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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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Ramos, Danilo. "Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não-músicos?" Universidade de São Paulo, 2008. http://www.teses.usp.br/teses/disponiveis/59/59137/tde-08102008-013413/.
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RAMOS, Danilo. Fatores emocionais durante uma escuta musical afetam a percepção temporal de músicos e não músicos? 2008, 268 p. Tese (Doutorado). Faculdade de Filosofia, Ciências e Letras de Ribeirão Preto. Universidade de São Paulo, Ribeirão Preto, 2008. Esta pesquisa teve como objetivo verificar o papel das emoções desencadeadas pela música na percepção temporal de músicos e não músicos. Quatro experimentos foram realizados: no Experimento I, músicos e não músicos realizaram tarefas de associações emocionais a trechos musicais de 36 segundos de duração, pertencentes ao repertório erudito ocidental. A tarefa consistia em escutar cada trecho musical e associá-lo às categorias emocionais Alegria, Serenidade, Tristeza, Medo ou Raiva. Os resultados mostraram que a maioria dos trechos musicais desencadeou uma única emoção específica nos ouvintes; além disso, as associações emocionais dos músicos foram semelhantes às associações emocionais dos não músicos para a maioria dos trechos musicais apresentados. No Experimento II, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais mais representativos de cada emoção, utilizados no Experimento I. Assim, os trechos musicais eram apresentados e os participantes deveriam associar cada um deles a durações de 16, 18, 20, 22 ou 24 segundos. Os resultados mostraram que, para o grupo Músicos, os três trechos musicais associados à Tristeza foram subestimados em relação às suas durações reais; nenhuma outra categoria emocional apresentou mais do que um trecho musical sendo subestimado ou superestimado em relação a suas durações reais, para ambos os grupos. Pesquisas recentes em Psicologia da Música têm mostrado duas propriedades estruturais como sendo moduladoras da percepção de emoções específicas durante uma escuta musical: o modo (organização das notas dentro de uma escala musical) e o andamento (número de batidas por minuto). Assim, no Experimento III, músicos e não músicos realizaram tarefas de associações emocionais a composições musicais construídas em sete modos (Jônio, Dórico, Frígio, Lídio, Mixolídio, Eólio e Lócrio) e três andamentos (adágio, moderato e presto). O procedimento foi o mesmo utilizado no Experimento I. Os resultados mostraram que o modo musical modulou a valência afetiva desencadeada pelos trechos musicais: trechos musicais apresentados em modos maiores obtiveram índices positivos de valência afetiva e trechos musicais apresentados em modos menores obtiveram índices negativos de valência afetiva; além disso, o andamento musical modulou o arousal desencadeado pelos trechos musicais: quanto mais rápido o andamento do trecho musical, maiores os níveis de arousal desencadeados e vice-versa. No Experimento IV, músicos e não músicos realizaram tarefas de associação temporal aos trechos musicais modais utilizados no Experimento III. O procedimento foi o mesmo utilizado no Experimento II. Os resultados mostraram que manipulações, principalmente no arousal, afetaram a percepção temporal dos ouvintes: para ambos os grupos, foram encontradas subestimações temporais para trechos musicais desencadeadores de baixos índices de arousal; além disso, para o grupo Não Músicos, foram encontradas superestimações temporais para trechos musicais desencadeadores de altos índices de arousal. Estes resultados mostraram que, no caso dos músicos, a percepção temporal foi afetada por atmosferas emocionais relacionadas à Tristeza; no caso dos Não Músicos, a percepção temporal foi afetada por fatores relacionados ao nível do arousal dos eventos musicais apreciados.RAMOS, Danilo. Do emotional factors during music listening tasks affect time perception of musicians and nonmusicians? 2008, 268 pages. Thesis (PhD). Faculty of Philosophy, Sciences and Letters of Ribeirão Preto. University of São Paulo, Ribeirão Preto, 2008. This study aimed to verify the role of emotions triggered by music on time perception of musicians and nonmusicians. Four experiments were conducted: In Experiment I, musicians and nonmusicians performed emotional association tasks for musical excerpts of 36 seconds duration belonging to the Western classic repertoire. The tasks required to listen to each musical excerpt and to associate it with emotional categories: Joy, Serenity, Sadness, or Fear/Anger. The results showed that most musical excerpts triggered a specific single emotion in listeners; moreover, the emotional associations of musicians were similar to the emotional associations of nonmusicians for most musical excerpts presented. In Experiment II, musicians and nonmusicians performed temporal association tasks for the three most representative excerpts of each emotion used in Experiment I. Thus, the participants had to associate each of such musical excerpts with the following durations: 16, 18, 20, 22 or 24 seconds. The results showed that for the musicians, the three musical excerpts associated with Sadness were underestimated in relation to their real time; moreover, no other emotional category was associated with more than one musical excerpt whether being underestimated or overestimated, regarding their real time, for both groups. Recent researches in Psychology of Music have shown two structural properties as the modulators of specific emotions perceived during a music listening task: the mode (the organization of the notes in a musical scale) and tempo (the number of beats per minute). Thus, in Experiment III, musicians and nonmusicians carried out emotional association tasks with musical compositions constructed in seven modes (Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian) and three tempi (adagio, moderato, and presto). The procedure was the same used in Experiment I. The results showed that the musical mode modulated the affective valence triggered by the excerpts: musical excerpts based on major modes obtained positive affective valence indexes and musical excerpts based on minor modes obtained negative affective valence indexes; moreover, the musical tempo modulated the arousal triggered by the excerpts: the faster the tempo of the musical excerpts, the higher the arousal levels and vice versa, for both groups. In Experiment IV, musicians and nonmusicians performed temporal association tasks for those modal musical excerpts used in Experiment III. The procedure was the same used in Experiment II. The results showed that manipulations concerning arousal affected the time perception of the listeners: time underestimations due to low arousal excerpts were found for both groups; moreover, time underestimations due to high arousal excerpts were found only for nonmusicians. These results showed that in the case of musicians, time perception was affected by emotional atmospheres related to Sadness; in the case of nonmusicians, time perception was affected by factors related to the level of arousal of music events appreciated.
