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1
Marquetti, Beatriz Quirino, Éder Costa Muchiutti e Felipe Viegas Rodrigues. "Pitch perception preference in children with or without formal musical education". Percepta - Revista de Cognição Musical 10, n. 1 (30 dicembre 2022): 83–95. http://dx.doi.org/10.34018/2318-891x.10(1)83-95.
Testo completoAbstract (sommario):
Among the mental functions recruited by music, timbre processing is possibly one of the most interesting, as it exemplifies the perceptual constancy that allows recognition of regularities in the environment. The objective of the present work was to investigate the musical perception of children with formal music education and the prevalence of fundamental and spectral lis-teners based on the differential perception of complex tones. Thirty children between 10 and 15 years old participated, who responded to 48 pairs of tones, in which the second tone should be judged as ascending or descending. The participants' responses allowed the calculation of an index of pitch perception preference (Δp). The results show that the Control Group pre-sented Δp closer to zero than the Musicians Group, both with normal distribution. Therefore, musicians and nonmusicians have subtle differences in the perception of complex tones, with a preference for fundamental listeners among the musicians investigated.
2
Marquetti, Beatriz Quirino, Éder Costa Muchiutti e Felipe Viegas Rodrigues. "Preferência de percepção tonal em crianças com ou sem educação musical formal". Percepta - Revista de Cognição Musical 9, n. 2 (30 luglio 2022): 95–108. http://dx.doi.org/10.34018/2318-891x.9(2)95-108.
Testo completoAbstract (sommario):
Among the mental functions recruited by music, timbre processing is possibly one of the most interesting, as it exemplifies the perceptual constancy that allows recognition of regularities in the environment. The objective of the present work was to investigate the musical perception of children with formal music education and the prevalence of fundamental and spectral lis-teners based on the differential perception of complex tones. Thirty children between 10 and 15 years old participated, who responded to 48 pairs of tones, in which the second tone should be judged as ascending or descending. The participants' responses allowed the calculation of an index of pitch perception preference (Δp). The results show that the Control Group pre-sented Δp closer to zero than the Musicians Group, both with normal distribution. Therefore, musicians and non-musicians have subtle differences in the perception of complex tones, with a preference for fundamental listeners among the musicians investigated.
3
Benassi-Werke, Mariana E., Marcelo Queiroz, Rúben S. Araújo, Orlando F. A. Bueno e Maria Gabriela M. Oliveira. "Musicians' Working Memory for Tones, Words, and Pseudowords". Quarterly Journal of Experimental Psychology 65, n. 6 (giugno 2012): 1161–71. http://dx.doi.org/10.1080/17470218.2011.644799.
Testo completoAbstract (sommario):
Studies investigating factors that influence tone recognition generally use recognition tests, whereas the majority of the studies on verbal material use self-generated responses in the form of serial recall tests. In the present study we intended to investigate whether tonal and verbal materials share the same cognitive mechanisms, by presenting an experimental instrument that evaluates short-term and working memories for tones, using self-generated sung responses that may be compared to verbal tests. This paradigm was designed according to the same structure of the forward and backward digit span tests, but using digits, pseudowords, and tones as stimuli. The profile of amateur singers and professional singers in these tests was compared in forward and backward digit, pseudoword, tone, and contour spans. In addition, an absolute pitch experimental group was included, in order to observe the possible use of verbal labels in tone memorization tasks. In general, we observed that musical schooling has a slight positive influence on the recall of tones, as opposed to verbal material, which is not influenced by musical schooling. Furthermore, the ability to reproduce melodic contours (up and down patterns) is generally higher than the ability to reproduce exact tone sequences. However, backward spans were lower than forward spans for all stimuli (digits, pseudowords, tones, contour). Curiously, backward spans were disproportionately lower for tones than for verbal material—that is, the requirement to recall sequences in backward rather than forward order seems to differentially affect tonal stimuli. This difference does not vary according to musical expertise.
4
Inabinet, Devin, Jan De La Cruz, Justin Cha, Kevin Ng e Gabriella Musacchia. "Diotic and Dichotic Mechanisms of Discrimination Threshold in Musicians and Non-Musicians". Brain Sciences 11, n. 12 (30 novembre 2021): 1592. http://dx.doi.org/10.3390/brainsci11121592.
Testo completoAbstract (sommario):
The perception of harmonic complexes provides important information for musical and vocal communication. Numerous studies have shown that musical training and expertise are associated with better processing of harmonic complexes, however, it is unclear whether the perceptual improvement associated with musical training is universal to different pitch models. The current study addresses this issue by measuring discrimination thresholds of musicians (n = 20) and non-musicians (n = 18) to diotic (same sound to both ears) and dichotic (different sounds to each ear) sounds of four stimulus types: (1) pure sinusoidal tones, PT; (2) four-harmonic complex tones, CT; (3) iterated rippled noise, IRN; and (4) interaurally correlated broadband noise, called the “Huggins” or “dichotic” pitch, DP. Frequency difference limens (DLF) for each stimulus type were obtained via a three-alternative-forced-choice adaptive task requiring selection of the interval with the highest pitch, yielding the smallest perceptible fundamental frequency (F0) distance (in Hz) between two sounds. Music skill was measured by an online test of musical pitch, melody and timing maintained by the International Laboratory for Brain Music and Sound Research. Musicianship, length of music experience and self-evaluation of musical skill were assessed by questionnaire. Results showed musicians had smaller DLFs in all four conditions with the largest group difference in the dichotic condition. DLF thresholds were related to both subjective and objective musical ability. In addition, subjective self-report of musical ability was shown to be a significant variable in group classification. Taken together, the results suggest that music-related plasticity benefits multiple mechanisms of pitch encoding and that self-evaluation of musicality can be reliably associated with objective measures of perception.
5
Östersjö, Stefan. "Musical and Musicianly Listening in Intercultural Practice". Circuit 28, n. 1 (6 aprile 2018): 35–44. http://dx.doi.org/10.7202/1044374ar.
Testo completoAbstract (sommario):
This paper discusses the function of listening in intercultural musical collaboration, with reference to a number of examples taken from the author’s practice, within the Vietnamese/Swedish group The Six Tones. Through the lens of Pierre Schaeffer’s concepts of musical and musicianly listening, the paper suggests that intercultural exchange takes place in a liminal field between traditions. This demands a particular openness which can be developed by operating musicianly listening, a form of listening which actively seeks to “innovate in the facture of sound objects.”
6
Deutsch, Diana. "The Tritone Paradox: An Influence of Language on Music Perception". Music Perception 8, n. 4 (1991): 335–47. http://dx.doi.org/10.2307/40285517.
Testo completoAbstract (sommario):
The tritone paradox is produced when two tones that are related by a half- octave (or tritone) are presented in succession. Each tone is composed of a set of octave- related harmonics, whose amplitudes are determined by a bell-shaped spectral envelope; thus the tones are clearly defined in terms of pitch class, but poorly defined in terms of height. When listeners judge whether such tone pairs form ascending or descending patterns, their judgments generally show systematic relationships to the positions of the tones along the pitch-class circle: Tones in one region of the circle are heard as higher and those in the opposite region are heard as lower. However, listeners disagree substantially as to whether a given tone pair forms an ascending or a descending pattern, and therefore as to which tones are heard as higher and which as lower. This paper demonstrates that the basis for the individual differences in perception of this musical pattern lies in the language spoken by the listener. Two groups of subjects made judgments of the tritone paradox. One group had grown up in California, and the other group had grown up in southern England. It was found that when the Californian group tended to hear the pattern as ascending the English group tended to hear it as descending, and when the Californian group tended to hear the pattern as descending the English group tended to hear it as ascending. This finding, coupled with the earlier results of Deutsch, North, and Ray (1990) that showed a correlate between perception of the tritone paradox and the pitch range of the listener's spontaneous speaking voice, indicates strongly that the same, culturally acquired representation of pitch classes influences both speech production and perception of this musical pattern.
7
Brown, Helen, David Butler e Mari Riess Jones. "Musical and Temporal Influences on Key Discovery". Music Perception 11, n. 4 (1994): 371–407. http://dx.doi.org/10.2307/40285632.
Testo completoAbstract (sommario):
The intervallic rivalry model of key identification is outlined and evaluated in two experiments that use a completion judgment task. Experiment 1 replicates an earlier experiment by Cuddy and Badertscher (1987), in which the rare-interval hypothesis of the intervallic rivalry model was considered. In the present study, listeners with different levels of musical training rated probe tones in the context of three different melodic patterns: arpeggiated major triads, ascending major scales, and arpeggiated diminished triads. Results of Experiment 1 indicated that in both the C major triadic and the C major scalar contexts, listeners gave higher completion ratings to all three probes that were members of the presented C major triad than to the other probes, with the exception of F, thereby producing a jagged (multipeaked) profile. For the diminished triadic context, listeners rated the single probe C, that which corresponds to the tonal center in major mode for that group of three tones, as the best completion. Experiment 2 tested the temporal-order hypothesis of the intervallic rivalry model by reordering tones in all three contexts. Again jagged tone profiles appeared with major triadic and major scalar contexts, although in the former the tone F, a perfect fifth below the root of the presented C major triad, received the best completion rating. A single-peaked function appeared with probes in the diminished triadic context, where the major-mode tonic garnered the highest rating found in all conditions of both experiments. Data are interpreted as support for both the rare-interval hypothesis and the temporal-order hypothesis derived from the intervallic rivalry model of key discovery. Complementary findings consistent with the tonal hierarchy model are also discussed.
8
Zhang, Caicai, Oi-Yee Ho, Jing Shao, Jinghua Ou e Sam-Po Law. "Dissociation of tone merger and congenital amusia in Hong Kong Cantonese". PLOS ONE 16, n. 7 (1 luglio 2021): e0253982. http://dx.doi.org/10.1371/journal.pone.0253982.
