Gotowe bibliografie tematyczne / Music ability

Gotowa bibliografia na temat „Music ability”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Music ability"

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Butler, David. "The Days Do Not End: Film Music, Time and Bernard Herrmann". Film Studies 9, nr 1 (2006): 51–63. http://dx.doi.org/10.7227/fs.9.8.

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The tendency in most writing on the temporal properties of film music has been to note music‘s ability to establish, quickly and efficiently, a films historical setting. Although acknowledging this important function, this paper seeks to explore a wider range of temporal properties fulfilled by film music. Three aspects of musics temporality are discussed: anachronism (whereby choices of anachronistic music can provide the spectator with ways of making sense of a films subtext or its characters’ state of mind), navigation (the ability of music to help the spectator understand where and when they are in a films narrative) and expansion (musics ability to expand our experience of film time). The paper focuses on Bernard Herrmann, and his score for Taxi Driver (1976), and argues that Herrmann was particularly sensitive to the temporal possibilities of film music.
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Nainggolan, Oriana Tio Parahita, i Vill Alvia Martin. "Pembelajaran Musik Kreatif Dalam Sudut Pandang Pembelajaran Abad ke-21". PROMUSIKA 7, nr 2 (30.09.2019): 85–92. http://dx.doi.org/10.24821/promusika.v7i2.3454.

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Creative music learning is one of the challenging subjects of learning music for elementary school students. The main topic of creative music is sound. It is the most important element in learning music. Sound must recognized and heard at the beginning of music lesson. Creative music aims not only to develop students’ listening skills but also to develop the ability to in making innovation in music either creating creative musical composition or musical instruments. The students also will get the advantages from creative music learning processes such as critical thinking, communication, collaboration, and creativity and innovation (4C). In the framework of the 21st century learning, the 4C is the ability that must achieved by the students. Although creative music subject is important in learning music, it has not been widely taught in public schools. This paper will examine how 4C integrated into creative music learning. The data obtained from observations and interviews during the music creative learning process. The results have shown that students integrate 4C in the learning process. Making creative music requires critical thinking finding various possibilities in order to make making innovations in music. Communication skill is also needed to express ideas from critical thoughts. The collaborative ability also used when playing creative music. Critical thinking skills, communication, and collaboration will ultimately result in creativity and innovation in making creative music. Pembelajaran musik kreatif merupakan salah satu pembelajaran yang menarik bagi siswa Sekolah Dasar (SD). Materi utama pembelajaran musik kreatif adalah suara. Suara merupakan materi pertama yang harus dikenali oleh siswa pada pembelajaran musik. Pembelajaran musik kreatif bertujuan tidak saja untuk mengembangkan keterampilan mendengar, tetapi juga mengembangkan kemampuan dalam membuat inovasi mencipta komposisi musik kreratif. Pada saat pembelajaran musik kreatif, siswa juga mendapat keuntungan yaitu melatih kemampuan berpikir kritis, berkomunikasi, berkolaborasi, dan kreativitas serta berinvoasi (4C). Kemampuan 4C merupakan kemampuan yang harus dicapai oleh seluruh peserta didik dalam pembelajaran abad 21. Artikel ini bertujuan untuk mendeksripsikan kemampuan 4C pada pembelajaran musik kreatif. Data penelitian diperoleh dari observasi, wawancara, dan dokuemntasi selama proses pembelajaran musik kreatif. Hasil penelitian menunjukkan bahwa kemampuan 4C terintegrasi secara langsung pada pembelajaran musik kreatif. Kemampuan 4C dibutuhkan siswa pada saat membuat komposisi musik kreatif. Pada saat membuat komposisi musik kreatif, berpikir kritis dibutuhkan untuk menemukan berbagai macam kemungkinan suara untuk disusun dalam komposisi musik kreatif. Kemampuan berkomunikasi digunakan untuk dapat mengkomunikasikan ide-ide untuk membuat komposisi musik kreatif. Kemampuan berkolaborasi digunakan untuk dapat memainkan komposisi musik kreatif. Kreativitas merupakan hasil dari kemampuan berpikir kritis, berkomunikasi dan berkolaboasi sehingga dapat membuat dan memainkan komposisi musik kreatif.
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Swaminathan, Swathi, i E. Glenn Schellenberg. "Musical ability, music training, and language ability in childhood." Journal of Experimental Psychology: Learning, Memory, and Cognition 46, nr 12 (grudzień 2020): 2340–48. http://dx.doi.org/10.1037/xlm0000798.

