Rhythm is one of the three most important music elements (rhythm, melody, harmony), which allows to understand and know music deeper. In master work „The system of rhythm when training performers with folk instruments at music school“ it is analyzed the system of rhythm, in which a student is placed at music school, and development of rhythm feeling during the learning process. Students’ music mature is predetermined by all music training systems. Coordinating complex effect of all subjects’ make music learning more effective. Especially the rhythm feeling is developed by „skudučiavimas“, to which strong rhythm basics, syncopation, dissonance accords are very characteristic. Research object. The system of rhythm in the basic and in the main music learning at music school. Research target. To analyze the rhythm training system when preparing students at music school. Research tasks: • to open a student‘s musical mature and develop his/her abilities to feel the rhythm; • to show the influence of „skudučiavimas“ to rhythm feeling developing in the basic and in the main music learning; • to compare abilities of students in the final music school class to use the rhythm elements of classical and pop music. In the master work it is analyzed students’ rhythm feeling and all of coordinated subjects’ influence in the basic and in the main learning process. Made analyses has proved hypothesis, that prepared rhythm system for music school effectively influences young musicians’... [to full text]

It is known that the understanding of the speech is essential for a normal communication and it is dependent of the hearing abilities. Such abilities, among others, are fundamental for the understanding of the acoustic information, they depend on the perceptive ability of the sounds and each person's individual capacity. The capacity of acoustic interpretation can be perfected by the hearing training through the music. In general, the music plays an important part in the education, because it is through it that trains the perception and the discrimination of the most varied sounds (Benenzon,1985). The objective of this research is to compare the results of the evaluation of the hearing processing of two groups of scholars, one with musical experience and other inexperienced, both formed by 15 scholars. All of them were submitted to the anamnesis, visual inspection of the external acoustic meato, evaluation basic audiology (tonal audiometry preliminary-ATL, Threshold of Recognition of Speech-LRF, Percentile Index of Recognition of Speech-IPRF and Measures of Imitância Acoustics-MIA) and evaluation of the hearing processing (Staggered Spondaic Words-SSW, speech in the noise, Pitch Pattern Sequence-PPS and Duration Pattern Sequence-DPS). The results of the evaluation of the hearing processing were submitted to the statistical analysis through the no-parametric Test of Kruskal-Wallis. The rejection level for the nullity hypothesis was set in a smaller value or same to 5% (p <0,05). The following results were obtained: in relation to the tests SSW and speech in the noise, ECEM s group presented superior values, however no statistical significant, when analyzed the appraised ears. In relation to the DPS test, the same happened, however the form of the scholars answer was included (murmuring or nomination). For the PPS test, ECEM s group presented better results and statistical significant, so much for analysis of the appraised ears, as for the form of the scholars answer. Still, as results, it was observed in all the applied tests, that the answers of the group of ECEM were better and more clear, and the qualitative results differed significantly of the results ESEM s group. We concluded that the results of the evaluation of the hearing processing of the group of ECEM were superior to the results of the group of ESEM. / Sabe-se que a compreensão da fala é essencial para uma comunicação normal e é dependente das habilidades auditivas. Tais habilidades, entre outras, fundamentais para a compreensão da informação acústica, dependem da habilidade perceptiva dos sons e da capacidade individual de cada pessoa. A capacidade de interpretação acústica pode ser aprimorada pelo treinamento auditivo através da música. A música desempenha um papel importante na educação em geral, pois é por meio dela que se treina a percepção e a discriminação dos mais variados sons (Benenzon, 1985). O objetivo desta pesquisa é comparar os resultados da avaliação do processamento auditivo de dois grupos de escolares: um com experiência musical e, outro, sem experiência, ambos formados por 15 participantes. Todas eles foram submetidos à anamnese, inspeção visual do meato acústico externo (MAE), avaliação audiológica básica (audiometria tonal liminar-ATL, limiar de reconhecimento de fala-LRF, índice percentual de reconhecimento de fala-IPRF e medidas de imitância acústica-MIA) e avaliação do processamento auditivo (Staggered spondaic words-SSW, fala no ruído, Pitch pattern sequence-PPS e Duration pattern sequence-DPS). Os resultados da avaliação do processamento auditivo foram submetidos à análise estatística através do Teste Não-Paramétrico de Kruskal-Wallis. O nível de rejeição para a hipótese de nulidade foi fixado em um valor menor ou igual a 5% (p < 0,05). Os seguintes resultados foram obtidos: em relação aos testes SSW e fala no ruído, o grupo de escolares com experiência musical (ECEM) apresentou valores superiores, porém não estatisticamente significantes, quando analisadas as orelhas avaliadas. Em relação ao teste DPS, o mesmo ocorreu, porém foi incluída a forma de resposta dos escolares (murmúrio ou nomeação). Já para o teste PPS, o grupo de ECEM apresentou resultados melhores, estatisticamente significantes, tanto para análise das orelhas avaliadas, quanto para a forma de resposta dos escolares. Ainda, como resultados, observa-se em todos os testes aplicados, que as respostas do grupo de ECEM foram melhores e mais claras, de modo que os resultados qualitativos diferiram significativamente dos resultados do grupo de escolares sem experiência musical (ESEM). Concluí-se que os resultados da avaliação do processamento auditivo do grupo de ECEM foram superiores aos resultados do grupo de ESEM.

