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1
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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Chobert, Julie. "Influence de l'apprentissage musical sur le traitement des syllabes chez des enfants normolecteurs et dyslexiques." Thesis, Aix-Marseille 2, 2011. http://www.theses.fr/2011AIX20678.
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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)
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Newton, Michael John. "GCSE music : year nine and ten students' perceptions and enrolment intentions in relation to music education rationale and government educational policy." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0126.
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The international drive among western countries to shift from industrial to knowledge economies has focussed considerable attention on education. United Kingdom government educational policy, influenced by the global knowledge economy, has shifted responsibility for learning work skills from the workplace to schooling and post-compulsory education. Government policy emphasises the importance of education's role in preparing students with the skills, knowledge and understanding required to enhance the United Kingdom's competitiveness in the global market. In contrast to the work-related emphasis of the wider educational context, music education emphasises the enrichment of experience. The value of music education is related to people's needs, and the functions it performs in their lives. Music education should be transformative, creative, enriching and relevant. Participation in music education is motivated by the intrinsic satisfaction of making music, rather than the extrinsic need for work-related competencies and qualifications. Music education competes for students with other subjects in the educational marketplace when the music curriculum ceases to be compulsory at age fifteen. Therefore, it is important to understand how students relate not only to music education, but also to the wider work-related educational context in which their subject participation choices are made. Therefore, the purposes of this study are twofold: (1) to establish an overview of how students perceive music education and the factors that influence their enrolment intentions, and (2) to establish an overview of how students perceive music within the wider context of education. Statements were chosen that were considered representative of the rationales for education presented by the government and the music education community. Questionnaires and interviews were developed using the statements, and were ii administered to a random sample of Year Nine and Ten (GCSE Music and non - GCSE Music) students Music was not a relevant subject for most students. However, the perceptions of a small percentage of students (mainly Music students) did find music education relevant in the ways the literature suggested it should be. The most common influences on enrolment were perceptions of ability and enjoyment (or lack of). Despite the strong emphasis on work-related skills and qualifications in the wider educational context, students generally agreed that Music was a subject better suited to enhancing life and lifestyle than career options. However, reflecting the wider educational context, Music was perceived as being more careers/future study orientated than transformative, creative, enriching and relevant.
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Kanellopoulos, Panagiotis A. "A study of children's understandings of their musical improvisations." Thesis, University of Reading, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341525.
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Mate-Cid, Saul. "Vibrotactile perception of musical pitch." Thesis, University of Liverpool, 2013. http://livrepository.liverpool.ac.uk/16013/.
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Previous vibrotactile research has provided little or no definitive results on the discrimination and identification of important pitch aspects for musical performance such as relative and absolute pitch. In this thesis, psychophysical experiments using participants with and without hearing impairments have been carried out to determine vibrotactile detection thresholds on the fingertip and foot, as well as assess the perception of relative and absolute vibrotactile musical pitch. These experiments have investigated the possibilities and limitations of the vibrotactile mode for musical performance. Over the range of notes between C1 (32.7Hz) and C6 (1046.5Hz), no significant difference was found between the mean vibrotactile detection thresholds in terms of displacement for the fingertip of participants with normal hearing and with severe/profound hearing impairments. These thresholds have been used to identify an optimum dynamic range in terms of frequency-weighted acceleration to safely present vibrotactile music. Assuming a practical level of stimulation ≈10dB above the mean threshold, the dynamic range was found to vary between 12 and 27dB over the three-octave range from C2 to C5. Results on the fingertip indicated that temporal cues such as the transient and continuous parts of notes are important when considering the perception of vibrotactile pitch at suprathreshold levels. No significant difference was found between participants with normal hearing and with severe/profound hearing impairments in the discrimination of vibrotactile relative pitch from C3 to C5 using the fingertip without training. For participants with normal hearing, the mean percentage of correct responses in the post-training test was greater than 70% for intervals between four and twelve semitones using the fingertip and three to twelve semitones using the forefoot. Training improved the correct responses for larger intervals on fingertips and smaller intervals on forefeet. However, relative pitch discrimination for a single semitone was difficult, particularly with the fingertip. After training, participants with normal hearing significantly improved in the discrimination of relative pitch with the fingertip and forefoot. However, identifying relative and absolute pitch was considerably more demanding and the training sessions that were used had no significant effect.