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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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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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Sousa, Jairo Aurélio de Deus. "O ensino da percepção musical para iniciantes, com ênfase na utilização de timbres alternativos e no uso da palavra para uma turma de graduação em pedagogia - Goiânia - Go." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4827.
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Conselho Nacional de Pesquisa e Desenvolvimento Científico e Tecnológico - CNPq
This work aimed to develop a methodological proposal to the teaching of Musical Perception for education students. The proposal musical experience was developed and implemented with a graduating class in Pedagogy. This is an Action Research carried out in the Faculdade Padrão in Goiânia- GO. It began with a literature review, developed experiences with groups and even data that were analyzed. At first, we opted for the realization of a pilot project, through which it gave 12 sessions, classes, whose results were included in this study, aimed at consolidating the proposed methodology. Finished this time of the study, there was 11 new sessions-classes, in order to demonstrate, through filming and recorded protocols, the embodiment of the proposal / consolidated methodology, procedures of each session and the results of the teaching / learning. Data collection was made by 5 collection instruments: 1 - Protocols; 2 - Two tests at the beginning and end of the study, called Pre-test and Post-test; 3 - Interviews, made to research participants; 4 - Footage of classes; and 5 - Jury Analysis Results. The hypothesis of the research was that it would be possible to answer the following questions described; once the analysis of data collected: 1 - How to relate and evaluate a variety of textbooks within an alternative proposal for the teaching of rhythmic and melodic perception ?; 2 - How to insert the use of compositions created by the researcher, in the teaching of Musical Perception ?; 3 - How to operationalize the use of alternative sounds and words as significantly relevant aspects in the learning of Musical Perception ?; and 4 - How to adjust the teaching methodology proposal, given that the target audience will be students / of the undergraduate degree in Pedagogy? To support the theoretical reflections and the data collected during the action research, we used theoretical basis of the authors Bellochio (2000), Schafer (1991), Brito (2003) e Swanwick (2003); beyond the analysis of official documents defining the guidelines for Early Childhood Education. It was concluded that the production of a contextualized material having a musical experience as a major feature, allows the music educator build pathways that can promote an enriching music education.
A presente dissertação teve como principal objetivo o desenvolvimento de uma proposta metodológica visando o ensino da Percepção Musical para alunos de pedagogia. A vivência musical proposta foi desenvolvida e implementada junto a uma turma de graduação em Pedagogia. Trata-se de uma Pesquisa-ação realizada na Faculdade Padrão em Goiânia- GO. Iniciou-se com a revisão de literatura, desenvolveu vivências com turmas e chegou a dados que foram analisados. De início, optou-se pela realização de um Projeto Piloto, através do qual se ministrou 12 sessões-aulas, cujos resultados foram incluídos neste trabalho, visando a consolidação da metodologia proposta. Terminado este momento da pesquisa, realizou-se 11 novas sessões-aulas, com o intuito de demonstrar, através de filmagens e dos protocolos anotados, o modo de realização da metodologia proposta/consolidada, os procedimentos de cada sessão e os resultados do ensino/ aprendizagem. A coleta de dados, foi feita através 5 instrumentos de coleta: 1 - Protocolos; 2 - Dois testes realizados no início e no término da pesquisa, denominados Pré-teste e o Pós-teste; 3 – Entrevistas, feitas aos participantes da pesquisa; 4 - Filmagens das aulas; e 5 – Resultado da Análise do Júri. A hipótese da pesquisa foi a de que seria possível responder às perguntas descritas a seguir; uma vez terminada a análise dos dados coletados: 1 - Como relacionar e avaliar uma variedade de obras didáticas dentro de uma proposta alternativa para o ensino da percepção rítmica e melódica?; 2 - De que forma inserir o uso das composições criadas pelo pesquisador, no ensino da Percepção Musical ?; 3 - De que maneira operacionalizar a utilização de timbres alternativos e da palavra como aspectos de significativa relevância na aprendizagem da Percepção Musical?; e 4 - De que forma adequar a metodologia de ensino proposta, tendo em vista que o público alvo serão alunos/as do curso de graduação em Pedagogia? Para subsidiar as reflexões teóricas e os dados coletados durante a Pesquisa-ação, utilizou-se base teórica dos autores Bellochio (2000), Schafer (1991), Brito (2003) e Swanwick (2003), além da análise de documentos oficiais que definem as diretrizes para a Educação Infantil. Concluiu-se que a produção de um material contextualizado, tendo a vivência musical como uma das características principais, possibilita ao educador musical construir caminhos que podem promover um ensino de música enriquecedor.