Testo completoAbstract (sommario):
While the issue of individual variation has been widely studied in second language learning or processing, it is less well understood how perceptual and musical aptitude differences can explain individual variation in native speech processing. In the current study, we make use of tone merger in Hong Kong Cantonese, an ongoing sound change that concerns the merging of tones in perception, production or both in a portion of native speakers, to examine the possible relationship between tone merger and musical and pitch abilities. Although a previous study has reported the occurrence of tone merger independently of musical training, it has not been investigated before whether tone-merging individuals, especially those merging tones in perception, would have inferior musical perception and fine-grained pitch sensitivities, given the close relationship of speech and music. To this end, we tested three groups of tone-merging individuals with various tone perception and production profiles on musical perception and pitch threshold tasks, in comparison to a group of Cantonese speakers with congenital amusia, and another group of controls without tone merger or amusia. Additionally, the amusics were compared with tone-merging individuals on the details of their tone discrimination and production profiles. The results showed a clear dissociation of tone merger and amusia, with the tone-merging individuals exhibiting intact musical and pitch abilities; on the other hand, the amusics demonstrated widespread difficulties in tone discrimination yet intact tone production, in contrast to the highly selective confusion of a specific tone pair in production or discrimination in tone-merging individuals. These findings provide the first evidence that tone merger and amusia are distinct from each other, and further suggest that the cause of tone merger may lie elsewhere rather than being driven by musical or pitch deficits. We also discussed issues arising from the current findings regarding the neural mechanisms of tone merger and amusia.
9
Sari, Ari Patma, Dwi Prasetiyawati Diyah Hariyanti e Purwadi Purwadi. "ANALISIS KECERDASAN MUSIKAL ANAK USIA DINI DENGAN BERMAIN ALAT MUSIK ANGKLUNG DI KELOMPOK B". Wawasan Pendidikan 1, n. 2 (30 agosto 2021): 225–33. http://dx.doi.org/10.26877/wp.v1i2.8839.
Testo completoAbstract (sommario):
Musical intelligence is musical intelligence which is characterized by a person's ability in the field of music, both sensitivity and mastery of tones, rhythms, rhythm patterns, instruments, and musical expressions, so that a person can play musical instruments or sing songs. This study aims to analyze the musical intelligence of early childhood with angklung musical instruments in Hidayatullah Islamic Kindergarten Semarang. The benefit of this research is knowing how to apply the angklung musical instrument correctly so that it can develop children's musical intelligence. The method used is descriptive qualitative research with data collection methods, namely observation, interviews, and documentation. Based on the results of research that has been done that the activity of playing angklung musical instruments can play an active role in stimulating children's musical intelligence. This can be seen when playing angklung musical instruments, children have skills in playing angklung musical instruments, the ability to adjust the tempo, adjust the tone, adjust the rhythm/rhythm, and the ability to sing short songs with the right rhythm. The results of the study showed that the musical intelligence of children in group B of Hidayatullah Islamic Kindergarten Semarang through playing the angklung musical instrument developed as expected.
10
Caselli, Gabriele, Giovanni Cecchi e Giulio Masetti. "Characteristics, mechanisms, and perceivability of combination tones in violins". Journal of the Acoustical Society of America 152, n. 5 (novembre 2022): 2513–23. http://dx.doi.org/10.1121/10.0014600.
Testo completoAbstract (sommario):
Combination tones (CTs) generated by the inner ear have been widely investigated in the past, starting from the famous Tartini's “third tone.” Instead, much less attention has been dedicated to the CTs generated by musical instruments. In this paper, the CTs generated by a set of violins of different quality and age have been investigated when playing a selected set of dyads. CTs were found in all of the violins, and the strongest of them occurred at a frequency below the lower note of the dyad. Its amplitude was strongly dependent on violin and dyad played and was greatest in two old Italian violins and decreased down to a minimum in a factory-made violin. All of these findings are well explained by the boosting action of A0, the main air resonance of the violin that correlates well with the strongest CT. A listening test, performed using selected dyads and violins, showed that the differences between dyads with and without CTs were correctly recognized by a group of professional and amateur musicians, suggesting a possible musical significance of the main CT. The results investigating the possible source of violin nonlinearity are also described.
11
Christy, Analis, e Abdul Rachman. "Form of Bundengan Traditional Music Arrangement by Sanggar Akustika in Wonosobo". Jurnal Seni Musik 12, n. 1 (30 giugno 2023): 1–11. http://dx.doi.org/10.15294/jsm.v12i1.67147.
Testo completoAbstract (sommario):
Bundengan is one of the traditional musical instruments in Indonesia that originates and developes in Wonosobo Regency, Central Java. The bundengan music group Akustika provides arrangements for bundengan music. This research aims to determine and provide a description of the form of bundengan music arrangement by the bundengan music group Akustika. The method used in this research was qualitative with a musicological approach. Data collection was carried out through observation, interviews, and documentation techniques. Data analysis was conducted through data reduction, data presentation, and conclusion drawing. The research results show that the musical arrangement of Bundengan in Sanggar Akustika, Wonosobo Regency, combines traditional Bundengan musical instruments with instruments such as cak, guitar, keyboard, violin, bass, and drums. The performed music genres include modern pop, campursari, dangdut, nostalgic songs, and regional songs in Indonesia. The basic tones used are C major and G major, with mixed arrangement styles. During the performance, each musical instrument utilizes a limited repetitive playing pattern until the completion of the song. All the instruments in the Bundengan music complement each other and form dynamic and harmonious musical patterns.
12
Yuan, Chenjie, Santiago González-Fuente, Florence Baills e Pilar Prieto. "OBSERVING PITCH GESTURES FAVORS THE LEARNING OF SPANISH INTONATION BY MANDARIN SPEAKERS". Studies in Second Language Acquisition 41, n. 1 (2 gennaio 2018): 5–32. http://dx.doi.org/10.1017/s0272263117000316.
Testo completoAbstract (sommario):
AbstractRecent studies on the learning of L2 prosody have suggested that pitch gestures can enhance the learning of the L2 lexical tones. Yet it remains unclear whether the use of these gestures can aid the learning of L2 intonation, especially by tonal-language speakers. Sixty-four Mandarin speakers with basic-level Spanish were asked to learn three Spanish intonation patterns, all involving a low tone on the nuclear accent. In a pre-post test experimental design, half of the participants received intonation training without the use of pitch gestures (the control group) while the other half received the same training but with pitch gestures representing nuclear intonation contours (the experimental group). Musical (melody, pitch) abilities were also measured. The results revealed that (a) the experimental group significantly improved intonational production outcomes, and (b) even though participants with stronger musical abilities performed better, those with weaker musical abilities benefited more from observing pitch gestures.
13
Zacharakis, Asterios, Konstantinos Pastiadis e Joshua D. Reiss. "An Interlanguage Study of Musical Timbre Semantic Dimensions and Their Acoustic Correlates". Music Perception 31, n. 4 (dicembre 2012): 339–58. http://dx.doi.org/10.1525/mp.2014.31.4.339.
Testo completoAbstract (sommario):
A study of musical timbre semantics was conducted with listeners from two different linguistic groups. In two separate experiments, native Greek and English speaking participants were asked to describe 23 musical instrument tones of variable pitch using a predefined vocabulary of 30 adjectives. The common experimental protocol facilitated the investigation of the influence of language on musical timbre semantics by allowing for direct comparisons between linguistic groups. Data reduction techniques applied to the data of each group revealed three salient semantic dimensions that shared common conceptual properties between linguistic groups namely: luminance, texture, and mass. The results supported universality of timbre semantics. A correlation analysis between physical characteristics and semantic dimensions associated: i) texture with the energy distribution of harmonic partials, ii) thickness (a term related to either mass or luminance) and brilliance with inharmonicity and spectral centroid variation, and iii) F0 with mass or luminance depending on the linguistic group.
14
Collins, Dennis, e W. Andrew Schloss. "An Unusual Effect in the Canon Per Tonos from J. S. Bach's Musical Offering". Music Perception 19, n. 2 (2001): 141–53. http://dx.doi.org/10.1525/mp.2001.19.2.141.
Testo completoAbstract (sommario):
We propose that the phrase repetitions in the canon per tonos from J. S. Bach's Musical Offering are not recognized by listeners as being successively upward. We examine possible causes for this effect and suggest that it may be due to Bach's use of chromatic harmony. To test this hypothesis, we conducted an experiment in which one group of listeners was presented with Bach's canon, while another group was presented with a modified version of the canon in which the harmonies were altered in order to make the upward phrase repetitions more apparent. We found that subjects recognized the ascending pattern in the modified canon with greater ease than they recognized the ascending pattern in Bach's canon. We also consider briefly why Bach may have wished to cause such an effect.
15
Risqi, Dini Permata, e Syahrul Syah Sinaga. "Musical Expression On The Ksyr Lestari Group’s The Sintren Art Of Luwijawa Village In Tegal Regency". Jurnal Seni Musik 11, n. 1 (30 giugno 2022): 92–101. http://dx.doi.org/10.15294/jsm.v11i1.53017.
Testo completoAbstract (sommario):
The KSYR Lestari Sintren art group is an art group that has musical expressions in their performances with songs that are played and add various atmospheres to the performance of each scene. The songs of the Sintren art show involve the musical function of Sintren art dance performed by the KSYR Lestari group. This study aims to identify and explain the musical expression of the song type performed and the musical function of the Sintren art dance of the KSYR Lestari group. This study used a qualitative research method with a phenomenological approach and the data collection techniques used in this study are observation, interview, and documentation. The results of this study indicate that the musical expressions contained in the KSYR Lestari Sintren art through songs performed include; (1) Tempo, the song Dunung Ala Dunung is played at a slow tempo which expresses feelings of sadness, and the song Turun Sintren is played at a fast tempo which describes a happy expression. (2) Dynamic, in every song that is sung, there are dynamic changes (3) The style produces tones on four vocalists who have been selected according to the character of the voice and song. Sintren performance elements include; (1) Theme, (2) Dancer, (3) Fashion, (4) Makeup, (5) Movement, (6) Accompaniment, (7) Stage arrangement, (8) Lighting and sound system, (9) Property. The function of music in Sintren dance includes; (1) Music as a dance binder, and (2) Music as a dance illustration.
16
Granot, Roni, e Neta B. Maimon. "Consonance Dissonance and Cadences". Music Perception: An Interdisciplinary Journal 40, n. 4 (1 aprile 2023): 293–315. http://dx.doi.org/10.1525/mp.2023.40.4.293.