This thesis investigates the perceptual and cognitive reality of Schenkerian theory through a survey of relevant empirical research. It reviews existing Schenkerian-specific empirical research, examines general tonal research applicable to Schenkerian analysis, and proposes the possibility of an optimal empirical research method by which to explore the theory. It evaluates data dealing with musical instruction’s effect on perception. From this review, reasonable evidence for the perceptual reality of Schenkerian-style structural levels is found to exist. This thesis asserts that the perception of Schenkerian analytical structures is largely an unconscious process.

No description available.

Cadences are orderly progressions of chords which occur in classical and contemporary Western music. They can serve as anchoring points for the perception of musical key and of tonality. The rules governing the structure and usage of cadences have been set forth in music theory. In a series of experiments, listeners were able to rate the stability of simple two-chord cadences without explicit knowledge of music theoretical concepts. The stability ratings obtained for the cadences presented in these experiments were affected by the listener's musical training (inexperienced or formally trained), by the cadence type (chord progression moving toward or away from the tonic), by the position of the root (in the lowest or uppermost note position of chord) by the direction of cadence resolution (upward or downward pitch change). and by the tonal context. The tonal context was an ascending or descending diatonic scale in the key of G-major or C-major played before each cadence trial. Two hypothetical listening strategies were introduced as possible ways of perceiving musical cadences. Melody-tracking was defined as a simple analytic listening strategy which focused on the soprano voice of each chord in a cadence. Voice-tracking was defined as a flexible strategy which allowed the listener to focus on either the soprano or the bass voice in the triad sequence. Musically trained listeners' ratings generally conformed to the voice-tracking strategy. Their ratings followed conventional standards consistently and accurately. They rated G-C cadences most stable in a C-major context. and C-G cadences most stable in a G-major context. Untrained listeners' ratings did not consistently show this effect of key context. Their ratings generally conformed to the melody-tracking strategy. They considered downward resolution of a cadence more stable than upward resolution, and they gave higher stability ratings to cadences when the soprano voice instead of the bass voice led the cadence. All listeners tended to rate plagal cadences as more stable than imperfect cadences, and perfect cadences as more stable than other cadences. They also generally gave higher stability ratings to soprano-led cadences than to bass-led cadences. The musically untrained listeners were able to assign meaningful stability ratings to cadences. despite their lack of musical terms. The trained listeners appeared to approach the task in a different way. Over the course of formal musical training. trained listeners may have learned to use a more flexible strategy while maintaining a high level of accuracy and consistency in their task performance. / Thesis / Doctor of Philosophy (PhD)

Le présent mémoire vise à unifier les résultats d’études comportementales, neuropsychologiques et électrophysiologiques disponibles quant à la possibilité d’un partage des ressources neuronales dédiées au traitement du langage et de la musique. Pour ce faire, une analyse théorique précise des aspects traités lors de l’intégration structurale et temporelle d’éléments langagiers ou musicaux en processus de traitement en temps réel est essentielle. Le but visé est de se questionner sur l’effet potentiel d’un entraînement musical et linguistique sur les capacités syntaxiques touchées dans l’agrammatisme chez la population aphasique (Broca). / The present thesis aims at the unification of the results suggested by behavioral, neuropsychological and electrophysiological studies on the possible relation between neural correlates dedicated to treatment of language and music. To do this, a theoretical analysis of specific aspects processed in the structural and temporal integration of linguistic or musical elements when being processed on-line is essential. Our goal is to question whether a musical training would benefit the aphasic population (Broca) with agrammatism, especially on processing syntactic structures.