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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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Giorgetti, Luiz Rafael Moretto 1980. "Práticas pedagógicas de auxílio ao desenvolvimento da escuta musical na disciplina de percepção musical /." São Paulo, 2018. http://hdl.handle.net/11449/155935.
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Orientador(a): Sonia Regina Albano de LimaBanca: Liliana Harb Bollos
Banca: Fábio Miguel
Resumo: A dissertação realizada investiga e reflete em que medida as variadas práticas pedagógicas podem auxiliar no refinamento da escuta musical no âmbito do ensino de percepção musical. A escuta musical apurada é uma das virtudes necessárias para que o músico se prepare para as demais disciplinas relacionadas à música e também atue de forma consistente no mercado profissional. Para tanto, foram traçados quatro objetivos: 1. Verificar nas publicações e nas práticas musicais, quais as diferentes metodologias de ensino da percepção musical, com o intuito de compreender qual a melhor forma de repassar esses ensinamentos para os alunos; 2. Averiguar quais as principais dificuldades dos alunos nessa disciplina; 3. Verificar, a partir do levantamento bibliográfico realizado, quais as capacidades e habilidades necessárias para que os alunos desenvolvam uma escuta musical mais refinada e satisfatória; 4. Reavaliar a metodologia do autor da presente pesquisa, a partir dos resultados coletados no levantamento bibliográfico e nas respostas obtidas nos questionários. A pesquisa de cunho qualitativo tomou como base de análise o levantamento bibliográfico realizado com o termo "ensino de percepção musical", além da avaliação dos dois questionários dirigidos para os alunos que cursaram a disciplina "Teoria e Percepção Musical" no Conservatório Dramático e Musical "Dr. Carlos de Campos" de Tatuí, onde atuo como docente. Os questionários realizados apontaram para as dificuldades e sugestões dadas... (Resumo completo, clicar acesso eletrônico abaixo)
The present dissertation aims at checking and reflecting on pedagogical practices that contributes to a refined musical hearing related to musical perception teaching. A sharp musical hearing is required to musicians who intend to study, teach or work in the musical area. Hence, four purposes were set: 1. Checking in articles and musical practices, what are the best methods for teaching musical perception; 2. Finding out the students' difficulties when learning music perception; 3. Verifying, by means of a bibliographical survey, what are the competences and abilities required to develop a more refined and satisfactory musical hearing; 4. Reevaluating the methodology of this thesis' author from the results collected in the questionnaires and bibliography. This qualitative study was based on the term "Musical Perception Teaching" as well as two questionnaires answered by the students who studied the subject "Theory and Musical Perception" at the Drama and Music Conservatory "Dr. Carlos de Campos" in Tatuí, São Paulo, where this thesis' author works as a teacher. The questionnaires pointed the students' suggestions and difficulties... (Complete abstract click electronic access below)
Mestre
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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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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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Boisbourdin, David. "Vers un nouvel humanisme musical : Perception et représentation de l’oeuvre musicale électroacoustique d’Elie-Paul Cohen. Un langage musical universel est-il possible aujourd’hui ?" Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040231.
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Elie-Paul Cohen est un médecin et un compositeur encore inconnu du grand public. Ses œuvres électroacoustiques sont construites autour d’un matériau sonore physiologique, issu de la captation des vibrations du corps humain. L’étude de ces pièces pose la question de la relation entre le corps et la musique, notion déjà abordée par les humanistes de la Renaissance. Il fait également partie d’un groupe de recherche médicale qui vient de mettre au point des modèles sonores de molécules d’ADN qu’il utilisera dans sa prochaine production musicale. Ces sons de provenance physiologique ont un impact énorme sur la perception que nous avons des sons mais également de la musique ; ceci nous a amené à nous interroger sur la notion même de musique, sur la perception que nous en avons. Une éventuelle universalité de la musique pourrait-elle reposer, depuis toujours, sur la modélisation sonores des vibrations corporelles ? Pour ce faire nos travaux ont abouti à une transversalité de disciplines telles que musique, musicologie, phénoménologie, neurosciences, physiques, recherche médicale de pointe ou biologieElie-Paul Cohen is a doctor and a composer who is relatively unknown by the general public. His electroacoustic works are built around a physiological sound material, resulting from the capturing of human body vibrations. The study of these works raises the question of the relationship between the body and music, a concept which was already being addressed by the Renaissance humanists. He is also part of a medical research group which has developed sound patterns of DNA molecules that he will use in his next musical production. These physiological sounds have a huge impact on our perception of sounds but also of music; this led us to question the very notion of music and the perception we have of it. Could a universal music based on the sound modeling body vibrations exist? This led our work to result in a cross-disciplinary approach including the fields of music, musicology, phenomenology, neuroscience, physics, medical research or advanced biology
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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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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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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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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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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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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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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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Otutumi, Cristiane Hatsue Vital 1978. "Percepção musical : situação atual da disciplina nos cursos superiores de musica." [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/285030.