Testo completoAbstract (sommario):
The musical surrounding typical of most non-European/North American population includes some mix of Western, local art or folk music, and hybrid forms combining the two. How do these various musical systems play out in the internalized musical mental schemes of their listeners? Have Western musical schemes been totally internalized in such populations? Here we ask this question in relation to Israeli Arabs (IAs)—one group within the highly understudied Arab musical world. Specifically, we compared the responses of 52 IAs and 34 Israeli Jews (IJs) to 11 harmonic dyads based on intervals from the musical systems of both cultures, and to a harmonic cadence that ended with chords representing five degrees of closure. Both studies show differences between the two groups with the IJs showing typical response patterns of Western listeners, and the IAs showing much less differentiation and only a partial internalization of tonal hierarchies; namely, the differentiation between in-scale and out-of-scale tones. We emphasize that the listening habits of the selected populations should be mapped more consistently in order to understand the statistical regularities in the relevant repertoires. We also point to the need to adjust our experimental materials and methods to better suit these populations.
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Chen, Jiuzhou. "Dancing with math: Using Kleins quartic for music generation". Theoretical and Natural Science 39, n. 1 (21 giugno 2024): 23–42. http://dx.doi.org/10.54254/2753-8818/39/20240565.
Testo completoAbstract (sommario):
Studying music from a mathematical perspective is often based on the notions of symmetry and topological space. A group G acting on some set S of musical objects in a meaningful way is seen as a symmetry group in music. This can be used in analysing motif development and chord progressions. In neo-Riemannian analysis, one has three principal chord transformations that generate a group GD_12, acting on the set S of 24 major and minor triads. Moreover, this theory is visualized through a simplicial complex whose underlying space is a topological torus. In this paper, we first introduce various symmetry groups and graphic presentations in music theory. We then propose a way of doing neo-Riemannian analysis on Kleins quartic, which is a genus 3 surface instead of a torus, realizing an idea of John Baez. Finally, we use our theory to perform a harmonic analysis of The Imperial March from Star Wars.
18
Zuijen, Titia L. van, Elyse Sussman, István Winkler, Risto Näätänen e Mari Tervaniemi. "Grouping of Sequential Sounds—An Event-Related Potential Study Comparing Musicians and Nonmusicians". Journal of Cognitive Neuroscience 16, n. 2 (marzo 2004): 331–38. http://dx.doi.org/10.1162/089892904322984607.
Testo completoAbstract (sommario):
It is believed that auditory processes governing grouping and segmentation of sounds are automatic and represent universal aspects of music perception (e.g., they are independent of the listener's musical skill). The present study challenges this view by showing that musicians and nonmusicians differ in their ability to preattentively group consecutive sounds. We measured event-related potentials (ERPs) from professional musicians and nonmusicians who were presented with isochronous tone sequences that they ignored. Four consecutive tones in a sequence could be grouped according to either pitch similarity or good continuation of pitch. Occasionally, the tone-group length was violated by a deviant tone. The mismatch negativity (MMN) was elicited to the deviants in both subject groups when the sounds could be grouped based on pitch similarity. In contrast, MMN was only elicited in musicians when the sounds could be grouped according to good continuation of pitch. These results suggest that some forms of auditory grouping depend on musical skill and that not all aspects of auditory grouping are universal.
19
Deutsch, Diana. "The Tritone Paradox: Some Further Geographical Correlates". Music Perception 12, n. 1 (1994): 125–36. http://dx.doi.org/10.2307/40285758.
Testo completoAbstract (sommario):
In a study by Deutsch (1991), a large and highly significant difference in perception of the tritone paradox was found between a group of subjects who had grown up in California and a group who had grown up in the south of England: In general, where the Californian group tended to hear the pattern as ascending the English group tended to hear it as descending, and vice versa. The present paper documents some further geographical correlates that are derived from the data obtained by Deutsch (1991). The strength of the relationship of pitch class to perceived height was found to depend on the overall heights of the spectral envelopes under which the tones were generated. However, the direction of this dependence differed significantly depending on the subject population. For subjects showing a "Californian pattern" (i. e., whose overall peak pitch classes were in the range moving clockwise from A#–B to D#–E), this relationship was more pronounced for tones generated under lower spectral envelopes, and so when the tones were perceived as lower in overall height. In contrast, for subjects showing an "English pattern" (i. e., whose overall peak pitch classes were in the opposite region of the pitch-class circle), this relationship was more pronounced for tones generated under higher spectral envelopes, and so when the tones were perceived as higher overall instead. Given the literature on the pitch of speech as a function of linguistic community, these findings provide further evidence that perception of the tritone paradox is related to the processing of speech sounds.
20
Li, Man, e Robert DeKeyser. "PERCEPTION PRACTICE, PRODUCTION PRACTICE, AND MUSICAL ABILITY IN L2 MANDARIN TONE-WORD LEARNING". Studies in Second Language Acquisition 39, n. 4 (20 gennaio 2017): 593–620. http://dx.doi.org/10.1017/s0272263116000358.
Testo completoAbstract (sommario):
This study examined the differential effects of systematic perception and production practice and the role of musical ability in learning Mandarin tone-words by native English-speaking adults in a training study. In this study, all participants (N = 38; 19 for each practice group) were first taught declarative knowledge of Mandarin tones and of the target words on the first day. They had to reach criterion performance on the test of vocabulary before they started to engage in either perception or production practice on the second day. Each participant went through three practice sessions on three separate days. Immediate posttests assessing learning outcomes in both perceptive and productive skills were administered on the last day. Musical tonal ability tests were administered to all participants and used as a covariate. The results showed that performance was far worse when participants were tested on the reverse skill than when they were tested on the practiced skill in terms of both error rates and reaction times, providing strong support for the skill-specificity hypothesis. Musical tonal ability was found to correlate with accuracy performance in both tone-word perception and production.
21
Dewi, Cicilia Dikna Astrina, e Suharto Suharto. "Musical Development Of Barongan Turonggo Laras Through Additional Instrument In Kendal Regency". Jurnal Seni Musik 10, n. 1 (30 giugno 2021): 86–92. http://dx.doi.org/10.15294/jsm.v10i1.46058.
Testo completoAbstract (sommario):
This study aims to determine, describe, and analyze the development of the Barongan work of the Turonggo Laras group in Kendal Regency. The method used is descriptive qualitative with a musicological approach. Data collection techniques include observation, interviews, and documentation. The results showed that the development of working on Barongan Turonggo Laras music was in the form of adding western musical instruments, such as drums and keyboards in collaboration with gamelan. The use of the keyboard is intended as a filler for the main melody in campursari songs. This is because there are tones in the campursari song that does not exist on the gamelan instrument but exist on the keyboard. The addition of drums in the show is intended to lift the mood and strengthen the trance scene. The drum play tends to follow the dynamics of the kendang when accompanying the performance.
22
Nakajima, Yoshitaka, Takashi Tsumura, Seiichi Matsuura, Hiroyuki Minami e Ryunen Teranishi. "Dynamic Pitch Perception for Complex Tones Derived from Major Triads". Music Perception 6, n. 1 (1988): 1–20. http://dx.doi.org/10.2307/40285413.
Testo completoAbstract (sommario):
A new type of complex tone that demonstrates pitch circularity is described. For such tones, the spectral envelope is trapezoidal on the coordinates of logarithmic frequency and logarithmic amplitude, and remains constant. The components of each tone form a major triad within each octave. The component frequencies were increased by steps of 1/10 octave from tone to tone, until the first tone was obtained again. According to our paired comparison experiments for pitch, which were analyzed using the multidimensional scaling technique, two kinds of pitch circularities appear. One group of subjects shows a pitch circularity corresponding to the exact spectral periodicity of an octave, and the other group a circularity corresponding to the roughly viewed spectral periodicity of 1/3 octave. The human ear seems to detect a global pitch movement when some spectral components move in the same direction by similar degrees on the logarithmic frequency dimension.
23
Suroso, Panji, Mulkis Hasbulah, Uyuni Wiastuti, Herna Hirza, Pita HD Silionga e Bakhrul Khair Amal. "Model Creation of Musical String Instrument Based on Ethnic Diversity in North Sumatera". Budapest International Research and Critics Institute (BIRCI-Journal) : Humanities and Social Sciences 1, n. 4 (22 dicembre 2018): 124–35. http://dx.doi.org/10.33258/birci.v1i4.101.
Testo completoAbstract (sommario):
This research is based on the curiosity about the phenomenon of the diversity of concepts and organizational structures of traditional stringed instruments in North Sumatra to be developed in finding new, more innovative concepts in creating North Sumatra local whisdom-based stringed musical instruments. The results of this study are expected to provide excellent benefits in research and development of science for lecturers, students and the wider community. The method used in this study is a qualitative approach and exploration besides art. The process of finding data and information is carried out thoroughly for overall and complete information about the diversity of traditional stringed musical instruments in North Sumatra. Data collected from two sources, namely primary data and secondary data. Primary data is obtained from the techniques of in-depth interviews (in-depth interviews) and joint observation (participant observation) which aims to explore data focused on focus groups (focus group discussions). The selection of informants is carried out on grouping key informants consisting of makers, users, experts and academics of traditional music. Secondary or primary data then organized for later exploration in creating musical instruments concocted with the diversity of local whisdom in North Sumatra. The results of this study are: Taking into account the various forms of musical instruments and the areas of the tones of each related instrument, then formulated to emit the tone by adopting and exploring existing instruments.
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Gao, Zi, e Andrew J. Oxenham. "Voice disadvantage effects in absolute and relative pitch judgments". Journal of the Acoustical Society of America 151, n. 4 (aprile 2022): 2414–28. http://dx.doi.org/10.1121/10.0010123.
Testo completoAbstract (sommario):
Absolute pitch (AP) possessors can identify musical notes without an external reference. Most AP studies have used musical instruments and pure tones for testing, rather than the human voice. However, the voice is crucial for human communication in both speech and music, and evidence for voice-specific neural processing mechanisms and brain regions suggests that AP processing of voice may be different. Here, musicians with AP or relative pitch (RP) completed online AP or RP note-naming tasks, respectively. Four synthetic sound categories were tested: voice, viola, simplified voice, and simplified viola. Simplified sounds had the same long-term spectral information but no temporal fluctuations (such as vibrato). The AP group was less accurate in judging the note names for voice than for viola in both the original and simplified conditions. A smaller, marginally significant effect was observed in the RP group. A voice disadvantage effect was also observed in a simple pitch discrimination task, even with simplified stimuli. To reconcile these results with voice-advantage effects in other domains, it is proposed that voices are processed in a way that voice- or speech-relevant features are facilitated at the expense of features that are less relevant to voice processing, such as fine-grained pitch information.
