Music is integral to our lives, whether by listening to it, singing, or playing an instrument. In addition to this, music has effect on brain development and language learning. The aim of this thesis is close evaluation of relation between the development of musical and foreign language skills in case of primary age students. Through conducting an examination of the ability to gain foreign language skills using different ways of teaching musical education. 5th grade students who participated were divided into 3 groups. They differed in intensity and approach to music education. The first group had one singing lesson per week. The other two groups had as part of their lessons singing and also playing instruments such as flute and Orff instruments, and had movement education as part of their lessons. These two groups differed in intensity - 1 and 3 lessons per week. To note most of the students that had higher intensity of music education focused to music also in their after school activities. The three groups had the same amount of English lessons in all grades. Students were tested via Cambridge test "Movers" in listening, reading and writing. Analysis of data emerged generally better results in English test in case of students experiencing extended musical education. KEYWORDS teaching music,...

Submitted by Erika Demachki (erikademachki@gmail.com) on 2018-07-03T19:07:00Z No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-07-04T12:31:14Z (GMT) No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-07-04T12:31:15Z (GMT). No. of bitstreams: 2 Dissertação - Hugo Macêdo Serrão Moreno - 2018.pdf: 3848431 bytes, checksum: 6b579e719a578578a7fbf3325b5a9bdd (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-06-06 / Outro / The purpose of this paper is to discuss aspects of artistic research recommended by Marcel Cobussen (COBUSSEN, 2007) relevant to musical artistic creation and clarinet performance, especially the relation between clarinet and clarinetist. It is intended to discuss this relation beyond the traditional modern framing of the subject/object relationship, inserted in a poetic context. We consider it is important to launch a critical view on the artistic knowledge produced inside universities, and to reflect about questions of truth from the poetic dimension. To this end, we use Heidegger’s ontological statute as an overcoming exclusivity of world relations and its consequences in relation to the limits imposed by science in the production of knowledge. This limitation is consolidated through the dissociation between earthman and the world; body and soul; intelligibility and sensitivity in relation to an artistic approach. More than a scientific limit, such dissociation ratifies the intramundane and teleological sense of the Western man from the perspective of the Cartesian modern conception. Starting from an artistic perspective, poetic – creative –, we investigated the the happening of the clarinetist performance. However, we will not think about that relation as an isolated and closed event. Furthermore, we will not use concepts of musical criticism or aesthetics. In a poetic approach, Art claims an immediate and singular manifestation, not by parts or representations. These representations relate to the Work through rational mediation, as in the theory of knowledge. Our investigation proceeded from relations of interpretation since the immediatism of the senses (FOGEL, 2007). This conjunction of relationships is arranged in a sense beyond or below Cartesian objectivity. The intention of poetic production is the unveiling of the work – Aletheia. Therefore, we produced two recitals with pieces by Brazilian composers in which the clarinetist’s performance displays a sensitive and cohesive manifestation working in its own sense, which is performance as a factor intrinsic to the work of art. In this regard, the truth of a work is the process of manifestation of its own sense. After all, a work only exists with its performance, which is a part of the work. The unveiling of a work, according to (HEIDEGGER, 2010), manifests in the gap of work, art and artist. This gap as well as the relations established in the course of this research turns in results impregnated in the interpretation itself. About the Tripartite’s relationship in the work of art, according Heidegger, we perceive that the artist experiences a series of relations still not much discussed, because in general there is favoring of a technical and analytical understanding of the performance and little is spoken of the artistic experience. / O presente trabalho tem o objetivo discutir aspectos da pesquisa artística preconizada por Marcel Cobussen (COBUSSEN, 2007), pertinentes à criação artística musical e à performance à clarineta, especialmente no que se refere à relação entre a clarineta e o clarinetista. Pretendemos aqui discutir tal relação para além do enquadramento moderno tradicional da relação sujeito/objeto, inserida num contexto poético de investigação. Entendemos ser importante lançar um olhar crítico sobre a questão da produção do conhecimento artístico dentro da academia, além de refletir sobre a questão da verdade advinda desde a dimensão poética. Para tanto, compartilhamos do estatuto ontológico Heideggeriano como superação da exclusividade das relações de mundo e suas consequências no que diz respeito aos limites impostos pela ciência na produção de conhecimento. Tal limitação consolida-se por meio da dissociação no homem de terra e mundo; corpo e alma; inteligibilidade e sensibilidade, em relação ao trato artístico. Mais que um limite científico, esta dissociação ratifica a lida intra-mundana e teleológica do homem ocidental desde a perspectiva da concepção moderna cartesiana. A partir da perspectiva artística, poética – criativa –, investigamos o acontecer da performance do clarinetista. No entanto, não o fazemos considerando a relação que aí ocorre como fenômeno isolado e fechado, tampouco a partir do pré-conceito da crítica estética ou como resultado de aná-lise predeterminada. Numa abordagem poética, a arte reivindica sua manifestação imediata e singular, não por partes ou por representações. Tais representações só estabelecem relação com a obra por mediação racional, como na teoria do conhecimento. Construímos nossa investigação a partir das relações dispostas na interpretação desde o imediato dos sentidos (FOGEL, 2007), con-juntura de relações além, ou aquém, da objetividade cartesiana. O sentido da produção poética é o des-velamento da obra – Alétheia. A partir desta perspectiva, foram produzidos dois recitais com obras de compositores brasileiros, nos quais a interpretação do clarinetista emerge como manifestação sensível e coesa à obra, instaurando um sentido próprio, ou seja, a interpretação como fator inerente à obra de arte. Neste sentido, a verdade da obra é o processo de manifestação de um sentido próprio em sua realização. Afinal, a obra só é com a interpretação, esta faz parte do ser da obra. O des-velamento da obra, segundo Heidegger (HEIDEGGER, 2010), se manifesta na abertura de cada elemento envolvido no processo: obra, arte e artista. Esta abertura bem como as relações por ela dispostas empreenderam no caminhar desta investigação resultados impregnados na própria interpretação. Sob a relação tripartite na obra de arte apontada por Heidegger, percebemos que o artista experimenta uma série de relações ainda pouco discutidas, pois em geral há um favorecimento de uma compreensão técnica e analítica da performance e pouco se fala da ou pensa a experiência artística.

