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Padre José Maurício Nunes Garcia (1767-1830) was perhaps the most prolific, revered, and successful composer in 18th and 19th century colonial and postcolonial Brazil. Padre José Maurício's favor with King Dom João VI, the Portuguese Royal Court, and a catalogue of hundreds of compositions, is validation of his success, yet there is comparatively little academic research and recognition in comparison to his European contemporaries. Padre José Maurício's employment of the trombone within his ambitious capstone, his Missa de Santa Cecília showcases his recognizable and original compositional language. The influence of two contemporaries of Padre José Maurício, Wolfgang Amadeus Mozart (1756-1791) and Gioachino Rossini (1792-1868), had an integral and clear influence on the Missa de Santa Cecília without resulting in rote imitation. Mozartian text emphasis, independent part writing, technical demand, and traditional use of the trombone for sacred or supernatural imagery were synthesized by Padre José Maurício swiftly and originally. Simultaneously, Rossinian orchestration, close scoring, limited range, subverted structural arrivals, and emulated percussive effects were personalized and employed by Padre José Maurício. His insular development and instantaneous adaptation of new orchestration and theatrical models yields trombone writing that is idiomatic, in alignment with sacred and symphonic tradition, and essential to the study of the trombone in the early 18th century. Padre José Maurício's trombone writing is significant for primarily two reasons: it is at odds with current historical trombone texts, and his insular development in a hegemonic society yielded an individual compositional style.

It has been demonstrated that early, formal and extensive musical training induces changes both at the structural and functional levels in the brain. Previous evidence suggests that musicians are particularly skilled in auditory analysis tasks. In this study, I aimed to find evidence that musical training affects the perception of acoustic cues in audiovisual speech processing for Native-English speakers. Using the McGurk paradigm –an experimental procedure based on the perceptual illusion that occurs when an auditory speech message is paired to incongruent visual facial gestures, participants were required to identify the auditory component from an audiovisual speech presentation in four conditions: (1) Congruent auditory and visual modalities, (2) incongruent, (3) auditory only, and (4) visual only. Our data showed no significant differences in accuracy between groups differentiated by musical training. These findings have significant theoretical implications suggesting that auditory cues for speech and music are processed by separable cognitive domains and that musical training might not have a positive effect in speech perception. / Graduate / 2020-08-12

no / Building on models of transfer effects between musical training and language processing and on evidence of similarities in the way the brain responds to unexpected elements in music and language, we investigated whether effects of musical training could be observed at the level of sentence processing. Using sentences that tax the semantic processes involved in natural comprehension and avoid outright anomalies, we showed a striking difference between musicians and non-musicians: contrary to non-musicians, musicians showed no N400 response to novel metaphorical words which were more difficult to integrate semantically into their context than literal controls. This difference between musicians and non-musicians in semantic processing in sentences shows an effect of musicianship at the highest level of music–language transfer effects demonstrated so far in the literature. As well as adding to the growing body of evidence surrounding the relationship between musical training and language processing, this work provides support for theories which suggest shared resources, computations, and neural areas underpinning the high-level processing of music and language.

The aim of the Musical Training Revolution is to take advantage of the modern educational technology tools, to apply them to the auditory training in a professional music training program. In this paper, the experience of transforming the classroom course in Leveling in Reading and Ear Training is presented, from a university undergraduate Music, to a b-learning mode. b-learning mode of this course is set on a virtual classroom on the Moodle platform. Online work within this virtual classroom included communication forums, academic forums, ear training self-instructive resources and academic tasks. The working strategy of on-line courses considered several aspects: 1) Structure of the virtual classroom. 2) Communication within the virtual classroom. 3) Managing the virtual classroom. 4) Create and organize content. 5) Provide an online study methodology. 6) Design and implementation of online activities. 7) Rate of online activities. 8) Evaluation of the whole process. The results of this experience forced us to rethink the contents of the same course at the following levels due to the substantial progress made. / El objetivo de la Revolución del Entrenamiento Musical es aprovechar las modernas herramientas tecnológicas para la educación, aplicándolas al entrenamiento auditivo, dentro de un programa de formación musical profesional. En este trabajo, se presentará la experiencia de transformación del curso presencial de Nivelación en Lectura y Entrenamiento Auditivo, de un pregrado universitario de Música, a la modalidad b-learning. La modalidad b-learning de este curso se estableció sobre un Aula Virtual en una plataforma Moodle. El trabajo en línea, dentro de esta Aula Virtual, incluyó foros de comunicación, foros académicos, recursos autoinstructivos de entrenamiento auditivo y tareas académicas. La estrategia del trabajo online del curso consideró varios aspectos: 1) Estructura del Aula Virtual; 2) Comunicación dentro del Aula Virtual; 3) Administración del Aula Virtual; 4) Creación y organización de contenidos; 5) Planteamiento de una metodología de estudio en línea; 6) Diseño y puesta en marcha de las actividades en línea; 7) Calificación de las actividades realizadas en línea; 8) Evaluación de todo el proceso. Los resultados obligaron a replantear los contenidos del mismo curso en los niveles siguientes debido a los importantes avances alcanzados.

The purpose of this study was to determine the effects of an auditor's past musical training and experience on the intelligibility of selected vowel sounds at differential pitch levels. The specific problems of the study were to investigate the effects of extensive vocal music training, extensive non-vocal music training, and limited or no music training on an auditor's ability to discriminate accurately selected vowel sounds performed at various pitch levels. The effects of pitch and vowel sound on auditor recognition of vowel sounds in singing and the ability of each singer to be intelligible to auditors was also investigated.

