Thesis (D.M.A.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 210-221). Also available for download via the World Wide Web; free to University of Oregon users.

This study investigated whether fifth-grade students would sing more accurately when responding to pitch stimuli presented to the right ear as compared to left and both ears. Students were also classified as either strongly right-handed or other (left-handed or mixed) to see if ear treatment responses would differ with handedness. Sixty-six students were tested on their attempts to match 12 model pitches. Identical tests were given to each subject on 3 different days, with a different ear treatment each day. Vocal response scores were significantly better for both-ear presentation than for left-ear. No significant difference was found between right and both ears, right and left ears, or between handedness groups.

The predominant purpose of the study was to investigate whether or not there is a relationship between singing intonation and string playing intonation among college level and professional string players in Northern California. For the purpose of this study a convenient sampling method was used to recruit participants according to their availability. Thirty college-level and professional string players from the Bay Area participated in this study (n=30). For the purpose of this study, only violin, viola and cello players have been included. The investigative variables for the study are singing intonation and string playing intonation. Intonation has been assessed. through participants' singing and playing. A computer program, called Melodyne, was used to analyze the recorded performances of the participants and determine the magnitude and direction of deviation for both played and sung pitches. The study included a 15 minute individual task after which subjects' intonation has been assessed in two dimensions: string performance intonation and singing performance intonation~ The participants were assigned an eight-measure singing excerpt adapted from the National Anthem of the United States of America, as well as another eight-measure excerpt designed specifically to assess string performance intonation. The subjects were individually audio-recorded and the audio files were analyzed using Melodyne to determine whether or not there is a relationship between singing intonation and string playing intonation. Pearson product-moment correlation coefficient has been calculated to determine the degree of relationship between singing intonation and string playing intonation of the participants.

Research on voice change in males has generally fallen into two categories: music education studies of changes in the singing voice and speech studies of changes in the speaking voice. These studies rarely consider differences in the dynamic ability of male singers at different stages of vocal development. The concept of tessitura, a portion of the vocal range in which the singer sounds best, is referred to in the literature on vocal music, but the means for identifying its size and location within the range have not been consistently specified. Tessitura appears to be a portion of the range which is most controllable in terms of dynamics and agility and is optimal in tonal quality. This study used the phonetograph to investigate differences in measures of intensity control between pre-pubertal, pubertal (changing) and post-pubertal voices in 48 males aged 9 to 18 years old. These intensity measures were compared to ratings of vocal effort from a panel of 4 music educators in order to determine if tessitura could be identified from acoustic and perceptual evidence of an optimum vocal area. Results of the study were: 1) post-pubertal voices demonstrated greater control of vocal intensity as revealed in lower mean minimum and comfortable intensity measures, higher overall maximum intensity measures and a larger minimum-to-maximum intensity range; 2) intensity measures for pubertal voices were similar to those observed in pre-pubertal voices, contrary to trends suggested in the literature on voice change; 3) the Greatest Dynamic Range (GDR) on the phonetograph, indicating the range in which singers had the most dynamic control, was smaller than the range in which the singers were judged to sound best; 4) tessitura originated in the lower portion of the vocal range, around the location of mean speaking fundamental frequency. Although registers were not specifically investigated, tessitura appeared to be primarily related to modal register in singers who had completed voice change.

Musicians acquire musical skills (i.e., pitch and rhythm discrimination) from music education. Research indicates musical skills can transfer to and assist learning in non-arts domains, including language learning. Like musicians, dancers also acquire musical skills in dance education through embodied cognitive processes. However, few or no researchers have investigated the musical skills attained from dance education and considered how these musical skills might interact with language aptitude. Therefore, in this study, 72 undergraduate and graduate music (n = 37) and dance majors (n = 35) were evaluated and compared in pitch and rhythm discrimination scores in the Advanced Measures of Music Audiation (AMMA) aptitude test. Participants were also administered a survey to collect data on their demographics and music, dance, and language experience. The study results suggest that music majors may be superior in pitch and rhythm discrimination compared to dance majors, and that there is no difference between dance majors and non-music majors in pitch and rhythm discrimination. Additional findings suggest that bilingual/multilingual music and dance majors may be superior in pitch discrimination compared to monolingual music and dance majors; however, no difference was found in rhythm discrimination between these two groups. Finally, results also suggest that tonal language-speaking music and dance majors may be superior in pitch and rhythm discrimination compared to non-tonal language-speaking music and dance majors.