Le présent mémoire vise à unifier les résultats d’études comportementales, neuropsychologiques et électrophysiologiques disponibles quant à la possibilité d’un partage des ressources neuronales dédiées au traitement du langage et de la musique. Pour ce faire, une analyse théorique précise des aspects traités lors de l’intégration structurale et temporelle d’éléments langagiers ou musicaux en processus de traitement en temps réel est essentielle. Le but visé est de se questionner sur l’effet potentiel d’un entraînement musical et linguistique sur les capacités syntaxiques touchées dans l’agrammatisme chez la population aphasique (Broca). / The present thesis aims at the unification of the results suggested by behavioral, neuropsychological and electrophysiological studies on the possible relation between neural correlates dedicated to treatment of language and music. To do this, a theoretical analysis of specific aspects processed in the structural and temporal integration of linguistic or musical elements when being processed on-line is essential. Our goal is to question whether a musical training would benefit the aphasic population (Broca) with agrammatism, especially on processing syntactic structures.

We examined the hypothesis that neural plasticity following preadolescent musical training improves spatial listening and temporal processing. Two groups of children with (>2 years) and without (< 6 months) significant musical training were assessed on binaural processing, spatial memory, and gap detection. Results demonstrated the musician group had an advantage in spatial listening and auditory memory. These findings suggest an early emergence of listening benefits and also support musical training as a rehabilitative strategy to ameliorate specific auditory processing deficits.

Besikeičiančioje Europos bei Lietuvos sociokultūrinėje situacijoje ypač aktualūs tampa muzikinio ugdymo plėtotės klausimai. Muzika, artimai susijusi su plačiu žmogaus dvasinio, pažintinio, socialinio, praktinio, religinio gyvenimo spektrais, tampa svarbia jausmų pasaulio ir su juo integruoto intelekto sudėtine dalimi. Žmogaus vaikystei būdingi pasaulio pažinimo būdai šiandien sudaro kognityvinio – sąveikaujančio mokymo(si) pagrindą. Meninė veikla padeda vaikui pažinti ir išreikšti save pačiomis įvairiausiomis meno priemonėmis bei formomis. Vaiko veiklos meninės kokybės galima siekti atitinkamai derinant proceso ir žinių, kaip vieningos sistemos komponentų, poveikį. Todėl ankstyvojo amžiaus vaikų muzikinės kultūros komponentų bei elementų, jų tarpusavio ryšių, funkcionavimo ypatumų, ankstyvojo amžiaus vaikų socialinių ir kognityvinių gebėjimų ugdymo muzikine veikla galimybių atskleidimas yra aktuali pedagoginė problema. Tyrimo tikslas - atskleisti 2-4 metų amžiaus vaikų socialinių ir kognityvinių gebėjimų ugdymo galimybes muzikine veikla. Tyrimo objektas - 2-4 metų amžiaus vaikų kognityviniai ir socialiniai gebėjimai. Magistro darbe remiantis pedagoginės, psichologinės, metodinės literatūros bei švietimo dokumentų analize atskleista ankstyvojo muzikinio ugdymo samprata bei ankstyvojo amžiaus vaikų psichofiziniai ypatumai. Tėvų apklausos duomenys atskleidė, kad tėvai išskiria muzikinės veiklos kaip vienos iš pagrindinių priemonių formuojant asmenybės pagrindus jau ankstyvajame... [toliau žr. visą tekstą] / In the changing sociocultural situation of Europe and Lithuania, issues concerning development of musical training are becoming of specific topicality. Music, closely related with wide spectra of human psychic, cognitive, social, practical and religious life, is becoming an important composite part of the world of feelings as well as intellect integrated with it. Methods of cognizing the world which are typical of human childhood, today constitute the core of cognitive – interactive training/learning. Artistic activities help a child to cognize and express himself/herself by an enormous variety of artistic means and forms. Artistic quality of a child‘s activity can be pursued by appropriately coordinating the effect of the process and knowledge as a unanimous system of components. Therefore, the revelation of components and elements, their interconnection and functioning peculiarities of musical culture of children of an early age as well as the revelation of possibilities of training social and cognitive capabilities of children of an early age by musical activity is a topical educational problem. The aim of the investigation is to reveal the possibilities of training social and cognitive capabilities of children aged 2-4 by musical activity. The target of the investigation is cognitive and social abilities of children of 2-4 years of age. The conception of early musical training as well as psycho physiological peculiarities of children of an early age are revealed in this... [to full text]

