Relevant bibliographies by topics / Musical perception in children

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Academic literature on the topic 'Musical perception in children'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 August 2024

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Journal articles on the topic "Musical perception in children"

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Koniari, Dimitra, Sandrine Predazzer, and Marc Méélen. "Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children." Music Perception 18, no. 3 (2001): 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.

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This study investigates the role of the cue abstraction mechanism within the framework of cognitive processes underlying listening to a piece of music by 10- to 11-year-old children. Four experiments used different procedures to address three main processes: (a) the categorization of musical features, (b) the segmentation of the musical discourse, and (c) the elaboration of a mental schema of the piece. Two short tonal pieces from the classical piano repertoire were used as experimental material. Experiments 1 and 2 assessed children's capacity to classify segments from the same musical piece into the appropriate category and to evaluate the segments' degree of similarity. Experiment 3 investigated the segmentation process, which underlies the organization of musical events into groups. Experiment 4 explored children's ability to reconstruct a piece of music after hearing it. The influence of musical training is investigated by comparing musician and nonmusician children. In addition, the effects of different musical features are explored. La préésente éétude porte sur le méécanisme d'extraction d'indices dans le cadre des processus cognitifs sous-tendant l'éécoute d'un morceau de musique chez des enfants de 10-11 ans. Les diverses procéédures utiliséées dans les quatre expéériences portent sur trois processus: a) la catéégorisation de caractééristiques musicales, b) la segmentation du discours musical et c) l'éélaboration d'un schééma mental de la pièèce. Deux courtes pièèces du réépertoire classique pour piano ont servi de matéériel expéérimental. Les expéériences 1 et 2 éévaluent la capacitéé des enfants àà classer des segments issus d'un mêême pièèce musicale dans leur catéégorie respective et àà appréécier leur degréé de similaritéé. L'expéérience 3 éétudie le processus de segmentation qui sous-tend l'organisation des éévéénements musicaux en groupes. L'expéérience 4 explore l'aptitude des enfants àà reconstruire la pièèce aprèès l'avoir entendue. L'influence de la formation musicale est prise en compte àà travers une comparaison d'enfants musiciens et non-musiciens. De plus, l'effet de difféérents traits musicaux est exploréé.
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Farinazzo Martins, Valéria, Letícia Gomez, and Ana Grasielle Dionísio Corrêa. "Teaching Children Musical Perception with MUSIC-AR." EAI Endorsed Transactions on e-Learning 2, no. 5 (March 17, 2015): e3. http://dx.doi.org/10.4108/el.2.5.e3.

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KARAELMA, Barış, and Serkan DEMİREL. "SCALE DEVELOPMENT FOR CHILDREN'S MUSICAL HEARING PERCEPTION." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 1 (April 15, 2021): 293–311. http://dx.doi.org/10.46291/zfwt/130115.

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The perception of musical hearing has been one of the most prominent elements within the framework of musical talent and many studies have been conducted on it. The main subject of this research is musical hearing perception which is important concept that musical ability tests have been trying to measure for many years. Musical hearing perception is a concept that can be developed with the necessary educational planning, especially in childhood. In this context, based on the constructivist approach, early detection is important according to the level of readiness of the person. The scale in this study was designed to measure the musical hearing perception of children between the ages of 9-12, and was created in such a way that the variable of whether or not to know notes was disabled. Thus, it is aimed to bring the perception of musical hearing, which is the main subject to be measured, to the fore. The scale consists of 3 parts: interval test, melody test and rhythm test. Firstly, the field study was conducted with 100 students, and then 160 students during implementation throughout the design phase of the scale, As a result of the research, statistical reliability and validity analyzes were made and the applicability of the scale was revealed. Keywords: Musical Perception, Musical Ability, Musical Ability Test, Musical Perception In Children
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Kuzmenko, Galina A., Tatyana K. Kim, and Elizaveta A. Badanova. "Psychological and Pedagogical Characteristic of 5-6-year-old Children’s Perception of the Tempo-Rhythmic Structure of Movements When Reflecting Musical Image in Modern Dance Classes." Volga Region Pedagogical Search 2, no. 40 (2022): 52–59. http://dx.doi.org/10.33065/2307-1052-2022-2-40-52-59.

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The article is devoted to psychological and pedagogical analysis of 5-6-year-old children’s perception of the tempo-rhythmic structure of movements when reflecting the musical image of modern dances. Musical perception of the tempo-rhythmic structure of movements determines the development of interests and aesthetic feelings in children, forms their musical culture. It has been established that a holistic musical image of a dance composition is formed when the child, through understanding and feeling the image, comes to the conclusion that music and movements are closely related and determine the form and content of the latter. The harmonious perception of basic and background components - music and motor actions allows children to reveal the musical image of movement composition in dance. As a result of the experimental study, the difficulties of musical perception and its reflection in movements were determined, the conditions for the formation of the tempo-rhythmic structure of movements on the basis of the development of a musical image providing musical diversity of movements were identified. The revealed correlation, cluster, factor organization of characteristics of performance of dance composition by children of 5-6 years of age make it possible to assert the importance of the investigated components and determines the development of the content of training sessions focused on the consistent and continuous formation of relevant abilities that provide children with the quality of implementation of dance activities.
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Torppa, Ritva, Andrew Faulkner, Teija Kujala, Minna Huotilainen, and Jari Lipsanen. "Developmental Links Between Speech Perception in Noise, Singing, and Cortical Processing of Music in Children with Cochlear Implants." Music Perception 36, no. 2 (December 1, 2018): 156–74. http://dx.doi.org/10.1525/mp.2018.36.2.156.