This study seeks to develop and evaluate a program of selfinstructional drill materials for improving the ability of students to detect pitch errors in choral singing. The specific purposes of the study are as follows: (1) To develop and validate a visualaural test for pitch-error detection; (2) to develop a visual-aural, self-instructional program for improving the ability of students to detect pitch errors; and (3) To determine whether the program of self-instructional drill materials modifies the ability to detect pitch errors. In the first phase of this three-phase study, a body of testing materials was assembled, pilot-tested, edited, and judged reliable for use. In Phase II a body of self-instructional, programmed drill materials was assembled, pilot-tested, corrected, and judged ready for evaluation. In Phase III the procedures were as follows: (1) the subjects for whom the program was intended were administered a pretest of their pitch-error detection ability; (2) one group (A) participated in the programmed drill materials developed, while the other group (B) used no programmed materials; (3) both groups were administered a midtest to determine whether there was any change; (4) the latter group (B) participated in the programed drill materials developed, while the first group (A) no longer used the programmed materials; (5) students in both groups were administered a posttest to deterine the effectiveness of the programmed drill materials in developing the ability to detect pitch errors while reading the vocal score.

Humans have an innate ability to deal with numerosity and other aspects of magnitude. This ability is generally honed through education in and experience with mathematics, which necessarily changes the brain structurally and functionally. These changes can be further manipulated through non-invasive electrical brain stimulation. Studying these processes in the case of maths not only constitutes research of great practical impact – given the importance of numerical skills in today's society – but also makes use of maths as a suitable domain in which to study plasticity. In this thesis, I aimed to explore how expertise with numbers shapes brain and behaviour, and also the degree to which processing numbers is similar to other domains in terms of the necessity of healthy brain regions believed to underlie normal processing within and across these domains. In Study 1, behavioural and structural brain differences were found cross-sectionally between mathematicians and non-mathematicians. A double dissociation between those groups was found between grey matter density in the frontal lobe and behavioural performance: their correlation was positive for mathematicians but negative for controls. These effects may have been caused by years of experience, by congenital predispositions, or, plausibly, by both of these factors, whose disambiguation is non-trivial. Study 2 used transcranial random noise stimulation (tRNS) to assist arithmetic learning. A novel montage was used to enhance brain function during the stage when it is believed to be most involved. Real as compared to sham tRNS enhanced reaction times (RTs) and learning rate on a calculation-based task, but not on a retrieval-based task. The effects were only observed in conditions of high task difficulty. Study 3 examined structural MRI measures before and after arithmetic training to determine how either frontal or parietal tRNS applied with the task changes the structure of the brain longitudinally as compared to sham. Previous results (including those of Study 2) of behavioural facilitation in terms of enhanced RTs to calculation problems were replicated, and further interpreted. Both frontal and parietal tRNS modulated the changes that occurred, pre-to-post training, in terms of cortical volume and gyrification of frontal, parietal and temporal areas. Study 4 investigated the shared neural and cognitive resources used for processing numerical magnitude and musical pitch, by probing how stimulus-response compatibility (SRC) effects for each of the two dimensions compare in a group of mainly temporoparietal lesion patients with numerical impairments versus controls. A double dissociation was found in that numerically impaired patients did not show the number-based SRC effect but did show the pitch-based one, while control subjects demonstrated the opposite trend. Overall, the results of these studies leave us with three main messages. First, expertise in numbers and mathematics, whether acquired through years of experience (Study 1) or through a few days of tRNS-assisted training (Study 3), appears to be associated with complex changes in the morphology of several brain structures. Some – but not all – of these structures are maths-relevant, and, in the case of tRNS-assisted training, they are distal to the site of the stimulating electrodes. Second, tRNS can improve performance in arithmetic (Studies 2 and 3), although the mechanisms by which this occurs are not yet fully understood, neither neurally nor behaviourally. Third, I found (Study 4) that brain lesions leading to impairment in the number domain do not necessarily affect processing in other domains – such as pitch – that are otherwise linked to number via a putative common code in the parietal lobes.

Bibliography: leaf 162.

A piece of popular music is usually defined as a combination of vocal melody and instrumental accompaniment. People often start with the melody part when they are trying to compose or reproduce a piece of popular music. However, creating appropriate instrumental accompaniment part for a melody line can be a difficult task for non-musicians. Automation of accompaniment generation for vocal melodies thus can be very useful for those who are interested in singing for fun. Therefore, a computer software system which is capable of generating harmonic accompaniment for a given vocal melody input has been presented in this thesis. This automatic accompaniment system uses a Hidden Markov Model to assign chord to a given part of melody based on the knowledge learnt from a bank of vocal tracks of popular music. Comparing with other similar systems, our system features a high resolution key estimation algorithm which is helpful to adjust the generated accompaniment to the input vocal. Moreover, we designed a structure analysis subsystem to extract the repetition and structure boundaries from the melody. These boundaries are passed to the chord assignment and style player subsystems in order to generate more dynamic and organized accompaniment. Finally, prototype applications are discussed and the entire system is evaluated.

Thesis (PhD)--Macquarie University, Faculty of Science, Dept. of Computing, 2009. / Bibliography: p. [265]-280.