Besikeičiančioje Europos bei Lietuvos sociokultūrinėje situacijoje ypač aktualūs tampa muzikinio ugdymo plėtotės klausimai. Muzika, artimai susijusi su plačiu žmogaus dvasinio, pažintinio, socialinio, praktinio, religinio gyvenimo spektrais, tampa svarbia jausmų pasaulio ir su juo integruoto intelekto sudėtine dalimi. Žmogaus vaikystei būdingi pasaulio pažinimo būdai šiandien sudaro kognityvinio – sąveikaujančio mokymo(si) pagrindą. Meninė veikla padeda vaikui pažinti ir išreikšti save pačiomis įvairiausiomis meno priemonėmis bei formomis. Vaiko veiklos meninės kokybės galima siekti atitinkamai derinant proceso ir žinių, kaip vieningos sistemos komponentų, poveikį. Todėl ankstyvojo amžiaus vaikų muzikinės kultūros komponentų bei elementų, jų tarpusavio ryšių, funkcionavimo ypatumų, ankstyvojo amžiaus vaikų socialinių ir kognityvinių gebėjimų ugdymo muzikine veikla galimybių atskleidimas yra aktuali pedagoginė problema. Tyrimo tikslas - atskleisti 2-4 metų amžiaus vaikų socialinių ir kognityvinių gebėjimų ugdymo galimybes muzikine veikla. Tyrimo objektas - 2-4 metų amžiaus vaikų kognityviniai ir socialiniai gebėjimai. Magistro darbe remiantis pedagoginės, psichologinės, metodinės literatūros bei švietimo dokumentų analize atskleista ankstyvojo muzikinio ugdymo samprata bei ankstyvojo amžiaus vaikų psichofiziniai ypatumai. Tėvų apklausos duomenys atskleidė, kad tėvai išskiria muzikinės veiklos kaip vienos iš pagrindinių priemonių formuojant asmenybės pagrindus jau ankstyvajame... [toliau žr. visą tekstą] / In the changing sociocultural situation of Europe and Lithuania, issues concerning development of musical training are becoming of specific topicality. Music, closely related with wide spectra of human psychic, cognitive, social, practical and religious life, is becoming an important composite part of the world of feelings as well as intellect integrated with it. Methods of cognizing the world which are typical of human childhood, today constitute the core of cognitive – interactive training/learning. Artistic activities help a child to cognize and express himself/herself by an enormous variety of artistic means and forms. Artistic quality of a child‘s activity can be pursued by appropriately coordinating the effect of the process and knowledge as a unanimous system of components. Therefore, the revelation of components and elements, their interconnection and functioning peculiarities of musical culture of children of an early age as well as the revelation of possibilities of training social and cognitive capabilities of children of an early age by musical activity is a topical educational problem. The aim of the investigation is to reveal the possibilities of training social and cognitive capabilities of children aged 2-4 by musical activity. The target of the investigation is cognitive and social abilities of children of 2-4 years of age. The conception of early musical training as well as psycho physiological peculiarities of children of an early age are revealed in this... [to full text]

Made available in DSpace on 2016-03-15T19:39:58Z (GMT). No. of bitstreams: 1 Viviane Cristina da Rocha.pdf: 2278481 bytes, checksum: 0296266256348645bf89629bad29b949 (MD5) Previous issue date: 2013-01-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Based on new techniques of brain imaging and electrophysiological approaches, it is possible to better understand brain functioning when listening or making music. This study aims to investigate how emotional cues in melodies are integrated with emotional cues in faces and how musical training influences this particular task. Participated in the experiments 32 adults, brazilian