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The perception of speech in noise is challenging for children with cochlear implants (CIs). Singing and musical instrument playing have been associated with improved auditory skills in normal-hearing (NH) children. Therefore, we assessed how children with CIs who sing informally develop in the perception of speech in noise compared to those who do not. We also sought evidence of links of speech perception in noise with MMN and P3a brain responses to musical sounds and studied effects of age and changes over a 14–17 month time period in the speech-in-noise performance of children with CIs. Compared to the NH group, the entire CI group was less tolerant of noise in speech perception, but both groups improved similarly. The CI singing group showed better speech-in-noise perception than the CI non-singing group. The perception of speech in noise in children with CIs was associated with the amplitude of MMN to a change of sound from piano to cymbal, and in the CI singing group only, with earlier P3a for changes in timbre. While our results cannot address causality, they suggest that singing and musical instrument playing may have a potential to enhance the perception of speech in noise in children with CIs.
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Liu, Xuan. "Design and Implementation of Multimedia Teaching Course for Piano Enlightenment Oriented to Aesthetic Ability Development." International Journal of Web-Based Learning and Teaching Technologies 18, no. 2 (October 13, 2023): 1–12. http://dx.doi.org/10.4018/ijwltt.332065.

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Piano education for children is based on the child's psychological characteristics and the artistic characteristics of musical works. Piano initiation education for young children can enhance perception, aesthetic ability, and creative skills; promote the overall development of children; and is also a crucial channel to promote young children to develop and transfer their own musical experience. This paper analyzes the current problem of cultivating children's musical aesthetic ability in piano initiation education and proposes the use of multimedia and artificial intelligence technology to compare the repertoire played by piano learners with the original repertoire, combined with aesthetic evaluation technology to analyze and give guidance for piano initiation practice, so that piano learners can be more targeted. The program is designed to solve the problems in the piano practice process, to enhance the musical perception and aesthetic feeling of children, and to improve their aesthetic ability.
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Heaton, Pamela. "Assessing musical skills in autistic children who are not savants." Philosophical Transactions of the Royal Society B: Biological Sciences 364, no. 1522 (May 27, 2009): 1443–47. http://dx.doi.org/10.1098/rstb.2008.0327.

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Descriptions of autistic musical savants suggest that they possess extraordinary skills within the domain. However, until recently little was known about the musical skills and potential of individuals with autism who are not savants. The results from these more recent studies investigating music perception, cognition and learning in musically untrained children with autism have revealed a pattern of abilities that are either enhanced or spared. For example, increased sensitivity to musical pitch and timbre is frequently observed, and studies investigating perception of musical structure and emotions have consistently failed to reveal deficits in autism. While the phenomenon of the savant syndrome is of considerable theoretical interest, it may have led to an under-consideration of the potential talents and skills of that vast majority of autistic individuals, who do not meet savant criteria. Data from empirical studies show that many autistic children possess musical potential that can and should be developed.
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Chervenakova, Iliana. "MUSICAL LITERACY, AN ESSENTIAL COMPONENT OF CHILDREN'S MUSICAL DEVELOPMENT." Knowledge International Journal 34, no. 6 (October 4, 2019): 1703–9. http://dx.doi.org/10.35120/kij34061703c.

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In the recent past, the speculative approach to introducing children to musical literacy was at the forefront. In the background were the musical and auditory development of the children and the emotional responsiveness to the perception of the musical works. It is well known that auditory imitation play and conscious reading of a musical note text are two steps of the same process.Much more successful will be the learning of a new knowledge if the learning of ready rules and laws, purely technically, remains in the background.The proposed technology system aims at the performance of a melody tune and playing notes of an unfamiliar note text immediately after the stage of auditory repeating. For this purpose, games and game approaches are used to deliberately introduce children to music literacy.The tasks are constructed in a specific algorithm. The process of musical literacy is conditionally divided into several interrelated stages, which are presented in detail.The results achieved suggest that the proposed technology is successful for the initial musical literacy of children from the early stage of their musical development.
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Marquetti, Beatriz Quirino, Éder Costa Muchiutti, and Felipe Viegas Rodrigues. "Pitch perception preference in children with or without formal musical education." Percepta - Revista de Cognição Musical 10, no. 1 (December 30, 2022): 83–95. http://dx.doi.org/10.34018/2318-891x.10(1)83-95.

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Among the mental functions recruited by music, timbre processing is possibly one of the most interesting, as it exemplifies the perceptual constancy that allows recognition of regularities in the environment. The objective of the present work was to investigate the musical perception of children with formal music education and the prevalence of fundamental and spectral lis-teners based on the differential perception of complex tones. Thirty children between 10 and 15 years old participated, who responded to 48 pairs of tones, in which the second tone should be judged as ascending or descending. The participants' responses allowed the calculation of an index of pitch perception preference (Δp). The results show that the Control Group pre-sented Δp closer to zero than the Musicians Group, both with normal distribution. Therefore, musicians and nonmusicians have subtle differences in the perception of complex tones, with a preference for fundamental listeners among the musicians investigated.
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Morrongiello, Barbara A., Caroline L. Roes, and Faith Donnelly. "Children's Perception of Musical Patterns: Effects of Music Instruction." Music Perception 6, no. 4 (1989): 447–62. http://dx.doi.org/10.2307/40285442.