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Orientador: Ricardo GoldembergDissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes
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Resumo: O presente trabalho teve por finalidade investigar a situação atual em que se encontra a disciplina Percepção Musical no âmbito dos cursos superiores de música do Brasil. Através dos professores atuantes de todo país, foi possível observar a estrutura e o perfil da disciplina no programa curricular como, por exemplo, a quantidade de docentes, de horas de aula, de alunos nas classes, além de opiniões quanto a cuidados pedagógicos, ouvido absoluto e qualidades necessárias para um bom professor da matéria. Para a conquista desses dados duas abordagens metodológicas foram utilizadas: a pesquisa quantitativa, por meio de questionários aplicados a sessenta docentes, representantes de 89,65% das Instituições de Ensino Superior (IES) que oferecem cursos de música no país, e a pesquisa qualitativa, pelas entrevistas realizadas com cinco professores. O processo de organização, tratamento e interpretação das informações foi duradouro, porém, criterioso e fundamentado na análise de conteúdo segundo Bardin (2002). Então, nesse estudo, percentuais e tabelas caminham lado a lado com reflexões sobre os resultados obtidos. Inicialmente, foi feita uma revisão bibliográfica para contextualizar o meio em que se encaixa a disciplina bem como apresentar o que autores da área já relataram sobre o assunto. Ao aprofundar tais buscas viu-se necessário conhecer a quantidade de trabalhos acadêmicos e materiais didáticos relacionados, portanto, há um texto específico no capítulo um. Reunindo todas as vertentes de conteúdos foi possível verificar que embora iniciativas isoladas tenham existido há muito tempo, uma maior movimentação sobre o tema vem acontecendo nos últimos anos. Os índices percentuais confirmam queixas e afirmações cotidianas dos docentes, revelam fatos novos, e, além disso, os depoimentos contribuíram ricamente nos aspectos didáticos da disciplina. Com isso, um panorama minucioso da Percepção Musical no Brasil é apresentado nessa dissertação
Abstract: The main objective of the present work was to investigate the situation of the discipline Musical Perception, within undergraduate courses in Brazil nowadays. Amongst professors from all over the country, it became possible to observe both structures and profile of the discipline in the curricular program as, for example, the quantity of professors, class hours, students in classrooms, besides opinions about pedagogical concerns, absolute ear and necessary qualities a good teacher should have to teach the subject. Two methodological approaches were used in order to reach these results: quantitative research, in which questionnaires were applied among sixty professors, who represented 89.65% of the Colleges that offer music courses in the country; and qualitative research, through interviews with five professors. The process of organization and interpretation of their information took long, but was criterious and based on the analyses of content according to Bardin (2002). So, in this study, percentages and tables go along with reflections about the obtained results. Initially, a bibliographical review was conducted to contextualize about the discipline, and also show what authors of the field have already told about this subject. When this search became more profound, getting to know the amount of academic work and related didactic material turned into a necessity, thus, there is an specific text about it in the first chapter. Gathering all trends of contents made possible to verify that, although isolated initiatives have been taken for a long time, the most effervescence about the subject has only taken place in the last years. The percentage indexes confirm complaints, and professor¿s daily assertations reveal new facts, and moreover, their testimonies have immensely contributed to didactical aspects of the discipline. This way, a meticulous overview of the Musical Perception is presented in this dissertation
Mestrado
Mestre em Música
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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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Santos, Roderick Fonseca dos. "Cinco abordagens sobre a identidade da Rabeca." Universidade Federal da Paraíba, 2011. http://tede.biblioteca.ufpb.br:8080/handle/tede/6578.
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Previous issue date: 2011-05-06Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
The rabeca is a cordophone played with a bow. The introduction of this instrument in Brazil is attributed to the Portuguese and the Spanish. Its farthest origins reach back to the medieval rabeca, which is derived from the Arabian raba. The present Master‟s thesis addresses aspects of the Brazialian Rabeca of the Northeast of Brazil. It begins with a brief history of the rabeca´s European predecessors, which presents visual characteristics in common with a type of four chord rabeca typically found in the Northeast of Brazil, denominated here as rabeca-violin. The present research identifies the use of violins by rabeca players, some of these modified and here denominated violin-rabecas. Moreover, this study indicates procedures for the adaptations of rabecas to adhere to the demands of new players who perform on stage. The study also investigates methods used for teaching rabeca at the Felipe Camarão Connection Project in Natal, RN, as well as the manufacturing of the rabecas at Master Cicero‟s workshop. within the same Project. The study describes the process of construction of a rabeca-violin by the Potiguar artisan Janildo Dantas and addresses aspects of his second profession as a rabeca maker. In this same section, reference is made to the work of Paraiban luthier, Fernando Antônio de Souza. Finally, the research presents results of an experiment in musical perception involving a rabeca and a violin, with the participation of 53 students from the Integrated Technical course of Electromagnetics and Geologia at the Federal Institute of Education, Science and Technology of Rio Grande do Norte. This experiment uses the VAS scale for measuring, in conjunction with interviews of rabeca players, researchers and musicians. The objective of this research is to present some cultural aspects of the rabeca in the Northeast, among these, the identification of aspects of culturally mediated perceptions of the rabeca and the violin.