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Zacharakis, Asterios. "Musical timbre : bridging perception with semantics." Thesis, Queen Mary, University of London, 2013. http://qmro.qmul.ac.uk/xmlui/handle/123456789/8715.
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Musical timbre is a complex and multidimensional entity which provides information regarding the properties of a sound source (size, material, etc.). When it comes to music, however, timbre does not merely carry environmental information, but it also conveys aesthetic meaning. In this sense, semantic description of musical tones is used to express perceptual concepts related to artistic intention. Recent advances in sound processing and synthesis technology have enabled the production of unique timbral qualities which cannot be easily associated with a familiar musical instrument. Therefore, verbal description of these qualities facilitates communication between musicians, composers, producers, audio engineers etc. The development of a common semantic framework for musical timbre description could be exploited by intuitive sound synthesis and processing systems and could even influence the way in which music is being consumed. This work investigates the relationship between musical timbre perception and its semantics. A set of listening experiments in which participants from two different language groups (Greek and English) rated isolated musical tones on semantic scales has tested semantic universality of musical timbre. The results suggested that the salient semantic dimensions of timbre, namely: luminance, texture and mass, are indeed largely common between these two languages. The relationship between semantics and perception was further examined by comparing the previously identified semantic space with a perceptual timbre space (resulting from pairwise dissimilarity rating of the same stimuli). The two spaces featured a substantial amount of common variance suggesting that semantic description can largely capture timbre perception. Additionally, the acoustic correlates of the semantic and perceptual dimensions were investigated. This work concludes by introducing the concept of partial timbre through a listening experiment that demonstrates the influence of background white noise on the perception of musical tones. The results show that timbre is a relative percept which is influenced by the auditory environment.
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Harrison, L. "Music analysis and musical perception : studies in the psychology of musical structure." Thesis, Lancaster University, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.328316.
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Krom, Matthew Wayne. "Machine perception of natural musical conducting gestures." Thesis, Massachusetts Institute of Technology, 1996. http://hdl.handle.net/1721.1/61823.
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Hamaoui, Kamil. "The perceptual grouping of musical sequences : pitch and timing as competing cues /." Diss., Connect to a 24 p. preview or request complete full text in PDF formate. Access restricted to UC IP addresses, 2006. http://wwwlib.umi.com/cr/ucsd/fullcit?p3236630.
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Heaton, Pamela Florence. "Musical cognition in children with autism." Thesis, Goldsmiths College (University of London), 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.396246.
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Weinberg, Gil 1967. "Expressive digital musical instruments for children." Thesis, Massachusetts Institute of Technology, 1999. http://hdl.handle.net/1721.1/62942.
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Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 1999.Includes bibliographical references (p. 87-92).
This thesis proposes to use technology to introduce children to musical expressivity and creativity. It describes a set of digital musical instruments that were developed in an effort to provide children with new tools for interaction, exploration and enjoyment of music. The thesis unfolds a multidisciplinary theoretical background, which reviews a number of philosophical, psychological, musical, and technological theories. The theoretical background focuses on enlightening a number of personal musical experiences and leads towards the formulation of three musical concepts that inform the design of the digital musical instruments. The musical concepts are: High and Low-level Musical Control, Immersive and Constructive Musical Experiences and Interdependent Group Playing. The thesis presents the embodiment of these concepts in digital musical instruments while emphasizing the importance of novel technology as a provider of creative and expressive musical experiences for children.
by Gil Weinberg.
S.M.
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Heaton, Pamela Florence. "Musical cognition in children with autism." Online version, 1998. http://ethos.bl.uk/OrderDetails.do?did=1&uin=uk.bl.ethos.396246.
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Bruce, Greg. "An investigation of duplex perception with musical triads." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.368285.
