engaging behavioural task that I designed in order to study a younger age group than in previous research. On each trial, children watched videos of puppets playing unfamiliar piano melodies and chord sequences, in which one puppet’s music conformed to Western pitch structure and the other’s did not. Children judged which of the two puppets played the best song. Five-year-olds demonstrated sensitivity to key membership but not harmony, whereas 4-year-olds demonstrated sensitivity to neither. However, event-related potential (ERP) responses to a subset of the stimuli (Experiment 2) showed evidence of implicit sensitivity to both key membership and harmony in 4-year-olds. These components differed from the typical response elicited in older children and adults, but were consistent with other studies showing similar immature components in young children. In Chapter 3, I found that 4- and 5-year-old children demonstrated behavioural sensitivity to both key membership and harmony in a less demanding task than was used in Chapter 2, specifically, in a familiar song. In Chapter 4, I compared children who were or were not taking music lessons and found that musical experience accelerated enculturation to musical pitch structure. Together, these findings indicate that under some circumstances even 4-year-old children demonstrate behavioural sensitivity to Western musical pitch structure, that implicit processes show sensitivity to Western musical pitch structure before this knowledge is demonstrated behaviourally, and that intensive musical experience accelerates musical acquisition.</p> / Doctor of Philosophy (PhD)
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EFFECTS OF VISUAL PRESENTATION ON AURAL MEMORY FOR MELODIESBuonviri, Nathan January 2010 (has links)
The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students. / Music Education / Accompanied by two .wmv files: 1) Audio-OnlyTest.wmv. 2) Audio-VisualTest.wmv.
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Experiencing MusicGray, Michael Alan 01 January 2005 (has links)
I am exploring the way music alters or enhances the perception of our environment. This creative project allows me to explore and visualize several issues that intrigue me: music (sound), emotion, and visual imagery (film). My goal in developing this topic is to allow others to have an experience related to sound and image, where image is altered and enhanced by the use of music.
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Beyond band : perspectives on the high school jam sessionSouthworth, Patricia Joan 05 1900 (has links)
This mixed-method case study examined effects of high school musicians' participation in the jam session, a student-directed, extracurricular music activity. The single case study site was a rural British Columbia high school exceptional for its support of jamming. Forty-four subjects, including 21 who fully met stated criteria for jammers, and 13 non-jamming subjects, were studied over a period of four months. The general research question was: Does participation in a band room jam session benefit students cognitively and motivationally? Specific research questions were: Do students who informally jam on various forms of music enhance their music skills in the perception and meaningful manipulation of music elements, and if so, how? In what ways does Csikszentmihalyi's flow theory explain the continued participation of students in the jam session? Three quantitative instruments were administered to 13 jammers capable of playing a Bb Concert scale on a melody instrument as well as to a comparable group of 13 non-jammers. These instruments included Gordon's Advanced Measures of Music Audiation (AMMA), Froseth's Test of Melodic Ear-to-Hand Coordination (TMEHC), and a researcher-developed test of ear-to-hand coordination (SOR). An ANOVA test showed no significant difference between jammer and non-jammer groups on AMMA scores (p<0.05). ANOVA showed a notable but not significant difference (p<0.056) between groups on the TMEHC, while a Repeated Measures Analysis of pre/post test TMEHC scores showed no effect of jamming over a period of 10 weeks. ANOVA showed a very clear difference between groups on the SOR (p<0.001). Qualitative data collected via journaling, interviews, observation, and participant-observer tasks indicated that jammers were perceiving and manipulating music elements in meaningful ways, and also supported Csikszentmihalyi's flow theory as an explanation for jam session participation. In particular, flow characteristics including transformation of time, loss of self-consciousness, and challenge/skill balance were both observed and reported. The role of the teacher, the presence of a music subculture, and the pseudo-curricular nature of jamming were noted as possible topics for further research.