Made available in DSpace on 2016-03-15T19:39:58Z (GMT). No. of bitstreams: 1 Viviane Cristina da Rocha.pdf: 2278481 bytes, checksum: 0296266256348645bf89629bad29b949 (MD5) Previous issue date: 2013-01-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Based on new techniques of brain imaging and electrophysiological approaches, it is possible to better understand brain functioning when listening or making music. This study aims to investigate how emotional cues in melodies are integrated with emotional cues in faces and how musical training influences this particular task. Participated in the experiments 32 adults, brazilian Portuguese speakers, from 21 to 35 years of age, divided in 2 groups: G1, with professional classical singers and G2, with people who had no musical training during their lives. Both groups were submitted to the 2 experiments. Experiment 1 had 80 different melodies sung without words by a female professional singer, 40 related to happiness and 40 related to sadness. Every musical excerpt was followed by a female face, that could express happiness or sadness. Participants had to judge whether the face was congruent or incongruent with the preceding musical excerpt. In Experiment 2, 20 of the participants did a similar task. However, they had to judge whether the face was congruent or incongruent with a word that had previously appeared. For this experiment, there were 40 words, 20 related to happiness and 20 related to sadness. Behavioural data (task performance and reaction time) and electrophysiological data (amplitude of evoked potentials) were analyzed through a repeated measures ANOVA, with established error &#945;=5%. The evoked potentials P1, N1, N170, EPN and N2 were individually analyzed. As results, there were no significant effects for group. However, in the electrophysiological data, there were significant effects for group in P1, N1, EPN and N2 for the first experiment, as such results were not found for the second experiment. These results indicate that there might be a possible influence of priming when it comes to subjects musical experience. / Por meio das tecnologias de imageamento cerebral e de investigação eletrofisiológica, pode-se compreender melhor o funcionamento do cérebro ao ouvir música ou executá-la, sem que sejam necessárias técnicas invasivas de exploração neurológica. Este trabalho tem como objetivo geral investigar o processamento cerebral de melodias de conotação alegre ou triste por pessoas de duas diferentes populações. Participaram do estudo 32 adultos, entre 21 e 35 anos, falantes língua portuguesa brasileira, divididos em dois grupos: G1, composto por cantores líricos profissionais e G2, por pessoas sem formação musical. Os dois grupos foram submetidos a dois experimentos. O Experimento 1, composto por melodias cantadas sem palavras, divididas em melodias relacionadas a alegria e melodias relacionadas a tristeza, compostas especialmente para este estudo. Todos os trechos foram cantados em vocalize, seguidos de uma face, alegre ou triste, sendo congruente ou incongruente em relação ao trecho que a precede. No total, foram apresentados 80 excertos musicais, 40 relacionados à alegria e 40 à tristeza. Os participantes julgavam, para cada trecho ouvido, se a face apresentada ao final do excerto seria considerada congruente ou incongruente em relação à melodia que a precedeu. No Experimento 2, 20 dos participantes realizavam tarefa semelhante, porém deveriam julgar se as faces eram congruentes ou incongruentes à palavra que a precedia. Para esse experimento, foram utilizadas 40 palavras (20 relacionadas a alegria e 20 a tristeza). Foram analisados os dados comportamentais (desempenho na tarefa e tempo de reação) e os dados eletrofisiológicos (amplitude média dos componentes). Foi realizada análise estatística por meio de ANOVA para medidas repetidas, estabelecendo-se erro &#945;=5%. Para os dados eletrofisiológicos, foram analisados individualmente os potenciais P1, N1, N70, EPN e N2. Não foram encontrados efeitos de grupo para os dados comportamentais. No entanto, efeitos de grupo foram encontrados somente nos dados eletrofisiológicos do primeiro experimento, para os componentes P1, N1, EPN e N2, indicando uma possível influência do priming em função do conhecimento musical dos sujeitos.