Journal articles on the topic 'Musical perception'
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1
Miller, Benjamin O. "Time perception in musical meter perception." Psychomusicology: A Journal of Research in Music Cognition 12, no. 2 (1993): 124–53. http://dx.doi.org/10.1037/h0094111.
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Koniari, Dimitra, Sandrine Predazzer, and Marc Méélen. "Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children." Music Perception 18, no. 3 (2001): 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.
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This study investigates the role of the cue abstraction mechanism within the framework of cognitive processes underlying listening to a piece of music by 10- to 11-year-old children. Four experiments used different procedures to address three main processes: (a) the categorization of musical features, (b) the segmentation of the musical discourse, and (c) the elaboration of a mental schema of the piece. Two short tonal pieces from the classical piano repertoire were used as experimental material. Experiments 1 and 2 assessed children's capacity to classify segments from the same musical piece into the appropriate category and to evaluate the segments' degree of similarity. Experiment 3 investigated the segmentation process, which underlies the organization of musical events into groups. Experiment 4 explored children's ability to reconstruct a piece of music after hearing it. The influence of musical training is investigated by comparing musician and nonmusician children. In addition, the effects of different musical features are explored. La préésente éétude porte sur le méécanisme d'extraction d'indices dans le cadre des processus cognitifs sous-tendant l'éécoute d'un morceau de musique chez des enfants de 10-11 ans. Les diverses procéédures utiliséées dans les quatre expéériences portent sur trois processus: a) la catéégorisation de caractééristiques musicales, b) la segmentation du discours musical et c) l'éélaboration d'un schééma mental de la pièèce. Deux courtes pièèces du réépertoire classique pour piano ont servi de matéériel expéérimental. Les expéériences 1 et 2 éévaluent la capacitéé des enfants àà classer des segments issus d'un mêême pièèce musicale dans leur catéégorie respective et àà appréécier leur degréé de similaritéé. L'expéérience 3 éétudie le processus de segmentation qui sous-tend l'organisation des éévéénements musicaux en groupes. L'expéérience 4 explore l'aptitude des enfants àà reconstruire la pièèce aprèès l'avoir entendue. L'influence de la formation musicale est prise en compte àà travers une comparaison d'enfants musiciens et non-musiciens. De plus, l'effet de difféérents traits musicaux est exploréé.
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Burns, Edward M. "Perception of musical pitch." Journal of the Acoustical Society of America 101, no. 5 (May 1997): 3172. http://dx.doi.org/10.1121/1.419195.
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Girgin, Demet. "Pre-service Music Teachers’ Metaphoric Perception for the Musical Instrument Education." Journal of Qualitative Research in Education 7, no. 1 (January 31, 2019): 1–15. http://dx.doi.org/10.14689/issn.2148-2624.1.7c1s.7m.
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Tillmann, Barbara, and Emmanuel Bigand. "Does Formal Musical Structure Affect Perception of Musical Expressiveness?" Psychology of Music 24, no. 1 (April 1996): 3–17. http://dx.doi.org/10.1177/0305735696241002.
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Zatorre, Robert J. "Brain Imaging Studies of Musical Perception and Musical Imagery." Journal of New Music Research 28, no. 3 (September 1, 1999): 229–36. http://dx.doi.org/10.1076/jnmr.28.3.229.3112.
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Swain, Joseph P. "Music Perception and Musical Communities." Music Perception 11, no. 3 (1994): 307–20. http://dx.doi.org/10.2307/40285625.
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Should certain negative results cause music theory to abandon its dependence on perception studies for the corroboration of its key principles? Recent experiments in music perception that have failed to confirm certain important principles of music theory are reviewed from the perspective of musical communities. A musical community is defined to be those listeners for whom a given musical perception is real and useful. It is argued that (1) the significance of experimental results should be interpreted not only according to traditional criteria of statistical significance but also according to the status of relevant musical communities; (2) a perceptual object that is real for only a small minority of listeners may yet be deemed significant if that minority performs some crucial activity in the musical culture; (3) important perceptual objects can be explicitly taught by advanced musical communities; (4) although this perspective calls into question the objectivity of theoretical principles, music theory must continue to incorporate the results of experiments in music perception.
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Trehub, Sandra E. "Infants’ perception of musical patterns." Perception & Psychophysics 41, no. 6 (November 1987): 635–41. http://dx.doi.org/10.3758/bf03210495.
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Best, Harold M. "Musical Perception and Music Education." Arts Education Policy Review 96, no. 4 (April 1995): 2–9. http://dx.doi.org/10.1080/10632913.1995.9934551.
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Miller, Johanna L. "Musical pitch perception starts early." Physics Today 67, no. 10 (October 2014): 18–19. http://dx.doi.org/10.1063/pt.3.2537.
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Ayari, Mondher. "Performance and Musical Perception Analysis." Intellectica. Revue de l'Association pour la Recherche Cognitive 48, no. 1 (2008): 51–80. http://dx.doi.org/10.3406/intel.2008.1240.
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Vaiedelich, Stéphane, and Claudia Fritz. "Perception of old musical instruments." Journal of Cultural Heritage 27 (October 2017): S2—S7. http://dx.doi.org/10.1016/j.culher.2017.02.014.
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KARAELMA, Barış, and Serkan DEMİREL. "SCALE DEVELOPMENT FOR CHILDREN'S MUSICAL HEARING PERCEPTION." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 1 (April 15, 2021): 293–311. http://dx.doi.org/10.46291/zfwt/130115.
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The perception of musical hearing has been one of the most prominent elements within the framework of musical talent and many studies have been conducted on it. The main subject of this research is musical hearing perception which is important concept that musical ability tests have been trying to measure for many years. Musical hearing perception is a concept that can be developed with the necessary educational planning, especially in childhood. In this context, based on the constructivist approach, early detection is important according to the level of readiness of the person. The scale in this study was designed to measure the musical hearing perception of children between the ages of 9-12, and was created in such a way that the variable of whether or not to know notes was disabled. Thus, it is aimed to bring the perception of musical hearing, which is the main subject to be measured, to the fore. The scale consists of 3 parts: interval test, melody test and rhythm test. Firstly, the field study was conducted with 100 students, and then 160 students during implementation throughout the design phase of the scale, As a result of the research, statistical reliability and validity analyzes were made and the applicability of the scale was revealed. Keywords: Musical Perception, Musical Ability, Musical Ability Test, Musical Perception In Children
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Rodsakan, Tepika. "Comparison of the Effects of Using Traditional Thai Musical Instruments and Carl Orff’s Instruments on Mentally Disabled Children’s Perception and Reaction to the Musical Elements." International Journal of Creative and Arts Studies 2, no. 2 (December 18, 2015): 35. http://dx.doi.org/10.24821/ijcas.v2i2.1796.