Portuguese speakers, from 21 to 35 years of age, divided in 2 groups: G1, with professional classical singers and G2, with people who had no musical training during their lives. Both groups were submitted to the 2 experiments. Experiment 1 had 80 different melodies sung without words by a female professional singer, 40 related to happiness and 40 related to sadness. Every musical excerpt was followed by a female face, that could express happiness or sadness. Participants had to judge whether the face was congruent or incongruent with the preceding musical excerpt. In Experiment 2, 20 of the participants did a similar task. However, they had to judge whether the face was congruent or incongruent with a word that had previously appeared. For this experiment, there were 40 words, 20 related to happiness and 20 related to sadness. Behavioural data (task performance and reaction time) and electrophysiological data (amplitude of evoked potentials) were analyzed through a repeated measures ANOVA, with established error α=5%. The evoked potentials P1, N1, N170, EPN and N2 were individually analyzed. As results, there were no significant effects for group. However, in the electrophysiological data, there were significant effects for group in P1, N1, EPN and N2 for the first experiment, as such results were not found for the second experiment. These results indicate that there might be a possible influence of priming when it comes to subjects musical experience. / Por meio das tecnologias de imageamento cerebral e de investigação eletrofisiológica, pode-se compreender melhor o funcionamento do cérebro ao ouvir música ou executá-la, sem que sejam necessárias técnicas invasivas de exploração neurológica. Este trabalho tem como objetivo geral investigar o processamento cerebral de melodias de conotação alegre ou triste por pessoas de duas diferentes populações. Participaram do estudo 32 adultos, entre 21 e 35 anos, falantes língua portuguesa brasileira, divididos em dois grupos: G1, composto por cantores líricos profissionais e G2, por pessoas sem formação musical. Os dois grupos foram submetidos a dois experimentos. O Experimento 1, composto por melodias cantadas sem palavras, divididas em melodias relacionadas a alegria e melodias relacionadas a tristeza, compostas especialmente para este estudo. Todos os trechos foram cantados em vocalize, seguidos de uma face, alegre ou triste, sendo congruente ou incongruente em relação ao trecho que a precede. No total, foram apresentados 80 excertos musicais, 40 relacionados à alegria e 40 à tristeza. Os participantes julgavam, para cada trecho ouvido, se a face apresentada ao final do excerto seria considerada congruente ou incongruente em relação à melodia que a precedeu. No Experimento 2, 20 dos participantes realizavam tarefa semelhante, porém deveriam julgar se as faces eram congruentes ou incongruentes à palavra que a precedia. Para esse experimento, foram utilizadas 40 palavras (20 relacionadas a alegria e 20 a tristeza). Foram analisados os dados comportamentais (desempenho na tarefa e tempo de reação) e os dados eletrofisiológicos (amplitude média dos componentes). Foi realizada análise estatística por meio de ANOVA para medidas repetidas, estabelecendo-se erro α=5%. Para os dados eletrofisiológicos, foram analisados individualmente os potenciais P1, N1, N70, EPN e N2. Não foram encontrados efeitos de grupo para os dados comportamentais. No entanto, efeitos de grupo foram encontrados somente nos dados eletrofisiológicos do primeiro experimento, para os componentes P1, N1, EPN e N2, indicando uma possível influência do priming em função do conhecimento musical dos sujeitos.