A rabeca é um cordofone tangido por um arco. A introdução desse instrumento no Brasil é atribuída a portugueses e espanhóis. Sua origem mais remota é creditada à rabeca medieval. A presente dissertação aborda alguns aspectos da Rabeca na Região Nordeste. Inicia com um breve histórico sobre os antecedentes da rabeca na Europa. Apresenta características visuais comuns a um tipo de rabeca de quatro cordas muito comum no Nordeste brasileiro, aqui denominada rabeca-violino . Identifica a utilização de violinos por rabequeiros, alguns desses modificados, aqui denominados violinos-rabecas . Indica, ainda, procedimentos para adequação da rabeca a fim de atender à demanda dos novos rabequeiros, adeptos da música de espetáculo. O estudo aborda processos para o ensino de rabeca no projeto Conexão Felipe Camarão na cidade de Natal-RN, bem como a manufatura de rabecas na oficina de luteria Mestre Cícero, do mesmo projeto. Descreve o processo de construção de uma rabeca-violino pelo artesão potiguar Janildo Dantas e aborda aspectos da sua segunda profissão como construtor de rabecas. Na mesma seção, faz referência ao trabalho do luthier paraibano Fernando Antônio de Souza. Finalmente, apresenta o resultado de um experimento de percepção musical envolvendo uma rabeca e um violino, tendo a participação de 53 alunos dos cursos Técnicos Integrado de Eletromecânica e Geologia do Instituto Federal de Educação, Ciência e Tecnologia do Rio Grande do Norte. Esse experimento utiliza uma escala VAS de medição, elaborada a partir de entrevistas com rabequeiros, pesquisadores e músicos. O objetivo da pesquisa consiste em apresentar alguns aspectos culturais que envolvem a rabeca no Nordeste, entre os quais a identificação de aspectos da percepção culturalmente mediada da rabeca e do violino.
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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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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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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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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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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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Harries, Timothy. "Programming Musical Experience: Programs' effects on responses to music." Thesis, The University of Sydney, 2017. http://hdl.handle.net/2123/18756.
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Program notes are ubiquitous at Western art music concerts, but their effects on listener experience remain unclear. While understanding and emotional response are positively affected by programs, positive and negative effects of programs have been observed for enjoyment. Across two studies, this thesis explores attitudes towards program notes, and their influences on responses to music. To identify differences between regular and new listeners, each study featured equal numbers of musician and music novice participants. The first study involved semi-structured interviews with 16 participants. Topics covered included participants' conceptions of programs, informational preferences, the role programs played in their musical experiences, and areas where programs required improvement. Interviewees' responses indicated a strong demand for program notes. Music novices and musicians displayed differences in informational preference, and different conceptualisations of how programs contributed to musical engagement. Information which facilitated engagement was most commonly appreciated; practical details were also popular. Several participants noted that programs could restrict freedom of interpretive response. Suggested improvements to programs included making them easier to memorise, and incorporating alternative methods of communicating program information, including pre-concert lectures and "verbal programs". The second study involved 32 musicians and music novices, listening to four music excerpts, each heard under a different informational condition (no program, a title, a title and a program, and a fake program). A significant positive effect of programs on understanding was observed, while no effect on liking or interest was noted. These studies indicate programs are popular, and fulfil multiple functions. They can significantly increase understanding, provide guidance, facilitate engagement, inform readers of extra-musical references, and help orient listeners. Future research should investigate how programs' contributions in each of these areas affects musical experience, and explore new approaches to communicating programmatic information.
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Lima, Letícia Dias de 1989. "Percepção musical e cognição : abordagem de aspectos rítmicos no treinamento auditivo /." São Paulo, 2018. http://hdl.handle.net/11449/154736.