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Suroso, Panji, e Rahmat Riswan Aidil Syahputra Siregar. "Work in Progress on the Creation of the Three-Stringed Kulcapi". Britain International of Linguistics Arts and Education (BIoLAE) Journal 1, n. 2 (30 novembre 2019): 263–71. http://dx.doi.org/10.33258/biolae.v1i2.93.
Testo completoAbstract (sommario):
This research tittle ‘work in progress on the creation of the three-stringed kulcapi’ wanted to examine how the work process of the creation of the kulcapi music instrument and can be explained descriptively. The kulcapi musical instrument which is considered to still have limitations in terms of producing its notes, and only having 2 strings, seems to be the cause of the less than optimal function in exploring the notes. In addition, the form of the kulcapi instrument is seen to be still very plain and very simple, this is felt to be one of the issues that must be overcome to be able to explore the kulcapi musical instrument to be more functional, both in producing tones and adding aesthetic value to the form of the kulcapi music instrument. In this research, a qualitative descriptive method is used. The process of tracing data and information is done diachronically to find out in full and complete about the kulcapi music instrument. The data collected comes from two sources, they are primary and secondary data. Primary data obtained through in-depth interviews and participant observation that aims to collect data followed by focus group discussions. This research produces findings including: a) The creation of three-stringed kulcapi instruments has a wider range of tone areas. b) can be functioned more flexible and can be explored in playing pentatonic and diatonic tones. c) The shape has the characteristic of the Karo people with the presence of ethnic Karo ornaments on the kulcapi’s body.
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Rogenmoser, Lars, Stefan Elmer e Lutz Jäncke. "Absolute Pitch: Evidence for Early Cognitive Facilitation during Passive Listening as Revealed by Reduced P3a Amplitudes". Journal of Cognitive Neuroscience 27, n. 3 (marzo 2015): 623–37. http://dx.doi.org/10.1162/jocn_a_00708.
Testo completoAbstract (sommario):
Absolute pitch (AP) is the rare ability to identify or produce different pitches without using reference tones. At least two sequential processing stages are assumed to contribute to this phenomenon. The first recruits a pitch memory mechanism at an early stage of auditory processing, whereas the second is driven by a later cognitive mechanism (pitch labeling). Several investigations have used active tasks, but it is unclear how these two mechanisms contribute to AP during passive listening. The present work investigated the temporal dynamics of tone processing in AP and non-AP (NAP) participants by using EEG. We applied a passive oddball paradigm with between- and within-tone category manipulations and analyzed the MMN reflecting the early stage of auditory processing and the P3a response reflecting the later cognitive mechanism during the second processing stage. Results did not reveal between-group differences in MMN waveforms. By contrast, the P3a response was specifically associated with AP and sensitive to the processing of different pitch types. Specifically, AP participants exhibited smaller P3a amplitudes, especially in between-tone category conditions, and P3a responses correlated significantly with the age of commencement of musical training, suggesting an influence of early musical exposure on AP. Our results reinforce the current opinion that the representation of pitches at the processing level of the auditory-related cortex is comparable among AP and NAP participants, whereas the later processing stage is critical for AP. Results are interpreted as reflecting cognitive facilitation in AP participants, possibly driven by the availability of multiple codes for tones.
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Zhu, Yuhan. "A Preliminary Exploration of the Effects of Different Sound Types on the Behavior of Melopsittacus undulates (Budgerigar)". BIO Web of Conferences 60 (2023): 02010. http://dx.doi.org/10.1051/bioconf/20236002010.
Testo completoAbstract (sommario):
Objective: To explore the effects of different sound types (including different species, frequencies, and volumes on Melopsittacus undulatus singing and approach and avoidance behaviors. Methods: The experimental or test group was set up with different combinations of sound types, frequencies, and volume, and its effects on Melopsittacus undulatus singing and approach and avoidance response were observed. Results: The immediate and sustained effects of noise on Melopsittacus undulatus singing behavior were significantly increased compared to musical tones; under the same volume, high frequency and undulating sounds led to an increase in both immediate and subsequent calls of Melopsittacus undulatus; under the same frequency, a high volume will lead to an increase in the number of tweeting made by Melopsittacus undulatus; a combined increase in frequency and volume will lead to a highly significant increase in the number of tweeting made by Melopsittacus undulatus. An 85dB noise triggers a singing response from Melopsittacus undulatus and produces a clear source avoidance behavior; a frequency of 2048Hz triggers a singing response from Melopsittacus undulatus. Conclusion: This study revealed that noise was more likely to elicit an increase in the number of tweeting made by Melopsittacus undulatus than musical sounds. Loudness volumes of 85dB and above and frequency of 2048Hz and above were more likely to trigger the singing and approach and avoidance response in Melopsittacus undulatus.
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Zhao, T. Christina, e Patricia K. Kuhl. "Musical intervention enhances infants’ neural processing of temporal structure in music and speech". Proceedings of the National Academy of Sciences 113, n. 19 (25 aprile 2016): 5212–17. http://dx.doi.org/10.1073/pnas.1603984113.
Testo completoAbstract (sommario):
Individuals with music training in early childhood show enhanced processing of musical sounds, an effect that generalizes to speech processing. However, the conclusions drawn from previous studies are limited due to the possible confounds of predisposition and other factors affecting musicians and nonmusicians. We used a randomized design to test the effects of a laboratory-controlled music intervention on young infants’ neural processing of music and speech. Nine-month-old infants were randomly assigned to music (intervention) or play (control) activities for 12 sessions. The intervention targeted temporal structure learning using triple meter in music (e.g., waltz), which is difficult for infants, and it incorporated key characteristics of typical infant music classes to maximize learning (e.g., multimodal, social, and repetitive experiences). Controls had similar multimodal, social, repetitive play, but without music. Upon completion, infants’ neural processing of temporal structure was tested in both music (tones in triple meter) and speech (foreign syllable structure). Infants’ neural processing was quantified by the mismatch response (MMR) measured with a traditional oddball paradigm using magnetoencephalography (MEG). The intervention group exhibited significantly larger MMRs in response to music temporal structure violations in both auditory and prefrontal cortical regions. Identical results were obtained for temporal structure changes in speech. The intervention thus enhanced temporal structure processing not only in music, but also in speech, at 9 mo of age. We argue that the intervention enhanced infants’ ability to extract temporal structure information and to predict future events in time, a skill affecting both music and speech processing.
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Kravchuk, T., I. Riadynska e V. Miahka. "The effectiveness of using dance and gymnastics workouts as a means of musical and motor training of athletes in complex coordination sports (on the example of cheerleading)". Scientific Journal of National Pedagogical Dragomanov University. Series 15. Scientific and pedagogical problems of physical culture (physical culture and sports), n. 12(172) (21 dicembre 2023): 107–13. http://dx.doi.org/10.31392/udu-nc.series15.2023.12(172).20.
Testo completoAbstract (sommario):
The article is devoted to the study of the effectiveness of the use of dance-gymnastic workouts in the educational and training process for cheerleading. The aim of the study is to study the influence of dance and gymnastics workouts on the musical and motor training of athletes in complex coordination sports (on the example of cheerleading). Research methods: study and analysis of scientific, educational-methodical and special literature; pedagogical experiment; expert assessment of the level of musical-motor readiness, testing the ability to rhythmic activity; methods of mathematical statistics, including calculating the t -criterion of the Student. In the course of the study, based on the analysis of competition rules and other normative and educational documentation, it is shown that the main requirements to music motor training in complex coordination sports is the ability of athletes to combine expressive movements in harmony with the theme, character, pace and dynamic tones of music. Two types of exercises have been developed: rhythmic (using rhythmic gymnastics) and aerobic (using basic and dance aerobics). A pedagogical experiment was held, in which 24 students participated, who were part of the team cheerleading of the H.S. Skovoroda Kharkiv National Pedagogical University. They were divided into experimental (n=12) and control (n=12) groups. The effectiveness of the developed workouts was tested by their introduction into the training process of the pilot group. Positive statistically probable influence of dance-gymnastic workouts on the following indicators of musical-motor preparation: harmony of movements with rhythm of music (at p<0,01), harmony of movements with tempo of music (at p<0,005) and walk with a clap of hands in the set rhythm (at p<0.05).
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Poudrier, Ève. "The Influence of Rate and Accentuation on Subjective Rhythmization". Music Perception 38, n. 1 (settembre 2020): 27–45. http://dx.doi.org/10.1525/mp.2020.38.1.27.
Testo completoAbstract (sommario):
The parsing of undifferentiated tone sequences into groups of qualitatively distinct elements is one of the earliest rhythmic phenomena to have been investigated experimentally (Bolton, 1894). The present study aimed to replicate and extend these findings through online experimentation using a spontaneous grouping paradigm with forced-choice response (from 1 to 12 tones per group). Two types of isochronous sequences were used: equitone sequences, which varied only with respect to signal rate (200, 550, or 950 ms interonset intervals), and accented sequences, in which accents were added every two or three tones to test the effect of induced grouping (duple vs. triple) and accent type (intensity, duration, or pitch). In equitone sequences, participants’ grouping percepts (N = 4,194) were asymmetrical and tempo-dependent, with “no grouping” and groups of four being most frequently reported. In accented sequences, slower rate, induced triple grouping, and intensity accents correlated with increases in group length. Furthermore, the probability of observing a mixed metric type—that is, grouping percepts divisible by both two and three (6 and 12)—was found to be highest in faster sequences with induced triple grouping. These findings suggest that lower-level triple grouping gives rise to binary grouping percepts at higher metrical levels.