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This research dealt with the comparison of the effects of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. The objectives of the research were 1) to study the results of the effects of using traditional Thai musical instruments on mentally disabled children’s perception and reaction to the musical elements 2) to study the results of the effects of Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements 3) to compare the results of the effects of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. The sample used in the research were 11 educable mentally disabled children from Panyawutikorn School aged between 8-10 years old. The sample had been tested and confirmed by the psychologist to have IQ range from 50-70, to be non-sound sensitive and to be devoid of any multiple handicaps. The sample were selected using purposive sampling. The tool used in this research were an interactive 9-question test of the sample group’s perception and reaction to musical elements using traditional Thai musical instruments and Carl Orff’s instruments. The sample group responded accordingly to the different given tasks in the test including singing, physical movement, playing musical instruments and musically melodic creation. The data obtained are then analyzed using statistical calculation, i.e. median, percentage and mean. The test results revealed the following findings; the results were as follows: 1. Results of the effects of using traditional Thai musical instruments on mentally disabled children’s perception and reaction to the musical elements were found to be in the “good” criteria. 2. Results of the effects of using Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements were found to be in the “good” criteria. When considered each factor individually, the perception and reaction to sound was in the “fair” criteria while the perception and reaction to rhythm and melody were in the “good” criteria. 3. By comparing the results of the effect of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements, it was found to be different on the whole. When considered each factor individually, there was a difference in the perception of sound while there was no difference in perception and reaction to rhythm and melody.
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Kerkova, Barbora. "Perception and experience of musical emotions in schizophrenia." Psychology of Music 48, no. 2 (September 7, 2018): 199–214. http://dx.doi.org/10.1177/0305735618792427.
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The schizophrenic disturbance of affective processing has seen a welcome revival in academic inquiry. However, laboratory research on emotion in schizophrenia has largely drawn on facial and prosodic stimuli and the suitability of this practice has been questioned. This article aims to explore the utility of musical material, and to motivate its use in research on emotion in schizophrenia. The article lists some of the empirical advantages of musical material and describes key auditory and affective deficits which could alter musical emotions in schizophrenia. Existing findings pertaining to the perception and experience of musical arousal and valence in schizophrenia are reviewed and compared with nonmusical findings. Results suggest that schizophrenia affects the recognition of both musical and nonmusical emotions. However, musical and nonmusical emotions appear to differ in that: 1) musical emotions are more arousing, 2) negative musical emotions stimulate approach tendencies, and 3) both the perception and experience of musical emotions share these characteristics. These differences are presently unexplained and warrant further investigation. An improvement in the use of musical material in research on emotion in schizophrenia is justified.
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Līduma, Anna. "CHILD’S MUSICAL PERCEPTION DEVELOPMENT IN EARLY YEARS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 26, 2016): 416. http://dx.doi.org/10.17770/sie2016vol2.1408.
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This research is an analysis of the succession in the child’s musical perception development. The theory based experimental study of the gradual development of musical perception revealed the specifics of children’s musical perception formation from prenatal period to the age of 3. The formation of the sensory and vocal experience in early years, and purposeful activity at the realization of the connection of memory and thinking in conjunction with listening to music are analyzed. The author has observed that both stages of musical perception in the early genesis: sensory and motor and a perceptive activity; perceptive activity gets developed during purposeful musical everyday actions. On the basis of pedagogical observations and self-experience at preschool, the role of adult’s purposeful activity in the timely started promotion of the child’s musical perception is highlighted.
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Astakhova, Ol’ga Andreevna. "Physical and Acoustic Space in the Music of Composers of the Second Half of the XX Century." Pan-Art 3, no. 1 (January 10, 2023): 3–10. http://dx.doi.org/10.30853/pa20230003.
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The study aims to prove the axiom that musical space, as well as musical time, has three main (basic) levels. The paper characterises the conceptual level of musical space, which is a subjective individual “spatial world” expressed by all elements of the musical language; the perceptual level of musical space, associated with the listener’s perception; the physical level of musical space, manifested when performing compositions. The scientific novelty of the study lies in developing a classification of perceptual space in music and determining the component composition of the physical and acoustic level of musical space. As a result, it has been determined that musical space is a multilevel phenomenon; the perceptual level of musical space includes pictorial perception, sensory perception and cathartic perception, while the physical level of musical space includes micro-space and macro-space; the stereophony of the XX century implies various types of organisation of acoustic space such as static stereophony, dynamic stereophony, combined stereophony.
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Choi, William, Cheuk Lam Katie Ling, and Chun Him Jason Wu. "Musical Advantage in Lexical Tone Perception Hinges on Musical Instrument." Music Perception: An Interdisciplinary Journal 41, no. 5 (June 1, 2024): 360–77. http://dx.doi.org/10.1525/mp.2024.41.5.360.
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Different musical instruments have different pitch processing demands. However, correlational studies have seldom considered the role of musical instruments in music-to-language transfer. Addressing this research gap could contribute to a nuanced understanding of music-to-language transfer. To this end, we investigated whether pitched musicians had a unique musical advantage in lexical tone perception relative to unpitched musicians and nonmusicians. Specifically, we compared Cantonese pitched musicians, unpitched musicians, and nonmusicians on Thai tone discrimination and sequence recall. In the Thai tone discrimination task, the pitched musicians outperformed the unpitched musicians and the nonmusicians. Moreover, the unpitched musicians and the nonmusicians performed similarly. In the Thai tone sequence recall task, both pitched and unpitched musicians recalled level tone sequences more accurately than the nonmusicians, but the pitched musicians showed the largest musical advantage. However, the three groups recalled contour tone sequences with similar accuracy. Collectively, the pitched musicians had a unique musical advantage in lexical tone discrimination and the largest musical advantage in level tone sequence recall. From a theoretical perspective, this study offers correlational evidence for the Precision element of the OPERA hypothesis. The choice of musical instrumental may matter for music-to-language transfer in lexical tone discrimination and level tone sequence recall.