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Musically trained and untrained children between 4 and 6 years of age were tested for their discrimination of transformations of an unfamiliar six-tone melody. Transformations involved a change in one, two, or all three of the following features: melodic contour, musical intervals, or individual frequencies. In order to manipulate task difficulty, melodies were played at different presentation rates. Results revealed that discrimination performance varied as a function of (1) musical training, (2) what features of a melody were changed, (3) number of features of a melody that changed, and (4) rate of presentation. Musically trained children performed better than children without training, they showed enhanced sensitivity to the more specific melodic features (i. e., individual frequencies), they were better at detecting transformations involving changes in a fewer number of features, and their performance was unaffected by rate of presentation. In contrast, children without training attended primarily to more general pattern features (i. e., melodic contour) and needed a change involving a larger number of musical features for reliable discrimination of a transformation. In general, as the rate of presentation of the melody increased a decrement in performance occurred for untrained listeners, but the magnitude of these effects varied with transformation type.
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Dissertations / Theses on the topic "Musical perception in children"

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Edwards, S. L. "Pitch perception, production and musical development of hearing impaired children." Thesis, University College London (University of London), 2014. http://discovery.ucl.ac.uk/1416297/.

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Children with cochlear hearing loss are offered a range of intervention devices to manage their hearing impairment. The most common devices fitted are hearing aids, cochlear implants or a combination of both (bimodal stimulation with a cochlear implant on one ear and hearing aid on the other). The main goal of these devices is to improve listening and communication for speech and language development. However in more recent years additional focus has been given to non-speech sounds such as music. Pitch is an important aspect of music because it carries the melody; however it is represented differently by the different devices used. The impact this has on children’s musical ability is not fully understood. This thesis explores this area and aims to determine if groups of hearing impaired children who use different intervention devices have a differential impact on pitch perception, singing and general musical ability. The primary research question addressed within the thesis was, do differences exist between different groups of hearing-impaired children who use different amplification devices for general musical ability, pitch perception and singing ability?.Fifty seven children aged between 4 and 9 years old (15 Cochlear implantees, 21 hearing aid users, 8 children with bimodal stimulation and 13 normally hearing children) were assessed for pitch perception and singing while their parents completed a questionnaire on their general musical ability. Results indicated that children using purely electrical stimulation (bilateral cochlear implants) performed more poorly for pitch perception, than children using acoustic information either through bilateral hearing aids or bimodal stimulation. This result was not demonstrated for singing competency, however a reduced comfortable singing range and greater voice irregularity was observed for the cochlear implantees when singing. Normally hearing children performed better with respect to pitch perception and singing competency but did not show a significantly better score for musical enjoyment or involvement in comparison to all three hearing impaired groups. The results indicate that the bimodal configuration could provide some benefits for pitch perception for hearing-impaired children that have useable residual hearing. This doesn’t however extend to pitch production in terms of singing competency. The findings derived from this research study are important not only to build on current research literature but also to inform future clinical practice.
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Ilari, Beatriz Senoi. "Music cognition in infancy : infants' preferences and long-term memory for complex music." Thesis, McGill University, 2002. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=38490.

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The purpose of this study was to investigate infants' preferences and long-term memory for two contrasting complex pieces of music, that is, Prelude and Forlane from Le Tombeau de Couperin by Maurice Ravel (1875--1937). Seventy 8.5-month-old infants were randomly assigned to one of four experiments conducted on the Headturn Preference Procedure. The first experiment examined infants' preferences for Prelude and Forlane in piano timbre. The second experiment assessed infants' preferences for Prelude and Forlane in orchestra timbre. Infants' preferences for the Forlane in piano and orchestra timbres were investigated in the third experiment. The last experiment aimed at infants' long-term memory for complex music. Thirty infants were exposed to either the Prelude or the Forlane three times a day for ten consecutive days. Two weeks following the exposure, infants were tested on the HPP. It was predicted that these infants would prefer to listen to the familiar piece from the exposure over the unfamiliar one. Results suggested that 8.5-month-olds could tell apart two complex pieces of music in orchestra timbre and could discriminate between the piano and the orchestra timbres. Contrary to the belief that infants are ill equipped to process complex music, this study found that infants could encode and remember complex pieces of music for at least two weeks.
Because infants rely on their caretakers to provide musical experiences for them, maternal beliefs and uses of music were also investigated. Mothers of participating infants were interviewed on musical background, listening preferences and musical behaviors and beliefs with their infants. The analysis of interview data yielded the following main results: (1) Singing was the primary musical activity of mothers and babies; (2) Maternal occupation and previous musical experiences affected their musical behaviors with their babies; (3) Most mothers held the belief that there is appropriate music for babies to listen to although there was no consensus as to what is appropriate music. Such beliefs reflect a conflict between maternal beliefs regarding infants' music cognition and the actual music-related perceptual and cognitive abilities of infants. Attempting to attenuate this conflict, suggestions for music educators, parents and researchers were proposed.
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Moreno, Sala María Teresa. "The influence of perceptual shift, cognitive abilities and environmental factors on young children's development of absolute and relative pitch perception /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85941.