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Beyond band : perspectives on the high school jam sessionSouthworth, Patricia Joan 05 1900 (has links)
This mixed-method case study examined effects of high school musicians' participation in the jam session, a student-directed, extracurricular music activity. The single case study site was a rural British Columbia high school exceptional for its support of jamming. Forty-four subjects, including 21 who fully met stated criteria for jammers, and 13 non-jamming subjects, were studied over a period of four months. The general research question was: Does participation in a band room jam session benefit students cognitively and motivationally? Specific research questions were: Do students who informally jam on various forms of music enhance their music skills in the perception and meaningful manipulation of music elements, and if so, how? In what ways does Csikszentmihalyi's flow theory explain the continued participation of students in the jam session? Three quantitative instruments were administered to 13 jammers capable of playing a Bb Concert scale on a melody instrument as well as to a comparable group of 13 non-jammers. These instruments included Gordon's Advanced Measures of Music Audiation (AMMA), Froseth's Test of Melodic Ear-to-Hand Coordination (TMEHC), and a researcher-developed test of ear-to-hand coordination (SOR). An ANOVA test showed no significant difference between jammer and non-jammer groups on AMMA scores (p<0.05). ANOVA showed a notable but not significant difference (p<0.056) between groups on the TMEHC, while a Repeated Measures Analysis of pre/post test TMEHC scores showed no effect of jamming over a period of 10 weeks. ANOVA showed a very clear difference between groups on the SOR (p<0.001). Qualitative data collected via journaling, interviews, observation, and participant-observer tasks indicated that jammers were perceiving and manipulating music elements in meaningful ways, and also supported Csikszentmihalyi's flow theory as an explanation for jam session participation. In particular, flow characteristics including transformation of time, loss of self-consciousness, and challenge/skill balance were both observed and reported. The role of the teacher, the presence of a music subculture, and the pseudo-curricular nature of jamming were noted as possible topics for further research.
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O ensino da percepção musical para iniciantes, com ênfase na utilização de timbres alternativos e no uso da palavra para uma turma de graduação em pedagogia - Goiânia - Go / Music perception teaching for elementary students, emphasizing alternative timbre and words’ application in a pedagogy class - Goiânia - GoSousa, Jairo Aurélio de Deus 28 March 2015 (has links)
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Previous issue date: 2015-03-28 / Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq / This work aimed to develop a methodological proposal to the teaching of Musical Perception
for education students. The proposal musical experience was developed and implemented
with a graduating class in Pedagogy. This is an Action Research carried out in the Faculdade
Padrão in Goiânia- GO. It began with a literature review, developed experiences with groups
and even data that were analyzed. At first, we opted for the realization of a pilot project,
through which it gave 12 sessions, classes, whose results were included in this study, aimed
at consolidating the proposed methodology. Finished this time of the study, there was 11
new sessions-classes, in order to demonstrate, through filming and recorded protocols, the
embodiment of the proposal / consolidated methodology, procedures of each session and the
results of the teaching / learning. Data collection was made by 5 collection instruments: 1 -
Protocols; 2 - Two tests at the beginning and end of the study, called Pre-test and Post-test;
3 - Interviews, made to research participants; 4 - Footage of classes; and 5 - Jury Analysis
Results. The hypothesis of the research was that it would be possible to answer the following
questions described; once the analysis of data collected: 1 - How to relate and evaluate a
variety of textbooks within an alternative proposal for the teaching of rhythmic and melodic
perception ?; 2 - How to insert the use of compositions created by the researcher, in the
teaching of Musical Perception ?; 3 - How to operationalize the use of alternative sounds
and words as significantly relevant aspects in the learning of Musical Perception ?; and 4 -
How to adjust the teaching methodology proposal, given that the target audience will be
students / of the undergraduate degree in Pedagogy? To support the theoretical reflections
and the data collected during the action research, we used theoretical basis of the authors
Bellochio (2000), Schafer (1991), Brito (2003) e Swanwick (2003); beyond the analysis of
official documents defining the guidelines for Early Childhood Education. It was concluded
that the production of a contextualized material having a musical experience as a major
feature, allows the music educator build pathways that can promote an enriching music
education. / A presente dissertação teve como principal objetivo o desenvolvimento de uma proposta
metodológica visando o ensino da Percepção Musical para alunos de pedagogia. A vivência
musical proposta foi desenvolvida e implementada junto a uma turma de graduação em
Pedagogia. Trata-se de uma Pesquisa-ação realizada na Faculdade Padrão em Goiânia- GO.