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Boll-Avetisyan, Natalie, Anjali Bhatara, and Barbara Höhle. "Processing of Rhythm in Speech and Music in Adult Dyslexia." Brain Sciences 10, no. 5 (April 30, 2020): 261. http://dx.doi.org/10.3390/brainsci10050261.
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Recent studies have suggested that musical rhythm perception ability can affect the phonological system. The most prevalent causal account for developmental dyslexia is the phonological deficit hypothesis. As rhythm is a subpart of phonology, we hypothesized that reading deficits in dyslexia are associated with rhythm processing in speech and in music. In a rhythmic grouping task, adults with diagnosed dyslexia and age-matched controls listened to speech streams with syllables alternating in intensity, duration, or neither, and indicated whether they perceived a strong-weak or weak-strong rhythm pattern. Additionally, their reading and musical rhythm abilities were measured. Results showed that adults with dyslexia had lower musical rhythm abilities than adults without dyslexia. Moreover, lower musical rhythm ability was associated with lower reading ability in dyslexia. However, speech grouping by adults with dyslexia was not impaired when musical rhythm perception ability was controlled: like adults without dyslexia, they showed consistent preferences. However, rhythmic grouping was predicted by musical rhythm perception ability, irrespective of dyslexia. The results suggest associations among musical rhythm perception ability, speech rhythm perception, and reading ability. This highlights the importance of considering individual variability to better understand dyslexia and raises the possibility that musical rhythm perception ability is a key to phonological and reading acquisition.
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Dyatlov, Dmitrii Alekseevich. "On the Typology of Musical Perception." Философия и культура, no. 10 (October 2022): 1–11. http://dx.doi.org/10.7256/2454-0757.2022.10.38893.
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Throughout the 20th century, the theory and history of performing arts repeatedly attempted to systematize various phenomena in the field of interpretation of works of academic music. The number of performing styles and types in various researches has risen dramatically, until the beginning of this century when it was reduced to a single concept - to the category of an individual style. This topic was discussed mainly in research papers devoted to the theory of pianism. The results of their observations and conclusions can be applied to the performing arts in general. The article mentions the works of K.A. Martinsen, D.A. Rabinovich, V.P. Chinaeva, A.V. Malinkovskaya and others. The topic of musical perception is addressed both in musicology and in musical psychology. This research offers a new vector for studying of musical perception, linking the features of musical imagery created by the performer and the nature of perception. The following aspects are revelated: patterns that allow us to talk about the types of musical image, the principles of its construction and the types of perception. This is an affective image created on the principle of contrast. It corresponds to the psychophysical type of perception. The contextual image is guided by the principle of connections. It corresponds to the aesthetic type of perception. The integrative image is formed, focusing on the principle of the whole. It corresponds to the symbolic type of perception. A hermetic system of typology is considered to be impossible; artistic practice will largely oppose it. However, these tendencies are able to shed light on the nature of musical perception and allow to continue the scientific discussion of the current topic of musical performance.
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Fujita, Shuji, and Juichiito. "Musical Perception in Nucleus Cochlear Implantees." Otolaryngology–Head and Neck Surgery 117, no. 2 (August 1997): P89. http://dx.doi.org/10.1016/s0194-59989780121-0.
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Kapliienko-Iliuk, Yuliia. "MUSICAL STYLE CATEGORY: PERCEPTION AND UNDERSTANDING." Knowledge, Education, Law, Management 2, no. 5 (2020): 25–30. http://dx.doi.org/10.51647/kelm.2020.5.2.5.
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Seger, Carol A., Brian J. Spiering, Anastasia G. Sares, Sarah I. Quraini, Catherine Alpeter, James David, and Michael H. Thaut. "Corticostriatal Contributions to Musical Expectancy Perception." Journal of Cognitive Neuroscience 25, no. 7 (July 2013): 1062–77. http://dx.doi.org/10.1162/jocn_a_00371.
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This study investigates the functional neuroanatomy of harmonic music perception with fMRI. We presented short pieces of Western classical music to nonmusicians. The ending of each piece was systematically manipulated in the following four ways: Standard Cadence (expected resolution), Deceptive Cadence (moderate deviation from expectation), Modulated Cadence (strong deviation from expectation but remaining within the harmonic structure of Western tonal music), and Atonal Cadence (strongest deviation from expectation by leaving the harmonic structure of Western tonal music). Music compared with baseline broadly recruited regions of the bilateral superior temporal gyrus (STG) and the right inferior frontal gyrus (IFG). Parametric regressors scaled to the degree of deviation from harmonic expectancy identified regions sensitive to expectancy violation. Areas within the BG were significantly modulated by expectancy violation, indicating a previously unappreciated role in harmonic processing. Expectancy violation also recruited bilateral cortical regions in the IFG and anterior STG, previously associated with syntactic processing in other domains. The posterior STG was not significantly modulated by expectancy. Granger causality mapping found functional connectivity between IFG, anterior STG, posterior STG, and the BG during music perception. Our results imply the IFG, anterior STG, and the BG are recruited for higher-order harmonic processing, whereas the posterior STG is recruited for basic pitch and melodic processing.
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Caclin, Anne, Elvira Brattico, Bennett K. Smith, Mari Tervaniemi, Marie‐Hilhne Giard, and Stephen McAdams. "Electrophysiological correlates of musical timbre perception." Journal of the Acoustical Society of America 112, no. 5 (November 2002): 2240. http://dx.doi.org/10.1121/1.4778890.
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Vurma, Allan, and Jaan Ross. "Production and Perception of Musical Intervals." Music Perception 23, no. 4 (April 1, 2006): 331–44. http://dx.doi.org/10.1525/mp.2006.23.4.331.