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Duplex perception (DP) occurs when a stimulus simultaneously contributes to the perception of two auditory events (Rand, 1974), thus violating the principle of exclusive allocation. One interpretation of DP is that it is the consequence of independent auditory modules [speech/music vs. acoustical] of which one `mode' [phonetic/musical] has `perceptual precedence' (Liberman and Mattingly, 1989). The more common scene analysis view is that DP is the consequence of competing cues for organisation (Bregman, 1987,1990). This thesis attempted to explore DP with musical triads. It was found that tonal fusion was affected when triads were presented dichotically. Secondly, these `duplexed' triads evinced a trade-off between mode and note performance, modulated by presentation (monaural vs. dichotic). Thirdly, sequential grouping had no effect on DP. Fourthly, the relative timing of the notes in a chord had little effect on tonal fusion or DP. Finally, there was no evidence for subliminal tonal fusion, which contradicted the notion of perceptual precedence in DP. Although the findings support the idea that DP is the product of competing cues (e. g. spatial location vs. musical schemas), the insensitivity of triads to temporal-sequential organisation highlights important differences between DP with speech and music.
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Lefford, M. Nyssim 1968. "The structure, perception and generation of musical patterns." Thesis, Massachusetts Institute of Technology, 2004. http://hdl.handle.net/1721.1/28781.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2004.Includes bibliographical references (p. 149-151).
Structure distinguishes music from noise. When formulating that structure, musical artists rely on both mental representations and sensory perceptions to organize pitch, rhythm, harmony, timbre and dynamics into musical patterns. The generative process may be compared to playing a game, with goals, constraints, rules and strategies. In this study, games serve as a model for the interrelated mechanisms of music creation, and provide a format for an experimental technique that constrains creators as they generate simple rhythmic patterns. Correlations between subjects' responses and across experiments with varied constraints provide insight into how structure is defined in situ and how constraints impact creators' perceptions and decisions. Through the music composition games we investigate the nature of generative strategizing, refine a method for observing the generative process, and model the interconnecting components of a generative decision. The patterns produced in these games and the findings derived from observing how the games are played elucidate the roles of metric inference, preference and the perception of similarity in the generative process, and lead us to a representation of generative decision tied to a creator's perception of structure.
M. Nyssim Lefford.
Ph.D.
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Riera, Robusté Joan. "Spatial hearing and sound perception in musical composition." Doctoral thesis, Universidade de Aveiro, 2014. http://hdl.handle.net/10773/13269.
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Doutoramento em MúsicaThis thesis explores the possibilities of spatial hearing in relation to sound perception, and presents three acousmatic compositions based on a musical aesthetic that emphasizes this relation in musical discourse. The first important characteristic of these compositions is the exclusive use of sine waves and other time invariant sound signals. Even though these types of sound signals present no variations in time, it is possible to perceive pitch, loudness, and tone color variations as soon as they move in space due to acoustic processes involved in spatial hearing. To emphasize the perception of such variations, this thesis proposes to divide a tone in multiple sound units and spread them in space using several loudspeakers arranged around the listener. In addition to the perception of sound attribute variations, it is also possible to create rhythm and texture variations that depend on how sound units are arranged in space. This strategy permits to overcome the so called "sound surrogacy" implicit in acousmatic music, as it is possible to establish cause-effect relations between sound movement and the perception of sound attribute, rhythm, and texture variations. Another important consequence of using sound fragmentation together with sound spatialization is the possibility to produce diffuse sound fields independently from the levels of reverberation of the room, and to create sound spaces with a certain spatial depth without using any kind of artificial sound delay or reverberation.