Alberto Nepomuceno was one of the leading figures in developing Brazilian art music at the turn of the twentieth century. He became widely known for his Brazilian art songs and kept promoting Brazilian music and the use of Portuguese as an "art language" throughout his life. Nepomuceno has widely been seen as a nationalist composer, yet some of his works adopt a more European style. In this study, I argue that Nepomuceno incorporates European musical languages in his Piano Sonata in F Minor, Op. 9. I display the rich interaction of Brazilian national identity and European influence within Nepomuceno's musical life. I also provide a thorough formal analysis of this piano sonata to argue that in some of his music he adopted a distinctively European musical language, including baroque and classical elements. In addition to analyzing the sonata-form and rondo-form elements, this dissertation discusses the use of several important topics in the work, including the Siciliano rhythm, contrapuntal writing, pedal points with organ effects, and impact of Brahms on Nepomuceno's piano writing. Moreover, I analyze how Nepomuceno assimilated European musical styles as the basis for his own compositions, as well as the innovations with which he augmented those styles. An analysis of this sonata can enhance our understandings of how musical training in Europe shaped the production of Latin American composers.

Muzikinis ugdymas – viena iš pagrindinių estetinio ugdymo sudedamųjų dalių. Muzikavimas teikia vaikui teigimų emocijų, kurios yra būtina sąlyga normaliam ir visapusiam vaiko vystymuisi. Esminiai mokyklinio amžiaus vaikų muzikinio ugdymo tikslai yra „įauginti“ vaiką į tautos muzikinę kultūrą, formuoti gerą muzikinį skonį, estetinį muzikos suvokimą, lavinti muzikinius gabumus, mokėjimus bei įgūdžius. Muzikos vadyba – sudėtinga veikla, kuri užima ypatingą vietą mūsų besikeičiančioje visuomenėje. Tyrimo tikslas - išsiaiškinti muzikinių renginių organizavimo vadybinius aspektus. Šiame darbe aptarti populiariausi mokinių muzikiniai konkursai, t.y. Dainų šventė, dainų dainelė ir Tramtatulis (liaudies kūrybos atlikėjų konkursas), nagrinėjami muzikinių renginių organizavimo aspektai bei jų vadyba, o taip pat muzikinis ugdymas bendrojo lavinimo mokyklose Lietuvoje. Išanalizavus pedagoginę ir psichologinę bei muzikologinę literatūrą, paaiškėjo, kad naujoviškas požiūris į vadybą, šiuo atveju muzikinio renginio organizavimo valdymą, padeda siekti sėkmingų veiklos pokyčių. Remiantis tyrimo rezultatais galima teigti, kad dauguma mokinių tik iš dalies patenkinti mokyklos organizuojamais renginiais, jų kokybe. Vienas iš pagrindinių vadovo - vadybininko sugebėjimų, reikalingų kiekvienam, tai sugebėjimą ir patirtį paversti veikla. Be didžiulio kūrybiškumo, intuicijos, kompetencijos įvairiose veiklos srityse, žinių, meninio jautrumo ir tolerancijos būtina meilė menui, entuziazmas. Tai ir yra... [toliau žr. visą tekstą] / Musical training is one of the basic components of aesthetical education. Exposure to music gives a child positive emotions, which are necessary for his normal and comprehensive development. The essential purpose of musical training among young children is to “grow the child into” the musical culture of the nation, form good musical taste, aesthetical understanding of music, cultivate musical abilities, knowledge and skills. Music Management is a complicated activity, which takes a very special place in our growing and changing society. The purpose of research is to clarify the aspects of the management of musical events. The paper discusses the most popular pupils musical competitions for example the Song Festival, “Dainu Dainele”, Tramtatulis (the competition for national music performers), analyzes aspects of musical events organization and management, musical education training in general education schools throughout Lithuania. After analyzing pedagogical, psychological and musical literature, it became clear, that new points of view to the management, in this case-musical events organization management, helps reaching successful changes in this area. Based on results of this research it can be said, that most of the pupils are only partly satisfied with the musical events that schools are offering and the quality of such events. One... [to full text]

When compared to their non-musician peers, adult musicians demonstrate enhanced speech-in-noise perception (Parberry-Clark et al, 2013), verbal memory (Chan et al, 1998), phonological skills (Deg & Schwarzer, 2011), and reading (Tierney & Kraus, 2013). Recent evidence from auditory brainstem responses suggests that early musical training primes neural plasticity that facilitates listening in degraded environments (Strait et al., 2012). Our study examined the hypothesis that neural enhancements, subsequent to preadolescent musical training, improves binaural speech processing and temporal processing that are known to contribute significantly to speech understanding in complex listening environments (Hirsh, 1950; Snell & Frisina, 2000). We tested middle-school aged (10 - 14 years) children with and without musical training based on years of experience (< 6 months = non-musician; > 1 year = musician) and musical aptitude (Intermediate Measures of Music Audiation; rhythm subtest) on tests of spatial listening (Listening in Spatialized Noise-Sentences Test, Dillon, 2007) and auditory temporal processing (Adaptive Test of Temporal Resolution, Lister et al., 2011). We also measured working memory and visual processing efficiency (picture pattern memory and processing speed; NIH Tool Box) to understand the potential influence of multimodality higher-order cognitive skills over modality-specific enhancements in auditory perceptual processing secondary to musical training.

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