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The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment.
The results indicate that a shift from absolute to relative perception occurs between the ages of 5 and 7. Children younger than six demonstrated limited ability to perform relational tasks such as ordering bells, identifying transposed intervals, and comparing pitches. However, they memorized target pitches better than the older children, matched target tones on the xylophone and sang newly learned songs in their original key more often than did the older children. Older children benefited to a larger extent from the training on relative pitch. Cognitive and spatial abilities were related to absolute pitch development: children who identified pitches better had a more sequential and a less simultaneous way of processing information. Family musical environment seems to have influenced the development of absolute pitch. Implications for the acquisition of absolute pitch are discussed.
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Gudmundsdottir, Helga Rut. "Children's ability to identify two simultaneous melodies." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26735.

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The present study examined 1st, 3rd, and 5th graders' ability to hear two simultaneous melodies. Two familiar ("Frere Jacques" and "The Barney song") and one unfamiliar melody were used as the stimuli. The pairs of simultaneous melodies were presented in different registers and timbre combinations. The children were asked to press specially labeled keys on a computer keyboard to indicate which song(s) they heard. Responses were recorded by a computer. The older children identified two simultaneous melodies faster (df = 2, F = 12.803, p $<$.01) and more accurately (df = 2, F = 13.098, p $<$.01) than the younger ones. While 70% of the 1st graders reported hearing two melodies and identified them with 75% accuracy, over 95% of the 5th graders reported hearing two melodies and identified them with 97% accuracy. Children who were able to correctly identify two simultaneous melodies did not tend to identify the melody in the upper or the lower register in any particular order when the timbre was the same in both registers. When the melodies were played with contrasting timbres (trumpet and piano) they tended to identify the trumpet melody before they identified the piano melody. However, in terms of response-speed they identified the upper melody faster than the lower melody. Children who were only able to identify one melody tended to focus on the upper melody when the timbre was the same in both registers but when the melodies were played with contrasting timbres they would attend to the trumpet melody regardless of register.
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Mollison, Deborah. "Children's musical perception and creativity as a compositional model." Thesis, Middlesex University, 2001. http://eprints.mdx.ac.uk/13636/.

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The intention of this study was to understand more fully the process of creating musical composition. As a means to to this I created a compositional model, "Maya's Words", a conscious experiment which utilised the techniques I discovered and codified from children's compositions. By utilising rhe model as a working tool and the information extracted from the children's works I was able to draw together my own theories and observations concerning the process of musical composition and how it works. Within this study I have also examined my own process of musical composition and drawn, in a limited way, upon my work on the methodology behind the compositional procedures of composer Elisabeth Lutyens. The way in which the children used their own musical ideas in a flexible and original manner illustrated a mental state that seemed to be able to grasp thoughts from anywhere, without reference, for example, to tradition or style. This dexterity brought to my attention the notion that the children were using fragments of ideas/music/sound and integrating them into their own compositions. In the compositional model for this study I chose to compose in a way that utilised information from this study in many manifestations but it also had to be an organic growth as a means to be real and for me to have a true input into it a sa composer. It also had to incorporate many of the study elements into it otherwise it would not be a conscious experiment. The two forces here, for me haave worked in tandem as the flexibility of approach used by the children has allowed me to work in a flexible way in this compositional model and yet the uncomplicated way in which the children evaluated their own progressions has had a profound influence on me too and provided me with a method of self-evaluation which does not create self-inflicted damage to my own feelings about my composition. I hope in the same way that this study will allow composers a freedon of perspective that will open for them a new understanding of musical composition.
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Papageorges, Elisabeth. "Quelle corrélation affective peut-on obtenir entre l'émotion musicale et l'expression picturale (couleurs, traits, spatialisation) chez les jeunes enfants de quatre ou cinq ans?" Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=21249.

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The purpose of this research is to investigate the emotions of pre-school children. The research task was to elicit children's affective responses to music through the act of drawing. Three pre-school children with no formal musical training or formal schooling participated in the study. During three sessions of "play" they played musical instruments, listened to music selected for sharp contrasts in mood, and drew pictures. The children expressed their feelings about the musical selections by drawing on large sheets of paper with coloured pencils. Afterwards they discussed how they felt about the music and they described how their drawings related to the music. These discussions were tape recorded. The children produced twelve coloured drawings which, together with their explanations, were a source of insight into their emotional responses. The analysis of these data showed that the children perceived the emotional content of the music and were able to express it through the use of colour, form and space. The study concluded that this type of research is relevant to the education of pre-school children because children need to externalize their feelings; the method used here is a path to do so.
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Lehmann, Sharon Fincher. ""Wiggles and Volcanos": an Investigation of Children's Graphing Responses to Music." Thesis, University of North Texas, 1993. https://digital.library.unt.edu/ark:/67531/metadc278601/.