Esta tese explora as possibilidades da Audição Espacial em relação à percepção do som e apresenta três composições acusmáticas baseadas numa estética musical que enfatiza esta relação e a incorpora como uma parte do seu discurso musical. A primeira característica importante destas composições é a utilização exclusiva de sinusóides e de outros sinais sonoros invariáveis no tempo. Embora estes tipos de sinais não apresentem variações no tempo, é possível percepcionar variações de altura, intensidade e timbre assim que estes se movem no espaço, devido aos processos acústicos envolvidos na audição espacial. Para enfatizar a percepção destas variações, esta tese propõe dividir um som em múltiplas unidades e espalhá-las no espaço utilizando vários monitores dispostos à volta da plateia. Além da percepção de variações de características do som, também é possível criar variações de ritmo e de textura que dependem de como os sons são dispostos no espaço. Esta estratégia permite superar o problema de “sound surrogacy” implícito na música acusmática, uma vez que é possível estabelecer relações causa-efeito entre o movimento do som e a percepção de variações de características do som, variações do ritmo e textura. Outra consequênça importante da utilização da fragmentação com a espacialização do som é a possibilidade de criar campos sonoros difusos, independentemente dos níveis de reverberação da sala, e de criar espaços sonoros com uma certa profundidade, sem utilizar nenhum tipo de delay ou reverberação artificiais.
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Kim, Jung-Kyong. "Effect of degraded pitch cues on melody recognition." Thesis, McGill University, 2003. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=19681.
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Past studies of object recognition in vision and language have shown that (1) identification of the larger structure of an object is possible even if its component units are ambiguous or missing, and (2) contexts often influence the perception of the component units. The present study asked whether a similar case could be found in audition, investigating (1) whether melody recognition would be possible with uncertain pitch cues, and (2) whether adding contextual information would enhance pitch perception. Sixteen musically trained listeners attempted to identify, on a piano keyboard, pitches of tones in three different context conditions: (1) single tones, (2) pairs of tones, and (3) familiar melodies. The pitch cues were weakened using bandpass filtered noises of varying bandwidths. With increasing bandwidth, listeners were less able to identify the pitches of the tones. However, they were able to name the melodies despite their inability to identify the individual notes. There was no effect of context; whether or not listeners heard single tones, pairs of tones, or melodies did not influence their pitch identification of the tones. Several possible explanations were discussed regarding types of information that listeners had access to, since they could not have relied on detailed features of the melodies.
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Suvorina, Svetlana. "Designing tangible musical interactions with preschool children." Thesis, Malmö högskola, Fakulteten för kultur och samhälle (KS), 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:mau:diva-23768.
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Many cognitive scientists agree that musical play is beneficial for preschool children. They consider music to be one of the most important means to promote preschool children’s learning potential. From an interaction design point of view, music provides opportunities to engage children in collaborative play which in return is beneficial for their cognitive and physical development.I argue that tangible interaction can facilitate such collaborative and playful musical activities among preschool children and in the scope of this thesis, I explore how this can be achieved. Through the exploration of related projects in this area and my own design experiments at a preschool, I propose a design concept of a modular musical toy for children which I created and then tested in a preschool context with children of different ages. Along the way, I reflect on the peculiarities of children’s behaviors and the aspects of conducting design research with preschool children, since acknowledging these aspects is crucial for working with children as a designer.
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Ebendorf, Brittany. "The impact of visual stimuli on music perception." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/996.
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Giffin, Carly. "Did you see what I just heard? auditory dominance in temporal judgments /." Diss., Connect to the thesis, 2008. http://hdl.handle.net/10066/1425.
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Ragozzine, Frank. "Investigations of the tritone paradox and perception of octave-related complexes /." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC IP addresses, 1998. http://wwwlib.umi.com/cr/ucsd/fullcit?p9907595.
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McGeough, Carol Sigrid Westdal. "Absolute pitch and the perception of sequential musical intervals." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26449.
