Este trabalho toma como objeto de estudo a percepção musical. Apresenta uma análise crítica de ementas, programas e livros usados na disciplina Percepção Musical, em cursos brasileiros de graduação em Música, através da qual busca desvelar as concepções sobre a percepção musical e seu desenvolvimento que servem de fundamento a esse material. O referencial teórico adotado, a perspectiva histórico-cultural que postula a natureza social e histórica do desenvolvimento humano e a percepção humana como um processo estrutural e semiótico , permitiu identificar, através dessa análise, um entendimento da percepção musical como um processo atomístico baseado no reconhecimento e reprodução dos elementos formadores da linguagem musical. Assumindo a música (efetivamente) como uma forma de linguagem e uma concepção enunciativo-discursiva da linguagem, procura, então, trabalhar com a idéia de que os processos perceptivos em música podem ser considerados como sinônimo de compreensão da obra musical e tenta desenvolver concretamente algumas idéias que possam orientar uma proposta metodológica alternativa para a Percepção Musical. / The study object of this work is musical perception. It presents a critical analysis of summaries, programs and books used in the Musical Perception subject, in Brazilian courses of graduation in Music, through which it searches to reveal the conceptions about musical perception and its development that serve as footing for this material. The adopted theoretical referential, the historical-cultural perspective - that claims the social and historical nature of the human development and the human perception as a structural and semiotic process -, allowed to identify, through the analysis, an agreement of musical perception as an atomistic process based in the recognition and reproduction of the formative elements of musical language. Assuming music (effectively) as a form of language and an enunciativediscursive conception of language, it searches, then, to work with the idea that the perceptive processes in music can be considered as synonymous of understanding of musical workmanship and tries to concretely develop some ideas that can guide an alternative methodological proposal for Musical Perception.

Orientador: Ricardo Goldemberg / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-10T16:33:49Z (GMT). No. of bitstreams: 1 Otutumi_CristianeHatsueVital_M.pdf: 1501426 bytes, checksum: 2b2bc68b8099e4b66f07d7f496cd5c59 (MD5) Previous issue date: 2008 / Resumo: O presente trabalho teve por finalidade investigar a situação atual em que se encontra a disciplina Percepção Musical no âmbito dos cursos superiores de música do Brasil. Através dos professores atuantes de todo país, foi possível observar a estrutura e o perfil da disciplina no programa curricular como, por exemplo, a quantidade de docentes, de horas de aula, de alunos nas classes, além de opiniões quanto a cuidados pedagógicos, ouvido absoluto e qualidades necessárias para um bom professor da matéria. Para a conquista desses dados duas abordagens metodológicas foram utilizadas: a pesquisa quantitativa, por meio de questionários aplicados a sessenta docentes, representantes de 89,65% das Instituições de Ensino Superior (IES) que oferecem cursos de música no país, e a pesquisa qualitativa, pelas entrevistas realizadas com cinco professores. O processo de organização, tratamento e interpretação das informações foi duradouro, porém, criterioso e fundamentado na análise de conteúdo segundo Bardin (2002). Então, nesse estudo, percentuais e tabelas caminham lado a lado com reflexões sobre os resultados obtidos. Inicialmente, foi feita uma revisão bibliográfica para contextualizar o meio em que se encaixa a disciplina bem como apresentar o que autores da área já relataram sobre o assunto. Ao aprofundar tais buscas viu-se necessário conhecer a quantidade de trabalhos acadêmicos e materiais didáticos relacionados, portanto, há um texto específico no capítulo um. Reunindo todas as vertentes de conteúdos foi possível verificar que embora iniciativas isoladas tenham existido há muito tempo, uma maior movimentação sobre o tema vem acontecendo nos últimos anos. Os índices percentuais confirmam queixas e afirmações cotidianas dos docentes, revelam fatos novos, e, além disso, os depoimentos contribuíram ricamente nos aspectos didáticos da disciplina. Com isso, um panorama minucioso da Percepção Musical no Brasil é apresentado nessa dissertação / Abstract: The main objective of the present work was to investigate the situation of the discipline Musical Perception, within undergraduate courses in Brazil nowadays. Amongst professors from all over the country, it became possible to observe both structures and profile of the discipline in the curricular program as, for example, the quantity of professors, class hours, students in classrooms, besides opinions about pedagogical concerns, absolute