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Ansoriyah, Siti. "PENGARUH PEMBERIAN MUSIK KLASIK TERHADAP KEMAMPUAN MENULIS BERITA SISWA SMAN 37 JAKARTA". AKSIS: Jurnal Pendidikan Bahasa dan Sastra Indonesia 1, nr 1 (30.06.2017): 104–17. http://dx.doi.org/10.21009/10.21009/aksis.010106.

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The objective of this research is to identify whether classic music gives impact to students ability in writing news. The subject of this research is the XII grade students of senior high school. This is an experimental research and involved 60 students. The students were divided into experiment group and control group which consists of 30 students. The experiment group was given classic music while they writing news, while the control group was given no treatment during writing news. The scoring of the news writing covered 5W+1H. The result of the research shows that classical music gives positive impact in students ability in writing news. Keywords: students ability, writing news, classic music Abstrak Tujuan penelitian ini adalah untuk mengetahui ada tidaknya pengaruh pemberian musik klasik terhadap kemampuan siswa dalam menulis berita. Subjek dalam penelitian ini adalah siswa kelas XII SMA. Penelitian ini merupakan penelitian eksperimental dan melibatkan 60 siswa yang dibagi dalam kelompok eksperimen dan kelompok kontrol masing-masing 30 siswa. Kelompok eksperimen akan diberikan musik klasik selama menulis berita dan kelompok kontrol tidak diberikan perlakuan apapun selama menulis berita. Penilaian penulisan berita meliputi 5W+1H. Hasil dari penelitian ini menunjukan bahwa musik klasik dapat mempengaruhi kemampuan menulis berita dengan baik. Kata kunci: kemampuan siswa, menulis berita, musik klasik
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Rowley, Peter T. "Identifying genetic factors affecting music ability." Psychomusicology: A Journal of Research in Music Cognition 7, nr 2 (1988): 195–200. http://dx.doi.org/10.1037/h0094168.

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Watts, Michael, i Barbara Ridley. "Identities of dis/ability and music". British Educational Research Journal 38, nr 3 (czerwiec 2012): 353–72. http://dx.doi.org/10.1080/01411926.2010.548546.

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Aleman, André, Mark R. Nieuwenstein, Koen B. E. Böcker i Edward H. F. de Haan. "Music training and mental imagery ability". Neuropsychologia 38, nr 12 (październik 2000): 1664–68. http://dx.doi.org/10.1016/s0028-3932(00)00079-8.

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Deswarni, Deswarni, i Budiwirman Budiwirman. "MENINGKATKAN KEMAMPUAN SISWA MEMBACA NOTASI MUSIK DENGAN MENGGUNAKAN METODE DEMONSTRASI DALAM PEMBELAJARAN SENI MUSIK". Gorga : Jurnal Seni Rupa 8, nr 2 (22.11.2019): 374. http://dx.doi.org/10.24114/gr.v8i2.15419.