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The perception of musical intervals by musicians can be envisaged
as being accomplished in one of two ways. Most musicians appear to have only one method for identifying musical intervals: they directly evaluate the musical interval between two notes. Musicians with absolute pitch (AP) appear to have two methods available for identifying intervals: they can either directly evaluate the musical interval, or they can first identify the two pitches, and then infer the musical interval between them. This study investigated the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without
AP. In the first of four experiments, most subjects in both groups were able to name accurately standard sequential musical intervals based on the equal-tempered scale. In the second experiment, most subjects in the AP group were able accurately and consistently to name notes of the equal-tempered scale, whereas subjects without AP were not able to name them consistently or accurately. In the third experiment, subjects with AP identified, with varying degrees of accuracy and consistency, single notes spaced in 20-cent increments over a 9.4 semitone range, using the standard musical note names. This experiment also demonstrated that not all subjects had the same internal pitch reference. In the final and major experiment, subjects identified sequential musical intervals ranging in 20-cent steps from 260 to 540 cents, using the standard musical interval names. Subjects, both with and without AP, appeared to identify the intervals by directly evaluating the musical interval between the two notes, rather than first identifying the two pitches and then inferring the musical interval. One subject in the AP group showed a strong tendency to use the latter method, but only in certain contexts, the reason for which remains unexplained. Although more research is needed for stronger conclusions to be drawn, it appears that most musicians with AP do not use this ability in the identification of sequential musical intervals, relying instead on their sense of relative pitch.Medicine, Faculty of
Audiology and Speech Sciences, School of
Graduate
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Durrant, Simon. "Modelling the perception of musical metre using neural networks." Thesis, University of Sheffield, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.247170.
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Smith, Jordan. "Explaining listener differences in the perception of musical structure." Thesis, Queen Mary, University of London, 2014. http://qmro.qmul.ac.uk/xmlui/handle/123456789/27225.
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State-of-the-art models for the perception of grouping structure in music do not attempt to account for disagreements among listeners. But understanding these disagreements, sometimes regarded as noise in psychological studies, may be essential to fully understanding how listeners perceive grouping structure. Over the course of four studies in different disciplines, this thesis develops and presents evidence to support the hypothesis that attention is a key factor in accounting for listeners' perceptions of boundaries and groupings, and hence a key to explaining their disagreements. First, we conduct a case study of the disagreements between two listeners. By studying the justi cations each listener gave for their analyses, we argue that the disagreements arose directly from differences in attention, and indirectly from differences in information, expectation, and ontological commitments made in the opening moments. Second, in a large-scale corpus study, we study the extent to which acoustic novelty can account for the boundary perceptions of listeners. The results indicate that novelty is correlated with boundary salience, but that novelty is a necessary but not su cient condition for being perceived as a boundary. Third, we develop an algorithm that optimally reconstructs a listener's analysis in terms of the patterns of similarity within a piece of music. We demonstrate how the output can identify good justifications for an analysis and account for disagreements between two analyses. Finally, having introduced and developed the hypothesis that disagreements between listeners may be attributable to differences in attention, we test the hypothesis in a sequence of experiments. We find that by manipulating the attention of participants, we are able to influence the groupings and boundaries they find most salient. From the sum of this research, we conclude that a listener's attention is a crucial factor affecting how listeners perceive the grouping structure of music.
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Cong, Ning. "A multi-dimensional analytical model for musical harmony perception." Thesis, University of York, 2016. http://etheses.whiterose.ac.uk/17330/.
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In this paper, a theoretical approach is presented to analyse music harmony perception under different tonal context. The purpose of this study is to account for the empirical perception rankings of musical chord structures. We believe the perception of a musical simultaneity depends on both its internal structure and external tonal context and the failure of previous psychoacoustic theories possibly comes from the ignorance of tonal context. The model prediction result reveals some important insights in line with empirical observations for music triads.
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Ho, Kit-chun. "Development of pitch discrimination in preschool children." Hong Kong : University of Hong Kong, 1990. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18035723.
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Lum, Chee-Hoo. "Musical networks of children : an ethnography of elementary school children in Singapore /." Thesis, Connect to this title online; UW restricted, 2007. http://hdl.handle.net/1773/11439.
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Evers, Stefan. "Musikperzeption und visuelle Reizverarbeitung : eine Übersicht und experimentelle Beiträge aus dem Bereich der ereigniskorrelierten Potentiale /." Aachen : Shaker, 2003. http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&doc_number=015038742&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA.
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Bartel, Christopher John. "The perception of music : an essay on musical understanding, phenomenology and the contents of musical experience." Thesis, King's College London (University of London), 2007. https://kclpure.kcl.ac.uk/portal/en/theses/the-perception-of-music--an-essay-on-musical-understanding-phenomenology-and-the-contents-of-musical-experience(7a57cb60-75ef-4780-9b1b-43d774d33c3c).html.
