No description available.

It has been demonstrated that early, formal and extensive musical training induces changes both at the structural and functional levels in the brain. Previous evidence suggests that musicians are particularly skilled in auditory analysis tasks. In this study, I aimed to find evidence that musical training affects the perception of acoustic cues in audiovisual speech processing for Native-English speakers. Using the McGurk paradigm –an experimental procedure based on the perceptual illusion that occurs when an auditory speech message is paired to incongruent visual facial gestures, participants were required to identify the auditory component from an audiovisual speech presentation in four conditions: (1) Congruent auditory and visual modalities, (2) incongruent, (3) auditory only, and (4) visual only. Our data showed no significant differences in accuracy between groups differentiated by musical training. These findings have significant theoretical implications suggesting that auditory cues for speech and music are processed by separable cognitive domains and that musical training might not have a positive effect in speech perception. / Graduate / 2020-08-12

no / Building on models of transfer effects between musical training and language processing and on evidence of similarities in the way the brain responds to unexpected elements in music and language, we investigated whether effects of musical training could be observed at the level of sentence processing. Using sentences that tax the semantic processes involved in natural comprehension and avoid outright anomalies, we showed a striking difference between musicians and non-musicians: contrary to non-musicians, musicians showed no N400 response to novel metaphorical words which were more difficult to integrate semantically into their context than literal controls. This difference between musicians and non-musicians in semantic processing in sentences shows an effect of musicianship at the highest level of music–language transfer effects demonstrated so far in the literature. As well as adding to the growing body of evidence surrounding the relationship between musical training and language processing, this work provides support for theories which suggest shared resources, computations, and neural areas underpinning the high-level processing of music and language.

The aim of the Musical Training Revolution is to take advantage of the modern educational technology tools, to apply them to the auditory training in a professional music training program. In this paper, the experience of transforming the classroom course in Leveling in Reading and Ear Training is presented, from a university undergraduate Music, to a b-learning mode. b-learning mode of this course is set on a virtual classroom on the Moodle platform. Online work within this virtual classroom included communication forums, academic forums, ear training self-instructive resources and academic tasks. The working strategy of on-line courses considered several aspects: 1) Structure of the virtual classroom. 2) Communication within the virtual classroom. 3) Managing the virtual classroom. 4) Create and organize content. 5) Provide an online study methodology. 6) Design and implementation of online activities. 7) Rate of online activities. 8) Evaluation of the whole process. The results of this experience forced us to rethink the contents of the same course at the following levels due to the substantial progress made. / El objetivo de la Revolución del Entrenamiento Musical es aprovechar las modernas herramientas tecnológicas para la educación, aplicándolas al entrenamiento auditivo, dentro de un programa de formación musical profesional. En este trabajo, se presentará la experiencia de transformación del curso presencial de Nivelación en Lectura y Entrenamiento Auditivo, de un pregrado universitario de Música, a la modalidad b-learning. La modalidad b-learning de este curso se estableció sobre un Aula Virtual en una plataforma Moodle. El trabajo en línea, dentro de esta Aula Virtual, incluyó foros de comunicación, foros académicos, recursos autoinstructivos de entrenamiento auditivo y tareas académicas. La estrategia del trabajo online del curso consideró varios aspectos: 1) Estructura del Aula Virtual; 2) Comunicación dentro del Aula Virtual; 3) Administración del Aula Virtual; 4) Creación y organización de contenidos; 5) Planteamiento de una metodología de estudio en línea; 6) Diseño y puesta en marcha de las actividades en línea; 7) Calificación de las actividades realizadas en línea; 8) Evaluación de todo el proceso. Los resultados obligaron a replantear los contenidos del mismo curso en los niveles siguientes debido a los importantes avances alcanzados.

The purpose of this study was to determine the effects of an auditor's past musical training and experience on the intelligibility of selected vowel sounds at differential pitch levels. The specific problems of the study were to investigate the effects of extensive vocal music training, extensive non-vocal music training, and limited or no music training on an auditor's ability to discriminate accurately selected vowel sounds performed at various pitch levels. The effects of pitch and vowel sound on auditor recognition of vowel sounds in singing and the ability of each singer to be intelligible to auditors was also investigated.