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished

This diploma thesis focuses on suitable innovation of musical instrument marimba. The chosen problem has been verified by three optoins: new bars, new resonators, virtual registers. The work provides an analysis of the whole issue with verification of some samples and their inclusion or exclusion for further use in the research.

Im vogtländischen Musikwinkel und in direkter Nachbarschaft zu Bayern und Tschechien gelegen, befindet sich die kleinste Zweigbibliothek des Bibliothekssystems der Westsächsischen Hochschule Zwickau. Wer von Zwickau kommend nach etwa 60 Kilometern Markneukirchen erreicht, trifft nach wenigen 100 Metern auf eine sehr schön restaurierte Jugendstilvilla, die sogenannte Merz-Villa. Von außen verrät das Gebäude nicht sofort seine Bestimmung als Ausbildungsstandort für den Studiengang Musikinstrumentenbau der Westsächsischen Hochschule Zwickau mit seiner kleinen, feinen Bibliothek.

En ocasiones, el cine es más valorado, comentado y criticado por su contenido visual, el avance tecnológico para su uso en efectos visuales y calidad de cámaras ha hecho casi inevitable dejar de lado los elementos sonoros de una película. Entonces, a raíz de esto surgen las siguientes preguntas: ¿El sonido es importante en una película? ¿Puede el sonido jugar con nuestra percepción? ¿La música nos cuenta sobre la historia y los personajes? ¿los instrumentos musicales usados son escogidos bajo algún criterio específico? Ahora hay una simple respuesta para todas estas preguntas y es: sí, pero para aprenderlo tendremos que profundizar en algunos temas, conceptos y análisis. Por lo tanto, la presente investigación tiene como objetivo examinar y dar a conocer las formas en las que el sonido y la música actúan dentro de la película Retablo del director Álvaro Delgado Aparicio, y como estas pueden llegar a manipularnos para que veamos y sintamos lo que el director quiere que veamos y sintamos. Con respecto a la metodología, se ha realizado un mapeo de autores que se relacionan directamente a las categorías estudiadas; con el fin de recopilar datos para poder construir la presente investigación. Asimismo, se hizo un análisis de la misma película Retablo usando tablas de análisis de contenido. Finalmente, los resultados obtenidos fueron que la música y el sonido cumplen un rol muy importante dentro de la narrativa fílmica, ya que nos revelan sobre el acontecimiento que se dará en una escena, acentúan la carga emotiva-expresiva de una escena, ayudan a perfilar el trayecto visual, nos revelan la emoción que siente un personaje y dan soporte a la metatextualidad. / Sometimes, cinema is more valued, commented and criticized for its visual content, the technological advance for its use in visual effects and camera quality has made it almost inevitable to leave aside the sound elements of a film. So, because of this, the following questions arise: Is sound important in a film? Can sound play with our perception? Does music tell us about the story and the characters? By identifying the musical language can we know what a film is about? Are the musical instruments used chosen under any specific criteria? Now there is a simple answer to all these questions, and it is: yes, but to learn it we will have to go deeper into some topics, concepts and analysis. Therefore, the present research aims to examine and make known the ways in which sound and music act within the film Retablo by director Álvaro Delgado Aparicio, and how they can manipulate us to see and feel what the director wants us to see and feel. Regarding the methodology, a mapping of authors that are directly related to the categories studied was carried out in order to collect data to build this research. Likewise, an analysis of the film Retablo was made using tables of content analysis. Finally, the results obtained were that music and sound play a very important role in the film narrative, since they reveal the event that will take place in a scene, accentuate the emotional-expressive charge of a scene, help to outline the visual path, reveal the emotion that a character feels and support the metatextuality. / Trabajo de investigación

Thanks to the advancement of technological progress in networking and signal processing, we can access a large amount of musical content. In order for users to search among these vast catalogs, they need to have access to music-related information beyond the pure digital music file. Manual annotation of music is too expensive, therefore automated annotation would be of great use. A meaningful description of the musical pieces requires the incorporation of information about the instruments present in them. In this work, we present an approach for musical instrument recognition using the scattering transform, which is a transformation that gives a translation invariant representation, that is stable to deformations and preserves high frequency information for classication. We study recognition in both singleinstrument and multiple-instrument contexts. We compare the performance of models using the scattering transform to those using other standard features. We also examine the impact of the amount of training data. The experiments carried out do not show a clear superior performance of either feature representation. Still, the scattering transform is worth taking into account when choosing a way to extract features if we want to be able to characterize non-stationary signal structures. / Tack vare den tekniska utvecklingen i nätverk och signalbehandling kan vi få tillgång till en stor mängd musikaliskt innehåll. For att användare ska söka bland dessa stora kataloger måste de ha tillgång till musikrelaterad information utöver den rena digitala musikfilen. Eftersom den manuella annotationsprocessen skulle vara för dyr måste den automatiseras. En meningsfull beskrivning av musikstyckena kräver införlivande av information om instrumenten som finns i dem. I det här arbetet presenterar vi en metod for igenkänning av musikinstrument med hjälp av den scattering transform, som är en transformation som ger en översattnings-invariant representation, som är stabil för deformationer och bevarar högfrekvensinformation för klassicering. Vi studerar igenkännande i både enskilda instrument- och flera instrumentförhållanden. Vi jämför modellerna med den scattering transforms prestanda med de som använder andra standardfunktioner. Vi undersöker också effekterna av mangden traningsdata. Experimenten som utförs visar inte en tydlig överlagsen prestanda for någon av representationsföreställningarna jämfört med den andra. Fortfarande är den scattering transform värd att ta hänsyn till när man väljer ett sätt att extrahera funktioner om vi vill kunna karakterisera icke-stationära signalstrukturer.