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AbstrakKemampuan membaca notasi musik dalam aktivitas siswa meliputi kegiatan memperhatikan guru dalam menerangkan pelajaran, bertanya, dan keberanian siswa maju kedepan kelas (Nasional, D.P. (2002), itusemua sangat kurang sekali ditemui dikelas XI IPS 1. Untukituperlu dilakukan suatu penelitian untuk mengetahui penyebapnya. Penelitian ini bertujuan untuk meningkatkan kemampuan siswa membaca notasi musik dalam pembelajaran seni musik, dengan target yang ingin dicapai adalah 75%. Tindakan yang diterapkan adalah dengan menggunakan metode demonstrasi. Data dikumpulkan dengan bantuan instrument serta dilengkapi dengan observasi, selanjutnya diolah dengan teknik persentase untuk melihat kecendrungan-kecendrungan data setelah perlakuan diberikan. Jenis penelitian yang digunakan adalah penelitian tindakan kelas, sedang subjek penelitian ini adalah siswa kelas XI IPS 1 SMA Negeri 5 Pariaman dan perlakuan yang diberikan yaitu dengan menggunakan metode demonstrasi. Prosedur penelitian ini dilaksanakan dalam dua siklus, siklus I dilaksanakan 4 kali pertemuan dan siklus ke II dilaksanakan dalam 2 kali pertemuan dengan alokasi waktu satu kali pertemuan adalah 2 X 45 menit. Hasil penelitian dari data siklus I dalam meningkatkan kemampuan siswa membaca notasi musik dalam kegiatan aktifitas siswa dalam memperhatikan guru yang aktif 79,41%, mengajukan pertanyaaan yang aktif mencapai 29,41%, berani maju kedepan mencapai 44,11%. Sedangkan kemampuan siswa membaca notasi musik mencapai 59,32%. Data siklus II meningkatkan kemampuan siswa membaca notasi musik dalam kegiatan aktifitas siswa memperhatikan guru 82,35%, mengajukan pertanyaaan 64,71%, berani maju kedepan 70,59%. Sedangkan kemampuan siswa dalam membaca notasi musik mencapai 75,50%.Berdasarkan hasil pengolahan data dapat disimpulkan bahwa ada pengaruh tindakan yang diberikan terhadap peningkatan kemampuan siswa dalam membaca notasi musik dari siklus I ke siklus ke II meningkat menjadi 16,18%. Kata Kunci: notasi musik, metode demonstrasi.AbstractThe ability to read music notation in student activities includes paying attention to the teacher in explaining the lesson, asking questions, and the courage of students to move forward in the classroom (National, DP (2002), all of them are very poorly found in class XI IPS 1. For this reason, a research is needed to find out. This study aims to improve students' ability to read music notation in learning music, with the target to be achieved is 75%. The measures applied are using the demonstration method. Data is collected with the help of instruments and completed with observation, then processed with percentage techniques to see data trends after the treatment is given. This type of research is a classroom action research, while the subject of this study was a class XI IPS 1 student at SMA Negeri 5 Pariaman and the treatment given was using the demonstration method. The procedure of this research was carried out in two cycles, the first cycle was held 4 times and the second cycle was carried out in 2 meetings with the time allocation of one meeting was 2 X 45 minutes. The results of the study from the data cycle I in improving the ability of students to read music notation in the activities of students in paying attention to active teachers 79.41%, asking active questions reached 29.41%, dare to move forward reaching 44.11%. While the ability of students to read music notation reached 32.17%. Cycle II data improved the ability of students to read music notation in student activities paying attention to the teacher 82.35%, asking questions 64.71%, daring to go forward 70.59%. While the ability of students to read music notation reaches 75.50%. Based on the results of data processing, it can be concluded that there is an effect of the action given to the increase in students' ability to read music notation from cycle I to cycle II increasing to 16,18%.Keywords: music notation, demonstration method.
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Ahmad, Hariyatunnisa, Rukayah Rukayah i Triyanto Triyanto. "PENGARUH ACCELERATED LEARNING BERBASIS MUSIK BAROK TERHADAP KEMAMPUAN MEMBACA PEMAHAMAN". EduHumaniora | Jurnal Pendidikan Dasar Kampus Cibiru 11, nr 1 (31.01.2019): 55. http://dx.doi.org/10.17509/eh.v11i1.14055.