ear and necessary qualities a good teacher should have to teach the subject. Two methodological approaches were used in order to reach these results: quantitative research, in which questionnaires were applied among sixty professors, who represented 89.65% of the Colleges that offer music courses in the country; and qualitative research, through interviews with five professors. The process of organization and interpretation of their information took long, but was criterious and based on the analyses of content according to Bardin (2002). So, in this study, percentages and tables go along with reflections about the obtained results. Initially, a bibliographical review was conducted to contextualize about the discipline, and also show what authors of the field have already told about this subject. When this search became more profound, getting to know the amount of academic work and related didactic material turned into a necessity, thus, there is an specific text about it in the first chapter. Gathering all trends of contents made possible to verify that, although isolated initiatives have been taken for a long time, the most effervescence about the subject has only taken place in the last years. The percentage indexes confirm complaints, and professor¿s daily assertations reveal new facts, and moreover, their testimonies have immensely contributed to didactical aspects of the discipline. This way, a meticulous overview of the Musical Perception is presented in this dissertation / Mestrado / Mestre em Música

L’objectif de cette thèse est de déterminer si le déficit auditif des enfants dysphasiques est spécifique au domaine verbal et d’étudier les liens qu’entretiennent les habiletés verbales et musicales chez ces enfants. Nous avons testé 18 dysphasiques et des enfants au développement du langage typique (DLT) âgés de 7 à 12 ans. Dans la première étude, nous avons étudié leurs capacités de détection des syllabes dans des phrases chantées et parlées. Nos résultats ont confirmé les déficits de détection des syllabes chez les dysphasiques. Nous n’avons toutefois pas observé d’effet facilitateur du chant sur la détection des syllabes. Dans une seconde étude, nous avons exploré leur perception musicale à l’aide de la MBEMA (Peretz et al., 2013). Une part importante de ces enfants a montré des troubles de perception mélodique et rythmique. Une corrélation positive a été retrouvée entre les scores aux tests de perception rythmique et de conscience phonologique, étayant les liens entre le traitement temporel et la perception verbale chez les dysphasiques. Dans la troisième étude, nous avons exploré leurs capacités de chant avec une épreuve de reproduction de notes et de mélodies. Les dysphasiques montraient des troubles importants dans ces deux conditions. Des troubles de production et de perception musicale ont été mis en évidence chez la plupart des dysphasiques et les capacités de conscience phonologique semblaient liées au traitement temporel en musique. Ces résultats en faveur d’un déficit auditif plus global chez la plupart des dysphasiques suggèrent l’importance d’évaluer les capacités auditives non verbales dans la prise en charge diagnostique et thérapeutique de ces enfants. / The aim of this thesis is to determine whether the auditory deficit of children with Specific Language Impairment (SLI) is specific to verbal stimuli, and to examine the relation between language and musical abilities in these children. We tested 18 children with SLI and groups of children with Typical Language Development (TLD) aged from 7 to 12 years. In the first study, we examined syllable detection in sung and spoken sentences. Results confirmed the detection syllable deficit in children with SLI. However, we did not observe a facilitation effect of sung over spoken stimuli. In the second study, we explored musical perception abilities in the same children with the MBEMA (Peretz et al. 2013). Our results showed that a large proportion of the children with SLI present deficits in melodic and rhythmic perception. A positive correlation was found between scores in Rhythm and phonological awareness tasks, documenting a link between language and temporal processing in children with SLI. In the third study, we assessed singing abilities in children with SLI: we created a singing reproduction task and tested the pitch matching condition and the melodic reproduction condition. The SLI showed deficits for both conditions. These results suggested deficits in music perception and production in children with SLI for most of them and that development of phonological awareness abilities seems related to the auditory temporal processing in music. The findings seem to support the existence a more general auditory dysfunction in a majority of children with SLI emphasizing the relevance of systematically assessing nonverbal abilities for the diagnostic and rehabilitation of SLI.