Mon thème de recherche est d’étudier l’influence de l’apprentissage de la musique sur le traitement acoustique et phonologique de la syllabe chez des enfants normolecteurs et dyslexiques. Dans ce but, j’ai conduit plusieurs expériences basées sur l’utilisation conjointe des méthodes issues de la psychologie expérimentale (Temps de Réaction, TRs, et pourcentage d’erreurs, %err) et de l’électrophysiologie chez l’homme (Potentiels Evoqués, PEs). En comparant des enfants musiciens et non-musiciens de 9 ans, j’ai d’abord testé les effets de l’expertise musicale sur les traitements attentif (TRs et %err) et pré-attentif (en utilisant la Mismatch Negativity, MMN) de paramètres acoustiques, fréquence et durée des syllabes, et d’un paramètre phonologique, le Voice Onset Time (VOT; Expérience I). Les résultats montrent que l'expertise musicale améliore les traitements pré-attentif et attentif de la durée et du VOT dans les syllabes et le traitement attentif des variations de fréquence. Dans une seconde étude, j’ai utilisé la MMN pour comparer le traitement de ces mêmes paramètres chez des enfants dyslexiques et normolecteurs. Les enfants dyslexiques montrent un déficit du traitement de la durée des syllabes et du VOT comparés aux enfants normolecteurs. Enfin, dans les deux dernières études, j’ai utilisé la méthode longitudinale pour tester l’influence de l’apprentissage de la musique sur le traitement pré-attentif (MMN) de ces mêmes paramètres chez des enfants normolecteurs (Expérience III) et dyslexiques (Expérience IV). Les résultats de l’Expérience III montrent que 12 mois d’apprentissage de la musique améliorent le traitement pré-attentif de la durée et du VOT chez les enfants normolecteurs. En reproduisant les effets trouvés dans l’Expérience I, ces résultats soulignent que l’avantage mis en évidence chez les enfants musiciens ne résulterait pas uniquement de prédispositions génétiques pour la musique mais serait causalement lié à l’apprentissage musical. Enfin, les résultats de l’Expérience IV montrent que 6 mois d’apprentissage de la musique améliorent le traitement pré-attentif du VOT chez les enfants dyslexiques, suggérant que l’apprentissage musical pourrait être utilisé comme une aide à la remédiation de la dyslexie.Pris dans leur ensemble, ces résultats démontrent une relation forte entre traitements acoustique et phonologique. L’apprentissage de la musique, en améliorant la sensibilité des enfants aux paramètres acoustiques dans la musique et dans le langage (processus communs), augmenterait également leur sensibilité aux paramètres phonologiques associés et permettrait ainsi la construction de représentations phonologiques plus robustes (transfert d’apprentissage de la musique vers le langage). / My research is aimed at studying the influence of musical training on the acoustic and phonological processing of syllables in children with dyslexia and in normal-reading children. To this aim, I conducted several experiments by using methods issued from experimental psychology (Reaction Times, RTs, and error rates, %err) and from human electrophysiology (Event-Related brain Potentials, ERPs)By comparing 9-year-old musician and non-musician children, I first tested for the effects of musical expertise on attentive (RTs and %err) and preattentive processing (by using the Mismatch Negativity, MMN) of the acoustical parameters, frequency and duration, of syllables and of a phonological parameter, the Voice Onset Time (VOT; Experiment I). Results showed enhanced preattentive and attentive processing of syllables’ duration and VOT in musicians compared to nonmusician children. Secondly, I compared the processing of these same parameters in dyslexic and normal-reading children (Experiment II) by using the MMN. Results revealed that children with dyslexia showed deficits for the processing of duration and VOT in syllables compared to normal-readers. Finally, in the last two studies, I used the longitudinal method to test for the influence of musical training on the processing of the same acoustic and phonological parameters of syllables, in normal-reading children (Experiment III) and in children with dyslexia (Experiment IV). Results of Experiment III showed that 12 months of musical training enhanced duration and VOT processing in syllables, thereby demonstrating that the effects of musical expertise shown in Experiment I are not likely to only result from specific genetic predispositions for music but are causally linked to musical training. Finally, results of Experiment IV revealed that 6 months of musical training in children with dyslexia enhanced their sensitivity to VOT processing, suggesting that musical training could be an aid for the remediation of dyslexia.These results highlight the relationship between acoustical and phonological processing. Musical training, by refining the acoustical network responsible for the acoustic processing in music and speech sounds (common processing) also enhances sensitivity to phonological associated features and, consequently, the building-up of more robust phonological representations (transfer of training effect from music to language processing).

No description available.

No description available.