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Umar Umar, Murniati Murniati e Sastra Sastra. "Analisis Teknik Vokal Onang Onang Dalam Ende Gordang Sambilan Pada Grup Kumala Huta Siantar Panyabungan Kabupaten Mandailing Natal". Jurnal Riset Rumpun Seni, Desain dan Media 2, n. 2 (30 ottobre 2023): 215–32. http://dx.doi.org/10.55606/jurrsendem.v2i2.1666.
Testo completoAbstract (sommario):
This study examines the Onang onang Vocal Technique Analysis in Ende Gordang Sambilan in the Kumala Huta Siantar Panyabungan group, Mandailing Natal Regency. The purpose of this study was to determine the vocal techniques of onang onang by parende/group singers, using qualitative methods through a descriptive analysis approach. Using musicology theory, supported by vocal techniques in western music science. Data collection techniques through field observa-tions, interviews, and documentation. The application of vocal techniques seen from the posture in a standing position, dominant articulation using the letters A and O, breathing through chest breathing in medium and low tones and abdominal breathing at the beginning of high-pitched lyrics, onang onang intonation according to the original melody, head resonance and a distinc-tive nose, improvisation with the addition of ornaments in some of the lyrics, vibrato at the end of the lyrics, the spontaneity of the vocal lyrics in relation to the dialect of everyday language, and the miking technique by holding the mic with two hands. In terms of vocal techniques in western music, parende's vocal techniques cannot be forced. Onang onang as a traditional musical art, and has its own characteristics.
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Lowe, Anne S. "L’intégration de la musique et du français au programme d’immersion française : avantages pour l’apprentissage de ces deux matières". Articles 24, n. 3 (17 ottobre 2007): 621–46. http://dx.doi.org/10.7202/031975ar.
Testo completoAbstract (sommario):
Résumé Cet article traite de l'intégration de la musique au programme de français langue seconde et de son influence sur l'apprentissage de la musique et du français. Un programme « musique-langue » qui vise l'apprentissage des concepts de patrons (patterns) mélodiques-rythmiques et de forme musicale offrant des similitudes importantes avec la compréhension et la production orales et écrites du français a été expérimenté par les titulaires de classe. Six classes en deuxième année d'immersion française au Nouveau-Brunswick ont formé l'échantillon: groupe contrôle (n = 64), groupe expérimental (n = 63). Tous les sujets ont subi des prétests et des post-tests. L'application des procédures statistiques MANOVA et MANCOVA révèle une différence significative entre les deux groupes lors des tests de musique et de productions orale et écrite du français.
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Schneider, Sabine, Thomas Müünte, Antoni Rodriguez-Fornells, Michael Sailer e Eckart Altenmüüller. "Music-Supported Training is More Efficient than Functional Motor Training for Recovery of Fine Motor Skills in Stroke Patients". Music Perception 27, n. 4 (1 aprile 2010): 271–80. http://dx.doi.org/10.1525/mp.2010.27.4.271.
Testo completoAbstract (sommario):
MOTOR IMPAIRMENTS ARE COMMON AFTER STROKE but efficacious therapies for these dysfunctions are scarce. Extending an earlier study on the effects of music-supported training (MST), behavioral indices of motor function were obtained before and after a series of training sessions to assess whether this new treatment leads to improved motor functions. Furthermore, music-supported training was contrasted to functional motor training according to the principles of constraint-induced therapy (CIT). In addition to conventional physiotherapy, 32 stroke patients with moderately impaired motor function and no previous musical experience received 15 sessions of MST over a period of three weeks, using a manualized, step-bystep approach. A control group consisting of 15 patients received 15 sessions of CIT in addition to conventional physiotherapy. A third group of 30 patients received exclusively conventional physiotherapy and served as a control group for the other three groups. Fine as well as gross motor skills were trained by using either a MIDI-piano or electronic drum pads programmed to emit piano tones. Motor functions were assessed by an extensive test battery. MST yielded significant improvement in fine as well as gross motor skills with respect to speed, precision, and smoothness of movements. These improvements were greater than after CIT or conventional physiotherapy. In conclusion, with equal treatment intensity, MST leads to more pronounced improvements of motor functions after stroke than CIT.
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Sutaryo, Haris Natanael, Tri Wahyu Widodo e Mahardika Kusumo Simbolon. "Penerapan Tangga Nada Pentatonis dalam Penciptaan Musik Gavotte untuk Kuartet Gitar". PROMUSIKA 10, n. 2 (3 dicembre 2022): 97–103. http://dx.doi.org/10.24821/promusika.v10i2.7955.
Testo completoAbstract (sommario):
Pengertian Gavotte adalah tari Perancis antara abad ke 16-18 dalam birama 2/4 atau 4/4. Termasuk sebagai salah satu bagian dalam suita. Memasuki abad 19 Gavotte tidak lagi terbatas pada musik untuk iringan tarian saja, tetapi sudah berdiri sendiri sebagai komposisi musik. Ide penciptaan musik Gavotee untuk kuartet gitar, terinspirasi dari keprihatinan dalam mengajar praktek gitar klasik baik disekolah musik yang formal maupun non formal. Penelitian ini mencari solusi yang terarah, untuk menciptakan model pembelajaran gitar klasik dasar, melalui sebuah penciptaan karya musik Gavotte dengan penerapan tangga nada pentatonik mayor (C-D-E-G-A) untuk kuartet gitar. Pengertian tangga nada pentatonik adalah jenis tangga nada yang memakai lima nada pokok , masing-masing dibedakan dari jarak antar nada. Penciptaan karya musik Gavotte ini dirancang untuk kuartet gitar (gitar 1, 2, 3, 4) bertujuan untuk penempatan pemain sesuai kemampuan ketrampilannya. Gitar 1 untuk murid yang paling tinggi dengan skil tinggi, gitar 2 lebih rendah ketrampilannya begitu juga untuk gitar 3 dan 4. Penggarapan komposisi musik Gavotte lebih ditekankan pada pengolahan ritme, melodi, dan harmoni yang sederhana yang disesuaikan ketrampilan gitar dasar. Metode penciptaan musik terdiri dari tiga langkah yaitu proses tindakan kelas, eksplorasi, dan sosialisasi. Penelitian dalam penciptaan karya musik ini digunakan sebagai model pembelajaran praktik gitar dan dapat menjembatani dalam membantu penguasaan membaca notasi balok, khususnya untuk mengajar kelas group yang terdiri dari 4-6 orang.AbstractApplication of the Pentatonic Scale in the Creation of Gavotte Music for the Guitar Quartet. Gavotte is a French dance between the 16th-18th centuries in rhythms of 2/4 or 4/4. It was included as one of the parts in the suita. Entering the 19th century, Gavotte was no longer limited to music for dance accompaniment but already stood alone as a musical composition. The idea of creating Gavotee music for guitar quartets was inspired by concerns about teaching classical guitar practice in formal and non-formal music schools. This research seeks a purposeful solution to make a basic classical guitar learning model by creating Gavotte's musical works with the application of major pentatonic scales (C-D-E-G-A) to guitar quartets. The notation of pentatonic scale is a type of scale that uses five principal tones, each distinguished by the distance between notes. The creation of Gavotte's musical work was designed for a quartet of guitars (guitars 1, 2, 3, 4) aimed at placing players according to their abilities. Guitar 1 is for the highest students with high skills; guitar 2 is lower in skill, as well as for guitars 3 and 4. Gavotte's musical compositions emphasize simple rhythm, melody, and harmonic processing tailored to basic guitar skills. The music creation method consists of three steps, namely, the process of class action, exploration, and socialization. Research in creating this musical work is used as a learning model for guitar practice. It can bridge in helping the mastery of reading block notation, especially for teaching group classes of 4-6 people.Keywords: music composition; Gavotte; guitar skill
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Giangrande, Janice. "The Tritone Paradox: Effects of Pitch Class and Position of the Spectral Envelope". Music Perception 15, n. 3 (1998): 253–64. http://dx.doi.org/10.2307/40285767.
Testo completoAbstract (sommario):
The tritone paradox reveals compelling individual differences in the orientation of the pitch class circle derived from judgments of tritone pairs. Some subjects perceive tones in one half of the pitch class circle as higher than tones in the opposite half, whereas other subjects produce the converse pattern. Because geographical differences in perception of the tritone paradox have been found, an interesting issue concerns how subjects in additional regions of the United States may perceive the tritone paradox. A second issue of interest concerns the extent to which the position of the spectral envelope affects how the pattern is perceived. These issues are here addressed in a study of the tritone paradox in a group of subjects from South Florida. With respect to the first issue, the overall histogram of peak pitch classes produced by the subjects from South Florida was similar to the histogram found among Californian subjects. To address the second issue, tone pairs were generated under four spectral envelopes spaced at half-octave intervals. The majority of subjects evidenced differences in peak pitch class of no more than 2 semitones when judgments under each of the four spectral envelopes were compared.
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Bonnel, Anna, Laurent Mottron, Isabelle Peretz, Manon Trudel, Erick Gallun e Anne-Marie Bonnel. "Enhanced Pitch Sensitivity in Individuals with Autism: A Signal Detection Analysis". Journal of Cognitive Neuroscience 15, n. 2 (1 febbraio 2003): 226–35. http://dx.doi.org/10.1162/089892903321208169.
Testo completoAbstract (sommario):
Past research has shown a superiority of participants with high-functioning autism over comparison groups in memorizing picture-pitch associations and in detecting pitch changes in melodies. A subset of individuals with autism, known as “musical savants,” is also known to possess absolute pitch. This superiority might be due to an abnormally high sensitivity to fine-grained pitch differences in sounds. To test this hypothesis, psychoacoustic tasks were devised so as to use a signal detection methodology. Participants were all musically untrained and were divided into a group of 12 high-functioning individuals with autism and a group of 12 normally developing individuals. Their task was to judge the pitch of pure tones in a “same-different” discrimination task and in a “high-low” categorization task. In both tasks, the obtained psychometric functions revealed higher pitch sensitivity for subjects with autism, with a more pronounced advantage over control participants in the categorization task. These findings confirm that pitch processing is enhanced in “high-functioning” autism. Superior performance in pitch discrimination and categorization extends previous findings of enhanced visual performance to the auditory domain. Thus, and as predicted by the enhanced perceptual functioning model for peaks of ability in autism (Mottron & Burack, 2001), autistic individuals outperform typically developing population in a variety of low-level perceptual tasks.