With the intent of learning more about the process of assessing music ability, the purpose of this study is to investigate the effects of music learning on music aptitude scores. The problem of this study is to determine if there is a difference between pretest-posttest tonal aptitude scores, as measured by AMMA, for students who possess high and low levels of tonal audiation ability and who either received specialized audiation training on computer or no specialized audiation training. Forty-eight Grade 11 and 12 music students were administered AMMA as a pretest. An intact music class of 24 students received 13 weeks of computer instruction. The experimental treatment consisted of a computer assisted software program, Tonal Syntax Tutorial, which provided audiation practice for high school and college students. A randomly selected group of 24 students received their normal classroom music instruction. Pretest AMMA scores were used as the criterion measure. At the end of 13 weeks, all students were re-administered AMMA as a posttest. AMMA pretest and posttest Tonal scores were organized into a multidimensional design. A covariate analysis of the AMMA scores was calculated and a MANOVA was employed to determine differences between the pretest and posttest AMMA Tonal scores. Main effects, interaction effects, and simple main effects were tested at the .05 level of significance. The researcher found no significant difference between the treatment and control group tonal aptitude scores, however, there was a significant difference between levels of aptitude. It was interpreted that the difference between the students who possessed high tonal aptitude and students who possess low tonal aptitude was not a real difference because the difference in student tonal aptitude levels actually existed before the study began. The researcher believes that AMMA can be a useful instrument in the assessment of music abilities of high school students. Also, based on our present knowledge of computer assisted music instruction, it seems that that type of instruction alone is not sufficient to affect a change in tonal audiation ability of high school students. / Education, Faculty of / Curriculum and Pedagogy (EDCP), Department of / Graduate

It has recently become more common to combine methodologies from the fields of ethnomusicology and psychoacoustics to address fundamental questions concerning music perception. Ethnomusicology emphasizes cultural context when examining the different ways musical sounds are organized. Psychoacoustics explores the relationships between perceptual processes and physical properties of sound. The methodologies of both disciplines are crucial in developing a cross-cultural cognitive theory of music. A perception experiment was performed on two groups of Western musicians: one with training in Javanese gamelan music (the Gamelan group), and one without training in Javanese gamelan (the Western group). This study examined whether changes in timbre perception occurred in adults who were trained in another culture's music compared to naive listeners. The two groups' perceptions were also compared between an isolated tone and a melodic context to determine where the effects of training were most salient. A mathematical technique known as Multidimensional Scaling (MDS) showed that all subjects based their ratings on two factors during both contexts. In the isolated tone context, the two subject groups did not differ in their timbre perception. In the melodic context, the subject groups diverged in a statistically significant manner. Multiple regression analysis showed that in the isolated tone context, attack centroid (a measure of the spectral energy distribution during the initial 50 milliseconds of the tone) was emphasized almost equally by both groups, along with an unknown psychological factor. In the melodic context, the Gamelan group focused their attention almost completely on the attack centroid while the Western group focused their attention roughly the same between the attack centroid and the middle portion of the amplitude envelope. These results indicate that timbre perception in the music of another culture is modified when a listener has received training in that music, even as an adult. A musical context is needed for these modifications to become apparent, however, otherwise training has no effect on processing timbre. It would appear that attention is directed to acoustical properties that provide meaning to a musical context by those listeners who are familiar with that context. Conversely, listeners who are naive of another culture's musical contexts do not focus their attention on those specific acoustical properties. / Arts, Faculty of / Music, School of / Graduate

A pesquisa que deu origem a esta dissertação tem como objetivo central investigar estratégias para a aprendizagem de percepção musical na disciplina de Teoria e Percepção Musical, tendo como recurso o programa EarMaster. Como aporte teórico, a pesquisa valeu-se da abordagem sociointeracionista proposta pelos estudos de Vigotski, considerados os seguintes conceitos: mediação, sociointeração e a ZDP, articulados com o conceito de percepção musical no contexto do programa EarMaster. O estudo foi realizado em uma universidade particular da região nordeste do estado do Rio Grande do Sul, com alunos do curso superior de Música, Licenciatura Plena, na disciplina de Teoria e Percepção Musical II. O delineamento metodológico foi baseado na pesquisa de cunho qualitativo. Para a geração de dados, optou-se pela observação e pela videogravação simultâneas, realizadas