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Abstract: Reading comprehension is flexible and sustainable cognitive and constructive process. Students 'understanding of reading content is still low, therefore there is need strategies to improve students' reading comprehension ability. One of strategy that can be used in reading comprehension learning is Accelerated Learning based on baroque music. Baroque music has no lyrics and neutral, besides that the baroque music have a strong influence on the ability to absorb information and memorize it. The purpose of this study was to determine differences in scores on the read comprehension ability of fifth grade students of elementary school before and after learning using Accelerated Learning based on baroque music. The design of this study uses nonequivalent control group with data collection techniques using test. The collected data were tested using Independent Sample t-test with a significance level of 5%. The results showed that there was a significant difference between the score of reading comprehension ability of fifth grade students of elementary school before and after learning using Accelerated Learning based on baroque music.Keywords: reading comprehension, learning strategy, Accelerated Learning, baroque music Abstrak: Membaca pemahaman adalah proses kognitif dan konstruktif yang fleksibel dan berkelanjutan. Pemahaman siswa mengenai isi bacaan masih belum optimal, oleh karena itu perlu adanya strategi untuk meningkatkan kemampuan membaca pemahaman siswa. Salah satu strategi yang dapat digunakan dalam pembelajaran membaca pemahaman adalah Accelerated Learning berbasis musik barok. Musik barok tidak memiliki lirik dan netral, selain itu musik barok memiliki pengaruh yang kuat pada kemampuan untuk menyerap informasi dan menghafalnya. Tujuan penelitian ini adalah untuk mengetahui perbedaan skor pada kemampuan membaca pemahaman siswa kelas 5 sekolah dasar sebelum dan sesudah belajar menggunakan Accelerated Learning berbasis musik barok. Desain penelitian ini menggunakan nonequivalent control group dengan teknik pengumpulan data menggunakan tes. Data yang terkumpul diuji menggunakan Independent Sample t-test dengan tingkat signifikansi 5%. Hasil penelitian menunjukkan bahwa ada perbedaan yang signifikan antara skor kemampuan membaca pemahaman siswa kelas 5 sekolah dasar sebelum dan sesudah pembelajaran yang menerapkan Accelerated Learning berbasis musik barok.Kata kunci: membaca pemahaman, strategi pembelajaran, Accelerated Learning, musik barok
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Chen, Xu. "Compensated Fuzzy Neural Network-Based Music Teaching Ability Assessment Model". Computational Intelligence and Neuroscience 2021 (28.09.2021): 1–11. http://dx.doi.org/10.1155/2021/3865190.

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College is the main place to carry out music teaching, and it is important to assess the music teaching ability in college effectively. Based on this, this paper firstly analyzes the necessity of music teaching ability assessment and briefly summarizes the application of neural network and deep learning technology in music teaching ability assessment and secondly designs an assessment model based on compensated fuzzy neural network algorithm and analyzes the accuracy of the model, finds out the causes of forming abnormal output by analysing the general dimensional conditions of the algorithm of the model, and proposes corresponding correction. Finally, the reliability and feasibility of the music teaching ability assessment model were experimentally verified by combining with teaching practice. The research results confirm the feasibility of the compensated fuzzy neural network algorithm in music teaching ability assessment, which has important reference significance for improving the quality of music teaching in colleges and universities.
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Rozprawy doktorskie na temat "Music ability"

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Holmes, Ivan. "Studio music teachers and public music examinations : the quality interface". Thesis, James Cook University, 2006. https://researchonline.jcu.edu.au/1834/1/01front.pdf.

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The research focuses on quality issues within the private music teaching industry and the public music examination system (PMES). It is clear that there is a schism between the formalized structures and accountabilities of music in the school system and the lack of such structures and accountabilities with the private studio music teaching industry. The Thesis traces the literature documenting the rise of the private music teacher and the accountability rationale implicit in the development of the public music examination system. The dual aims of the research focus on the need to profile the private music teaching industry in Australia and to probe the extent to which the public music examination system might, in practice, afford a window of accountability on to this industry. The literature foregrounding this study derives from three areas: the historical development of the private music teaching industry; the concomitant need for certification - and the resultant development of the public music examination system; finally the issue of performance assessment across the relevant disciplines is explored to provide research direction for music. A limited profile of the private music teacher emerged from the first phase of the study. While the respondent sample was smaller than was originally envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the findings from the current study were consistent. The second phase focussed specifically on the public music examination system and its tangible outcomes in the form of the examination report. Five examiners were male and three female. Reports were analyzed in terms of the relevant examination sections with a primary focus on the Technical and Performance lists sections. In each section reports were segmented into idea units as the basic unit for analysis. Categories were derived from the data and each idea unit was categorized accordingly. Examiners’ use of categories was analyzed in each section and comparisons made between examiners. Considerable examiner variability was identified. A discussion of gender differences in accessing categories generates hypotheses for further research. Discussion of marks awarded by examiners leads to hypotheses about the implications of exposure to one examiner rather than another. While this is but a small scale study and possibly the first in the music genre, its implications for further research are far-reaching. Implications for the discipline are also explored.
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Holmes, Ivan. "Studio music teachers and public music examinations : the quality interface". James Cook University, 2006. http://eprints.jcu.edu.au/1834/1/01front.pdf.