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Bythell, Duncan. "Provinces versus metropolis in the British brass band movement in the early twentieth century: the case of William Rimmer and his music". Popular Music 16, n. 2 (maggio 1997): 151–63. http://dx.doi.org/10.1017/s0261143000000349.
Testo completoAbstract (sommario):
In recent years, historians have belatedly recognised the growth of the British brass band as one of the most remarkable developments in the sphere of popular music-making in the second half of the nineteenth century. Not only did ‘banding’ provide an absorbing pastime for tens of thousands of amateur musicians, but brass band performances also fulfilled an important cultural and educational role in introducing the standard classics of the bourgeois musical canon to mass audiences who never saw the inside of an opera house or a concert hall. In addition, satisfying the needs of these new-style bands for music, instruments, uniforms and other impedimenta led to the growth of a group of small, specialised and resourceful enterprises which successfully developed a mass market for their wares in Britain and the colonies. By the end of the 1890s, there could have been few towns or villages, whether in the remoter parts of the British Isles or even the most far flung corners of the white dominions, where some kind of brass band did not add its distinctive tones to the annual cycle of formal and informal events which made up their community's social calendar.
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Dunjic, Momir, Stefano Turini, Dejan Krstic, Katarina Dunjic, Marija Dunjic, Bojan Rajevic e Petar Miodragovic. "Application of the Innovative and Non-Invasive Technique, Molecular Music Therapy (MMT), Bio-Frequency Therapy, for the Treatment of a Wide Range of Disorders and Pathologies, with Consequent Verification of Molecular Parameters by Using Bi-Digital O-Ring Test (BDORT)". Acupuncture & Electro-Therapeutics Research 44, n. 3 (21 gennaio 2020): 177–89. http://dx.doi.org/10.3727/036012920x15779969212928.
Testo completoAbstract (sommario):
Radiofrequency therapy is an unconventional method, already applied for some time, with numerous results in numerous clinical pictures. Our group has developed a software, later called SONGENPROT-SOLARIS, capable of directly converting nucleotide sequences (DNA and/or RNA) and amino acid sequences (polypeptides and proteins) into musical sequences, based on mathematic matrices, designed by the French physicist and musician Joel Sternheimer, which allows to associate a musical note with a nucleotide or an amino acid. Innovation in our software is that, in the algorithm that defines it, a variant is directly implemented that allows the reproduction of sounds, phase-shifted by 30 Hz, between one ear and another reproducing the phenomenon of Binaural Tones, capable of induce a specific brain activity and also the release of particles called solitons. Thanks to this software we have developed a technique called MMT (Molecular Music Therapy) and currently, we are in the phase of applying the technique on a cohort of 91 patients, with a high spectrum of clinical pictures, examining the same, using the technique Bi-Digital-ORing-Test (BDORT), before and after treatment with MMT. Aim of project is to stimulate the expression of a specific gene (the same genetic sequence that the patient listens to, translated into music), only through the use of sound sequences. We have concentrated our attention on three main molecules: Sirtuin-1, Telomers and TP-53. The results obtained with BDORT, after treatment with MMT, showed a significant increase in the values of the three molecules, on all the examined patients, demonstrating the operative efficacy of the technique and the its applicability to numerous diseases. In order to confirm the data obtained by BDORT, we propose, with the help of an accredited laboratory, to perform epigenetic tests on the three parameters listed above, paving the way to understanding how frequencies can influence gene expression.
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Fadel, Congeta, Angela Ribas, Débora Lüders, Vinicius Fonseca e Monica Cat. "Pitch-Matching Accuracy and Temporal Auditory Processing". International Archives of Otorhinolaryngology 22, n. 02 (13 giugno 2017): 113–18. http://dx.doi.org/10.1055/s-0037-1603763.
Testo completoAbstract (sommario):
Introduction Pitch-matching refers to the ability to vocally reproduce an acoustic model in a corresponding tone to the presented sound. This ability, which is dependent on pitch perception ability, can vary among individuals, and some are not able to sing in the correct tune or discriminate differences between tones. Objective To correlate pitch-matching accuracy and auditory processing in individuals without musical training. Methods A Pitch-Matching Test (vocal reproduction of synthesized and human voice sounds) and two commercially available tests of auditory temporal processing (the Pitch Pattern Sequence Test and the Random Gap Detection Test) were administered to all participants. A total of 62 college students of both genders, aged between 18 and 35 years old, were divided into 2 groups, according to their performances in the Pitch-Matching Test (the accurate match group and the inaccurate match group). Results In the Pitch-Matching Test, both groups achieved better results when reproducing vocalized sounds. The accurate match group achieved a significantly higher pitch pattern sequence test performance. In the Random Gap Detection Test analysis, there were no differences between the two groups. The Pearson's chi-squared test showed a direct correlation between the Pitch-Matching Test and the Pitch Pattern Sequence Test. Conclusion The findings of this study suggest the existence of a significant relationship between temporal auditory processing and pitch-matching, through which accurate pitch-matching individuals perform better in the Pitch Pattern Sequence Test. Inaccurate pitch-matching individuals may be skilled at discriminating pitch, despite their poor performance in the Pitch-Matching Test.
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Paquette, Sebastien, Samir Gouin e Alexandre Lehmann. "Utilizing auditory emotion bio-markers, the underpinning of emotion perception improvement in cochlear implant users". Journal of the Acoustical Society of America 153, n. 3_supplement (1 marzo 2023): A285. http://dx.doi.org/10.1121/10.0018863.
Testo completoAbstract (sommario):
Cochlear implants (CI) have had tremendous success restoring a sense of hearing in the deaf. However, even after months of intensive rehabilitation, many CI users struggle with appreciating emotive tones in speech and music despite good speech comprehension. Failure to perceive emotional expression can result in maladjusted social behaviour, leading to detrimental socio-economic consequences. Recent advances in automated pattern identification of neuroimaging data can bring empirical support to developing training programs for emotion perception rehabilitation in CI users. We used a machine-learning approach to identify emotion-processing bio-markers in high-density electroencephalograms collected from CI users (22) and matched normal-hearing controls (22). Participants’ brain responses elicited by short musical and vocal emotional (happy, sad, and neutral) stimuli were used to train an algorithm to help identify, in each group, the pattern of brain responses that can best predict the presented emotion. Using this approach, we were able to confirm the presence of emotion-specific patterns of brain activity in CI users despite their reported emotion perception deficit. Identifying these patterns brings forward support for implementing a rehabilitation program for emotion perception for this population; if an algorithm can differentiate aurally presented emotions, perhaps CI users can learn to discriminate emotions.
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Bocharov, Yuri S. "Some Thoughts on the Baroque Organ Suite". Vestnik of Saint Petersburg University. Arts 14, n. 1 (2024): 4–22. http://dx.doi.org/10.21638/spbu15.2024.101.
Testo completoAbstract (sommario):
This article deals with the Baroque organ suite, which arose in France in the Reign of Louis XIV, when the tradition of publishing organ books was formed. And such books usually consisted of liturgical versets, grouped according to certain church tones. Since the musicological literature does not have a clear understanding of what an organ suite is as a genre, the author decided to clearly differentiate it among organ masses, magnificats and hymns that are similar in structure. In his opinion, an organ suite is an ordered collection of different musical pieces (usually from 6 to 13) in a single tone, without a common liturgical name. In total, there are approximately 75 such suites written by Nivers, Lebègue, Clérambault, Marchand and other masters of the French Baroque, although only a few samples are designated as Suite. Organ suites were not generally characterized by structural unification. However, they usually begin with a piece in the character of a solemn introduction, which is called Prélude or Plein jeu (by type of registration). The second most often is Fugue. Next follows a diverse group of textural and register genres. And as the completion of the entire suite, as a rule, are full-sounded Grand jeu or Plein jeu. At the same time, performance of the suites entirely “in one sitting”, as in modern concert practice, was not intended. French organ suites were addressed primarily to provincial organists, who could use individual pieces both as a guide for their own improvisations, and in the form of already “ready-made” versets for various services. If necessary, they could also combine these pieces, including other music. Therefore, any attempts of modern musicologists to find in the structure of the Baroque organ suite any purely musical meaning and to analyze them on the model of multi-movement compositions of later times have nothing in common with the authentic practice.
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Rainsford, Miriam, Matthew A. Palmer e James D. Sauer. "The Distinctiveness Effect in the Recognition of Whole Melodies". Music Perception 36, n. 3 (1 febbraio 2019): 253–72. http://dx.doi.org/10.1525/mp.2019.36.3.253.
Testo completoAbstract (sommario):
Distinctive stimuli are better recognized than typical stimuli in many domains (e.g., faces, words). Distinctiveness predicts the point of recognition of a melody (Bailes, 2010), and the recognition of unique tones within a melody (Vuvan, Podolak, & Schmuckler, 2014), yet no studies have examined the role of distinctiveness in recognizing whole melodies. We composed a set of novel melodies according to rules that should result in these being perceived as more or less distinctive. Using computational analysis and human ratings by a group of 36 pilot testers, we established a final stimulus set of 96 novel melodies (48 eightnote, 48 sixteen-note), half of which were high and half low in distinctiveness. A separate group of 26 participants completed a recognition test using this stimulus set. Using linear mixed-effects modeling, we found that greater pitch and interval range, wider intervals, varied contour, and ambiguous tonality within a Western diatonic framework predicted human perception of distinctiveness. However, only a wider modal (most frequent) interval predicted correct recognition. Distinctiveness improved recognition performance in both stimulus lengths; however, a significant advantage was only shown for sixteen-note melodies. Thus, the distinctiveness effect as observed across domains generalizes to the recognition of longer, whole melodies.
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Abecasis, Donna, Renaud Brochard, Roni Granot e Carolyn Drake. "Differential Brain Response to Metrical Accents in Isochronous Auditory Sequences". Music Perception 22, n. 3 (2005): 549–62. http://dx.doi.org/10.1525/mp.2005.22.3.549.