na sala de informática da universidade, no horário da aula, no turno vespertino. As observações e videogravações geraram o corpus que foi analisado a partir de um processo de análise das imagens e do registro das observações, inspirada nos estudos de Bauer e Gaskell e nos estudos de Moraes e Galiazzi, mais especificamente na análise textual discursiva, com o intuito de responder a pergunta norteadora: Que aspectos considerar na criação de estratégias de aprendizagem para a disciplina de Teoria e Percepção Musical utilizando o software EarMaster, no contexto do Ensino Superior? Para o tratamento dos dados, foram considerados os norteadores teóricos: mediação, sociointeração, ZDP e percepção musical. Dessa forma, foram constituídas as categorias emergentes: Sociointeração, mediação, ZDP, EarMaster e as tecnologias. Na articulação entre as categorias, buscando estratégias para aprendizagem de percepção musical, encontrou-se a potencialidade do EarMaster como elemento mediador importante, transformando as interações entre o aluno e o professor em relação aos conceitos da percepção musical, bem como novas possibilidades na dinâmica de aula entre professor e aluno em relação a uma sala de aula sem a presença do programa. Nesse sentido, as interações mediadas pelo EarMaster pode ser um dos elementos relacionados às estratégias para aprendizagem de percepção musical no sentido de promover modificações na sala de aula e na forma como o aluno manuseia o programa em relação aos conteúdos musicais, e nas interações que realiza junto ao professor e aos colegas a partir dos elementos que o programa apresenta na tela do computador em sua plataforma. Foram ainda encontrados traços e autonomia no sentido de um estudo individual onde o aluno trabalha a sua própria ZDP com mediações realizadas junto ao EarMaster. A possibilidade de o programa funcionar como ativador da ZDP, transformando o potencial em real, e a interação/sociointeração e mediação destacaram-se, pois, ao interagir, a possibilidade do aluno construir novos elementos cognitivos se amplia. Assim, teceram-se algumas recomendações e desdobramentos sobre aprendizagem de percepção musical no contexto do ensino superior, de modo que professores e alunos reavaliem suas concepções acerca da percepção musical e da disciplina de Teoria e Percepção Musical, favorecendo a ampliação do potencial de aprendizagem do aluno. / Fundação de Amparo à Pesquisa do Estado do Rio Grande do Sul. / The research that led to this thesis is mainly aimed to investigate strategies for musical perception learning in the discipline of Theory and Musical Perception, with the feature EarMaster program. As a theoretical framework, the research used the sociointeractionist approach proposed by Vygotsky studies. The main concepts considered were: mediation, sociointeraction and ZPD, connected to the concept of music perception in the context of EarMaster program. The study was carried out in a private university in the northeastern region of Rio Grande do Sul state, with undergraduate students of Music, Full Degree in Theory and Musical Perception II. The methodological design was based on qualitative research. For generating data, it was chosen the observation and simultaneous video recording, made in the computer room of the university, at class time in the afternoon shift. The observations and video recordings generated the corpus that was analyzed from a process of analysis of the images and record observations, inspired by studies of Bauer and Gaskell And Moraes and Galiazzi (2007) and their studies, more specifically the discursive textual analysis, in order to answer the central question: What aspects to consider in creating strategies for learning Theory and Musical Perception using EarMaster software in the context of Higher Education? For the processing of data, the theoretical guiding were considered: mediation, sociointeraction, ZPD and musical perception. Thus, the following emerging categories were established: Sociointeraction, mediation, ZPD, EarMaster and technologies. On the relationship between the categories, seeking strategies for learning musical perception, the potential of EarMaster was found as an important mediating element, transforming the interactions between the student and the teacher in relation to the concepts of musical perception, as well as new possibilities for classroom dynamics between teacher and student in relation to a classroom without the use of the program. In this sense, the interactions mediated by EarMaster can be one of the elements related to the strategies for learning musical perception in order to promote changes in the classroom and how the student handles the program in relation to the musical contents and to the interactions he performs with the teacher and colleagues starting from the elements that the program displays on the computer screen in its platform. It was also found traces and autonomy in the sense of an individual study where the student works their own ZPD with mediations conducted using EarMaster. The possibility for the program to work as an activator of the ZPD, transforming the potential in reality, and interaction / sociointeraction and mediation stood out because, by interacting, the possibility that the student build new cognitive elements increases. Thus, some recommendations and developments about musical perception learning in the higher education context were elaborated, so that teachers and students reassess their conceptions of musical perception and of Theory and Musical Perception, favoring the expansion of the learning potential of the student.