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The purpose of this study was to investigate changes in selected children's Graphing Response Patterns to elemental changes in compositions in theme and variation form. The research problems were (1) to determine points and degrees of elemental change in the compositional structure of the musical examples; (2) to determine number, degree, and nature of changes in subjects' graphing response pattern to aurally presented musical examples; (3) to determine percentages of agreement between changes in graphing response patterns and points of elemental change within the compositional structures; (4) to determine the relationship of changes in subjects' graphing response pattern to the quality and magnitude of elemental change within the compositional structure. Twenty second- and fourth-grade children were individually videotaped as they listened to and graphed a series of aurally-presented musical examples. Each musical example was analysed according to such parameters as timbre, range/interval size, texture, tempo/meter, attack/rhythmic density, key/mode, dynamic level, and melodic presentation. Change in each parameter was scored using an interval scale reflecting change/no change and degree of change. Changes in graphing response pattern were determined by an interval scale which reflected the presence of change/no change and amount of change, using as analytical units speed, size, shape, type, and pause. The following conclusions were made: findings showed an observable, quantifiable relationship between changes in children's graphing response patterns and elemental changes in music parameters. This relationship encompassed not only change/no change judgements but also magnitude of response. Overall, frequency and magnitude/degree of student response was proportionate to the frequency and magnitude of change in the music parameter/s. Results indicated the existence of high-ranking correlations between student response and certain parameters regardless of the degree-of-change/points-of-change ratio. Findings showed that one degree of change in a single music parameter was not sufficient to cause an observable change in the attention of the young listener.
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Robinson, Nathalie Gail. "An examination of the influence of visual feedback, aural feedback and reflection time on the pitch and duration characteristics of 9-year-olds' musical compositions :." Access Digital Full Text version, 1995. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11792115.

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Thesis (Ed.D.)--Teachers College, Columbia University, 1995.
Typescript; issued also on microfilm. Sponsor: Lenore Pogonowski. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 235-239).
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Battle, Julia Blair. "The Effect of Three Different Levels of Skill Training in Musical Timbre Discrimination on Alphabet Sound Discrimination in Pre-Kindergarten and Kindergarten Children." Thesis, University of North Texas, 2000. https://digital.library.unt.edu/ark:/67531/metadc2544/.

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The purpose of this study was to investigate the effects of three different levels of skill training in musical timbre discrimination on alphabet sound discrimination in pre-kindergarten and kindergarten children. The findings of prior investigations indicated similarities between aural music and language perception. Psychoacoustic and neurological findings have reported the discrimination of alphabet quality and musical timbre to be similar perceptual functions and have provided, through imaging technology, physical evidence of music learning simultaneously stimulating non-musical areas of the brain. This investigator hypothesized that timbre discrimination, the process of differentiating the characteristic quality of one complex sound from another of identical pitch and loudness, may have been a common factor between music and alphabet sound discrimination. Existing studies had not explored this relationship or the effects of directly teaching for transfer on learning generalization between skills used for the discrimination of musical timbre and alphabet sounds. Variables identified as similar from the literature were the discrimination of same- different musical and alphabet sounds, visual recognition of musical and alphabet pictures as sound sources, and association of alphabet and musical sounds with matching symbols. A randomized pre-post test design with intermittent measures was used to implement the study. There were 5 instructional groups. Groups 1, 2,and 3 received one, two and three levels of skill instruction respectively. Groups 4 received three levels of skill training with instruction for transfer; Group 5 traditional timbre instruction. Students were measured at the 5th (Level 1), 10th (Level 2), 14th (Level 3), and 18th (delayed re-test), weeks of instruction. Results revealed timbre discrimination instruction had a significant impact on alphabet sound-symbol discrimination achievement in pre-kindergarten and kindergarten children. Different levels of timbre instruction had different degrees of effectiveness on alphabet sound discrimination. Students who received three levels of timbre discrimination instruction and were taught to transfer skill similarities from music timbre discrimination to alphabet sound discrimination, were significantly more proficient in alphabet sound symbol discrimination than those who had not received instruction Posttest comparisons indicated skill relationships were strengthened by instruction for transfer. Transfer strategies had a significant impact on the retention of newly learned skills over time.
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Rochette, Françoise. "Entraînement auditif et musical chez l'enfant sourd profond : effets sur la perception auditive et effets de transferts." Phd thesis, Université de Bourgogne, 2012. http://tel.archives-ouvertes.fr/tel-00984032.

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Ce travail de thèse porte sur l'entraînement auditif chez des enfants sourds profonds congénitaux. Il a pour objectif d'évaluer non seulement les effets de l'entraînement auditif sur les performances auditives générales mais aussi les effets de transfert sur la perception langagière et la production de la parole. Une période prolongée de déprivation auditive entraîne des difficultés massives de réception et de production du langage, des difficultés cognitives et perturbe la maturation des voies auditives centrales qui limitent les effets de la réhabilitation de la transmission sonore (implants ou prothèses auditives). Il est donc indispensable d'apprendre aux enfants l'acte d'écouter et de développer leur acuité auditive. La première étude de ce travail évalue la méthode d'entraînement auditif le " Son en Mains ", un programme expérimental ludique qui permet la stimulation des opérations auditives générales, telles que l'identification, la discrimination, l'analyse de scènes auditives et la mémoire auditive. L'entraînement se déroule sur une période de 16 semaines à raison d'une séance hebdomadaire. Les résultats sont présentés et discutés dans les quatre premiers articles de la partie expérimentale. Ils montrent que le programme d'entraînement " Son en Mains " permet aux enfants sourds profonds une amélioration de leurs performances auditives mais surtout des effets de transfert vers les tâches non entraînées (discrimination phonétique et production de la parole). Les études 2 et 3 de cette thèse s'intéressent aux effets de l'apprentissage musical chez des enfants sourds profonds congénitaux. Ces études sont basées sur les observations effectuées chez les enfants normo-entendants qui montrent que l'apprentissage de la musique induit non seulement un traitement auditif plus fin mais aussi des effets positifs sur la cognition. Dans l'étude 2, des enfants sourds suivant des leçons de musique depuis 4 ans en moyenne montrent de meilleures performances en discrimination phonétique que les enfants sourds non musiciens issus du même établissement spécialisé. Ainsi, les scores des enfants musiciens semblent comparables à ceux obtenus avec le programme d'entraînement " Son en Mains " chez des enfants non musiciens (article 5). Enfin, la troisième étude de cette thèse explore les effets de leçons musicales sur la perception des émotions musicales et sur les capacités d'apprentissage implicite. Les résultats montrent que les enfants sourds musiciens présentent plus de difficultés que les enfants entendants non musiciens pour identifier les différentes émotions musicales (article 6). En revanche leurs capacités d'apprentissage implicite sont équivalentes (article 7). Les articles 8 et 9 représentent notre contribution méthodologique et théorique. En discussion générale, nous débattons des implications de ces résultats dans la prise en charge des enfants sourds profonds.
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Books on the topic "Musical perception in children"