Muzikinis ugdymas – viena iš pagrindinių estetinio ugdymo sudedamųjų dalių. Muzikavimas teikia vaikui teigimų emocijų, kurios yra būtina sąlyga normaliam ir visapusiam vaiko vystymuisi. Esminiai mokyklinio amžiaus vaikų muzikinio ugdymo tikslai yra „įauginti“ vaiką į tautos muzikinę kultūrą, formuoti gerą muzikinį skonį, estetinį muzikos suvokimą, lavinti muzikinius gabumus, mokėjimus bei įgūdžius. Muzikos vadyba – sudėtinga veikla, kuri užima ypatingą vietą mūsų besikeičiančioje visuomenėje. Tyrimo tikslas - išsiaiškinti muzikinių renginių organizavimo vadybinius aspektus. Šiame darbe aptarti populiariausi mokinių muzikiniai konkursai, t.y. Dainų šventė, dainų dainelė ir Tramtatulis (liaudies kūrybos atlikėjų konkursas), nagrinėjami muzikinių renginių organizavimo aspektai bei jų vadyba, o taip pat muzikinis ugdymas bendrojo lavinimo mokyklose Lietuvoje. Išanalizavus pedagoginę ir psichologinę bei muzikologinę literatūrą, paaiškėjo, kad naujoviškas požiūris į vadybą, šiuo atveju muzikinio renginio organizavimo valdymą, padeda siekti sėkmingų veiklos pokyčių. Remiantis tyrimo rezultatais galima teigti, kad dauguma mokinių tik iš dalies patenkinti mokyklos organizuojamais renginiais, jų kokybe. Vienas iš pagrindinių vadovo - vadybininko sugebėjimų, reikalingų kiekvienam, tai sugebėjimą ir patirtį paversti veikla. Be didžiulio kūrybiškumo, intuicijos, kompetencijos įvairiose veiklos srityse, žinių, meninio jautrumo ir tolerancijos būtina meilė menui, entuziazmas. Tai ir yra... [toliau žr. visą tekstą] / Musical training is one of the basic components of aesthetical education. Exposure to music gives a child positive emotions, which are necessary for his normal and comprehensive development. The essential purpose of musical training among young children is to “grow the child into” the musical culture of the nation, form good musical taste, aesthetical understanding of music, cultivate musical abilities, knowledge and skills. Music Management is a complicated activity, which takes a very special place in our growing and changing society. The purpose of research is to clarify the aspects of the management of musical events. The paper discusses the most popular pupils musical competitions for example the Song Festival, “Dainu Dainele”, Tramtatulis (the competition for national music performers), analyzes aspects of musical events organization and management, musical education training in general education schools throughout Lithuania. After analyzing pedagogical, psychological and musical literature, it became clear, that new points of view to the management, in this case-musical events organization management, helps reaching successful changes in this area. Based on results of this research it can be said, that most of the pupils are only partly satisfied with the musical events that schools are offering and the quality of such events. One... [to full text]

When compared to their non-musician peers, adult musicians demonstrate enhanced speech-in-noise perception (Parberry-Clark et al, 2013), verbal memory (Chan et al, 1998), phonological skills (Deg & Schwarzer, 2011), and reading (Tierney & Kraus, 2013). Recent evidence from auditory brainstem responses suggests that early musical training primes neural plasticity that facilitates listening in degraded environments (Strait et al., 2012). Our study examined the hypothesis that neural enhancements, subsequent to preadolescent musical training, improves binaural speech processing and temporal processing that are known to contribute significantly to speech understanding in complex listening environments (Hirsh, 1950; Snell & Frisina, 2000). We tested middle-school aged (10 - 14 years) children with and without musical training based on years of experience (< 6 months = non-musician; > 1 year = musician) and musical aptitude (Intermediate Measures of Music Audiation; rhythm subtest) on tests of spatial listening (Listening in Spatialized Noise-Sentences Test, Dillon, 2007) and auditory temporal processing (Adaptive Test of Temporal Resolution, Lister et al., 2011). We also measured working memory and visual processing efficiency (picture pattern memory and processing speed; NIH Tool Box) to understand the potential influence of multimodality higher-order cognitive skills over modality-specific enhancements in auditory perceptual processing secondary to musical training.

No description available.