La musique est universelle et le chant est le moyen d’expression musicale le plus accessible à tous. Les enfants chantent spontanément entre un an et un an et demi (Ostwald, 1973). Pourtant, le développement de cette habileté est très peu étudié en neuropsychologie et ce, malgré le fait qu’elle représente une immense source d’informations sur le traitement de la musique par le cerveau. Les études proposées ici visaient à mieux comprendre le développement normal et pathologique des fonctions perceptives et vocales. Dans un premier temps, une étude sur le chant normal chez les enfants de 6 à 11 ans est présentée. Le développement du chant de 79 enfants d’âge scolaire y est analysé de manière systématique et objective. Cette étude se penche plus particulièrement sur l’influence de l’âge ainsi que d’autres facteurs (le genre, la perception musicale, la présence de paroles et la présence d’un accompagnement vocal) sur la qualité du chant. Les jeunes participants ont chanté une chanson familière dans différentes conditions, soit avec et sans paroles, après un modèle ainsi qu’à l’unisson avec ce dernier. Suite à l’analyse acoustique des performances, différentes variables mélodiques et rythmiques telles que le nombre d’erreurs d’intervalles, le nombre d’erreurs de contours, la taille des déviations d’intervalles, le nombre d’erreurs rythmiques, la taille des déviations temporelles et le tempo, ont été calculés. Les résultats montrent que certaines habiletés de base liées au chant se développent toujours après 6 ans. Toutefois, le rythme est maîtrisé plus tôt, et les enfants d’âges scolaires réussissent parfois mieux que les adultes sur le plan rythmique. De plus, il est plus difficile pour les enfants de chanter avec des ii paroles que sur une syllabe et chanter à l’unisson représente un défi plus grand que chanter après un modèle. Par ailleurs, le nombre d’erreurs de contours, d’intervalles et de rythme, de même que la taille des erreurs rythmiques, sont liés à nos mesures de perception musicale. La seconde étude présente le premier cas documenté d’amusie congénitale chez l’enfant. Elle implique l’analyse de la perception musicale et du chant d’une fillette de 10 ans nous ayant été référée par son directeur de chorale. De sévères déficits ont été relevés chez elle et un diagnostic d’amusie congénitale fut posé. En effet, ses résultats aux tests visant à évaluer sa perception musicale indiquent d’importantes difficultés tant sur le plan de la discrimination des différences mélodiques et rythmiques, qu’au niveau de la mémoire des mélodies. La fillette présente des lacunes claires quant à la perception des fines différences de hauteurs. L’analyse des réponses cérébrales en potentiels évoqués suggère que l’enfant souffre de déficits situés tôt au cours des processus de traitement auditif, tel que démontré par l’absence de négativité de discordance (MMN). Le chant de la jeune fille est lui aussi déficitaire, particulièrement en ce qui concerne le nombre d’erreurs d’intervalles et leurs tailles. En conclusion, nos études montrent que les aptitudes pour le chant sont toujours en développement au cours des premières années de scolarisation. Ce développement peut être entravé par la présence d’un déficit lié spécifiquement à la perception musicale. Pour la première fois, l’amusie congénitale, sera décrite chez l’enfant. / Music is universal and singing is its most accessible means of expression. Children start singing spontaneously between one and one and a half year of age (Ostwald, 1973). Nevertheless, the development of this ability has barely been studied in neuropsychology, even if it represents a tremendous source of information about the way the brain analyses music. The goal of the following studies was to better understand the normal and pathological development of the perception and production of singing. The first study presented concerns the normal development of singing abilities in 6 to 11 year old children. Singing was analysed in a systematic and objective fashion in 79 school-age children. The study is first and foremost interested in the effect of age on the quality of singing productions. The effect of gender, music perception abilities, lyrics and presence of models are also examined. The young participants had to sing a familiar song in different conditions, that is, with and without lyrics, as well as following a model’s production and in unison. Acoustical analyses were run on the children’s productions and different melodic and rhythmic variables were compiled: number of interval errors, number of contour errors, size of interval deviations, number of rhythmic errors, size of rhythmic deviations and tempo. The results show that some of the basic singing abilities are still developing after 6 years of age. However, rhythm seems to be mastered earlier and school-age children sometimes perform better than adults on rhythmic variables. Furthermore, it is more difficult for children to sing with lyrics, versus a single syllable, and in unison, versus after a model’s production. Moreover, the number of contour, interval and rhythmic errors, as well as the size of rhythmic deviations, correlate with musical perception abilities. iv The second study describes the first documented case of congenital amusia in children. The subject is a ten year old girl, who was brought forth by her choir director. Her musical perception and singing abilities were evaluated and severe deficits were uncovered. Congenital amusia was therefore diagnosed. Indeed, her results on musical perception tasks were significantly lower than expected for her age, both in terms of melodic and rhythmic difference identification and of melody recall. Deficits were obvious in fine-grain pitch difference perception. ERP analyses suggest that brain responses are altered at a very early stage of auditory processing, as is supported by the absence of a mismatch negativity. Deficits are also found in the young girls’s singing productions, particularly concerning the number and size of interval errors. In conclusion, our studies show that singing abilities are still developing during the first school years. This development can be impeded by deficits specific to musical perception. For the first time, congenital amusia is described among children.