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Orientador(a): Marcos José Cruz MesquitaBanca: Graziela Bortz
Banca: Marcos Vinício Cunha Nogueira
Resumo: O objetivo deste trabalho é investigar as relações entre a percepção do ritmo musical e os métodos de treinamento auditivo utilizados na graduação em música das universidades estaduais de São Paulo. A ferramenta principal desta pesquisa são teorias e experimentos na área da cognição musical. Este é um campo que investiga as formas de aquisição, processamento e organização de informações; ou seja, atividades cognitivas relacionadas ao conhecimento. Abordamos, sob este ponto de vista, aspectos da percepção rítmica, do desenvolvimento cognitivo e do ensino e aprendizado da música. Primeiramente, são discutidos os conceitos de pulsação, acento, metro, ritmo e agrupamento, e os processos perceptivos neles envolvidos. Contextualizamos estas questões ao discorrer sobre o desenvolvimento cognitivo e aspectos do aprendizado e da memória. Por fim, buscamos compreender como a percepção rítmica é trabalhada pelos métodos utilizados na disciplina de Percepção Musical nas universidades mencionadas. As avaliações realizadas mostram que os métodos selecionados não trabalham a percepção rítmica diretamente, pois não levam o aluno a desenvolver os processos perceptivos da forma como eles ocorrem na escuta e prática interpretativa real da música. Eles se encaixam em um modelo mecanicista de ensino, em que o aprendizado consiste em treino e prática repetida de exercícios cujo foco é a emissão - em oposição à percepção - musical. A falta de aprofundamentos teóricos, da discussão de conceitos, da... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: This work aims to investigate relations between the perception of musical rhythm and the ear training methods used in higher education in the state universities of São Paulo. The main tool of this research are the theories and experiments in the field of music cognition. This field investigates the ways of acquiring, processing and organizing information; that is, cognitive activities related to knowledge. From this point of view, we approach some aspects of rhythm perception, cognitive development and music teaching and learning. First, we discuss the concepts of beat, accent, meter, rhythm and grouping, and the perceptual processes involved in it. We contextualize these issues by discussing the cognitive development and aspects of learning and memory. Finally, we seek to understand how the methods used in the discipline of Music Perception in the mentioned universities deal with rhythm perception. The evaluations show that the selected methods do not deal with rhythm perception directly, since they do not lead the student to develop the perceptual processes in the way they occur in real musical listening and performance. They fit into a mechanistic model of teaching, in which learning consists of training and repeated practice of exercises, whose focus is musical production - as opposed to perception. The lack of theoretical insights, discussion of concepts, musical contextualization, and approach to stylistic and organological issues related to performance leads us to... (Complete abstract click electronic access below)
Mestre
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Stervinou, Adeline. "La perception structurelle et temporelle d'extraits de musiques contemporaines par les adolescents musiciens et non-musiciens." Phd thesis, Université Toulouse le Mirail - Toulouse II, 2011. http://tel.archives-ouvertes.fr/tel-00664451.
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Ce travail propose d'observer l'effet de différentes structures musicales, extraites du courant musical minimaliste, sur la perception auditive temporelle d'adolescents musiciens et non-musiciens. Pour entreprendre cette recherche, nous avons dû d'abord définir notre conception du temps musical ainsi que son impact supposé sur la perception auditive.Une fois le corpus d'œuvres minimalistes sélectionné, une analyse musicale des extraits sonores retenus pour l'élaboration de deux expérimentations a été réalisée. Elle est destinée à justifier le choix de ces extraits et à définir les procédés d'écriture mis en œuvre, susceptibles d'altérer la perception de la durée chez les sujets. Deux expériences, une tâche de catégorisation libre et une tâche d'évaluation de durées, sont présentées sous la forme de protocoles expérimentaux, permettant d'exposer le déroulement de chacune, de commenter les résultats obtenus et d'expliquer les méthodes de calcul afin de formuler une interprétation des résultats.D'après les résultats observés, seulement certains procédés d'écriture utilisés par les compositeurs minimalistes semblent avoir un effet sur la perception des structures musicales et sur l'estimation de leur durée. Ces résultats sont valables pour les deux groupes de sujets, ce qui prouve que l'expérience musicale antérieure n'a pas d'effet majeur sur la perception de la durée dans un contexte musical.
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Johnston, Heather Moynihan. "The influence of frequency and intensity patterns on the perception of pitch." Connect to resource, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1116257540.
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Thesis (Ph.D.)--Ohio State University, 2005.Title from first page of PDF file. Document formatted into pages; contains xiii, 180 p.; also includes graphics. Includes bibliographical references (p. 169-172). Available online via OhioLINK's ETD Center
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Chinburg, Jenna. "The Perception of Trust Between Athletic Trainers and Musical Performing Artists." Thesis, San Jose State University, 2017. http://pqdtopen.proquest.com/#viewpdf?dispub=10634918.
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Trust is a crucial element for a successful patient-clinician relationship. Athletic trainers may care for musical performing artists who demonstrate unique needs compared to traditional patients. In order to provide the best care, athletic trainers must establish a basis of patient-centered care and build solid professional relationships with performers. By improving overall patient-clinician relationship factors with respect to this population, trust may be implemented and sustained. The purpose of the study was to determine factors that established or diminished trust between drum corps members and their athletic trainers. The study included 12 semi-structured interviews in which Drum Corps International (DCI) members defined and analyzed the perception of trust held within this population in relation to athletic trainer interaction. Trustworthiness techniques of member checks, triangulation, external auditing, connoisseurship, and negative case analyses were used. The qualitative methods determined perception of trust through emergent themes and the effect of trust on the patient-clinician relationship. The study further identified factors that maintained or inhibited the aspect of trust between performer and athletic trainer. Accessibility, clinical competence, dependability, comfort, and having a plan of action were found to be the most prominent themes and promote success within this relationship. Overall, trust plays a role in determining patient rapport, compliance, and timely return-to-play through the patient-clinician relationship in the performing arts setting.