Testo completoAbstract (sommario):
Even within equitonal isochronous sequences, listeners report perceiving differences among the tones, reflecting some grouping and accenting of the sound events. In a previous study, we explored this phenomenon of �subjective rhythmization� physiologically through brain event-related potentials (ERPs). We found differences in the ERP responses to small intensity deviations introduced in different positions of isochronous sequences, even though all sound events were physically identical. These differences seemed to follow a binary pattern, with larger amplitudes in the response elicited by deviants in odd-numbered than in even-numbered positions. The experiments reported here were designed to test whether the differences observed corresponded to a metrical pattern, by using a similar design in sequences of a binary (long-short) or a ternary (long-short-short) meter. We found a similar pattern of results in the binary condition, but a significantly different pattern in the ternary one. Importantly, the amplitude of the ERP response was largest in positions corresponding to strong beats in all conditions. These results support the notion of a binary default metrical pattern spontaneously imposed by listeners, and a better processing of the first (accented) event in each perceptual group. The differences were mainly observed in a late, attention-dependent component of the ERPs, corresponding to rather high-level processing.
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Sunarto, Bambang. "Adangiyah: Philosophy of Art in Tradition and Modernization". Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 16, n. 2 (1 dicembre 2021): i—ii. http://dx.doi.org/10.33153/dewaruci.v16i2.3983.
Testo completoAbstract (sommario):
Dewa Ruci's journal on this edition is felt so special. Since volume 15 has been eager to target a wider audience. Many scientific idiographic concepts are important and need to be known by international readers. This edition is proud to present the most widely written articles by postgraduate students and lecturers from the Indonesian Institute of the Arts Surakarta, Universities of Education from Surabaya, and Malang (East Java). What is special about this edition of this journal is the participation of the second author, who comes from various countries who are very encouraging to the first author. The participating writers from abroad are Adzrool Idzwan Ismail (Malaysia), Michiyo Yoneno Reyes (Japan), Nazima Rangwala Kalita (India), Lee Yong-Shik (South Korea), Jody Diamond (United States).We above appear to have six collaboratively written articles to publish on this occasion. The first author, Soerjo Wido Minato, wrote an article entitled “Art, Nature, and Culinary As Leverages for Village Branding at the Foot of the Mountain.” He discussed that coastal tourism and coastal villages have always been attractions, especially mountain villages that have succeeded in branding themselves as tourist villages. The Malang State University research team conducted research activities to support the preparation of Benjor Village to become a tourist village. An effective strategy for branding Benjor Village as a tourist village at the foot of the mountain is to synergize art, nature, and culinary arts in logos, songs, dances, taglines, videos, and social media.Next is Yulela Nur Imama's article entitled "Masak, Macak, Manak” at this time through challenge-based research on the creation of Nol dance," discussing 3M (cooking, preening, give birth) as cultural values for Javanese women. This study aims to determine the existence and relevance of these 3M values in dance works and how these values must be maintained. Tari Nol interprets 3M's cultural values.Hanna Medita wrote the article “Self Me: interpretation of self-injury in the context of healing,” discussing modernization that affects human needs. Self Me is a work inspired by the author's experience of self-injury which is very common among teenagers towards adulthood. Many symptoms are very likely to affect one's mental health. The work of Self Me gives a message about the importance of knowing self-injury early on and knowing what the symptoms of self-injury are.Rian Prasetya's article entitled "Color Formation of Musical Compositions of Children's Choir "Vocalista Angels" discusses the choir resulting from intensive training in various competitions in the Vocalista Angels (VA) group. The group emphasizes unique performance with sound color processing that deviates from the conventions of music theory. At the heart of quality processing at VA is building a distinctive tone of voice, trying to avoid musical tendencies based on classical vocal theory. An important element to form distinctiveness is a musical work that puts forward the method of wording, processing articulation, resonance, and intonation.Izam Ismail wrote the article "Media Adaptation of Mask Making in Malang: Study of Functional and Process for Making Fiber Masks" which discusses the adaptation made by changing the media without changing the shape and visuals that appear in Topeng Malang. The mask in the Malang Mask performance is a sacred form used by dancers by bringing the Panji character into the show. Making fiber masks begins with practice, namely making molds without changing the shape and ornaments on Malang Masks.Harmanto’s article entitled "The Concept of Tumbuk in Javanese Gamelan Tuning" discusses the phenomenon of musical mash in the Javanese karawitan tradition. Tumbuk is more than just a scale between Sléndro and Pélog. Tumbuk acts as a synchronizer in frequency and range between notes and a tone coordinator or add-on in the tuning system. Tones that have the same frequency in the tone of nêm are nêm sléndro and nêm pélog, nêm sléndro and pélog stuff, and others.The last writer is Hasbullah, with an article entitled "The Meaning Of Bali Aesthetic Code In The Animated Film Si Uma." He discusses the meaning of the Balinese aesthetic code in the animated film "Si Uma." The animated film gives a message through semantic codes such as cloth poleng, which connotes a balance of life and perfection. The meanings found from studying the Balinese aesthetic code in the animated film “Si Uma” are beauty, concentration, and cultural identity.That is the essence of the issue of Volume 16 Number 2 (December Edition), 2021. Hopefully, the knowledge that has been present in this publication can spur the growth of fine arts and performing arts in international networks, both in the arts. Creation and in the scientific research of art in general. We hope for the development of fine arts and arts.Thank you
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Schumacher, Jérôme A. "L’intégration de sites web d’hébergement de vidéos dans l’enseignement de l’instrument : usages et pratiques pédagogiques". Les Cahiers de la Société québécoise de recherche en musique 17, n. 1 (17 aprile 2018): 61–70. http://dx.doi.org/10.7202/1044670ar.
Testo completoAbstract (sommario):
Alors que les sites d’hébergement de vidéos enregistrent de plus en plus d’utilisateurs de tous âges (Barry et collab. 2016 ; Sweeny 2009 ; Whitaker, Orman, et Yarbrough 2014), plusieurs travaux de recherche en éducation reconnaissent leur importance et leur influence dans le domaine de l’enseignement et de l’apprentissage (Buzzetto-More 2015 ; Dougan 2014 ; Whitaker, Orman et Yarbrough 2014). YouTube par exemple, fait depuis plusieurs années l’objet d’études et d’évaluations scientifiques tant au niveau de son utilisation que de son contenu (Kruse et Veblen 2012 ; Rudolph et Frankel 2009 ; Schumacher 2015 ; Waldron 2009, 2011 et 2013). Si les résultats de ces études mettent en évidence une valeur ajoutée non négligeable, notamment dans l’engagement des étudiants, la compréhension des notions, et leur satisfaction (Buzzetto-More 2015), peu de recherches se consacrent à l’influence de l’intégration de ces plateformes sur les pratiques pédagogiques des enseignants. La présente contribution porte sur les modifications des pratiques déclarées des professeurs d’instrument de différentes écoles de musique et institutions musicales de la Suisse romande suite à l’intégration de plateformes de vidéos dans leur enseignement. Cette recherche qualitative, basée sur une trentaine d’entretiens semi-dirigés et d’entrevues de groupe, met en évidence des modifications dans les pratiques d’enseignement à plusieurs niveaux : activités proposées à l’élève, organisation de l’espace, registres de la communication didactique, évaluation, et styles didactiques. Elle illustre que la progression didactique d’un tutoriel de piano (« Le blues au piano et aux claviers, les bases pour bien débuter ») est essentiellement linéaire et que de tels artefacts considèrent l’apprenant comme un sujet épistémique. Enfin, elle met en évidence les compétences nécessaires aux professeurs et aux élèves afin que l’intégration de cette technologie dans les salles de cours et studios de musique soit réussie.
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Khanis, Nadiia. "WEDDING SONGS IN THE MIDDLE DNIEPER REGION: MORPHOLOGY AND GEOGRAPHIC DISTRIBUTION OF ONE TYPE OF STROPHIC MELODIES WITH 6-BEAT METRICS". Problems of music ethnology 18 (22 dicembre 2023): 52–74. http://dx.doi.org/10.31318/2522-4212.2023.18.294830.
Testo completoAbstract (sommario):
The results of a morphological research of the Middle Dnieper (Dnipro) collection of wedding melodies of a lyrical function are presented, which are based on a six-metre rhythm-scheme with second-generation rhythms and verses, arranged in a three-line stanza (conditional macromodel ‹V*63 ›). This genre sub-group has the established definition of «lyrical wedding songs» (LWS), its key functional characteristics: lyrics of lyrical content (conveying the emotions of the Bride and her mother) and melo-intonations of «lyrical stylistics».
About 350 samples (recorded in the years 1985–2023 in the current Cherkasy and Kirovohrad regions) were involved in the research, 80 of them were studied in detail, using multi-level analysis (toolkit – modeling of rhythmicsyllabic formulas, intonation contours, mode and sound-scale analysis). The constructed typical local models were mapped, the results are shown on six maps according to individual morphological parameters: differences in rhythm and composition (maps B2, B3); tempo deviations (B3); texture differences (B4); differences in the mode and soundscale organization (scale, key tones, their syntactic positions, B5 and B6 maps).
The purpose of the publication is to identify the features of the Middle-Dnipro region subspecies of the polyethnic (Ukrainian-Belarusian) macrotype ‹V*63 › and to present the areology of its morphological varieties on the territory of the Middle-Dnipro region. Several important structural positions have been established:
a specific Middle-Dnipro verse formula prevails in the studied area – V{456} with the possibility of its expansion to V{567} due to the mechanism of superfragmentation;
the basic three-line composition has a traditional full and local reduced form;
in the areas adjacent to the Dnipro, polyphonic textural developments of the musical canvas and the related specific textural composition of the stanza with the special role of the soloist in the opening part of the stanza are recorded;
most of the samples belong to the three-base wedding mode with a characteristic system of final tones (SFT) of melodic lines, where the second and third melodic lines have fixed cadences on 1 and 2 stairs, and in the first line three pitch options are allowed – 2, 3 or 5 stairs (degrees). According to the degree of prevalence, these are the following SFTs – ‹2;1;2› (widespread, including Podillia, Polissia), ‹5;1;2›, ‹3;1;2›. The permanent ending of the stanza with an open cadence on the 2d stair, formed using the apocope, is the most characteristic feature of the studied melotype.