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The research focuses on quality issues within the private music teaching industry and the public music examination system (PMES). It is clear that there is a schism between the formalized structures and accountabilities of music in the school system and the lack of such structures and accountabilities with the private studio music teaching industry. The Thesis traces the literature documenting the rise of the private music teacher and the accountability rationale implicit in the development of the public music examination system. The dual aims of the research focus on the need to profile the private music teaching industry in Australia and to probe the extent to which the public music examination system might, in practice, afford a window of accountability on to this industry. The literature foregrounding this study derives from three areas: the historical development of the private music teaching industry; the concomitant need for certification - and the resultant development of the public music examination system; finally the issue of performance assessment across the relevant disciplines is explored to provide research direction for music. A limited profile of the private music teacher emerged from the first phase of the study. While the respondent sample was smaller than was originally envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the findings from the current study were consistent. The second phase focussed specifically on the public music examination system and its tangible outcomes in the form of the examination report. Five examiners were male and three female. Reports were analyzed in terms of the relevant examination sections with a primary focus on the Technical and Performance lists sections. In each section reports were segmented into idea units as the basic unit for analysis. Categories were derived from the data and each idea unit was categorized accordingly. Examiners’ use of categories was analyzed in each section and comparisons made between examiners. Considerable examiner variability was identified. A discussion of gender differences in accessing categories generates hypotheses for further research. Discussion of marks awarded by examiners leads to hypotheses about the implications of exposure to one examiner rather than another. While this is but a small scale study and possibly the first in the music genre, its implications for further research are far-reaching. Implications for the discipline are also explored.
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Bates, Charles Norman. "Developing the ability to recognize microtones /". The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487777901657859.

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Clark, Terry William. "Mental skills in music : investigating use, ability, and training". Thesis, Royal College of Music, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576934.

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McCabe, Melissa Christine Parisi Joseph. "Learning together online an investigation of the effect of collaborative instruction on students' demonstrated levels of cognition and self-reported course satisfaction in an online music appreciation course /". Diss., UMK access, 2007.

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Thesis (Ph. D.)--Conservatory of Music and School of Education. University of Missouri--Kansas City, 2007.
"A dissertation in music education and education." Advisor: Joseph Parisi. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 2, 2008. Includes bibliographical references (leaves 132-176). Online version of the print edition.
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Simon, Lothar. "Komplexitätsgrad von Musikstücken und Stufen der Spielfertigkeit Versuch einer mathematisch und empirisch gestützen Bestimmung /". München : Selbstverlag, 1985. http://books.google.com/books?id=HyFGAAAAMAAJ.

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Kirchhubel, Julie, i n/a. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training". Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040427.122927.

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The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.
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Kirchhubel, Julie. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training". Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367185.

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The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.
Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Cognition, Language and Special Education
Faculty of Education
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Pinard-Welyczko, Kira. "Does Training Enhance Entraining? Musical Ability and Neural Signatures of Beat Perception". Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495617848085978.

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Murray, Keelin Margaret. "Music, language and the signalling of cognitive ability : an empirical investigation". Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/17899.