A integração audiovisual é capaz de melhorar a performance e a aprendizagem unissensorial. Esta integração ocorre mesmo quando uma das informações sensoriais não é consciente ao indivíduo, e.g. informação semântica auditiva pode impactar percepção visual inconsciente. No âmbito da percepção visual não consciente, o fluxo da informação fica restrito ao início do processamento cortical, não alcançando áreas de alta ordem, como a rede parietal-frontal. Considerando que as interações multissensoriais no córtex podem ocorrer desde estágios iniciais do processamento, levantamos a hipótese que a apresentação de estímulos visuais não conscientes pode beneficiar a aprendizagem auditiva de percepção de notas musicais. Neste estudo, testamos sujeitos em um paradigma de aprendizagem auditiva. Os indivíduos tinham como tarefa identificar seis notas diferentes separadas por 50 cents, ou ¼ de tom entre si. Os grupos foram divididos de acordo com o treinamento: auditivo (A), Auditivo + visual não consciente congruente (AV), e Auditivo + visual não consciente incongruente (AVi). Eles passaram por testes pré- e pós-treinamento de escolha forçada dentre seis alternativas somente com informação auditiva. Registramos dados de Eletroencefalografia (EEG) ao longo do experimento. A performance foi calculada por meio do Desvio Médio Absoluto das respostas com relação às notas corretas. Resultados comportamentais mostraram que o grupo AV não somente teve uma melhor performance durante o treinamento, quando a informação visual não consciente estava presente, como também apresentou um maior efeito do treinamento (melhora de pré- para pós-treinamento). Ambos os controles não diferiram entre si. Também mostramos que estes efeitos são devidos às notas da extremidade da escala. Os resultados de EEG mostram que a banda theta tem um papel fundamental na melhora da performance através do aumento da sincronização em áreas centrais e temporais, e da conectividade funcional entre córtices visuais e auditivos. Estes resultados são uma demonstração que asinterações multissensoriais ocorridas sem consciente são fortes o suficiente para aumentar a aprendizagem auditiva. Concluimos também que a conectividade funcional entre áreas corticais de processamento inicial aumenta depois de poucos minutos de treinamento. Além disso, esta tese levanta novas possibilidades para protocolos de aprendizagem perceptual auditiva, especialmente aqueles aplicado para aprendizagem de reconhecimento de notas musicais / Audiovisual integration may improve unisensory perceptual performance and learning. Interestingly, this integration may occur even when one of the sensory modalities is not conscious to the subject, e.g., semantic auditory information may impact nonconscious visual perception. Studies have shown that the flow of nonconscious visual information is mostly restricted to early cortical processing, without reaching higher-order areas, such as the parieto-frontal network. Thus, because multisensory cortical interactions may already occur in early stages of processing, we hypothesized that nonconscious visual stimulation without semantic information might facilitate auditory pitch learning. In this study we used a pitch learning paradigm, in which individuals had to identify six pitches in a scale with constant intervals of 50 cents. Subjects were assigned to one of three training groups: the test group (Auditory + congruent unconscious visual, AV), and two control groups (Auditory only, A, and Auditory + incongruent unconscious visual, AVi). Auditory-only tests were done before and after training in all groups. Electroencephalography (EEG) was recorded throughout the experiment. Results show that the test group (AV, with congruent nonconscious visual stimuli) performed better during the training, and showed a greater improvement from pre- to post-test. Control groups did not differ from one another. Changes in the AV group were mainly due to performances in the first and last pitches of the scale. We also observed consistent EEG patterns associated with this performance improvement in the AV group, especially higher theta-band synchronization among central and temporal areas, and stronger theta-band functional connectivity between visual and auditory cortices. Therefore, we show that nonconscious multisensory interactions are powerful enough to boost auditory perceptual learning, and that increased functional connectivity between early visual and auditory cortices after training might play a role in this effect. Moreover, weprovide a methodological contribution for future studies on auditory perceptual learning, particularly those applied to relative and absolute pitch training