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This Article Reports Two Experiments. In the first experiment, 13 professional singers performed a vocal exercise consisting of three ascending and descending melodic intervals: minor second, tritone, and perfect fifth. Seconds were sung more narrowly but fifths more widely in both directions, as compared to their equally tempered counterparts. In the second experiment, intonation accuracy in performances recorded from the first experiment was evaluated in a listening test. Tritones and fifths were more frequently classified as out of tune than seconds. Good correspondence was found between interval tuning and the listeners responses. The performers themselves evaluated their performance almost randomly in the immediate post-performance situation but acted comparably to the independent group after listening to their own recording. The data suggest that melodic intervals may be, on an average, 20 to 25 cents out of tune and still be estimated as correctly tuned by expert listeners.
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Platel, Hervé. "Neuropsychology of musical perception: new perspectives." Brain 125, no. 2 (February 1, 2002): 223–24. http://dx.doi.org/10.1093/brain/awf078.
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SMOLIAR, STEPHEN W. "Modelling Musical Perception: A Critical View." Connection Science 6, no. 2-3 (January 1994): 209–22. http://dx.doi.org/10.1080/09540099408915724.
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Beauchamp, James W., Andrew B. Horner, and Michael D. Hall. "Recent research in musical timbre perception." Journal of the Acoustical Society of America 126, no. 4 (2009): 2235. http://dx.doi.org/10.1121/1.3249183.
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FUJITA, S., and J. ITO. "Musical perception in nucleus cochlear implantees." Otolaryngology - Head and Neck Surgery 117, no. 2 (August 1997): P89. http://dx.doi.org/10.1016/s0194-5998(97)80121-0.
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Krumhansl, Carol L., and Peter W. Jusczyk. "Infants’ Perception of Phrase Structure in Music." Psychological Science 1, no. 1 (January 1990): 70–73. http://dx.doi.org/10.1111/j.1467-9280.1990.tb00070.x.
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A visual preference procedure was used to examine 6- and 41/2-monthold infants’ sensitivity to phrase structure in music. Sections of Mozart minuets were divided into segments that either did or did not correspond to the phrase structure of the music. Infants in both age groups listened significantly longer to the appropriately segmented versions. Their behavior accorded well with judgments of the same materials made by adults, suggesting that protracted musical experience may not be necessary to perceive phrase structure in music. Strong correlations were found between certain musical variables and the infants’ preferences for the musical passages, pointing to acoustic properties that may be important for defining musical phrases.
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Vukićević, Nataša M. "НАСТАВА МУЗИЧКЕ КУЛТУРЕ И ПОЗИТИВНО ОБРАЗОВАЊЕ – ОД ДОЖИВЉАЈА ДО ИСХОДА У ОБЛАСТИ МУЗИЧКОГ СТВАРАЛАШТВА И СЛУШАЊА МУЗИКЕ." Узданица XX, no. 3 (2023): 241–56. http://dx.doi.org/10.46793/uzdanica20.s.241v.
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This paper analyses experiential aspects of teaching music in the context of the well-being education and creating a stimulating environment for learning, development and psychological well-being of lower-grade pupils. The analysis involves music classes held with fourth-graders who were expected to connect a literary text with a corresponding musical composition they listened to. The research was conducted in the primary school “17. Oktobarˮ in Jagodina in September 2023. In accordance with the research topic which encompasses pupils’ achievement in two areas, musical creativity and listening to music, the content analysis was applied. The research results were analysed in relation to the choice of musical composition which pupils considered appropriate for the poem “Three Blind Miceˮ by Peđa Trajković. The qualitative analysis dealt with pupils’ choice of the musical characteristics based on which they connected the given composition with the poem. It can be concluded that pupils’ creative activities, a positive pedagogical atmosphere, open approach and constructive feedback contribute to the development of a pupil’s musical perception and better achievements in the area of listening to music.
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Spitzer, Jaclyn B., Dean Mancuso, and Min-Yu Cheng. "Development of a Clinical Test of Musical Perception: Appreciation of Music in Cochlear Implantees (AMICI)." Journal of the American Academy of Audiology 19, no. 01 (January 2008): 056–81. http://dx.doi.org/10.3766/jaaa.19.1.6.
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The purpose of this study was to develop a test to assess the ability of persons with cochlear implants (CIs) to interpret musical signals. Up to this time, the main direction in outcomes studies of cochlear implantation has been in relation to speech recognition abilities. With improvement in CI hardware and processing strategies, there has been a growing interest in musical perception as a dimension that could improve greatly users' quality of life. The Appreciation of Music in Cochlear Implantees (AMICI) test was designed to measure the following abilities: discrimination of music versus noise; identification of musical instruments (from a closed set); identification of musical styles (from a closed set); and recognition of individual musical pieces (open set). The first phase of the study was test development and recording. The second phase entailed presentation of a large set of stimuli to normal listeners. Based on phase 2 findings, an item analysis was performed to eliminate stimuli that were confusing or resulted in high error rates in normals. In phase 3, hearing-impaired participants, using cochlear Implants, were assessed using the beta version of the AMICI test. El propósito de este estudio fue desarrollar una prueba para evaluar la capacidad de las personas con implantes cocleares (CI) para interpretar señales musicales. Hasta ahora, el enfoque principal en estudios de desempeño de implantación coclear se ha concentrado las habilidades de reconocimiento del lenguaje. Con el mejoramiento del hardware y de las estrategias de procesamiento de los CI, ha existido un interés creciente en la percepción de la música, como una dimensión que podría incrementar importantemente la calidad de vida de los usuarios. La Prueba de Apreciación Musical en Implantados Cocleares (AMICI) fue diseñado para medir las siguientes aptitudes: discriminación de la música vs. ruido; identificación de instrumentos musicales (de un grupo cerrado); identificación de estilos musicales (de un grupo cerrado); y reconocimiento de piezas musicales independientes (grupo abierto). La primera fase de la prueba fue evaluar desarrollo y registro. La segunda fase involucró la presentación de un amplio grupo de estímulos a oyentes normales. Con base en los hallazgos de la fase 2, se realizó un análisis de ítems para eliminar estímulos que eran confusos o producían una alta tasa de errores en los normales. En la fase 3, los participantes hipoacúsicos, usando sus implantes cocleares, fueron evaluados usando la versión beta de la Prueba AMICI.