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Hyvönen, Leena. Ala-asteen oppilas musiikin kuuntelijana. [Helsinki]: Sibelius-Akatemia, 1995.

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Misakyan, Talar. Perception of musical rhythm and pitch in children and adolescents with spina bifida and hydrocephalus. Ottawa: National Library of Canada, 2003.

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Kreutzer, Natalie Jones. The nature of music acquisition among selected Shona speaking people of rural Zimbabwe as reflected in the vocal productions of children from birth to seven years. [Bloomington]: Indiana University, 1997.

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Wallerstedt, Cecilia. Att peka ut det osynliga i rörelse: En didaktisk studie av taktart i musik. Göteborg: Högskolan för scen och musik vid Goteborgs universitet, 2010.

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Burnett, Millie. The rhythmic training on musical perception and motor skill development of preschool handicapped children, male and female. Ann Arbor, Michigan: University Microfilms International, 1985.

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Frece, Robert James de. The relationship of French-immersion education to tonal skills of first and fourth-grade Canadian children. [Oregon: s.n.], 1988.

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Beyer, Esther. Musikalische und sprachliche Entwicklung in der frühen Kindheit. Hamburg: Krämer, 1994.

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Rosbach, Anke. Schriftspracherwerb und Musik: Theorie und Unterrichtsmaterialien eines Ansatzes zur Verringerung von Leserechtschreibschwächen. Augsburg: B. Wissner, 1995.

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Schellberg, Gabriele. Zur Entwicklung der Klangfarbenwahrnehmung von Vorschulkindern. Münster: Lit, 1998.

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Sallat, Stephan. Musikalische Fähigkeiten im Fokus von Sprachentwicklung und Sprachentwicklungsstörungen. Idstein: Schulz-Kirchner, 2008.

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Book chapters on the topic "Musical perception in children"

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Nasta, Dominique. "Musical Moments as Narrative and Emotional Catalysts in Three Silent Films by Jacques Feyder." In When Music Takes Over in Film, 57–74. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-89155-8_4.

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AbstractAs many studies have shown, the link between cinema, psychology and music played an important role both theoretically and practically during the French avant-garde of the 1920s in the work of Delluc, Epstein, Gance, Grémillon or L’Herbier. Jacques Feyder’s three films for the Franco-Russian production company Albatros—Visagesd’enfants (1925), Gribiche (1926) and Les Nouveaux Messieurs (1928)—demonstrate his unprecedented mastery of the ‘musical moment’ both in its relationship to stories involving painful situations experienced by young children and in the way it rhythms emotion and affect. Feyder’s mise en scène and spectacular crosscutting techniques crystallise them, yoking the musical moment to a dream, or a mental image, or a simple celebration in a realist pseudo-documentary décor. This chapter elucidates these musical moments using theories related to subliminal auditory perception, deferred time intervals and baseline affective charges: the latter occur in Feyder’s silent films for which no original pre-existing accompaniment is known.
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Moravcsik, Michael J. "Perception of Sound." In Musical Sound, 89–104. Boston, MA: Springer US, 2002. http://dx.doi.org/10.1007/978-1-4615-0577-8_7.

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Lindeman, Carolynn A. "Young Children and Music: The Prekindergarten Years." In Musical Children, 3–20. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351241175-2.

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Lindeman, Carolynn A. "Young Children and Music: The Primary Grades." In Musical Children, 21–33. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351241175-3.

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Lindeman, Carolynn A. "Introduction to the Elements of Music: Developing Concepts About Music." In Musical Children, 35–42. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351241175-4.

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Lindeman, Carolynn A. "Reaching All Learners Through Music." In Musical Children, 43–48. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351241175-5.

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Lindeman, Carolynn A. "Curricular Integration and Approaches." In Musical Children, 49–61. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351241175-6.

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Lindeman, Carolynn A. "Sharing Music in the Prekindergarten Years." In Musical Children, 65–83. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351241175-8.

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Lindeman, Carolynn A. "Teaching Music in the Primary Grades." In Musical Children, 85–185. Second edition. | New York ; London : Routledge, 2018.: Routledge, 2018. http://dx.doi.org/10.4324/9781351241175-9.

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Hartmann, William M. "Loudness Perception." In Principles of Musical Acoustics, 125–36. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-6786-1_12.

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Conference papers on the topic "Musical perception in children"

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Kusý, Peter, and Ivana Šuhajdová. "INTERPERSONAL MUSICAL PERCEPTION OF YOUNGER SCHOOL-AGE CHILDREN." In 15th annual International Conference of Education, Research and Innovation. IATED, 2022. http://dx.doi.org/10.21125/iceri.2022.0760.