Bendrojo lavinimo mokykloje dorovinė kultūra, estetinės vertybės vis dar atsilieka nuo mokslo žinių. Mokykloje laukiami pokyčiai bus realesni, jeigu atsiras daugiau naujų programų, metodikų pasirinkimo galimybės. Pasirinkimo galimybę mokytojams atveria atnaujinti E. Balčy��io muzikos vadovėliai, taip pat 2002 metais pasirodęs naujas A. Dikčiaus, J. Vaišvilienės, E. Veličkos muzikos vadovėlis šeštai klasei „Mano muzika“. Magistro darbe palyginamas abiejų vadovėlių ugdymo turinys, iškeliami jų privalumai ir diskutuotini klausimai, aiškinamasi, kokia muzikinė veikla patraukliausia šeštos klasės mokiniams, kokiais inovaciniais muzikinio ugdymo metodais reikėtų vadovautis juos ugdant. Tyrimas išryškino, kurie šeštos klasės vadovėlių muzikinio ugdymo turinio elementai labiau priimtini jausminiu, emociniu aspektu, iškeltas šeštos klasės mokinių muzikinės kompetencijos klausimas, ugdymo turinį ir didaktiką siekiama sieti su mokinių mokymosi motyvacija. Atliktas tyrimas patvirtino hipotezę, kad šeštos klasės mokinių mokymosi motyvacija didėja, jeigu naudojant naujus, šiuolaikiškus muzikos vadovėlius formuojamas teigiamas požiūris į muzikos pamokas. Darbe nagrinėjamas mokinių, mokytojų ir studentų požiūris į šeštos klasės muzikos vadovėlius, jų prieinamumą mokiniams, mokinių požiūrį į muzikos pamokas ir muzikinę veiklą, aiškinamasi, kokiais kriterijais vadovaujasi muzikos mokytojai, pasirinkdami vieną iš dviejų vadovėlių. Šis tyrimas atskleidžia muzikos vadovėlių didaktinius ypatumus... [toliau žr. visą tekstą] / Moral culture and aesthetic values still fall behind learning in secondary schools. The expected changes will be more practicable if the opportunities of choosing new programmes and methods are on the rise at school. The renewed textbooks of musical teaching by E. Balčytis and the new one for the sixth class „My music“ by A. Dikčius, J. Vaišvilienė and E. Velička, published in 2002, increase the possibilities of choice. The teaching contents of both textbooks are compared in the Master’s Paper. The advantages are discussed and the negotiable points are raised. The most attractive musical activities for the sixth year students are presented in this Master’s Paper. Besides, several innovative methods of musical training should be gone by during the educational process. The research showed what elements of training content in the musical textbooks are more acceptable from emotional aspect. The issue of musical competence of the sixth year students is raised and the musical training content and didactics are correlated with the students‘ learning motivation. The performed research proved the hypothesis that the motivation of the sixth year students increases if a positive attitude towards the Music lessons using new modern textbooks is formed. The schoolchildren‘s, teachers‘ and students‘ opinion of the Music textbooks for the sixth class, their appropriateness and the students‘ attitude towards the lessons of Music and the musical activities during the lessons are expressed... [to full text]

Lietuvai įsitvirtinant Vakarų Europos erdvėje, vienas svarbiausių švietimo tikslų tampa visuomenės kūrybinių galių stiprinimas. Muzikinis ugdymas kūrybiškumo plėtotei turi ypač palankias sąlygas. Kompleksinis muzikinių veiklų, kuriose gali būti plėtojamas kūrybiškumas, taikymas nėra naujiena bendrojo lavinimo mokyklų muzikos pamokoms. Tačiau muzikos mokyklose mokant groti muzikos instrumentu, tradiciškai didžiausias dėmesys yra kreipiamas tik į reproduktyvų muzikos atlikimą. Todėl, nepakankamas dėmesys kūrybiškumo plėtotei muzikiniame ugdyme, šiame darbe apibrėžiamas kaip problema. Šis mokslinis tiriamasis darbas – tai galimybė išbandyti kūrybiškumo skatinimo galimybes muzikos instrumento pažinimo pamokose, integruojant visas 3 muzikines veiklas: muzikos improvizavimą – komponavimą; muzikos klausymą – vertinimą ir muzikos atlikimą – interpretavimą. Tyrimo objektas – kūrybiškumo plėtotė muzikiniame ugdyme. Šio darbo tikslas - atskleisti kūrybiškumo plėtotės galimybes individualiose muzikos instrumento pažinimo pamokose. Siekiant tikslo numatyti šie uždaviniai: 1. Atskleisti kūrybiškumo sampratą ir jo svarbą šiandieninėje visuomenėje; 2. Išryškinti kūrybiškumą ugdančius veiksnius ir plėtotės būdus muzikiniame ugdyme; 3. Parengti teoriškai pagrįstą priemonių sistemą, skatinančią kūrybiškumą instrumento pažinimo pamokose; 4. Įvertinti kūrybiškumą plėtojančių priemonių sistemos efektyvumą mokinių kūrybinei raiškai; 5. Parengti praktines- metodines rekomendacijas muzikos... [toliau žr. visą tekstą] / As Lithuania is consolidating in the space of Western Europe, the reinforcement of society’s creative powers is becoming one of the most important objectives of education. Musical development has particularly favourable conditions for the development of creativeness. The application of combined musical activities, where creativeness can be developed, is not a new thing in music lessons at secondary schools. However, at music schools, when teaching to play a musical instrument, the greatest attention is traditionally paid only to the reproductive performance of music. Therefore the insufficient attention to the development of creativeness in musical training is defined as a problem in this paper. This paper deals with the opportunity to try the possibilities of the stimulation of creativeness in the lessons of the perception of a musical instrument, integrating all the 3 musical activities, i.e. music improvisation-creation; listening to music-evaluation and the performance of music – interpretation. The object of this study is the development of creativeness in musical training. The objective of this paper is to reveal the possibilities of the development of creativeness in individual lessons of the perception of a musical instrument. In order to achieve this objective, the following tasks are planned: 1. to reveal the apprehension of creativeness and its importance in today’s society; 2.to show the factors that develop creativeness and the ways of creativeness development in... [to full text]