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Bailes, Freya, and Roger T. Dean. "Comparative Time Series Analysis of Perceptual Responses to Electroacoustic Music." Music Perception 29, no. 4 (April 1, 2012): 359–75. http://dx.doi.org/10.1525/mp.2012.29.4.359.
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this study investigates the relationship between acoustic patterns in contemporary electroacoustic compositions, and listeners' real-time perceptions of their structure and affective content. Thirty-two participants varying in musical expertise (nonmusicians, classical musicians, expert computer musicians) continuously rated the affect (arousal and valence) and structure (change in sound) they perceived in four compositions of approximately three minutes duration. Time series analyses tested the hypotheses that sound intensity influences listener perceptions of structure and arousal, and spectral flatness influences perceptions of structure and valence. Results suggest that intensity strongly influences perceived change in sound, and to a lesser extent listener perceptions of arousal. Spectral flatness measures were only weakly related to listener perceptions, and valence was not strongly shaped by either acoustic measure. Differences in response by composition and musical expertise suggest that, particularly with respect to the perception of valence, individual experience (familiarity and liking), and meaningful sound associations mediate perception.
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Benguerel, André-Pierre, and Carol Westdal. "Absolute Pitch and the Perception of Sequential Musical Intervals." Music Perception 9, no. 1 (1991): 105–19. http://dx.doi.org/10.2307/40286161.
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When identifying musical intervals, most musicians appear to use only one strategy: they directly evaluate the musical interval between two notes (relative-pitch strategy). Musicians with absolute pitch (AP) seem to have two strategies available for identifying intervals: they can either use the relative-pitch strategy, or they can first identify the two pitches and then infer the musical interval between them (AP strategy). This study investigates the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without AP. Most subjects in either group were able to name standard sequential musical intervals based on the equal-tempered scale accurately. Most subjects in the AP group were able to name notes of the equal-tempered scale accurately and consistently, whereas subjects without AP were not. 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. In the main experiment, subjects identified sequential musical intervals ranging in 20- cent steps from 260 to 540 cents, using the standard musical interval names. On the basis of their identification errors, subjects, both with and without AP, appeared to identify the intervals using the RP strategy rather than the AP strategy. It seems that musicians with AP do not use this ability in the identification of sequential musical intervals, relying instead on their sense of relative pitch.
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Reva, Valentin. "SPIRITUAL AND PHYSICAL FOUNDATIONS OF MUSICAL PERCEPTION." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 114–18. http://dx.doi.org/10.36550/2415-7988-2021-1-195-114-118.
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Perception of music is auditory-motor in nature, accompanied by active bodily responses. It would be a gross methodological mistake not to take this intoaccount in the practice of art education. The effects of music, recorded not only by the ear, but also by the body, and by the vibrations of the muscles, indicate a unified musical perception. Sensorimotor skills saturate it with bodily associations, become fixed in memory, become artifacts of co-creation, solidary intonation-bodily empathy. Attempts to separate the bodily reactions of perception from consciousness, to bring them into the realm of the unconscious, which creates obstacles to perception, should be considered as untenable. Auditory-motor actions, including gestures, facial expressions, pantomimics, kinesics, and other bodily manifestations, are nothing more than the unified languages of music, the techniques of nonverbal sound communication peculiar to humans. The system «music-body-consciousness» generates intonation-sound associations of an artistic type, emphasizing the synergetic essence of musical perception, openness to self-completion, resonant spiritual response, actualizing auditory attention. Motor reactions are an essential factor in the emergence of artistic associations, musical thinking, and reflection. The mechanisms of musical perception linked with sensorimotor responses to the intonation of music. In this case, muscle activity acts as a mediating link between sensory responses and emotions transmitted in music. They are associated with the simplest semantic elements of musical perception. Musical perception is based on the synthesis of thought and feeling, spiritual and physical, and aesthetic experiences do not arise spontaneously, like physiological reactions. They are the result of painstaking spiritual and physical work, a symbiosis of artistic imagination and creative imagination, which determine the culture of musical perception of a person. It is impossible to find the experience of empathy, emotional responses to the meaning of music as self-expression of another person's soul, without working them through the mechanisms of bodily perception, which, in fact, is the main pathos of music education. Spiritual and bodily perception of music provides a unique opportunity to feel the present, the real presence in it, the coordination of personal life aspirations with the humanistic attitudes of art culture. Pedagogical comprehension of spiritual and bodily processes expands the possibilities of educating musical perception in secondary schools, overcoming the deficit of theoretical knowledge about music, skills of analysis of musical works, saturation of classes in search of personal meanings in art.
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Berger, Harris M. "Death metal tonality and the act of listening." Popular Music 18, no. 2 (May 1999): 161–78. http://dx.doi.org/10.1017/s0261143000009028.
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In recent years popular music scholars have paid increasing attention to musical sound. From Robert Walser's landmark work on heavy metal (1993), to Alan Moore's important analysis of rock style periods (1993), to a number of shorter studies (Whiteley 1990; Josephson 1992; Bowman 1995; Ford 1995; Hawkins 1996; Edström 1996), more and more scholars have recognised that all levels of scholarly focus must be pursued if we are to gain purchase on the phenomena of popular music. With no exceptions of which I am aware, all the popular music scholars concerned specifically with musical sound seek to explore the connections between sound and its social contexts. My goal here is to show how attention to musical perception can forward this project and to argue that perception is best understood as a kind of social practice. The act of perception constitutes musical forms and musical meanings in experience. The act of perception is where the rubber of sound meets the road of social life, and by treating perception as a practice we can draw more intimate connections between songs and subjects, sound and society, than would be possible if we were to start from musical structures and then search for linkages to social context. None of this, of course, is to deny the value of studies focused on musical structures, performance events, broad social contexts or large-scale social history, but to argue that the constitution of musical perception by musicians and listeners deserves greater attention and to suggest how this kind of scrutiny might serve the larger aims of popular music studies.