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First systematically discussed by Darwin (1871), theories of a musical precursor to language have seen a revival in recent years, with researchers such as Tecumseh Fitch, Stephen Brown, and Stephen Mithen invigorating the field. The view that language and music have an evolutionary relationship has been discussed in light of recent comparative, musicological, and biological findings. However, little empirical data have been presented to support such theories. This thesis aims to address this oversight, by presenting a novel experimental paradigm, which tests the prediction of a novel hypothesis for the evolution of language from a musical precursor. The aim of this thesis is to encourage discussion and provide a framework for the empirical investigation of music’s role in the evolution of language. As a first step to addressing this relative dearth of empirical research, a hypothesis is outlined which describes a stable system of signalling cognitive ability through the transmission of culturally-learned, complex, music-like sequences. This is not hypothesised to have been semantically meaningful, rather a system which supported the honest transmission of information about the abilities of potential allies. Such a learned sequential precursor (LSP) to language would require both increased cognitive capacity and an investment of time and energy in learning. These requirements ensured the honesty of signalling, and so perceivers of the LSP could use it as a reliable indicator of the cognitive ability of producers. This was a necessary stage in evolution, prior to protolanguage, in which individuals exhibited a complex learned, culturally-transmitted, music-like signalling system. Such a learned sequential precursor may have arisen through a pressure for the reliable indication of cognitive ability, brought about by environmental and social changes with the advent of Homo erectus. These social changes included a new urge to cooperate, and so this precursor is proposed to have emerged and developed through collaborative partner choice. Perceivers of the system used cues within the musical sequences in order to determine the quality of a producer as a collaborative partner. Empirical tests are presented, which support the hypothesised LSP. The first study tested the complexity aspect of the hypothesis, asking participants to rate complex and non-complex pieces of music according to how much they liked the piece, how familiar it sounded, how attractive and intelligent they found the person who created it, and how likely they were to choose to collaborate with this individual. It was found that complexity was preferred under all measures but one, that of familiarity. The second, main, study predicted that a correlation should be found between measures of cognitive ability that are relevant to musical learning (processing speed and intelligence) and measures of musical learning (ability to replicate and recall target pieces, and make creative pieces). This prediction was upheld, supporting the hypothesis that a learned sequential precursor could have acted as an honest signal of cognitive ability. No correlations were found between these abilities and a measure of physical quality, supporting the hypothesis that this system may have undergone social selection. The third study further tested the question of selection and choice, predicting that collaborative partner choice was key to the selection of this learned sequential precursor. Raters were asked to rate the sexual or collaborative ability of performers of pieces of music, based solely on their musical output. This study has yielded interesting tendencies, but no statistical support of the hypothesis that collaborative partner choice was more important than mate choice in this system. Taken together, these empirical studies support the hypothesis of a musical, learned sequential system of signalling cognitive ability. At the moment, the question of the selection of this precursor remains open, with hopes that further studies can address this question. The methodology used here draws together approaches from birdsong research, evolutionary psychology, and musicological research, in an attempt to prompt further interdisciplinary investigation into the role of music in the evolution of language.
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Książki na temat "Music ability"

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Schaeffer, Edith. Forever music. London: Triangle, 1986.

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Exploring the musical mind: Cognition, emotion, ability, function. Oxford: Oxford University Press, 2005.

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Forever music. Nashville: T. Nelson, 1986.

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Gordon, Edwin. Introduction to research and the psychology of music. Chicago: GIA, 1998.

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W, Davidson Jane, i Faulkner Robert 1960-, red. Music in our lives: Rethinking musical ability, development and identity. Oxford: Oxford University Press, 2012.

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Ackroyd, Peter. English music. London: H. Hamilton, 1992.

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Ackroyd, Peter. English music. New York: Knopf, 1992.

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Swanner, Diana Lee. Relationships between musical creativity and selected factors, including personality, motivation, musical aptitude, and cognitive intelligence as measured in third grade children. [Cleveland, Ohio: s.n.], 1985.

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Green, Barry. The inner game of music. London: Pan, 1987.

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Green, Barry. The inner game of music. New York: Anchor Press/Doubleday, 1986.

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Części książek na temat "Music ability"

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Amspaugh, Christina M., i Alicia Cotabish. "Music, Creativity, and the Arts in Specialized Schools". W Specialized Schools for High-Ability Learners, 121–34. New York: Routledge, 2021. http://dx.doi.org/10.4324/9781003238164-12.

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Lin, Hanyu, i Hui Yueh Hsieh. "The Effect of Music on Spatial Ability". W Lecture Notes in Computer Science, 185–91. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-21660-2_21.