There is a growing interest in designing for whole body interactions in the field of Human–Computer Interaction, where numerous researchers are using this knowledge for creating new age digital musical instruments, with the secondary focus on creating inclusive music creation mediums for all. The aim was to create a new interaction medium for Sound Forest, a digital musical instrument at Stockholm Museum of Performing Arts. In this report we have used an Android app to allow users to modulate sound created by the Sound Forest by their hand movements. The app was tested and evaluated by 9 individual users, where they were told to use the app and were asked to try to modulate the sound with their hands while holding the phone in their hand. They were asked to fill a Google Form that inquired about their experience and asked about their informal feedback regarding the process. The data was visualised and observed, where one can see the moderate success of the mappings and visual feedback provided by the app. Qualitative suggestions provided by the users were recorded for future development and evaluation. / Det finns ett växande intresse för att designa interaktioner av hela kroppen inom området människa–datorinteraktion, där många forskare använder denna kunskap för att skapa nya digitala musikinstrument, samt för att skapa inkluderande musikskapande medier lämpliga för alla. Syftet var att skapa ett nytt interaktionsmedium för Sound Forest, ett digitalt musikinstrument vid Stockholms Scenkonstmuseum. I den här rapporten har vi använt en Androidapp för att tillåta användare att modulera ljud som skapas av Sound Forest genom sina handrörelser. Appen testades och utvärderades av 9 individuella användare, där de blev tillsagda att använda appen och ombads att försöka modulera ljudet med händerna medan de höll telefonen i handen. De ombads att fylla i ett Google-formulär angående deras upplevelse samt deras informella feedback angående processen. Datan visualiserades och observerades, vilket visade framgången av kartläggningarna och den visuella feedback som kom från appen. Kvalitativa förslag från användarna registrerades för framtida utveckling och utvärdering.

Résumé: Les systèmes de substitution sensorielle convertissent des stimuli d’une modalité sensorielle en des stimuli d’une autre modalité. Ils peuvent fournir les moyens pour les personnes handicapées de percevoir des stimuli d’une modalité défectueuse par une autre modalité. Le but de ce projet de recherche était d’étudier des systèmes de substitution de l’audition vers la vision. Ce type de substitution n’est pas bien étudié probablement en raison de la complexité du système auditif et des difficultés résultant de la désadaptation entre les sons audibles qui peuvent changer avec des fréquences allant jusqu’à 20000 Hz et des stimuli visuels qui changent très lentement avec le temps afin d’être perçus. Deux problèmes spécifiques des systèmes de substitution de l’audition vers la vision ont été ciblés par cette étude: la recherche de correspondances audiovisuelles et l’extraction de caractéristiques auditives. Une expérience audiovisuelle a été réalisée en ligne pour trouver les associations entre les caractéristiques auditives (la fréquence fondamentale et le timbre) et visuelles (la forme, la couleur, et la position verticale). Une forte corrélation entre le timbre des sons utilisés et des formes visuelles a été observée. Les sujets ont fortement associé des timbres “doux” avec des formes arrondies bleues, vertes ou gris clair, des timbres “durs” avec des formes angulaires pointues rouges, jaunes ou gris foncé et des timbres comportant simultanément des éléments de douceur et de dureté avec un mélange des deux formes visuelles arrondies et angulaires. La fréquence fondamentale n’a pas été associée à la position verticale, ni le niveau de gris ou la couleur. Étant donné la correspondance entre le timbre et une forme visuelle, dans l’étape sui- vante, un modèle hiérarchique flexible et polyvalent bio-inspiré