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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Tanasković, Marija K. "Učenje kroz pokret u pristupima muzičkom obrazovanju." In Nauka i obrazovanje – izazovi i perspektive. University of Kragujevac, Faculty of Edaucatin in Uzice, 2022. http://dx.doi.org/10.46793/noip.403t.

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The movement is related to dance and play, and it is significant for the musical development of an individual and his/her perception of music. Some research results show that learning through movement is familiar to children and can contribute to their development in many aspects (musicality, creativity, but also to their cognitive, social and physical development). Some approaches to music education focusing on the child, which is an imperative of modern upbringing and education, emphasize the importance of understanding the content of learning through sensory perception and practical activities. Music is associated with speech, movement and play, as these elements coexist in children. The paper gives an overview of approaches and methods (Dalcroze, Orff, Kodaly, Gordon) in music education in which movement has a dominant role and significance, as it activates not only the body and the mind, but also encourages the perception of music and its means of expression.
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Gruzdova, Inna. "Development Of Musical Perception In Children Of Senior Pre-School Age." In International Scientific Conference «Social and Cultural Transformations in the Context of Modern Globalism» dedicated to the 80th anniversary of Turkayev Hassan Vakhitovich. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.10.05.243.

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with Down's Syndrome, Children. "Correctional and Developmental Work with." In Human Interaction and Emerging Technologies (IHIET-AI 2022) Artificial Intelligence and Future Applications. AHFE International, 2022. http://dx.doi.org/10.54941/ahfe100839.

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The article examines the features of the use of new approaches to correctional and developmental work focused on children with mental and physical retardation, in particular, "sun children" (with Down syndrome) and "rain children" (with autism spectrum dis-order) in inclusive education. It highlights the theoretical material and owns view of the practical use of the synthesis of music and colour in the implementation of this activity. The paper elucidates the mental processes that occur during the processing of information in the hemispheres of the child's brain. It reveals the wave energy nature of colour and the associative relationship of colours with the sound of musical works. The light auditory and the creative-practical component of classes have been described. Particular emphasis has been placed on the "special" children’s characteristics of perception, behaviour and performance of colour music tasks. It has been shown that our proposed program of colour music therapy has a positive effect on the emotional sphere, improves the quality of communication, and enhances the ability to self-regulation, creative activity of children.
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Чернявская, Дарья Александровна, Владислав Алексеевич Дмитриев, and Ольга Юрьевна Швецова. "FORMATION OF LISTENER CULTURE IN STUDENTS WITH AUTISM SPECTRUM DISORDER IN THE PROCESS OF MUSICAL PERCEPTION." In Высокие технологии и инновации в науке: сборник избранных статей Международной научной конференции (Санкт-Петербург, Июль 2022). Crossref, 2022. http://dx.doi.org/10.37539/vt198.2022.40.17.005.

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В статье поднимается проблема формирования слушательской культуры у детей с расстройствами аутистического спектра. Приведены методы и приемы активизации музыкального восприятия, которые могут применяться в практической деятельности. The article raises the problem of the formation of a listening culture in children with autism spectrum disorders. Methods and techniques for activating musical perception that can be used in practice are given.
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Janurik, Mára, Norbert Szabó, and Krisztián Józsa. "THE RELATIONSHIP OF MUSICAL PERCEPTION AND THE EXECUTIVE FUNCTION AMONG 7-YEAR-OLD CHILDREN." In 11th International Conference on Education and New Learning Technologies. IATED, 2019. http://dx.doi.org/10.21125/edulearn.2019.1199.

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Maldonado-Garcés, Verónica-Gabriela, Elking Araujo, Mayra Carrión, Marco Santórum, Patricia Acosta-Vargas, Diana López, Mahatma Quijano, and Luis Llanganate. "Designing a Serious Game to enhancement of musical skills of children using iPlus methodology." In 13th International Conference on Applied Human Factors and Ergonomics (AHFE 2022). AHFE International, 2022. http://dx.doi.org/10.54941/ahfe1002074.

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Serious Games have become a popular tool for knowledge transfer, behavioral, perceptual, or cognitive change, and valuable for developing or improving a specific area. The use of serious games for educational purposes can have a very positive effect; in our case, this area is related to the educational or psychological field, and its purpose is to strengthen the psychoeducational processes, allowing the achievement of an optimal and motivating learning process in the different stages of development of the human being. The current research focuses on constructing a serious game for the enhancement of musical skills of children using iPlus methodology. This game is aimed at children from 8 to 12 years old; however, it is not ruled out to be applied to adolescents, middle-aged, and elderly adults. The game is suitable for practicing and improving musical abilities such as memory, attention, and spatial perception by recognizing notes on the staff. The possibility of strengthening two essential psychological processes is also offered, not only for the acquisition of learning but also to solve life problems.
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Park, Chung Hyuk, Myounghoon Jeon, and Ayanna M. Howard. "Robotic framework with multi-modal perception for physio-musical interactive therapy for children with autism." In 2015 Joint IEEE International Conference on Development and Learning and Epigenetic Robotics (ICDL-EpiRob). IEEE, 2015. http://dx.doi.org/10.1109/devlrn.2015.7346132.

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Orlova, Tatyana Sergeevna. "Music perception as a base of musical-educational system among Children Music School pupils (in the context of genre approach)." In VII International Research and Practice Conference. TSNS Interaktiv Plus, 2016. http://dx.doi.org/10.21661/r-112456.