The aim of the present pilot study was to investigate the relationship between musical sophistication and working memory in a Swedish population. Hypotheses included that there would be a moderately strong correlation between musical sophistication and musical working memory, a moderate but somewhat weaker relationship between musical sophistication and auditory working memory, and no relationship between musical sophistication and visuospatial working memory. The study was of cross-sectional design and included 31 adult participants. The participants filled in a self-assessment form about musicality (Gold-MSI) and then had to complete three working memory tests (Melody Discrimination Test, Digit Span, Spatial Span). Spearman's correlation was used to analyze the data. The result showed a moderately strong correlation between musical sophistication and musical working memory. No significant results were obtained for the other working memory tests. An exploratory analysis of the relationship between musical sophistication and musical working memory showed that musical working memory ability correlated with some subscales on the Gold-MSI where there was a strong relationship with musical training, moderate with singing ability and weak with perceptual ability. Hierarchical multiple regression analysis showed that Music training was the individual variable that explained the variance in musical working memory (32%). The results of this study provide important indications for future research on working memory and can be used to further investigate the possibility of introducing music training interventions as a means of improving working memory ability. / Syftet med föreliggande pilotstudie var att undersöka sambandet mellan musical sophistication och arbetsminne i en svensk population. Hypoteser innefattade att det skulle vara en måttligt stark korrelation mellan musical sophistication och musikaliskt arbetsminne, måttligt men något svagare samband mellan musical sophistication och auditivt arbetsminne och inget samband mellan musical sophistication och visuospatialt arbetsminne. Studien var av tvärsnittsdesign och inkluderade 31 vuxna deltagare. Deltagarna fyllde i ett självskattningsformulär om musikalitet (Gold-MSI) och fick sedan genomföra tre arbetsminnestester (Melody Discrimination Test, Sifferrepetition, Blockrepetition). Spearmans korrelation användes för att analysera datan. Resultatet visade en måttligt stark korrelation mellan musical sophistication och musikalisk arbetsminnesförmåga. Inga signifikanta resultat erhölls för de andra arbetsminnestesterna. En explorativ analys av sambandet mellan musical sophistication och musikaliskt arbetsminne visade att musikalisk arbetsminnesförmåga korrelerade med några delskalor på Gold-MSI där det var starkt samband med Musikträning, måttligt med Sångförmåga och svagt med Perceptuell förmåga. Hierarkisk multipel regressionsanalys visade att Musikträning var den individuella variabeln som förklarade variansen i musikaliskt arbetsminne (32%). Resultaten från denna studie ger viktiga indikationer inför framtida forskning om arbetsminnet och kan användas för att vidare undersöka möjligheten att införa musikträningsinterventioner som ett sätt att förbättra arbetsminnesförmåga.

Les objectifs de cette thèse sont multiples. Le premier objectif est de comparer, aux niveaux comportemental et électrophysiologique, l'apprentissage implicite de structures linguistiques et musicales après l'écoute d'un langage artificiel chanté. Alors qu'au niveau comportemental, seule la structure linguistique semble être apprise, les résultats électrophysiologiques révèlent un effet N400 pour les deux dimensions, linguistique et musicale. Le deuxième objectif de cette thèse est d'évaluer comment cet apprentissage est influencé par l'expertise musicale. Nous avons comparé un groupe d'adultes musiciens à un groupe de non musiciens. Alors qu'au niveau comportemental les musiciens sont à peine meilleurs que les non musiciens dans les deux dimensions, les données électrophysiologiques révèlent, via des différences précoces (N1/P2) et tardives (N400), une meilleure segmentation chez les musiciens. De plus, les analyses en potentiels évoqués et en temps-fréquences des données électrophysiologiques enregistrées pendant les phases d'apprentissage révèlent que les musiciens apprennent plus rapidement que les non musiciens. Cependant, un lien de causalité quant aux effets de l'apprentissage de la musique ne peut être mis en évidence qu'en réalisant une étude longitudinale. Nous avons mené une telle étude chez des enfants de 8 ans à qui l'on a fait suivre un apprentissage de la musique ou de la peinture pendant 2 années. Les résultats comportementaux et électrophysiologiques révèlent un large bénéfice de l'apprentissage musical comparé à celui de la peinture démontrant l'importance de la musique dans l'éducation des enfants. / The aims of the present thesis were two-folded. Firstly, we wanted to compare behavioral and electrophysiological measures related to the implicit learning of linguistic and musical structures contained within an artificial sung language. While behavioral measures suggest that only the linguistic structure was learned, electrophysiological data revealed similar N400 effects in both linguistic and musical dimensions, suggesting that participants did also learn the musical structure. The second goal was to evaluate to what extent musical expertise can affect speech segmentation. At this aim, we compared a group of adult musicians to a group of nonmusicians. While behavioral data showed that musicians had marginally better performance than non musicians in both dimensions, electrophysiological data revealed, via early (N1/P2) and late (N400) differences, a better speech segmentation in musicians than in non musicians. Moreover, event-related potentials and time-frequency analyzes during learning revealed a faster and more efficient learning process in musicians. However, the only way to unambiguously claim causality between expertise and the observed effects requires a longitudinal approach. At this aim, we conducted a study with 8 year-old children who followed either music or painting lessons over a period of 2 years. Behavioral and electrophysiological data revealed a larger benefit of musical compared to painting training, bringing evidences for the importance of music in childrens' education.