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Tan, Yi Ting, Gary E. McPherson i Sarah J. Wilson. "The Molecular Genetic Basis of Music Ability and Music-Related Phenotypes". W The Science of Expertise, 283–304. New York, NY : Routledge, 2017. | Series: Frontiers of cognitive psychology: Routledge, 2017. http://dx.doi.org/10.4324/9781315113371-17.

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Courtis, Alan. "Music & Dis/Ability: Inclusive Perspectives in the Argentinian Context". W Education in Latin America and the Caribbean, 167–93. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-56942-6_8.

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Cooke, Carolyn, i Laura Colucci-Gray. "Complex Knowing: Promoting Response-Ability Within Music and Science Teacher Education". W Posthumanism and Higher Education, 165–85. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-14672-6_10.

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Sørensen, Henrik, Jesper Kjeldskov, Mikael B. Skov i Mathies G. Kristensen. "The Cognitive Perception of a Multi-room Music System with Spatial Interaction". W Computer-Human Interaction. Cognitive Effects of Spatial Interaction, Learning, and Ability, 215–36. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-16940-8_11.

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Chen, Min-Sheng, Chan-Ming Hsu i Tien-Ju Chiang. "The Effects of Music Training on the Cognitive Ability and Auditory Memory". W Proceedings of the Institute of Industrial Engineers Asian Conference 2013, 1225–32. Singapore: Springer Singapore, 2013. http://dx.doi.org/10.1007/978-981-4451-98-7_145.

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Shuter-Dyson, Rosamund. "Musical Ability". W The Psychology of Music, 627–51. Elsevier, 1999. http://dx.doi.org/10.1016/b978-012213564-4/50017-2.

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Hallam, Susan. "Issues relating to musical ability". W The Psychology of Music, 65–77. Routledge, 2018. http://dx.doi.org/10.4324/9781315104362-6.

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Sloboda, John. "Does Music Mean Anything?" W Exploring the Musical MindCognition, emotion, ability, function, 163–72. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198530121.003.0008.

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Streszczenia konferencji na temat "Music ability"

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Okada, Brooke M., i L. Robert Slevc. "What is "musical ability" and how do we measure it?" W Future Directions of Music Cognition. The Ohio State University Libraries, 2021. http://dx.doi.org/10.18061/fdmc.2021.0029.

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"Strategies for Improving Music Appreciation Ability of Non-music Majors". W 2019 International Conference on Arts, Management, Education and Innovation. Clausius Scientific Press, 2019. http://dx.doi.org/10.23977/icamei.2019.166.

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Liu, Lei. "Analysis on Cultivation of Children Inner Music Ability". W International Conference on Education, Management, Computer and Society. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/emcs-16.2016.99.

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Liang, Jie. "The Influence of Music Training on Children's Cognitive Ability". W Proceedings of the 2nd International Conference on Art Studies: Science, Experience, Education (ICASSEE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icassee-18.2018.174.

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He, Yumeng. "Cultivation of Fuzzy Cognitive Ability in Music Performance Courses". W Proceedings of the 2019 International Conference on Advanced Education Research and Modern Teaching (AERMT 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/aermt-19.2019.49.

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Yu, Fang. "A brief analysis of Innovative Ability Cultivation in Music Education". W 2014 2nd International Conference on Education Technology and Information System (ICETIS 2014). Paris, France: Atlantis Press, 2014. http://dx.doi.org/10.2991/icetis-14.2014.7.

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Li, Lijuan, Weiyi Hao i Yun Jing. "Cultivation of Students' Music Humanities Exploration Ability in Piano Teaching". W International Conference on Education, Management and Information Technology. Paris, France: Atlantis Press, 2015. http://dx.doi.org/10.2991/icemit-15.2015.50.

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Nian, Li, i Fei Wang. "The cultivation of students' aesthetic ability in vocal music teaching". W 2017 2nd International Conference on Education, Sports, Arts and Management Engineering (ICESAME 2017). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icesame-17.2017.66.

