Term fetuses show differential heart rate responses to their mother’s vs. a female stranger’s voice and newborns show a preference for their mother’s vs. a female stranger’s voice, indicating recognition/learning of the mother’s voice before birth. However, fetal response to the father’s voice is unknown and was examined in this study. Forty mother-fetal pairs and the fathers participated. Parents were audio recorded reading a story. Each fetus was presented with the recordings using the following 3 min periods: pre-voice no-sound, voice (mother or father, counterbalanced over subjects), post-voice no-sound. Following a 20 min delay, the opposite voice was delivered. Voices were presented about 10 cm above the maternal abdomen at an average of 95 dB A; heart rate and body movements were recorded continuously. After delivery, newborn head-turning to three, 20 s trials of each parent’s voice (counter balanced over subjects) delivered at an average of 80 dB A was observed. Results showed that fetuses responded to the mother’s and father’s voices, demonstrating a heart rate increase to both voices compared to no heart rate change during the pre-voice baseline period. Fetuses showed no heart rate response to their mother reading a story but showed a heart rate increase when her audio recording was played. After birth, as newborns, they turned their heads more often towards their mother’s voice and away from their father’s voice. It was concluded that both the mother’s and father’s voice can capture and sustain the fetuses’ attention and that newborns prefer their mother’s vs. their father’s voice. / Thesis (Master, Nursing) -- Queen's University, 2010-09-03 17:23:13.638

Thèse (M.Ps.)--Université Laval, 2004. / Bibliogr.: f. 30-33. Publié aussi en version électronique.

abstract: The following project is an audition preparation handbook for double bass players. The materials and techniques included are designed for use by advanced collegiate bass players seeking work as freelance or contracted musicians. Subjects ranging from finding an opening, becoming mentally and physically prepared, and developing the skills and experience necessary to be successful will be examined. The most frequently requested audition excerpts are included in this document, carefully extracted from the original orchestra parts and notated with efficient fingerings. Elements of style and performance are discussed. Each of the excerpts is recorded on the enclosed CD, performed by the author as examples to the readers. It is the hope of the author that the study and use of this text will better prepare the readers for entrance into the working world of the music industry. Ideas, processes, and materials that are often neglected in a degree program are examined with the hope that students will be better prepared to audition for, and win orchestral positions. / Dissertation/Thesis / D.M.A. Performance 2011

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I detta arbete har jag utforskat hur mock auditon kan användas som pedagogiskt verktyg särskilt som förberedelse inför en symfoniorkesterprovspelning. Jag valde ut 13 av de vanligaste orkesterutdragen för tuba och höll en mock auditon för en jury representativ för en symfoniorkesterprovspelning. Jag sammanställde deras kritik för varje utdrag och skapade övningsmetoder utefter det. Efter det höll jag en andra mock audition med samma jury.   Jag kommer fram till att det inte är möjligt att tillfredsställa alla i en jury musikaliskt men det finns aspekter som de flesta professionella orkestermusiker är överens om. Följer man notbilden noggrant och är övertygande i sin egen musikaliska tolkning ökar chansen för positivt utfall. En annan slutsats jag drar är att mock audition är ett väldigt bra pedagogiskt verktyg och att arbetsmetoden ger en tydlig struktur för instudering av orkesterutdrag och bidrar till personlig utveckling i att ta kritik på ett bra sätt och kunna omvandla det till något praktiskt. / <p>Den klingande delen av arbetet utgörs av följande inspelningar: inspelning av mock audition nr. 2 första rundan och inspelning av mock audition nr. 2 andra rundan. Coronavirussituationen vt 2020 har medfört begränsningar i inspelningsmöjligheterna. Inspelningarna kan komma att kompletteras.</p><p>Följande inspelningar bifogas också: Inspelning av mock audition nr.1 första rundan och inspelning av mock audition nr. 1 andra rundan. </p><p>Inspelningar av mock audtion nr. 1 gjordes 10/3 2019 i Hildegardsalen på Musikaliska.</p><p>Inspelningar av mock auditon nr. 2 gjordes 19/3 2019 i Kungasalen på Kungliga musikhögskolan i Stockholm.</p>

This paper aims to assist cellists taking orchestral auditions by providing a detailed analysis of how to approach orchestral excerpts that, while standard, are not as commonly encountered in audition settings. The excerpts are Beethoven: Symphony No. 9 (II. Molto vivace and IV. Presto); Brahms: Variations on a Theme by Haydn (Variation V. Vivace); Mahler: Symphony No. 2 (I. Allegro maestoso); Shostakovich: Symphony No. 5 (I. Moderato–Allegro non troppo); and lastly Bartók: Concerto for Orchestra (V. Finale). Each excerpt is organized into individual chapters containing comments and suggestions on basic technical and musical performance challenges. I provide detailed and structured advice for practicing the above excerpts, offer advice on musical refinement, and address alternative musical interpretations based on recordings sampled. This provides a framework for the practice of aspiring orchestral cellists. Forming good practice habits and developing a personalized practice routine when facing new excerpts (or other music) is crucial to orchestral audition preparation, and my goal is to provide cellists with the tools necessary to do this. / Music Performance