Leitura musical à primeira vista é uma tarefa complexa que envolve a sobreposição de processos cognitivos, de execução motora, de memória e perceptuais. A habilidade demanda do músico uma ampla base de conhecimento em repertório, estilos e compreensão de códigos musicais. O desenvolvimento da habilidade de ler à primeira vista pode promover o melhoramento de muitas habilidades musicais, incluindo o aumento da consciência musical global. O objetivo deste trabalho é testar o uso de guias para o auxílio no desenvolvimento da tarefa de ler música à primeira vista com estudantes universitários, utilizando a análise musical como ferramenta de auxílio. Esta pesquisa contou com 23 participantes, organistas e pianistas, divididos em dois grupos (experimental e controle), os quais foram submetidos à performance de três trechos musicais inéditos. Os participantes do grupo experimental realizaram a interpretação do segundo trecho com interferência de guias de auxílio para a execução. A maioria dos estudantes demonstrou interesse em desenvolver estudos em leitura à primeira vista. A média de andamento dos sujeitos nos trechos da pesquisa foi 63,5% mais baixa do que o andamento sugerido na partitura A média de erros foi de 8,78 erros por trecho, e os tipos de erros mais cometidos foram os da voz do baixo. As melhores avaliações foram dadas aos estudantes de pós-graduação. 81,82% dos participantes do grupo experimental consideraram que os guias auxiliaram suas execuções. Os resultados mostram que o melhoramento em leitura à primeira vista possivelmente é mais efetivo em um estudo a longo prazo, envolvendo conhecimentos de análise musical, aspectos motores e conhecimento de repertório. Concluímos que o uso dos guias promoveu o melhoramento do andamento da execução dos trechos dos estudantes do grupo experimental e estes sujeitos obtiveram médias menores de erros e as melhores avaliações de juízes externos, além de cometerem menos erros na melodia e na voz do baixo depois de serem submetidos aos guias. / Sight-reading is a complex task that involves overlap of cognitive processes, motor execution, memory and perceptual process. This skill demands broad knowledge in repertory skills, styles and comprehension of musical codes. The development of sight-reading ability can improve several musical skills, including the increase of musical consciousness. The aim of this work is to test the use of musical guides in the development of sight-reading skills with undergraduate students, using musical analysis as a support tool. Twenty-three students participated in this research, among them organists and pianists, from undergraduate, graduate, and extension courses of Federal University of Rio Grande do Sul. The participants were included in two groups, experimental and control, and were asked to perform three unpublished musical excerpts. Those included in the experimental group performed the second excerpt with the use of musical guides. The majority of the students demonstrated interest in developing studies in sight-reading. The average overall tempo of the subjects in the excerpts was 63.5% lower than that suggested in the score The average of errors was 8.78%, and the most frequent errors occurred in the bass voice. The best evaluations were awarded to postgraduate students. 81.82% of the participants considered that the guides helped their performances. Results show that improvement in sight-reading is more likely to occur in a long term study involving, in addition to knowledge of musical analysis, motor aspects and repertory background. The use of guides improved the musical tempo in the students‟ performance in the experimental group. Moreover, the subjects in the experimental group obtained a lower error average and a better rate from the external evaluators. They also made fewer mistakes in the melodic line and the bass voice after using the musical guides.