O presente trabalho considera o conceito percepção vocal, incluindo suas funções e recursos, como uma capacidade de ouvir, conscientizar e fazer, através dos seguintes tipos de recepção sensorial: controle auditivo, sensação muscular, sensibilidade vibracional e visão. Este trabalho tem por objetivos a divulgação do referido conceito e a apresentação de métodos para o seu desenvolvimento para o cantor e regente coral, nas áreas disciplinares de canto, percepção e regência coral. A discussão é alicerçada na pesquisa da literatura russa e ucraniana sobre o assunto e tem o foco central baseado no trabalho de Vladimir Morozov. Ainda em comparação com as literaturas estadunidense e brasileira, busca refletir sobre os conteúdos relativos às áreas supracitadas e explora os meios de aprimoramento dessa habilidade na prática, com foco específico no ensino da regência coral e canto coral. Propõe assim um método de ensino que oferece uma série de exercícios de desenvolvimento da percepção vocal, que abrangem o trabalho do aluno, tanto dentro da sala de aula, quanto na sua prática com o coro, podendo tais exercícios ser aproveitados no trabalho individual. Para o trabalho de pesquisa e formulação da proposta de ensino, a metodologia escolhida foi de busca, comparação, reflexão e análise da literatura, paralelamente ao desenvolvimento de exercícios específicos. / The concept of vocal perception (including its functions and resources) is, in this dissertation, considered to be the ability of hearing, understanding and performing through the following kinds of sensorial reception: auditory control, muscular and vibrational sensitivity, as well as vision. The aims of this work are: A) divulgating the formerly mentioned concept; B) introducing methods that allow both singers and choral conductors to improve their acting. The discussion is based on the Russian and Ukrainian literature on this matter and focuses mainly on the work of Vladimir Morozov. In comparing these to the Brazilian and American literature, the dissertation also ponders over the contents that relate to the areas mentioned above, and explores the possible ways of improving this ability in practical situations, with an specific focus on choral conducting and choral singing, thus proposing a method of teaching that offers a series of exercises that will encourage the development of a vocal perception for the student, which can be applied in conducting classes, individual studying and general choral practice. When researching and creating the teaching method, the methodology of choice was to search, compare, ponder and analyze literature, while developing specific exercises.

The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasis of the wider educational context, music education emphasises the enrichment of experience. The value of music education is related to people's needs, and the functions it performs in their lives. Music education should be transformative, creative, enriching and relevant. Participation in music education is motivated by the intrinsic satisfaction of making music, rather than the extrinsic need for work-related competencies and qualifications. Music education competes for students with other subjects in the educational marketplace when the music curriculum ceases to be compulsory at age fifteen. Therefore, it is important to understand how students relate not only to music education, but also to the wider work-related educational context in which their subject participation choices are made. Therefore, the purposes of this study are twofold: (1) to establish an overview of how students perceive music education and the factors that influence their enrolment intentions, and (2) to establish an overview of how students perceive music within the wider context of education. Statements were chosen that were considered representative of the rationales for education presented by the government and the music education community. Questionnaires and interviews were developed using the statements, and were ii administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE Music) students Music was not a relevant subject for most students. However, the perceptions of a small percentage of students (mainly Music students) did find music education relevant in the ways the literature suggested it should be. The most common influences on enrolment were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on work-related skills and qualifications in the wider educational context, students generally agreed that Music was a subject better suited to enhancing life and lifestyle than career options. However, reflecting the wider educational context, Music was perceived as being more careers/future study orientated than transformative, creative, enriching and relevant.