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Ashby, Nicholas George. "A musical theory of experience metaphysics of experiential integration. /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/NQ56216.pdf.
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Lui, Yik-yee Jessica. "Cantonese tone perception in young children." Click to view the E-thesis via HKUTO, 2000. http://sunzi.lib.hku.hk/hkuto/record/B36207597.
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Thesis (B.Sc)--University of Hong Kong, 2000."A dissertation submitted in partial fulfilment of the requirements for the Bachelor of Science (Speech and Hearing Sciences), The University of Hong Kong, May 10, 2000." Also available in print.
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Waters, Heather Dawn. "Musical Movies.m4v." Diss., Temple University Libraries, 2015. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/330944.
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Music EducationPh.D.
This research continued a line of inquiry previously established at Project P.L.A.Y. School, a play-based, Reggio-Emilia-inspired preschool in Elkins Park, Pennsylvania, the purpose of which was to explore what can happen when young children and adults co-construct music in a social, relationship- and play-based environment. Three questions initially guided this study: 1) How does musical content emerge? 2) How is music play developed in this setting? 3) How do children and their teachers story their music experiences? Using narrative and heuristic approaches to inquiry, I, along with my co-researchers, highlighted ways to make children's musical learning audible and visible. Having been a member of this community in the dual role of musical play partner and researcher since fall of 2012, I framed this dissertation study to encompass the weeks of September 16 through December 18, 2014. During that time frame, I increased my visits from once to twice weekly, with fourteen children aged 2.5 through 5 years old, five of whom I knew from the previous year, and five other adults. As both a play partner and researcher, I continued my role as music facilitator who views young children as competent and capable co-music researchers. Amidst other stories, I increased focus as I continued a pedagogy of close listening to children as music co-researchers. Living alongside each other at Project P.L.A.Y. School, children and adults generated and collected shared musical stories. Data sources for this study included audio and video recordings, photographs, artifacts such as artwork and musical notation, and my research notes and journal. I continued using narrative and heuristic approaches to inquiry, and restoried narrative vignettes highlighting children and adults as music co-researchers. From the resulting grand narrative, I found that shifting lenses and all adults mindfully viewing these young children as competent music researchers facilitated and supported children's creative, multimodal expressions of their research interests. Viewing children's and adults' interactions through the lens of co-music researchers lead to abundant, creative musical expression from children and adults alike. Musical content emerged when adults and children interacted as music co-researchers and protagonists in their shared stories. This inquiry generated the following additional questions: 1) How can adults best facilitate young children's musical research interests? 2) How can adults and young children make their collaborative research audible and visible? Implications from this study include encouraging all adults to adopt a pedagogy of listening, to notice and value children's creative musical expressions, and to value children's musical lines of inquiry as researchers.
Temple University--Theses
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Kendra, Melanie A. "An Exploration of Musical Intelligence." Thesis, Virginia Tech, 2000. http://hdl.handle.net/10919/32840.
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This study explored the meaning teachers and children in an elementary school setting
make of music. This study utilized an adapted version of Thomas Armstrongâ s musical
intelligence checklist, as well as additional questions probing both teachers and children to relate
their past and present experiences with music and how they are musically intelligent. This study
was conducted with two third grade classes and two fifth grade classes, with the researcher
spending one class period with each group. Implications for how music is affecting elementary
students, as well as the meaning it holds for teachers, were discussed. In addition,
recommendations for future study of music in early education were made.Master of Science
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Field, Ben. "The impact of visual stimuli on music perception." Diss., Connect to the thesis, 2007. http://hdl.handle.net/10066/1015.
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Johnson, Randolph Burge. "Selected Topics in the Perception and Interpretation of Musical Tempo." The Ohio State University, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=osu1275412104.
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Arthurs, Yuko. "The creation of consonance : how musical context influences chord perception." Thesis, University of Sheffield, 2015. http://etheses.whiterose.ac.uk/12392/.