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Li, R., i R. Kirliauskienė. "THE SELF-REGULATION ABILITY OF FUTURE MUSIC TEACHERS': STUDENTS' INSIGHTS". W International Conference on Future of Education. The International Institute of Knowledge Management, 2021. http://dx.doi.org/10.17501/26307413.2021.4103.

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Stöter, Fabian-Robert, Michael Schoeffler, Bernd Edler i Jürgen Herre. "Human ability of counting the number of instruments in polyphonic music". W ICA 2013 Montreal. ASA, 2013. http://dx.doi.org/10.1121/1.4799609.

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Raporty organizacyjne na temat "Music ability"

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Yatsymirska, Mariya. SOCIAL EXPRESSION IN MULTIMEDIA TEXTS. Ivan Franko National University of Lviv, luty 2021. http://dx.doi.org/10.30970/vjo.2021.49.11072.

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The article investigates functional techniques of extralinguistic expression in multimedia texts; the effectiveness of figurative expressions as a reaction to modern events in Ukraine and their influence on the formation of public opinion is shown. Publications of journalists, broadcasts of media resonators, experts, public figures, politicians, readers are analyzed. The language of the media plays a key role in shaping the worldview of the young political elite in the first place. The essence of each statement is a focused thought that reacts to events in the world or in one’s own country. The most popular platform for mass information and social interaction is, first of all, network journalism, which is characterized by mobility and unlimited time and space. Authors have complete freedom to express their views in direct language, including their own word formation. Phonetic, lexical, phraseological and stylistic means of speech create expression of the text. A figurative word, a good aphorism or proverb, a paraphrased expression, etc. enhance the effectiveness of a multimedia text. This is especially important for headlines that simultaneously inform and influence the views of millions of readers. Given the wide range of issues raised by the Internet as a medium, research in this area is interdisciplinary. The science of information, combining language and social communication, is at the forefront of global interactions. The Internet is an effective source of knowledge and a forum for free thought. Nonlinear texts (hypertexts) – «branching texts or texts that perform actions on request», multimedia texts change the principles of information collection, storage and dissemination, involving billions of readers in the discussion of global issues. Mastering the word is not an easy task if the author of the publication is not well-read, is not deep in the topic, does not know the psychology of the audience for which he writes. Therefore, the study of media broadcasting is an important component of the professional training of future journalists. The functions of the language of the media require the authors to make the right statements and convincing arguments in the text. Journalism education is not only knowledge of imperative and dispositive norms, but also apodictic ones. In practice, this means that there are rules in media creativity that are based on logical necessity. Apodicticity is the first sign of impressive language on the platform of print or electronic media. Social expression is a combination of creative abilities and linguistic competencies that a journalist realizes in his activity. Creative self-expression is realized in a set of many important factors in the media: the choice of topic, convincing arguments, logical presentation of ideas and deep philological education. Linguistic art, in contrast to painting, music, sculpture, accumulates all visual, auditory, tactile and empathic sensations in a universal sign – the word. The choice of the word for the reproduction of sensory and semantic meanings, its competent use in the appropriate context distinguishes the journalist-intellectual from other participants in forums, round tables, analytical or entertainment programs. Expressive speech in the media is a product of the intellect (ability to think) of all those who write on socio-political or economic topics. In the same plane with him – intelligence (awareness, prudence), the first sign of which (according to Ivan Ogienko) is a good knowledge of the language. Intellectual language is an important means of organizing a journalistic text. It, on the one hand, logically conveys the author’s thoughts, and on the other – encourages the reader to reflect and comprehend what is read. The richness of language is accumulated through continuous self-education and interesting communication. Studies of social expression as an important factor influencing the formation of public consciousness should open up new facets of rational and emotional media broadcasting; to trace physical and psychological reactions to communicative mimicry in the media. Speech mimicry as one of the methods of disguise is increasingly becoming a dangerous factor in manipulating the media. Mimicry is an unprincipled adaptation to the surrounding social conditions; one of the most famous examples of an animal characterized by mimicry (change of protective color and shape) is a chameleon. In a figurative sense, chameleons are called adaptive journalists. Observations show that mimicry in politics is to some extent a kind of game that, like every game, is always conditional and artificial.
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