Duisburg, Essen, Universiẗat, Diss., 2007.

Treatise (D.M.A.)--University of Texas at Austin, 2003. / Supervisor: Marianne Wheeldon and Lita Guerra. Vita. Includes bibliographical references. Also available from UMI.

Past studies of object recognition in vision and language have shown that (1) identification of the larger structure of an object is possible even if its component units are ambiguous or missing, and (2) contexts often influence the perception of the component units. The present study asked whether a similar case could be found in audition, investigating (1) whether melody recognition would be possible with uncertain pitch cues, and (2) whether adding contextual information would enhance pitch perception. Sixteen musically trained listeners attempted to identify, on a piano keyboard, pitches of tones in three different context conditions: (1) single tones, (2) pairs of tones, and (3) familiar melodies. The pitch cues were weakened using bandpass filtered noises of varying bandwidths. With increasing bandwidth, listeners were less able to identify the pitches of the tones. However, they were able to name the melodies despite their inability to identify the individual notes. There was no effect of context; whether or not listeners heard single tones, pairs of tones, or melodies did not influence their pitch identification of the tones. Several possible explanations were discussed regarding types of information that listeners had access to, since they could not have relied on detailed features of the melodies.

Thesis (M.Sc.). / Written for the Dept. of Psychology. Title from title page of PDF (viewed 2008/07/28). Includes bibliographical references.

Thesis (M.M.)--University of Michigan, 1940.

Thesis (M.M.)--University of Michigan, 1940.

Thesis (M.A.)--University of Wisconsin--Madison, 1968. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references (leaves 112-122).

Thesis (M.A.)--University of Wisconsin--Madison, 1968. / Title from title screen (viewed July 30, 2007). Includes bibliographical references (leaves 112-122). Online version of the print original.

Dissertação (mestrado)—Universidade de Brasília, Faculdade de Educação, Programa de Pós-Graduação em Educação, 2016. / Submitted by Fernanda Percia França (fernandafranca@bce.unb.br) on 2016-05-06T16:06:29Z No. of bitstreams: 1 2016_RobertoRicardoSantosdeAmorim.pdf: 5411910 bytes, checksum: 662eb53ed2a996238c6291c5a1391fdb (MD5) / Approved for entry into archive by Guimaraes Jacqueline(jacqueline.guimaraes@bce.unb.br) on 2016-05-11T11:21:56Z (GMT) No. of bitstreams: 1 2016_RobertoRicardoSantosdeAmorim.pdf: 5411910 bytes, checksum: 662eb53ed2a996238c6291c5a1391fdb (MD5) / Made available in DSpace on 2016-05-11T11:21:56Z (GMT). No. of bitstreams: 1 2016_RobertoRicardoSantosdeAmorim.pdf: 5411910 bytes, checksum: 662eb53ed2a996238c6291c5a1391fdb (MD5) / O presente trabalho investigou a educação musical com crianças e adolescentes no contexto de um projeto social localizado na Região Administrativa Recanto das Emas, no Distrito Federal. Teve como objetivo principal investigar o processo educativo musical por meio da percussão corporal no projeto Batucadeiros. O trabalho foi dividido em cinco capítulos, a saber: O capítulo 1 investigou o fenômeno da percussão corporal, contextualizando sua presença no âmbito da formação das culturas brasileiras, no processo de colonização portuguesa a partir da influência das raízes indígenas e africanas. O capítulo 2 pesquisou o corpo na educação musical, no contexto de uma sociedade escolarizada, e os processos de descorporalização da humanidade no processo civilizatório. O capítulo 3 trata da metodologia, e os capítulos 4 e 5, da análise dos dados. O referencial teórico está fundamentado, na abordagem histórico-cultural, que parte da compreensão da música como atividade humana possível de ser vivenciada por todos. A abordagem metodológica tem por procedimento a pesquisa colaborativa e dialógica, com participação de todos envolvidos do projeto Batucadeiros, tendo como instrumento principal as Rodas de Batuques e Conversas. _______________________________________________________________________________________________ ABSTRACT / This present work has investigated the music education with children and adolescents in the context of a social project localized in Recanto das Emas, Distrito Federal. Had as main objective to investigate the educational process by means of body percussion in project Batucadeiros. The work was divided in five chapters: Chapter one: Investigated the phenomenon of body percussion contextualizing his presence with the Brazilian culture, in the process of Portuguese colonization from the influence of indigenous and African roots. The second chapter has researched the body music education, in the context of an educated society and the human discorporealization process in the process of civilization.Chapter three talks about the methodology, and chapters four and five talks about data analysis. The theoretical framework is based on historical and cultural approach, that part of the understanding of music as a human activity that can be experienced by all. The methodological approach is collaborative and Dialogic, with the participation of all those involved in the Batucadeiro's project, having as main instrument the conversation circles.

O objetivo deste trabalho é investigar o processo composicional, a partir do pensamento do compositor. A investigação do processo composicional acontece em dois momentos. O primeiro momento é a realização documentada de um trabalho composicional, onde o pensamento do compositor fica registrado nas partituras, esboços e anotações que são feitas. O segundo momento é a realização de reflexões críticas a respeito dos conceitos técnicos e estéticos que são extraídos do trabalho composicional. As reflexões são feitas inicialmente considerando cada peça isoladamente e posteriormente considerando o conjunto de peças como um todo, estabelecendo ligações as composições. Em ambos os momentos busca-se evidenciar o fluxo de idéias do compositor no momento da criação, bem como seu modo de organizar estas idéias e produzir música. / This investigation occurs at two simultaneous levels – the documentation of the musical reasoning as registered through diaries, drafts, and scores, and the evaluation of the compositional processes through their technical and esthetic considerations. Both levels were applied firstly to each piece as a separate entity and, secondly, they were amplified to the whole compositional body. In so doing, the flux of musical ideas at the very moment of their inception is evinced, as were the composer´s handling of musical ideas and their transformation into complete pieces of music.