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This PhD study investigates how our perception of musical chords, both in isolation and in musical context, is influenced and shaped by our knowledge of the tonal hierarchy and tonal syntax in terms of consonance/dissonance, pleasantness/unpleasantness, stability/instability, and relaxation/tension. Six experiments were conducted to gather behavioural data on the perception of chords from listeners with varying levels of musical training and experience. The first study is principally concerned with the influence of frequency of occurrence on the perception of twelve types of chord in isolation, including both triads and tetrads. It also examines to what extent factors besides frequency of occurrence, namely listener familiarity with the timbre in which chords are played and the acoustic features of chords, predict listener perception. The second and third studies concern the perception of chords in musical context. The second study focuses on musical contexts in which diminished and augmented chords appear, and on the harmonic functions of chords in short sequences of IV-V-I. Using sequences containing an augmented chord, the third study investigates the ways in which a non-diatonic tone can be anchored by its succeeding tone, and considers how the perception of these sequences is influenced by the harmonic function of its succeeding chord. These studies all reveal that the way in which chords and chord sequences are perceived is not completely predetermined by their acoustic, physical dimension. In addition, we impute on them a fluidity and elasticity as a result of our knowledge of the tonal hierarchy and tonal syntax in our musical schemata.
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Johnston, Dennis A. (Dennis Alan). "Trained Musical Performers' and Musically Untrained College Students' Ability to Discriminate Music Instrument Timbre as a Function of Duration." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935621/.
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The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.
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Obrecht, Alexander Guy. "The dawning of musical aspect in process." Diss., Connect to a 24 p. preview or request complete full text in PDF format. Access restricted to UC campuses, 2008. http://wwwlib.umi.com/cr/ucsd/fullcit?p3307165.
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Thesis (Ph. D.)--University of California, San Diego, 2008.Title from first page of PDF file (viewed July 14, 2008). Available via ProQuest Digital Dissertations. Vita. Includes bibliographical references: P. 286-294.
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Balkwill, Laura-Lee. "Perception of emotion in music a cross-cultural investigation /." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/tape15/PQDD_0035/MQ27332.pdf.
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Plazak, Joseph Stephen. "Listener Knowledge Gained from Brief Musical Excerpts." The Ohio State University, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=osu1250696592.
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Mendoza, Jennifer. "Characterizing the Structure of Infants' Everyday Musical Input." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23763.
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Infants acculturate to their soundscape over the first year of life (e.g., Hannon & Trehub, 2005a; Werker & Tees, 1984). This perceptual tuning of early auditory skills requires integrating across experiences that repeat and vary in content and are distributed in time. Music is part of this soundscape, yet little is known about the real-world musical input available to infants as they begin learning sounds, melodies, rhythms, and words. In this dissertation, we collected and analyzed a first-of-its-kind corpus of music identified in day-long audio recordings of 6- to 12-month-old infants and their caregivers in their natural, at-home environments. We characterized the structure of this input in terms of key distributional and temporal properties that shape learning in many domains (e.g., Oakes & Spalding, 1997; Roy et al., 2015; Vlach et al., 2008; Weisleder & Fernald, 2013). This everyday sensory input serves as the data available for infants to aggregate in order to build knowledge about music. We discovered that infants encountered nearly an hour of cumulative music per day distributed across multiple instances. Infants encountered many different tunes and voices in their daily music. Within this diverse range, infants encountered consistency, such that some tunes and voices were more available than others in infants’ everyday musical input. The proportion of music produced by live voices varied widely across infants. As infants progressed in time through their days, they encountered many music instances close together in time as well as some music instances separated by much longer lulls. This bursty temporal pattern also characterized how infants encountered instances of their top tune and their top voice – the specific tune and specific voice that occurred for the longest cumulative duration in each infant’s day. Finally, infants encountered many pairs of consecutive music bouts with repeated content – the same unique tune or the same unique voice. Taken together, we discovered that infants’ everyday musical input was more consistent than random in both content and time across infants’ days at home. These findings have potential to inform theory and future research examining how the nature of early music experience shapes infants’ early learning.
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Smith, Derek Scott. "A guide to musical instrument design for preschool children." Auburn, Ala., 2005. http://repo.lib.auburn.edu/2005%20Summer/master's/SMITH_DEREK_30.pdf.
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