pour analyser le timbre et extraire des caractéristiques importantes du timbre a été développé. Inspiré par les découvertes dans les domaines des neurosciences, neurosciences computationnelles et de la psychoacoustique, non seulement le modèle extrait-il des caractéristiques spectrales et temporelles d’un signal, mais il analyse également les modulations d’amplitude sur différentes échelles de temps. Il utilise un banc de filtres cochléaires pour résoudre les composantes spectrales d’un son, l’inhibition latérale pour améliorer la résolution spectrale, et un autre banc de filtres de modulation pour extraire l’enveloppe temporelle et la rugosité du son à partir des modulations d’amplitude. Afin de démontrer son potentiel pour la représentation du timbre, le modèle a été évalué avec succès pour trois applications : 1) la comparaison avec les valeurs subjectives de la rugosité 2) la classification d’instruments de musique 3) la sélection de caractéristiques pour les sons qui ont été regroupés en fonction de la forme visuelle qui leur avait été attribuée dans l’expérience audiovisuelle. La correspondance entre le timbre et la forme visuelle qui a été révélée par cette étude et le modèle proposé pour l’analyse de timbre peuvent être utilisés pour développer des systèmes de substitution de l’audition vers la vision intuitifs codant le timbre en formes visuelles. / Abstract: Sensory substitution systems encode a stimulus modality into another stimulus modality. They can provide the means for handicapped people to perceive stimuli of an impaired modality through another modality. The purpose of this study was to investigate auditory to visual substitution systems. This type of sensory substitution is not well-studied probably because of the complexities of the auditory system and the difficulties arising from the mismatch between audible sounds that can change with frequencies up to 20000 Hz and visual stimuli that should change very slowly with time to be perceived. Two specific problems of auditory to visual substitution systems were targeted in this research: the investigation of audiovisual correspondences and the extraction of auditory features. An audiovisual experiment was conducted online to find the associations between the auditory (pitch and timbre) and visual (shape, color, height) features. One hundred and nineteen subjects took part in the experiments. A strong association between timbre of envelope normalized sounds and visual shapes was observed. Subjects strongly associated soft timbres with blue, green or light gray rounded shapes, harsh timbres with red, yellow or dark gray sharp angular shapes and timbres having elements of softness and harshness together with a mixture of the previous two shapes. Fundamental frequency was not associated with height, grayscale or color. Given the correspondence between timbre and shapes, in the next step, a flexible and multipurpose bio-inspired hierarchical model for analyzing timbre and extracting the important timbral features was developed. Inspired by findings in the fields of neuroscience, computational neuroscience, and psychoacoustics, not only does the model extract spectral and temporal characteristics of a signal, but it also analyzes amplitude modulations on different timescales. It uses a cochlear filter bank to resolve the spectral components of a sound, lateral inhibition to enhance spectral resolution, and a modulation filter bank to extract the global temporal envelope and roughness of the sound from amplitude modulations. To demonstrate its potential for timbre representation, the model was successfully evaluated in three applications: 1) comparison with subjective values of roughness, 2) musical instrument classification, and 3) feature selection for labeled timbres. The correspondence between timbre and shapes revealed by this study and the proposed model for timbre analysis can be used to develop intuitive auditory to visual substitution systems that encode timbre into visual shapes.