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Samiotis, Ioannis Petros, Sihang Qiu, Christoph Lofi, Jie Yang, Ujwal Gadiraju, and Alessandro Bozzon. "Exploring the Music Perception Skills of Crowd Workers." Proceedings of the AAAI Conference on Human Computation and Crowdsourcing 9 (October 4, 2021): 108–19. http://dx.doi.org/10.1609/hcomp.v9i1.18944.
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Music content annotation campaigns are common on paid crowdsourcing platforms. Crowd workers are expected to annotate complicated music artefacts, which can demand certain skills and expertise. Traditional methods of participant selection are not designed to capture these kind of domain-specific skills and expertise, and often domain-specific questions fall under the general demographics category. Despite the popularity of such tasks, there is a general lack of deeper understanding of the distribution of musical properties - especially auditory perception skills - among workers. To address this knowledge gap, we conducted a user study (N=100) on Prolific. We asked workers to indicate their musical sophistication through a questionnaire and assessed their music perception skills through an audio-based skill test. The goal of this work is to better understand the extent to which crowd workers possess higher perceptions skills, beyond their own musical education level and self reported abilities. Our study shows that untrained crowd workers can possess high perception skills on the music elements of melody, tuning, accent and tempo; skills that can be useful in a plethora of annotation tasks in the music domain.
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Song, Baoqing, Chenyu Gong, Yicheng Gao, Yue Ke, Zehua Wang, Ruichong Lin, and Yunji Cai. "Music Literacy and Soundscape Perception: A Study Based on the Soundwalk Method of Soundscapes." International Journal of Environmental Research and Public Health 19, no. 14 (July 11, 2022): 8471. http://dx.doi.org/10.3390/ijerph19148471.
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To explore a method of promoting college aesthetic education through campus environments, the Aesthetic Education Center of the Beijing Institute of Technology Zhuhai (BITZH-AEC) used the soundwalk method of soundscapes to carry out an experiment on students’ soundscape perceptions on campus. Half of the students who participated in the experiment (n = 42) had musical instrument learning experience and musical literacy. The research work used conventional statistical analysis methods and “Soundscapy”, newly developed by the British soundscape research team, to process the experimental data. It was found that the soundscape perception evaluation of students with musical literacy was different from that of ordinary students. This included a difference in the overall evaluation of the three experimental areas and a difference in the degree of dispersion of the soundscape evaluation of all six experimental areas. The study also found that there was no correlation between the acoustic noise level and the students’ evaluations of soundscape perception. BITZH-AEC proposes that aesthetic educators should pay attention to the idea of inspiring students to stimulate cultural imagination through soundscape perception.
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Broze, Yuri, Brandon T. Paul, Erin T. Allen, and Kathleen M. Guarna. "Polyphonic Voice Multiplicity, Numerosity, and Musical Emotion Perception." Music Perception 32, no. 2 (December 1, 2014): 143–59. http://dx.doi.org/10.1525/mp.2014.32.2.143.
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Three experimental studies suggest that music with more musical voices (higher voice multiplicity) tends to be perceived more positively. In the first experiment, participants heard brief extracts from polyphonic keyboard works representing conditions of one, two, three, or four concurrent musical voices. Two basic emotions (happiness and sadness) and two social emotions (pride and loneliness) were rated on a continuous scale. Listeners rated excerpts with higher voice multiplicity as sounding more happy, less sad, less lonely, and more proud. Results from a second experiment indicate that this effect might extend to positive and negative emotions more generally. In a third experiment, participants were asked to count (denumerate) the number of musical voices in the same stimuli. Denumeration responses corresponded closely with ratings for both positive and negative emotions, suggesting that a single musical feature or percept might play a role in both. Possible roles for both symbolic and psychoacoustic musical features are discussed.
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Alimazyan, Aida M. "Musical movement as a means of comprehending the inner form of a musical work." National Psychological Journal 51, no. 3 (2023): 55–71. http://dx.doi.org/10.11621/npj.2023.0307.
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Background. The issue of the methods in aesthetic education, including music, is of particular importance in connection with the task of personal development and formation of the moral sphere. The question of organizing the work that the listener does when perceiving a piece of music arises. Practical solution to this problem requires considering and identifying the content and structure of musical perception. Objectives. The article aims (1) to research the mechanisms and orientation of musical perception; (2) to analyze approaches to the problem of musical content in musicology and music psychology; (3) to reveal the possibilities of rhythmoplasty in the formation of musical perception as the ability to understand and experience and to respond to sounding music. Methods. The work is a theoretical and analytical study summarizing the experience of practice, musical movement, and other methods of rhythmoplasty. The methods of logical and meaningful analysis of theoretical approaches to the description of musical perception are used. The study of musical-motor forms created in practice is carried out from the point of view of reflecting the formal structures of music, as well as from the point of view of revealing the musical content. Sample. Musical-motor forms and compositions created in the practice of musical movement, as well as written reviews of participants of classes and members of the “Heptahor” studio are used as a material for analysis. Results. The conducted research allows us to confirm the assumption that the expressive movements carried out in response to sounding music reflect rather the internal, meaningful and semantic side of the music than its external, formal-structural aspects. Conclusion. The results obtained allow us to define the process of musical perception as a complex activity of “listening” to the inner semantic side of a musical work, which is not reducible to purely analytical work. It is also shown that using the means of rhythmoplasty makes it possible to reflect the inner semantic side of a musical work and translate a musical image into spatio-temporal forms.
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Parson, Dale. "Quantum Composition and Improvisation." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (June 30, 2021): 21–25. http://dx.doi.org/10.1609/aiide.v8i4.12552.
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Quantum mechanical systems exist as superpositions of complementary states that collapse to classical, concrete states upon becoming entangled with the measurement apparatus of observer-participants. A musical composition and its performance constitute a quantum system. Historically, conventional musical notation has presented the appearance of a composition as a deterministic, concrete entity, with interpretation approached as an extrinsic act. This historical perspective inhabits a subspace of the available quantum space. A quantum musical system unifies the composition, instruments, situated performance and perception as a superposition of musical events that collapses to concrete musical events via the interactions and perceptions of performers and audience. A composer captures superposed musical events via implicit or explicit conditional event probabilities, and human and/or machine performers create music by collapsing interrelated probabilities to zeros and ones via observer-participancy.