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Reports on the topic "Musical perception in children"

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Banducci, Naomi. Teaching hearing-impaired children language through the use of musical rhythm. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.1281.

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CHURKIN, A. I. INTEGRATION OF THE EMOTIONAL AND TECHNICAL COMPONENT IN TEACHING VISUALLY IMPAIRED STUDENTS TO PLAY THE GUITAR. Science and Innovation Center, 2022. http://dx.doi.org/10.12731/978-0-615-67341-7-2.

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The method developed by the author for teaching visually impaired and blind children the skills of performing techniques on a musical instrument (guitar) without mastering embossed fonts is described. It is based on the compensation of emerging difficulties due to the synesthesia of the auditory and tactile (kinesthetic) analyzers.
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Villines, Meredith. Early Childhood Inclusion: Teacher Perception of the Supports Needed to Fully Include Children with Special Needs. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.425.

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Jiménez-Parra, José Francisco, Sixto González-Víllora, and Alfonso Valero-Valenzuela. The evolution of the Teaching Personal and Social Responsibility from a contextual to a transcontextual model. A systematic review. INPLASY - International Platform of Registered Systematic Review and Meta-analysis Protocols, April 2022. http://dx.doi.org/10.37766/inplasy2022.4.0031.

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Review question / Objective: The aim of this research was to identify and analyze the advances produced during the last 6 years in intervention studies based on the Model of Personal and Social Responsibility (TPSR) both in the subject of physical education and in any other area of knowledge within the school context. To conduct this study, the Preferred Reporting Items for Systematic Reviews and Meta-Analyses (PRISMA) guidelines were followed (Moher et al., 2015) and the question was elaborated in the PICO format: (P) Participants or Problem (eg children, adolescents, Elementary, secondary, country), (I) Intervention (eg units, lessons, quantitative, qualitative or mixed research), (C) Comparators (“Teaching Personal and Social Responsibility”, “Education”), and (O) Outcomes (eg personal and social responsibility, motivation, prosocial behaviors, basic psychological needs, perception of students and teachers).
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Hillier, Lucy. People-driven Solutions: An Introduction to Facilitating Deep Participation for Systemic Change Through Systemic Action Research Programming. Institute of Development Studies, June 2024. http://dx.doi.org/10.19088/clarissa.2024.040.

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CLARISSA evidence builds upon an existing body of evidence (Burns, 2014; Howard et al., 2021) around deeply participatory processes, where children and adults are given significant decision-making power, and supported to collect data, analyse, and take action in order to shift system dynamics to improve their lives. Critical factors within a process of whole systems change are facilitating child- and people-driven evidence generation; participatory learning and action processes around underlying system dynamics and how they drive a problem; and a high level of collective ownership by participants. These critical factors can be enabled through a facilitation approach, inclusive participation, collective problem-solving, and by giving more decision-making power to children and adult stakeholders by considering them as agents of change. The purpose of this resource is to introduce development and humanitarian organisations and their teams to a programme approach and methodology which can enable deeply participatory, learning- and action-oriented, whole systems change. It is written with the understanding that while most development and humanitarian organisations and programmes are not set up to ‘do research’, this does not mean that they cannot start to use the principles of a Systemic Action Research approach to enhance their work. This resource can help demystify the perception that robust, participatory, child- and people-led Action Research is more difficult or not possible; only relevant for monitoring, evaluation and learning teams; or that the methods are too technical for most practitioners or local participants.
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VEDESHKINA, NATALIA A., and VALENTINA A. MAXIMENKO. COMPUTER GAME "THE WAY TO A SECURE INTERNET". SIB-Expertise, November 2023. http://dx.doi.org/10.12731/er0743.18112023.

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The computer game "The Way to a secure Internet" was created by teachers of the MDOU "D/ s № 73" of Magnitogorsk on the cross-platform environment for the development of Unity computer programs. The game is aimed at older preschool children. It is aimed at the formation of life skills of students in the information society in order to ensure the information security of children. The main educational material is the selection of rules for safe behavior when using the Internet information network by students, taking into account the peculiarities of children's perception of information. The plot of the game situation and the algorithm of sequential actions of the user in order to move from one level to another suggest the following stages of the educational course and, accordingly, game tasks for the player: get and assimilate information about the dangers on the Internet, listen (read) the rule about safe behavior on the Internet, get acquainted with the game situation, choose the right solution, applying the rule about safe behavior on the Internet. The introductory information contains options for dangerous situations in which a child may find himself in the real world with incorrect communication on the Internet. The information included in the training information introduces preschoolers to the rules of safe behavior on the Internet. The control of the assimilation of educational material is presented at the game level of solving a problem situation. When choosing an answer, the game reality is realized in one of two directions: the correct answer - the training material is learned – the player moves to the next level; the wrong answer – the training material is not learned – the player returns to the level of familiarity with the rule. The system of criteria for evaluating user behavior during the implementation of an interactive game is expressed in the accumulation of bonuses (presented in the form of stars that appear on the playing field in the process of solving game problems).
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Eating Disorders - Perception, Prevention, Intervention. ACAMH, February 2023. http://dx.doi.org/10.13056/acamh.22934.

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According to the World Health Organisation, in 2019 almost 3 million children and young people, worldwide, experienced eating disorders. This Eating Disorder Awareness Week (27 February - 5 March 2023), we encourage you to explore the FREE learning opportunities available on our website, and to share with your networks.
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