En aquesta tesi presentem un mètode general per al reconeixement automàtic d’instruments musicals partint d’un senyal d’àudio. A diferència de molts enfocs relacionats, el nostre evita restriccions artificials o artificioses pel que fa al disseny algorísmic, les dades proporcionades al sistema, o el context d’aplicació. Per tal de fer el problema abordable, limitem el procés a l’operació més bàsica consistent a reconèixer l’instrument predominant en un breu fragment d’àudio. Així ens estalviem la separació de fonts sonores en la mescla i, més específicament, predim una font sonora a partir del timbre general del so analitzat. Per tal de compensar aquesta restricció incorporem, addicionalment, informació derivada d’una anàlisi musical jeràrquica: primer incorporem context temporal a l’hora d’extraure etiquetes dels instruments, després incorporem aspectes formals de la peça que poden ajudar al reconeixement de l’instrument, i finalment incloem informació general gràcies a l’explotació de les associacions entre gèneres musicals i instruments. / In this dissertation we present a method for the automatic recognition of musical instruments from music audio signal. Unlike most related approaches, our specific conception mostly avoids laboratory constraints on the method’s algorithmic design, its input data, or the targeted application context. To account for the complex nature of the input signal, we limit the basic process in the processing chain to the recognition of a single predominant musical instrument from a short audio fragment. We thereby prevent resolving the mixture and rather predict one source from the timbre of the sound. To compensate for this restriction we further incorporate information derived from a hierarchical music analysis; we first incorporate musical context to extract instrumental labels from the time-varying model decisions. Second, the method incorporates information regarding the piece’s formal aspects into the process. Finally, we include information from the collection level by exploiting associations between musical genres and instrumentations.