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Petersen, Suse. "Talent development in Chinese and Swiss music students." International Journal of Music Education 36, no. 2 (September 23, 2017): 230–43. http://dx.doi.org/10.1177/0255761417729544.
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Musical talent development and the factors that influence it—such as family or peers—have been widely researched, especially in a Western setting. Despite the growing body of research in non-Western cultures and regions, there is still a lack of research comparing the factors and perceptions of musical talent development between Western and Asian settings. This interview study compared Swiss and Chinese music students’ ( N = 19) musical talent development and the factors influencing musical talent during childhood and adolescence, their professional aims, and their perception of internal and external factors affecting talent development. The students had similar opinions regarding the role of their teachers, the roles of internal and external factors in talent development, and their career goals. However, the students from China and Switzerland differed in their experiences of making and discussing music with peers, in the difficulties experienced during their music education, and in their relationship with their families. The results are a starting point for further comparative research on the perception and development of musical talent, and offer material for a mutual understanding of music students’ backgrounds in countries with differing music education traditions.
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Gfeller, Kate, Jacob Oleson, John F. Knutson, Patrick Breheny, Virginia Driscoll, and Carol Olszewski. "Multivariate Predictors of Music Perception and Appraisal by Adult Cochlear Implant Users." Journal of the American Academy of Audiology 19, no. 02 (February 2008): 120–34. http://dx.doi.org/10.3766/jaaa.19.2.3.
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The research examined whether performance by adult cochlear implant recipients on a variety of recognition and appraisal tests derived from real-world music could be predicted from technological, demographic, and life experience variables, as well as speech recognition scores. A representative sample of 209 adults implanted between 1985 and 2006 participated. Using multiple linear regression models and generalized linear mixed models, sets of optimal predictor variables were selected that effectively predicted performance on a test battery that assessed different aspects of music listening. These analyses established the importance of distinguishing between the accuracy of music perception and the appraisal of musical stimuli when using music listening as an index of implant success. Importantly, neither device type nor processing strategy predicted music perception or music appraisal. Speech recognition performance was not a strong predictor of music perception, and primarily predicted music perception when the test stimuli included lyrics. Additionally, limitations in the utility of speech perception in predicting musical perception and appraisal underscore the utility of music perception as an alternative outcome measure for evaluating implant outcomes. Music listening background, residual hearing (i.e., hearing aid use), cognitive factors, and some demographic factors predicted several indices of perceptual accuracy or appraisal of music. La investigación examinó si el desempeño, por parte de adultos receptores de un implante coclear, sobre una variedad de pruebas de reconocimiento y evaluación derivadas de la música del mundo real, podrían predecirse a partir de variables tecnológicas, demográficas y de experiencias de vida, así como de puntajes de reconocimiento del lenguaje. Participó una muestra representativa de 209 adultos implantados entre 1965 y el 2006. Usando múltiples modelos de regresión lineal y modelos mixtos lineales generalizados, se seleccionaron grupos de variables óptimas de predicción, que pudieran predecir efectivamente el desempeño por medio de una batería de pruebas que permitiera evaluar diferentes aspectos de la apreciación musical. Estos análisis establecieron la importancia de distinguir entre la exactitud en la percepción musical y la evaluación de estímulos musicales cuando se utiliza la apreciación musical como un índice de éxito en la implantación. Importantemente, ningún tipo de dispositivo o estrategia de procesamiento predijo la percepción o la evaluación musical. El desempeño en el reconocimiento del lenguaje no fue un elemento fuerte de predicción, y llegó a predecir primariamente la percepción musical cuando los estímulos de prueba incluyeron las letras. Adicionalmente, las limitaciones en la utilidad de la percepción del lenguaje a la hora de predecir la percepción y la evaluación musical, subrayan la utilidad de la percepción de la música como una medida alternativa de resultado para evaluar la implantación coclear. La música de fondo, la audición residual (p.e., el uso de auxiliares auditivos), los factores cognitivos, y algunos factores demográficos predijeron varios índices de exactitud y evaluación perceptual de la música.
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Garipova, Natalya. "On the psychological component in the preparation of a future musician teacher." SHS Web of Conferences 87 (2020): 00105. http://dx.doi.org/10.1051/shsconf/20208700105.
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The article reveals the pragmatic aspect of the psychological training of future music teachers and reveals its specificity. This specificity lies in the fact that knowledge and skills from the field of psychology in the professional activity of a music teacher should ensure the comprehension of the emotional-figurative content of a musical work, and not familiarization with it as an object of study, as it happens in the development of other educational disciplines. The role of psychological knowledge for solving many other tasks solved in the process of musical education, carried out both in collective and individual forms, is also indicated. At the same time, two ways of forming psychological competencies are indicated – explicit, associated with the module of psychological disciplines, and implicit, which consists in the fact that psychological knowledge penetrates into the depths of performing and musical-theoretical training, providing an understanding of the mechanisms of perception, performance of music and mastering the algorithms of the teacher’s work on creation of conditions for its adequate artistic perception, which is the comprehension of musical meaning. In the study of the problem of the mechanisms of the emotional impact of music and the emergence of non-auditory sensations and perceptions are considered; the importance of mastering this (essentially psychological) information for the future musician teacher is shown. The proposed way of improvement the psychological training of a teacher-musician provides a solution to a dual task – improvement his personal qualities (which is facilitated by the perception of high music) and improvement his professional skill in organizing the process of musical perception of learners. This is able to ensure the birth of deep feelings in them.
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Upadhya, Sushmitha, Rohit Bhattacharyya, Ritwik Jargar, and K. Nisha Venkateswaran. "Closed-field Auditory Spatial Perception and Its Relationship to Musical Aptitude." Journal of Indian Speech Language & Hearing Association 37, no. 2 (2023): 61–65. http://dx.doi.org/10.4103/jisha.jisha_20_23.