Iniciou-se com a revisão de literatura, desenvolveu vivências com turmas e chegou a dados
que foram analisados. De início, optou-se pela realização de um Projeto Piloto, através do
qual se ministrou 12 sessões-aulas, cujos resultados foram incluídos neste trabalho, visando
a consolidação da metodologia proposta. Terminado este momento da pesquisa, realizou-se
11 novas sessões-aulas, com o intuito de demonstrar, através de filmagens e dos protocolos
anotados, o modo de realização da metodologia proposta/consolidada, os procedimentos de
cada sessão e os resultados do ensino/ aprendizagem. A coleta de dados, foi feita através 5
instrumentos de coleta: 1 - Protocolos; 2 - Dois testes realizados no início e no término da
pesquisa, denominados Pré-teste e o Pós-teste; 3 – Entrevistas, feitas aos participantes da
pesquisa; 4 - Filmagens das aulas; e 5 – Resultado da Análise do Júri. A hipótese da pesquisa
foi a de que seria possível responder às perguntas descritas a seguir; uma vez terminada a
análise dos dados coletados: 1 - Como relacionar e avaliar uma variedade de obras didáticas
dentro de uma proposta alternativa para o ensino da percepção rítmica e melódica?; 2 - De
que forma inserir o uso das composições criadas pelo pesquisador, no ensino da Percepção
Musical ?; 3 - De que maneira operacionalizar a utilização de timbres alternativos e da
palavra como aspectos de significativa relevância na aprendizagem da Percepção Musical?;
e 4 - De que forma adequar a metodologia de ensino proposta, tendo em vista que o público
alvo serão alunos/as do curso de graduação em Pedagogia? Para subsidiar as reflexões
teóricas e os dados coletados durante a Pesquisa-ação, utilizou-se base teórica dos autores
Bellochio (2000), Schafer (1991), Brito (2003) e Swanwick (2003), além da análise de
documentos oficiais que definem as diretrizes para a Educação Infantil. Concluiu-se que a
produção de um material contextualizado, tendo a vivência musical como uma das
características principais, possibilita ao educador musical construir caminhos que podem
promover um ensino de música enriquecedor.
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The influence of non-linear frequency compression on music perception for adults with a moderate to severe hearing lossUys, Marinda 13 October 2012 (has links)
Objective: To date, the main focus in frequency lowering hearing aid studies has been in relation to speech perception abilities. With improvements in hearing aid technology, there is a growing interest in musical perception as a dimension that could improve hearing aid users’ quality of life. The purpose of this study was two-fold: Firstly, to develop a test of music perception for adult hearing aid users and secondly, to evaluate the influence of non-linear frequency compression (NFC) on music perception with the use of the Music Perception Test (MPT) compiled by the researcher. Research design and research sample: Phase 1 entailed the compilation of the MPT and can be described as design-based. A quasi-experimental research design was selected to establish the structure of the method employed in Phase 2, which involved the fitting of participants (n=40) with NFC hearing aids. Objective data was obtained with the hearing aids with NFC active and inactive. Phase 3 was characterized by a survey design which elicited subjective impressions of the participants’ musical experiences with NFC active and inactive. Results: Results proved that normal hearing adults as well as adults using hearing aids were able to complete all the sub-tests of the MPT. Furthermore, the use of NFC resulted in a statistically significant improvement in hearing aid users’ perception of timbre and melody, but not of pitch. Overall, no statistically significant improvement in their perception of rhythm was observed, although their performance on some rhythm sub-tests improved significantly. The use of NFC also brought about a statistically significant improvement in hearing aid users’ perception of the music qualities of overall fidelity, tinniness and reverberance. Although participants experienced the loudness, fullness, crispness, naturalness and pleasantness of music more positively with NFC, these benefits were not statistically significant. Conclusion: The MPT can be used successfully for assessing music perception in hearing aid users within the South African context and may therefore result in more accountable hearing aid fittings. The use of NFC may increase hearing aid users’ appreciation of music whilst not influencing music perception negatively. Given that a large percentage of hearing aid users express a loss in enjoyment of music, audiologists should not ignore the possible benefits of NFC, especially if one takes into account that previous research indicated speech perception benefits with this technology. / Thesis (DPhil)--University of Pretoria, 2012. / Speech-Language Pathology and Audiology / Unrestricted