Background: A link between musical expertise and auditory temporal processing abilities was examined. Material and methods: Trained musicians (n=13) and non-musicians (n=12) were tested on speech tasks (phonetic identification, speech recognition in noise) and non-speech tasks (temporal gap detection). Results: Results indicated musicians had shorter between-channel gap detection thresholds and sharper phonetic identification functions, suggesting that perceptual reorganization following musical training assists basic temporal auditory processes. Conclusions: In general, our results provide a conceptual advance in understanding how musical training influences speech processing, an ability which, when impaired, can affect speech and reading competency.

Leitura musical à primeira vista é uma tarefa complexa que envolve a sobreposição de processos cognitivos, de execução motora, de memória e perceptuais. A habilidade demanda do músico uma ampla base de conhecimento em repertório, estilos e compreensão de códigos musicais. O desenvolvimento da habilidade de ler à primeira vista pode promover o melhoramento de muitas habilidades musicais, incluindo o aumento da consciência musical global. O objetivo deste trabalho é testar o uso de guias para o auxílio no desenvolvimento da tarefa de ler música à primeira vista com estudantes universitários, utilizando a análise musical como ferramenta de auxílio. Esta pesquisa contou com 23 participantes, organistas e pianistas, divididos em dois grupos (experimental e controle), os quais foram submetidos à performance de três trechos musicais inéditos. Os participantes do grupo experimental realizaram a interpretação do segundo trecho com interferência de guias de auxílio para a execução. A maioria dos estudantes demonstrou interesse em desenvolver estudos em leitura à primeira vista. A média de andamento dos sujeitos nos trechos da pesquisa foi 63,5% mais baixa do que o andamento sugerido na partitura A média de erros foi de 8,78 erros por trecho, e os tipos de erros mais cometidos foram os da voz do baixo. As melhores avaliações foram dadas aos estudantes de pós-graduação. 81,82% dos participantes do grupo experimental consideraram que os guias auxiliaram suas execuções. Os resultados mostram que o melhoramento em leitura à primeira vista possivelmente é mais efetivo em um estudo a longo prazo, envolvendo conhecimentos de análise musical, aspectos motores e conhecimento de repertório. Concluímos que o uso dos guias promoveu o melhoramento do andamento da execução dos trechos dos estudantes do grupo experimental e estes sujeitos obtiveram médias menores de erros e as melhores avaliações de juízes externos, além de cometerem menos erros na melodia e na voz do baixo depois de serem submetidos aos guias. / Sight-reading is a complex task that involves overlap of cognitive processes, motor execution, memory and perceptual process. This skill demands broad knowledge in repertory skills, styles and comprehension of musical codes. The development of sight-reading ability can improve several musical skills, including the increase of musical consciousness. The aim of this work is to test the use of musical guides in the development of sight-reading skills with undergraduate students, using musical analysis as a support tool. Twenty-three students participated in this research, among them organists and pianists, from undergraduate, graduate, and extension courses of Federal University of Rio Grande do Sul. The participants were included in two groups, experimental and control, and were asked to perform three unpublished musical excerpts. Those included in the experimental group performed the second excerpt with the use of musical guides. The majority of the students demonstrated interest in developing studies in sight-reading. The average overall tempo of the subjects in the excerpts was 63.5% lower than that suggested in the score The average of errors was 8.78%, and the most frequent errors occurred in the bass voice. The best evaluations were awarded to postgraduate students. 81.82% of the participants considered that the guides helped their performances. Results show that improvement in sight-reading is more likely to occur in a long term study involving, in addition to knowledge of musical analysis, motor aspects and repertory background. The use of guides improved the musical tempo in the students‟ performance in the experimental group. Moreover, the subjects in the experimental group obtained a lower error average and a better rate from the external evaluators. They also made fewer mistakes in the melodic line and the bass voice after using the musical guides.