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Introduction: Musical aptitude is the innate ability of an individual to understand, appreciate, improvise, and have a good sense of pitch and rhythm, even without undergoing formal musical training. The present study aimed to understand the effect of musical aptitude on auditory spatial perception. Method: Forty nonmusicians were subjected to a musical aptitude test Mini Profile of Music Perception Skills (Mini-PROMS) based on which they were divided into two groups. Group I included 20 nonmusicians with good musical aptitude (NM-GA) and Group II comprised 20 nonmusicians with poor musical aptitude (NM-PA). Auditory spatial tests included interaural time difference (ITD) and interaural level difference (ILD) threshold tests and a closed-field spatial test called virtual acoustic space identification (VASI) test. Results: Kruskal–Wallis test revealed a significant difference between Group I (NM-GA) and Group II (NM-PA) in ITD (p < 0.001), ILD (p = 0.002), and VASI (p = 0.012) tests, suggesting the role of musical aptitude in auditory spatial perception. Correlational analyses showed a moderate positive correlation between Mini-PROMS scores with VASI (r = 0.31, p = 0.04) and a moderate negative correlation with ILD (r = −0.3, p = 0.04) and ITD (r = −0.5, p = 0.001). Conclusion: This study defines a positive association between musical aptitude and auditory spatial perception. Further research should include a comparison of spatial skills among musicians and nonmusicians with good musical aptitude.
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Marčenoka, Marina. "Formation of the Artistic Image in the Music Perception Process." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 467. http://dx.doi.org/10.17770/sie2013vol1.578.
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Musical art, which clears vast possibilities for cognition of the man’s internal world, develops feelings of empathy and tolerance, facilitates the creative comprehension of personal, moral and aesthetical values of micro and macro social media. Musical art, while reflecting the reality by means of the artistic image, the system of musical expression means, has its own specificity in development of universal values. This specificity consists in development of personality’s aesthetical and moral needs and in recovery of the spiritual culture; and only music with high spiritual contents is able to achieve it. Aim of the paper is to define the content and succession of formation of students’ artistic image of a musical composition in the process of music perception. Methods of the research are: theoretical analysis of psychological, pedagogical and musical literature about approaches to the problem of formation of the image in the music perception process. Results of the research: the essence and content of the artistic image of a musical composition and succession of its development in the musical education process were defined.
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Rodriguez, Hugo, Pablo Arias Sarah, and Clément Canonne. "Contrasts of Register Underlie the Perception of Musical Humor." Music Perception: An Interdisciplinary Journal 40, no. 4 (April 1, 2023): 316–33. http://dx.doi.org/10.1525/mp.2023.40.4.316.
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In the psychological literature on musical humor, the emphasis on laughter-inducing music has naturally led researchers to focus on quite uncommon devices, such as stylistic deviations or formal incongruities that strongly violate listeners’ expectations, as the privileged basis for musical humor. But musical humor extends well beyond laughter-inducing music. It is also a kind of semantic content frequently ascribed to music, as attested by the long list of musical genres that are more or less explicitly associated with humor, wit, or comedy. As such, the communication of musical humor should be able to also rely on non-deviant compositional techniques; that is, compositional techniques that conform to the standard syntax in which the musical output is generated. In this paper, we show that selectively augmenting or inhibiting contrasts of register found in passages of Cécile Chaminade’s humorous piano music impacted the extent to which both expert and non-expert listeners rated such passages as expressing something humorous. We then analyze the effects of contrasts of register in light of incongruity and play theories of humor, and further discuss the relevance of our results for the semantics and pragmatics of music.
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Peters, Deniz. "Musical Empathy, Emotional Co-Constitution, and the “Musical Other”." Empirical Musicology Review 10, no. 1-2 (April 8, 2015): 2. http://dx.doi.org/10.18061/emr.v10i1-2.4611.
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Musical experience can confront us with emotions that are not currently ours. We might remain unaffected by them, or be affected: retreat from them in avoidance, or embrace them and experience them as ours. This suggests that they are another’s. Whose are they? Do we arrive at them through empathy, turning our interest to the music as we do to others in an interpersonal encounter? In addressing these questions, I differentiate between musical and social empathy, rejecting the idea that the emotions arise as a direct consequence of empathizing with composers or performers. I argue that musical perception is doubly active: bodily knowledge can extend auditory perception cross-modally, which, in turn, can orient a bodily hermeneutic. Musical passages thus acquire adverbial expressivity, an expressivity which, as I discuss, is co-constituted, and engenders a “musical other.” This leads me to a reinterpretation of the musical persona and to consider a dialectic between social and musical empathy that I think plays a central role in the individuation of shared emotion in musical experience. Musical empathy, then, occurs via a combination of self-involvement and self-effacement—leading us first into, and then perhaps beyond, ourselves.
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Bragança, Guilherme Francisco F., João Gabriel Marques Fonseca, and Paulo Caramelli. "Synesthesia and music perception." Dementia & Neuropsychologia 9, no. 1 (March 2015): 16–23. http://dx.doi.org/10.1590/s1980-57642015dn91000004.
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The present review examined the cross-modal association of sensations and their relationship to musical perception. Initially, the study focuses on synesthesia, its definition, incidence, forms, and genetic and developmental factors. The theories of the neural basis of synesthesia were also addressed by comparing theories emphasizing the anatomical aspect against others reinforcing the importance of physiological processes. Secondly, cross-modal sensory associations, their role in perception, and relationship to synesthesia were analyzed. We propose the existence of a lower, unconscious degree of synesthesia in non-synesthetes. This latent synesthesia (without explicit sensory manifestations) would be functional, aiding the construction of abstract associations between different perceptual fields. Musical meaning might be constructed largely by synesthetic processes, where the sensory associations from sound activate memories, images, and emotions.
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Gallun, Erick, and Daniel Reisberg. "On the Perception of Interleaved Melodies." Music Perception 12, no. 4 (1995): 387–98. http://dx.doi.org/10.2307/40285673.
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A recent result indicates a direct influence of musical anticipations on musical perception. Specifically, Dowling, Lung, and Herrbold (1987) reported that subjects listening to interleaved melodies have an easier time detecting small changes in a cue melody than they do in detecting larger changes, because the former are in accord with their anticipations, whereas the latter are not. However, we report a series of experiments that fail to replicate the result of Dowling et al.