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Beyond band : perspectives on the high school jam sessionSouthworth, Patricia Joan 05 1900 (has links)
This mixed-method case study examined effects of high school musicians' participation in the jam session, a student-directed, extracurricular music activity. The single case study site was a rural British Columbia high school exceptional for its support of jamming. Forty-four subjects, including 21 who fully met stated criteria for jammers, and 13 non-jamming subjects, were studied over a period of four months. The general research question was: Does participation in a band room jam session benefit students cognitively and motivationally? Specific research questions were: Do students who informally jam on various forms of music enhance their music skills in the perception and meaningful manipulation of music elements, and if so, how? In what ways does Csikszentmihalyi's flow theory explain the continued participation of students in the jam session? Three quantitative instruments were administered to 13 jammers capable of playing a Bb Concert scale on a melody instrument as well as to a comparable group of 13 non-jammers. These instruments included Gordon's Advanced Measures of Music Audiation (AMMA), Froseth's Test of Melodic Ear-to-Hand Coordination (TMEHC), and a researcher-developed test of ear-to-hand coordination (SOR). An ANOVA test showed no significant difference between jammer and non-jammer groups on AMMA scores (p<0.05). ANOVA showed a notable but not significant difference (p<0.056) between groups on the TMEHC, while a Repeated Measures Analysis of pre/post test TMEHC scores showed no effect of jamming over a period of 10 weeks. ANOVA showed a very clear difference between groups on the SOR (p<0.001). Qualitative data collected via journaling, interviews, observation, and participant-observer tasks indicated that jammers were perceiving and manipulating music elements in meaningful ways, and also supported Csikszentmihalyi's flow theory as an explanation for jam session participation. In particular, flow characteristics including transformation of time, loss of self-consciousness, and challenge/skill balance were both observed and reported. The role of the teacher, the presence of a music subculture, and the pseudo-curricular nature of jamming were noted as possible topics for further research. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate
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Physiological Perspectives of Avant-garde MusicRievers, Henrique André Christiano 04 October 2021 (has links)
Obwohl die Theatralisierung der Musik ein entscheidender Aspekt der Neuen Musik ist, der im Szenario nach 1945 noch mehr an Bedeutung gewinnt, kann die aber auch als Ausdruck einer musikalischen Wende zum Leib verstanden werden. Um von einer Wende zum Leib in der Musik zu sprechen, muss man auch eine Form des Dualismus zu überwinden. Durch die Werke avantgardistischer Komponisten wird in dieser Arbeit versucht, ein Verständnis der Musikwahrnehmung aufzubauen. / It is our thesis that, even though the theatricalization of music is a crucial aspect of the Neue Musik – one that gain even more prominence on the post-1945 scenario –, it is also an expression of a corporeal turn in music. To speak of a corporeal turn in music also means an attempt to overcome a form of dualism. It is an attempt to unify music making and music perception. This is what will be attempted here. Through the works of avant-garde composers, an attempt to build an understanding of music perception in the context of a corporeal turn in music will be made. From the perception of the body and corporeity to the move from “listening” to “perceiving” and, finally, in the concept of the work of music as a phenomenal field, a physiological perception of the avant-garde will be developed.
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Subtle Semblances of Sorrow: Exploring Music, Emotional Theory, and MethodologyWarrenburg, Lindsay Alison January 2019 (has links)
No description available.
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