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Henriksen, Frank Ekeberg. "Space in electroacoustic music : composition, performance and perception of musical space." Thesis, City University London, 2002. http://openaccess.city.ac.uk/7653/.
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This thesis concerns space as an essential element of expression and communication in electroacoustic music. It shows that musical space is a complex term which refers to many different aspects of composition, performance and perception of electroacoustic music. It is argued that space is a compound musical element which can be integrated into the compositional structure to a degree where space becomes the primary canier of meaning in the work, and that the creation and interpretation of this meaning is a result of learned cultural aspects of interpersonal communication in terms of personal space and territoriality. Furthermore, the close relationship between electroacoustic music composition and technology is acknowledged, and the influence of available technology on aesthetic choices and decision making with regard to spatial composition and performance is taken into consideration. The structure for the investigation is based on a model of musical space comprising three basic levels: 1) spatial properties of individual sounds in terms of intrinsic space, extrinsic space and spectral space, 2) the spatial arrangement of individual sounds and events into a composed space which is played in, and becomes affected by, the listening space, and 3) the perceived space, which constitutes the listening experience of the combination of composed space and listening space. A framework for describing and analysing spatial elements in electroacoustic composition is proposed. The discussion and findings are largely based on my experience as a listener, composer and performer of electroacoustic music, and in addition finds support in research on auditory perception, particularly Jens Blauert's work on spatial hearing and Albert Bregman's auditory scene theory, as well as Denis Smalley's spectromorphological theory, James Tenney's writings on perception-based music listening and analysis, and Edward T. Hall's investigations into space as an element of non-verbal communication.
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Reed, Rasmus. "Tempo and tempo variation in musical performance : perception, memory and evaluation." Thesis, University of Sheffield, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.434601.
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Barbosa, Maria Flávia Silveira. "Percepção musical como compreensão da obra musical: contribuições a partir da perspectiva histórico-cultural." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/48/48134/tde-09092009-162831/.
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Este trabalho toma como objeto de estudo a percepção musical. Apresenta uma análise crítica de ementas, programas e livros usados na disciplina Percepção Musical, em cursos brasileiros de graduação em Música, através da qual busca desvelar as concepções sobre a percepção musical e seu desenvolvimento que servem de fundamento a esse material. O referencial teórico adotado, a perspectiva histórico-cultural que postula a natureza social e histórica do desenvolvimento humano e a percepção humana como um processo estrutural e semiótico , permitiu identificar, através dessa análise, um entendimento da percepção musical como um processo atomístico baseado no reconhecimento e reprodução dos elementos formadores da linguagem musical. Assumindo a música (efetivamente) como uma forma de linguagem e uma concepção enunciativo-discursiva da linguagem, procura, então, trabalhar com a idéia de que os processos perceptivos em música podem ser considerados como sinônimo de compreensão da obra musical e tenta desenvolver concretamente algumas idéias que possam orientar uma proposta metodológica alternativa para a Percepção Musical.The study object of this work is musical perception. It presents a critical analysis of summaries, programs and books used in the Musical Perception subject, in Brazilian courses of graduation in Music, through which it searches to reveal the conceptions about musical perception and its development that serve as footing for this material. The adopted theoretical referential, the historical-cultural perspective - that claims the social and historical nature of the human development and the human perception as a structural and semiotic process -, allowed to identify, through the analysis, an agreement of musical perception as an atomistic process based in the recognition and reproduction of the formative elements of musical language. Assuming music (effectively) as a form of language and an enunciativediscursive conception of language, it searches, then, to work with the idea that the perceptive processes in music can be considered as synonymous of understanding of musical workmanship and tries to concretely develop some ideas that can guide an alternative methodological proposal for Musical Perception.
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Auhagen, Wolfgang. "Experimentelle Untersuchungen zur auditiven Tonalitätsbestimmung in Melodien." Kassel : G. Bosse, 1994. http://books.google.com/books?id=4tBFAAAAMAAJ.
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Papadopoulos, Hélène. "Joint estimation of musical content information[ from an audio signal]." Paris 6, 2010. http://www.theses.fr/2010PA066224.