A summary analysis of the localization of a series of morphological markers revealed the specificity of the spatial attribution of the studied meloform in territories located on both banks of the Dnipro (within the studied areas – map B7). Different combinations of morphological parameters formed 6 local groups of melodies, which can be combined into 4 varieties, opposite in terms of their basic habitats – two from Podillia (Gnyly Tikich and Sinyukha basins) and two from Middle-Dnipro region.
Arguments have been made in favor of the fact that at least the western border of the Middle Dnipro region can be drawn quite clearly (although, as it is expected, in the form of a blurred border).
The areals created are guidelines for further research steps: the perspective of the functional study of LWS is opened – the identification of a complete corpus of poetic texts with lyrical content and melodies of the corresponding stylistics; the search for terrains on which the lyricization of songs of the six-metre three-line form could unfold, attempts to outline the hypothetical chronology of these processes.
The article is accompanied by tables of sources, notations (10 examples), maps.
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Lukashenko, Larysa. "Areology of the Birth and Christening Tunes of the West of the Ukrainian Ethnic Territory and Adjacent Lands: the Perspective from Northern Pidlassia". Problems of music ethnology 16 (29 dicembre 2021): 65–86. http://dx.doi.org/10.31318/2522-4212.2021.16.249649.
Testo completoAbstract (sommario):
The considerable progress of Ukrainian ethnomusicology in the field of structural and typological researches in the recent decades has generally clarified the melotypology and melogeography of the most ritual genre cycles of ethnic Ukraine and the adjacent areas, except the birth and christening songs. This is due to the small number or complete absence of recordings of this kind of songs in most regions of Ukraine.
However, there are some areas where birth and christening songs exist in more than a few numbers and form a sufficiently integral melotypological complex. These areas are Northern Pidlassiaand Nadsyannia (the Syan river region). Generally, Western Ukraine is represented by a small number of records of birth and christening songs, but this nevertheless dominate over the rest of the territory, which is represented mainly by single samples. In the represented study, an attempt to fill the existing gap in the typological study of birth and christening songs of the western territories of Ukraine is made. The sources are published recordings, the author’s own materials, as well as materials from the Archive of the Laboratory of Music Ethnology at the Lviv National Music Academy named after Mykola Lysenko.
Musical and folklore studies of birth and christening rites are not numerous. Among them it is necessary to mention a sizable monograph of Anatolyi Ivanytsky «Songs are from Birth and Christening» (Ivanytsky, 2013) and also collections of Halyna Sokil, Stephan Copa and others.Iryna Klymenko dedicated a special paragraph to this genre in the monograph «Ritual Melodies of the Ukrainians in the Context of the Slavic-Baltic Early-Traditional Melomassive: Typology and Geography» (2020).
The comparative analysis of the total amount of the birth and christening tunes reveals a significant role in this genre cycle of the melotypological group on the basis of the spondeic seven-component structure, which is the most represented in the western Ukrainian and adjacent territories.
The next melotypological group combines various forms based on the five component structure. Melodic type with a lyric structure V(5+5)2 has two rhythmic versions. Quite often, the same texts can be performed in different rhythmic variants. It has been observed that the tunes of the first rhythmic type are connected mainly with ritual lyrics. Instead, the second type combines mainly with common plots.
A unique type based on a five-component structure, which has no analogues, is a three-part form V(5+5+5)2, which spreads on Nadsianna, less on Opillia territories. These melodies usually are combined with the same poetic lines «Early on Sunday, early on Sunday as a white day» rarely with some slight variants in the first line.
Speaking of five-syllable structures we should mention songs with the so-called «arrow-like» rhythm. Although only a few fixations are known in Western Ukraine, the central and eastern territories of Ukraine and Belarus are represented more richly. Instead, the West part represents a kind of «hybrid» form based on this rhythmic structure.
Perhaps the most widely used ritual melodic type in Eastern Europe with the verse structure V(5+5+7)2 and birth and christening function distribute on the territory of north-western Ukraine with a concentration on Nadsyannia.
Another widespread ritual rhythmical form based on the iambic six-component structure is represented in tirade and strophic compositions, but the records of these songs, unfortunately, are rare.
Summarizing the melotypological and meloareological characteristics of the birth and christening melodic types of the ethnic west of Ukraine, it should be noted that the two densest centers of their existence are Northern Pidlassiaand Nadsyannia. However, Northern Pidlassiais characterized by a richer melotypological set: six melotypes, while in Nadsyannia there are only three ones. In addition, the folk melodic types of these two areas actually differ.
In general, the birth and christening genre cycle of Nadssiannia seems to be separated from the surrounding territories with its «unique» song «Early on Sunday», which partially spread to neighboring territories. Additionally, there is no any recorded sample based on the seven-component structure, as well as no samples of six-syllable melodies were encountered.
The range of melotypes based on the five-component structure is the most numerous and most widespread in the territory of the ethnic west of Ukraine. A group of related seven-components melodic types is spread in the BelarusianUkrainian area. The melodic basis of the vast majority of the birth and christening songs is a system of stable tones at a distance of a fifth with a minor inclination of the scale.
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Yao, Yao, Xiaoxiang Chen, Fei Chen e Jiaqiang Zhu. "Musical Training Enhances Categorical Perception of Speech in Preschoolers: Training Duration and Musical Program Matter". Journal of Speech, Language, and Hearing Research, 9 novembre 2022, 1–16. http://dx.doi.org/10.1044/2022_jslhr-22-00216.
Testo completoAbstract (sommario):
Purpose: Previous research has indicated the beneficial effects of musical training on speech perception in children. However, little has been known about whether musical training exerts transfer effects on fine-grained perception of linguistic pitch and time information. This study aimed to investigate the effects of different musical training programs and training duration on preschoolers' categorical perception (CP) of lexical tones and voice onset time (VOT) in Mandarin Chinese, which utilize pitch and time changes, respectively, to convey phonemic contrasts. Method: Sixty-one Mandarin-speaking children aged 4 years were randomly assigned to pitch-based musical training (carillon group), rhythm-based musical training (drum group), or handcraft learning (control group). Children completed the tests designed to assess their musical abilities, CP of lexical tones and VOT, IQ, and working memory at three time-points. Repeated-measures analyses of variance were conducted to evaluate the training-related effects in various tasks. Correlation analyses were used to infer the relationships between musical abilities and CP performance of speech. Results: The carillon group demonstrated advantages over the drum and control groups in music pitch processing and CP of lexical tones; besides, the drum group performed better in the music time processing and CP of VOT than the control group. Moreover, positive correlations were found between musical gains and improvements on CP of speech. Conclusions: These results provide evidence that transfer effects occur in CP of lexical tones and VOT in preschoolers. Our findings highlight the selectivity of musical advantages driven by different components of training programs and suggest that long-term musical training could be a means of early speech rehabilitation in children with communication disorders.
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Gunkel, Dieter. "Musical Evidence for Low Boundary Tones in Ancient Greek". Greek and Roman Musical Studies, 4 aprile 2023, 1–54. http://dx.doi.org/10.1163/22129758-bja10063.
Testo completoAbstract (sommario):
Abstract Several scholars have suggested that in ancient Greek there was a low boundary tone at the end of a relatively small prosodic constituent such as a clitic group or maximal prosodic word. The boundary tone may phonologically motivate some puzzling pitch-accentual phenomena in the language. One is the diachronic pitch-peak retraction that led to the circumflex pitch accent (HL) on penultimate syllables (the “sōtêra rule”). Another is the intonational phrase-internal downstepping or deletion of a word-final acute accent (H); that conversion of an acute to a grave accent is known as “lulling” or “koímēsis”. If such a low boundary tone existed, its effects should still be audible in ancient Greek non-strophic vocal music, where there is a significant correlation between the pitch movement of the text and the movement of the melody to which it is set, i.e. between tone and tune. Specifically, proponents of such a low boundary tone would predict that the turning point between falling and rising melody, the “musical trough”, should center around the word-final mora or syllable. The present study provides the first full description of troughs in the Delphic Hymns and finds that they are indeed closely aligned with word-end. Furthermore, once other factors that could lead to word-final troughs are set aside, i.e. once potential confounds are controlled for, the association of the trough with word-end remains strong, suggesting that we should in fact reconstruct the low boundary tone.
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Zhu, Jiaqiang, Xiaoxiang Chen e Yuxiao Yang. "Effects of Amateur Musical Experience on Categorical Perception of Lexical Tones by Native Chinese Adults: An ERP Study". Frontiers in Psychology 12 (15 marzo 2021). http://dx.doi.org/10.3389/fpsyg.2021.611189.
Testo completoAbstract (sommario):
Music impacting on speech processing is vividly evidenced in most reports involving professional musicians, while the question of whether the facilitative effects of music are limited to experts or may extend to amateurs remains to be resolved. Previous research has suggested that analogous to language experience, musicianship also modulates lexical tone perception but the influence of amateur musical experience in adulthood is poorly understood. Furthermore, little is known about how acoustic information and phonological information of lexical tones are processed by amateur musicians. This study aimed to provide neural evidence of cortical plasticity by examining categorical perception of lexical tones in Chinese adults with amateur musical experience relative to the non-musician counterparts. Fifteen adult Chinese amateur musicians and an equal number of non-musicians participated in an event-related potential (ERP) experiment. Their mismatch negativities (MMNs) to lexical tones from Mandarin Tone 2–Tone 4 continuum and non-speech tone analogs were measured. It was hypothesized that amateur musicians would exhibit different MMNs to their non-musician counterparts in processing two aspects of information in lexical tones. Results showed that the MMN mean amplitude evoked by within-category deviants was significantly larger for amateur musicians than non-musicians regardless of speech or non-speech condition. This implies the strengthened processing of acoustic information by adult amateur musicians without the need of focused attention, as the detection of subtle acoustic nuances of pitch was measurably improved. In addition, the MMN peak latency elicited by across-category deviants was significantly shorter than that by within-category deviants for both groups, indicative of the earlier processing of phonological information than acoustic information of lexical tones at the pre-attentive stage. The results mentioned above suggest that cortical plasticity can still be induced in adulthood, hence non-musicians should be defined more strictly than before. Besides, the current study enlarges the population demonstrating the beneficial effects of musical experience on perceptual and cognitive functions, namely, the effects of enhanced speech processing from music are not confined to a small group of experts but extend to a large population of amateurs.