This thesis investigated developmental changes in temporal perception of hearing and touch (audiotactile). Three empirical chapters provide converging evidence on the unique characteristics of this modality pairing. In Chapter 2, a simultaneity judgment task assessed temporal perception. Three groups of children (aged 7-, 9-, and 11-years-old) were compared to a group of adults, examining measures such as the temporal simultaneity window and the point of subjective simultaneity. By age 11, mature temporal perception between hearing and touch was observed. Chapter 3 investigated developmental changes in temporal-based integration using the fission and fusion illusions. The study involved comparing three groups of children to adults (aged 9-, 11-, and 13-years-old). The measure of illusion strength combined with a signal detection analysis demonstrated that children did not exhibit adult-like integration until around age 13. Chapter 4 explored the potential impact of short-term congenital visual deprivation on hearing and touch temporal perception. An audiotactile simultaneity task was used to test a group of adults who received treatment for congenital bilateral cataracts. The results of this final experiment are considered preliminary because of limitations imposed by the COVID-19 pandemic; instead of the planned age- and gender-matched control participants, we utilized the adult data from Chapter 2 for comparison. The General Discussion provides a comprehensive account of how these findings relate to one another and how they situate in the broader literature. Additionally, a novel hypothetical theory is presented, incorporating the established causal inference framework, to offer insights into observed changes in multisensory perception across development. / Thesis / Doctor of Philosophy (PhD) / Perception relies on combining information from our senses. Multiple cues determine whether we integrate or segregate sensory information. Timing provides one crucial cue. Children's timing perception requires development to reach the same precision as adults. Most studies on the development of time perception between the senses have included vision. However, this thesis investigated the development of time perception between hearing and touch. The first two empirical chapters explored typical development using complementary tasks, while the third empirical chapter investigated the impact of congenital cataracts on timing perception. By studying children with cataracts who underwent early cataract removal, we can observe the effects of visual deprivation on these senses. These chapters shed light on the development of audiotactile temporal perception and propose that different combinations of senses may develop independently.

Orchestral excerpts have become one of the most, if not the most important component of classical trumpet education in the last 50 years. This monograph discusses how trumpet orchestral excerpts grew in importance and how the demand for it catalyzed a rush for publications. As the number of trumpet players grew exponentially more than the supply of orchestral jobs, the mindset toward perfect performances of these excerpts began to narrow the focus of learning to an emphasis on technical proficiency. Context and the understanding of how the trumpet part relates to the other instruments in the orchestra are relegated in priority. This monograph aims to restore a holistic and comprehensive approach to learning with an in-depth analysis of harmony, compositional techniques, and historical and musical contexts. / Music Performance

<p> This research investigates human perception of brief auditory events presented sequentially. Following an analysis of current, relevant theories, two experiments arc described. The results of the first experiment show that two trains consisting of n and n+l pulses become more difficult to discriminate from each other as (i) the time between the pulses decreases (ii) the number of pulses in the trains increase and (iii) the size of the set of stimulus trains increases. The results of Experiment 2 indicate that discrimination between a pair of "empty" intervals differing only by a constant duration depends on the time between the pulses marking the beginning and end of the intervals and not on the duration of the markers. Discrimination decreases as the durations of the pair of intervals increases. This research investigates human perception of brief auditory events presented sequentially. Following an analysis of current, relevant theories, two experiments arc described. The results of the first experiment show that two trains consisting of n and n+l pulses become more difficult to discriminate from each other as (i) the time between the pulses decreases (ii) the number of pulses in the trains increase and (iii) the size of the set of stimulus trains increases. </p> / Thesis / Doctor of Philosophy (PhD)

Humans must process fleeting auditory information in real time, such as speech and music. The amplitude modulation of the acoustic waveforms of speech and music is rhythmically organized in time, following, for example, the beats of music or the syllables of speech, and this property enables temporal prediction and proactive perceptual optimization. At the neural level, external rhythmic sensory input entrains internal neural oscillatory activities, including low-frequency (e.g., delta, 1-4 Hz) phase, high-frequency (e.g., beta, 15-25 Hz) power, and their phase-amplitude coupling. These neural entrainment activities represent internal temporal prediction and proactive perceptual optimization. The present thesis investigated two critical but previously unsolved questions. First, do these multiple entrainment mechanisms for tracking auditory rhythm have distinct but coordinated perceptual functions? Second, does regularity in the temporal (when) domain associate with prediction and perception in the orthogonal spectral (what) domain of audition? This thesis addressed these topics by combining electroencephalography (EEG), psychophysics, and statistical modeling approaches. Chapter II shows that beta power entrainment reflects both rhythmic temporal prediction (when events are expected) and violation of spectral information prediction (what events are expected). Chapter III further demonstrates that degree of beta power entrainment prior to a pitch change reflects how well an upcoming pitch change will be predicted. Chapter IV reveals that rhythmic organization of sensory input proactively facilitates pitch perception. Trial-by-trial behavioural-neural associations suggested that delta phase entrainment reflects temporal expectation, beta power entrainment reflects temporal attention, and their phase-amplitude coupling reflects the alignment of these two perceptual mechanisms and is associated with auditory-motor communication. Together, this thesis advanced our understanding of how neural entrainment mechanisms relate to perceptual functions for tracking auditory events in time, which are essential for perceiving speech and music. / Thesis / Doctor of Science (PhD) / Perceiving speech and musical sounds in real time is challenging, because they occur in rapid succession and each sound masks the previous one. Rhythmic timing regularities (e.g., musical beats, speech syllable onsets) may greatly aid in overcoming this challenge, because timing regularity enables the brain to make temporal predictions and, thereby, anticipatorily prepare for perceiving upcoming sounds. This thesis investigated the perceptual and neural mechanisms for tracking auditory rhythm and enhancing perception. Perceptually, rhythmic regularity in streams of tones facilitates pitch perception. Neurally, multiple neural oscillatory activities (high-frequency power, low-frequency phase, and their coupling) track auditory inputs, and they are associated with distinct perceptual mechanisms (enhancing sensitivity or decreasing reaction time), and these mechanisms are coordinated to proactively track rhythmic regularity and enhance audition. The findings start the discussion of answering how the human brain is able to process and understand the information in rapid speech and musical streams.