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Dans cette thèse, nous nous intéressons au problème de l'extraction automatique d'information de contenu d'un signal audio de musique. L'originalité de notre travail est que nous proposons un modèle qui permet d'estimer de manière conjointe plusieurs attributs musicaux (accords, premiers temps et tonalité). Nous examinons plusieurs représentations typiques du signal audio afin de choisir celle qui est la plus appropriée à l'analyse de son contenu harmonique. En utilisant les chromas comme observations du signal, nous proposons d’abord plusieurs méthodes basées sur les modèles de Markov cachés (hidden Markov models, HMM) pour estimer la suite des accords. Elles permettent de prendre en compte des éléments de théorie musicale, le résultat d'expériences cognitives sur la perception de la tonalité et l'effet des harmoniques des notes de musique. Nous présentons alors une nouvelle approche qui permet d'estimer de manière simultanée la progression des accords et les premiers temps. Nous proposons une topologie spécifique de HMM qui nous permet de modéliser la dépendance des accords par rapport à la structure métrique d'un morceau. Notre modèle peut être utilisé pour des structures métriques complexes. Nous nous penchons enfin sur le problème de l’estimation de la tonalité principale ainsi que celui plus complexe de l'estimation de la tonalité locale. La spécificité de notre approche est que nous considérons la dépendance de la tonalité par rapport aux structures harmonique et métrique. Nous montrons que l'estimation des divers éléments musicaux est meilleure si on tient compte de leurs dépendances mutuelles que si on les estime de manière indépendante.
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Henry, Robert E. "Judgment of Intonation in the Context of Three-Part Woodwind Ensemble Performances." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331444/.
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The purpose of the study was to determine judgments of trained musicians regarding the intonation of complex tones in the context of synthesized woodwind ensemble performances. Problems included in the study were (1) estimation of the point in pitch deviation which would result in out-of-tune judgments, (2) investigation of timbral effects on judged intonation, and (3) investigation of effects of mistuning within differential voices.
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Vincent, Dennis Richard. "Ensemble pitch and rhythm error discrimination : the identification and selection of predictors." Thesis, University of British Columbia, 1990. http://hdl.handle.net/2429/32443.
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This study investigated relationships between 36 predictor variables and ensemble pitch and rhythm error discrimination ability. Precollege musical background and other demographic data were collected by means of the Musical Background Questionnaire. Musical achievement was measured by the Aliferis-Stecklein Music Achievement Test, College Midpoint Level. Undergraduate musical coursework data were obtained from transcripts. The criterion variables were measured by the Ramsey-Vincent Test of Instrumental Error Detection; a test of aural-visual pitch and rhythm error discrimination for full-score band music of medium difficulty.
All three instruments were administered to 82 undergraduate music students. Subjects represented three Canadian universities and two community colleges.
Pearson product-moment correlation tests were used to identify variables significantly related to musical ensemble error discrimination at the .10 level of significance. Eighteen variables were found to be significantly related to ensemble pitch error discrimination. Fourteen variables were found to be significantly related to ensemble rhythm error discrimination.
Regression procedures were performed for each of the significant variables. These variables were then organized into
blocks representing precollege musical background, other demographic variables, musical achievement, and undergraduate coursework. Regressions were performed for each of the blocks. Musical achievement, precollege musical background, demographic, and undergraduate coursework blocks of variables accounted for 5, 15, 35, and 21 percent of the variance in ensemble pitch error discrimination scores respectively. Musical achievement, precollege musical background, demographic, and undergraduate coursework blocks of variables accounted for 21, 16, 19, and 12 percent of the variance in ensemble rhythm error discrimination scores respectively. Combinations of variables from these blocks produced a linear model comprised of five demographic variables plus precollege choral experience that accounted for 42 percent of the variance in ensemble pitch error discrimination scores. Combinations of variables from the four blocks produced a linear model of ensemble rhythm error discrimination comprised of rhythmic discrimination, choice of a band instrument as one's major performance medium, composition as one's program major, and precollege band or orchestral experience. These four variables accounted for 32 percent of the variance in ensemble rhythm error discrimination scores.
The variables selected for use in this study accounted for a substantial portion of the variance in error discrimination scores. To improve the predictive power of future studies, other variables need to be identified and included in the model. Ten conclusions were made regarding the prediction of ensemble error prediction ability. Three recommendations were made for improving error discrimination training and seven recommendations were made for future research in ensemble error discrimination.Education, Faculty of
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MacKenzie, Noah Aaron. "The kappa effect in pitch/time context." Columbus, Ohio : Ohio State University, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1173114654.
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Wile, Daryl J. "On the electrophysiological correlates of missing fundamental pitch perception and nonlinear distortion in the frequency-following response." Thesis, McGill University, 2006. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=99212.
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The frequency-following response (FFR) is a scalp-recorded evoked potential which faithfully mimics an auditory stimulus waveform. Some research has attempted to relate the FFR to pitch perception based on FFR spectral peaks which correspond to the perceived pitch of the evoking stimulus, but these explanations are not definitive because the pitch of the evoking stimulus is often equal to the waveform envelope frequency or nonlinear distortion products also represented in the FFR. The experiments herein attempt to clarify the relevance of the FFR to pitch perception and as an assay of nonlinear distortion in the auditory system. Using harmonic and inharmonic "missing fundamental" complex tone stimuli, it is demonstrated that: (a) missing fundamental pitch is not represented as a spectral peak in the FFR, (b) the FFR contains energy at the stimulus envelope frequency, primary tone frequencies, and nonlinear distortion product frequencies, and (c) human pitch perception can be predicted by a weighted average of envelope-locked and phase-locked neural activity in the FFR. The origin and properties of nonlinear distortion products measured in the FFR are also investigated.