Thesis (D. Mus. Arts)--University of Washington, 1998. / Vita. Includes bibliographical references (leaves [140]-146).

Thesis (Ph. D.)--State University of New York at Binghamton, Department of Psychology, 2004. / Includes bibliographical references.

Performing multiple tasks simultaneously is proposed to have an influence on the amount of mental resources available for attending to incoming stimuli’s. Concentration is presumed to be divided between focussing on driving (incoming visual information) while attending to incoming auditory information. The study aimed to investigate the influence of the tempo of music on concentration and driving ability by means of simulation. Concentration was measured by driving errors (DE) whereas driving ability was measured by lap-times (LT) and elicited behaviour. Four treatment conditions were utilised; that is a no-music (NM) control condition, low tempo music (LTM)-, medium tempo music (MTM)- and high tempo music (HTM) treatment conditions. Results found that the tempo of music does not have an influence on concentration; however, significant results were obtained indicating that the tempo of music does have an influence on driving behaviour. / Psychology / M.A. Soc. Sc. (Psychology)

Performing multiple tasks simultaneously is proposed to have an influence on the amount of mental resources available for attending to incoming stimuli’s. Concentration is presumed to be divided between focussing on driving (incoming visual information) while attending to incoming auditory information. The study aimed to investigate the influence of the tempo of music on concentration and driving ability by means of simulation. Concentration was measured by driving errors (DE) whereas driving ability was measured by lap-times (LT) and elicited behaviour. Four treatment conditions were utilised; that is a no-music (NM) control condition, low tempo music (LTM)-, medium tempo music (MTM)- and high tempo music (HTM) treatment conditions. Results found that the tempo of music does not have an influence on concentration; however, significant results were obtained indicating that the tempo of music does have an influence on driving behaviour. / Psychology / M.A. Soc. Sc. (Psychology)

No description available.

Zugl.: Tel Aviv, University, Diss., 1999 u.d.T.: Abravaya, Ido: Studies of rhythm and tempo in the music of J.S. Bach.

Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

No description available.

The purpose of this study was to investigate the effects of tempo, pattern length, and grade level on student ability to recognize rhythm patterns. It was intended that the study would also determine if age and experience are factors which affect rhythm recognition and memory. A 48 item Rhythm Pattern Identification (RPI) test was administered to 2146 band students and 114 nonmusic students in grades 6 through 12. The RPI consisted of 48 pairs of rhythm patterns varied in time length (seconds), number of note values (sound events), and tempo. Students indicated if the pairs of rhythm patterns were the same or different. Statistical analysis indicated the reliability estimate (KR-20) of the RPI to range from .445 to .792 with the median being .553. Criterion related validity was established through a correlation of student scores on the Iowa Tests of Music Literacy (Gordon, 1970) and the RPI, r = .39. A multiple regression analysis of the data indicated that .36 of the variance in the RPI scores was attributable to the linear combination of tempo, length in seconds, number of sound events, and grade level. As expected, the independent variables of length in seconds and length in sound events were significantly correlated R = .63; however, there were no significant correlations between the other independent variables. Inverse relationships were found between tempo and score and length and score. Beta weights indicated that the number of sound events was the most significant influence on student scores. Data indicated a slight increase in score from one grade level to the next with significant differences occurring between grades six and eleven and twelve and between grades seven and eleven and twelve. The results of the study indicate that length of pattern in seconds, number of sound events, tempo, and grade level all affect memory of rhythm patterns. These findings corroborate with those of Dowling (1973), Sink (1983), and Fraisse (1982). The implications for music education are: (1) tempo may be a factor that influences how students learn rhythm and (2) student perception of rhythm may be more affected by the length of the rhythm pattern in the number of sound events rather than the length of a pattern in seconds. Future research should include further investigation of young students ability to comprehend rhythm patterns. It is evident that young students can perceive and recognize as complex patterns as older students. / Ed. D.

Orientador: Florivaldo Menezes Filho / Banca: Alexandre Roberto Lusqui / Banca: Fernando Henrique de Oliveira Iazzetta / Resumo: Este trabalho visa a investigar e analisar a dimensão temporal do som, tendo como ponto de partida as categorias temporais propostas por Iannis Xenakis: fora-do-tempo, notempo e temporal. Inicialmente, o fenômeno sonoro é analisado dentro de suas três dimensões - altura (freqüência), intensidade (pressão sonora) e tempo (duração) - considerando as pesquisas de Pierre Schaeffer e Abraham Moles. Segue-se a este tema uma análise especifica sobre a dimensão do tempo. A fim de construir uma visão abrangente sobre as acepções deste conceito, propomos uma divisão entre tempo objetivo (visão dos filósofos da Grécia Antiga) e tempo subjetivo (visão de Santo Agostinho e Kant). Ademais, são detalhadas as acepções sobre o tempo propostas por Husserl, Bergson e Bachelard. Sempre que possível, articulamos o pensamento de Xenakis aos conceitos apresentados. A partir deste referencial teórico, realizamos uma análise de três obras de Xenakis: Metastaseis (1953 - 54), Concret PH (1958) e Bohor (1962), retomando as categorias temporais definidas por ele, além de abordar seu método composicional implementado nos anos 1950, a música estocástica. Seu trabalho composicional tem como principais características multidisciplinaridade (sua obra musical abarca conceitos arquitetônicos, filosóficos e científicos) e a indissociação dos conceitos de tempo e espaço, formando um esquema no qual os eventos musicais são justapostos ou sobrepostos. Em anexo a este trabalho, apresentamos quatro composições nas quais o tempo musical foi refletido e trabalhado a partir do referencial teórico adquirido durante esta pesquisa / Abstract: This work intends to investigate and analyze the temporal dimension of the sound, departing from the temporal categories proposed by Iannis Xenakis: outside-time, in-time and temporal. Initially, the sound phenomenon is analyzed in its three dimensions - pitch (frequency), intensity (sound pressure) and time (duration) - considering the investigations of Pierre Schaeffer and Abraham Moles. Following to this topic, a specific analysis of the dimension of time is presented. In order to elaborate a comprehensive view about the meanings of this concept, a division between objective time (ancient Greek philosophers' view) and subjective time (Saint Augustine and Kant's view) is proposed. Moreover, significations of time by Husserl, Bergson and Bachelard are detailed. Whenever possible, Xenakis' thought is linked with the presented ideas. From this theoretical reference, three works of Xenakis are analyzed: Metastaseis (1953 - 54), Concret PH (1958) and Bohor (1962), recovering the temporal categories defined by him, and also addressing his compositional method implemented during the 1950's: stochastic music. His compositional work is characterized by multidisciplinarity (his musical work comprehend architectural, philosophical and scientific concepts) and by the indissociation of time and space concepts, conceiving a model in which musical events are juxtaposed or superposed. Attached to this work, four compositions are presented, in which musical time is thought and manipulated regarding the theoretical references acquired during this research / Mestre