Artykuły w czasopismach: „Musical ability”

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Sacks, O. "Musical ability". Science 268, nr 5211 (5.05.1995): 621–22. http://dx.doi.org/10.1126/science.7732360.

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Treichler, F. Robert. "Testing musical ability". History of the Human Sciences 26, nr 5 (grudzień 2013): 48–68. http://dx.doi.org/10.1177/0952695113508121.

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Hallam, Susan, i Vanessa Prince. "Conceptions of Musical Ability". Research Studies in Music Education 20, nr 1 (czerwiec 2003): 2–22. http://dx.doi.org/10.1177/1321103x030200010101.

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Kuusi, Tuire. "Musical training and musical ability: Effects on chord discrimination". Psychology of Music 43, nr 2 (28.11.2013): 291–301. http://dx.doi.org/10.1177/0305735613511504.

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Fine, Philip A., i Brian C. J. Moore. "Frequency Analysis and Musical Ability". Music Perception 11, nr 1 (1993): 39–53. http://dx.doi.org/10.2307/40285598.

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Soderquist (Psychonomic Science, 1970, 21,117–119) found that musicians were better than nonmusicians at separating out ("hearing out") partials from complex tones and proposed that this might be explained by the musicians having sharper auditory filters. In Experiment 1, the auditory filters of two groups, musicians and nonmusicians, were measured at three center frequencies by using a notched-noise masker. The filters were found not to differ in bandwidth between the two groups. However, the efficiency of the detection process after auditory filtering was significantly different between the two groups: the musicians were more efficient. In Experiment 2, the ability to hear out partials in a complex inharmonic tone was measured for the same two groups, using a tone produced by "stretching" the spacing between partials in a harmonic complex tone. Unfortunately, most of the nonmusicians were unable to perform this task. The ability of the musicians to hear out partials was not significantly correlated with the auditory filter bandwidths measured in Experiment 1. The musicians were also tested on the original harmonic complex tone (before "stretching"). For some partials, their performance was better for the inharmonic tone, reflecting the fact that the separation of the partials in frequency was greater for that tone. However, it was also found that those partials that were octaves of the fundamental in the harmonic series were identified better than corresponding partials in the inharmonic tone.

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Schlaug, G., L. Jäncke, Y. Huang i H. Steinmetz. "Response : Musical Ability". Science 268, nr 5211 (5.05.1995): 621–22. http://dx.doi.org/10.1126/science.268.5211.621.b.

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Schlaug, G., L. Jäncke, Y. Huang i H. Steinmetz. "Response : Musical Ability". Science 268, nr 5211 (5.05.1995): 621–22. http://dx.doi.org/10.1126/science.268.5211.621-b.

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Schellenberg, Glenn. "Musical ability and cognitive abilities." Journal of the Acoustical Society of America 126, nr 4 (2009): 2278. http://dx.doi.org/10.1121/1.3249333.

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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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Hallam, Susan. "21st century conceptions of musical ability". Psychology of Music 38, nr 3 (11.06.2010): 308–30. http://dx.doi.org/10.1177/0305735609351922.

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YETTI, ELINDRA, i ICHA KHAIRIAH. "PENINGKATAN KEMAMPUAN MUSIKALITAS MELALUI BERMAIN ALAT MUSIK DOL". JPUD - Jurnal Pendidikan Usia Dini 11, nr 2 (30.11.2017): 226–37. http://dx.doi.org/10.21009/jpud.112.03.

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Abstract: This study aims to know whether the use instrument dol can the ability of children in earlychildhood musical Paud Al-khair Air Napal Sub District, Bengkulu Utara Regency, BengkuluProvince, 2016. The method used is action research model Kemmis & Mc Taggart. The subjects of thisresearch were 17 children of group B in Paud Al-khair. The study was conducted in two cyclesconsisting of nine meetings in each the cycle. Techniques of data collection was done throughobservation, interviews and document study. Techniques of data analysis in this research is theanalysis of qualitative data and quantitative data analysis. The results showed that the musicalabilities of children in group B in PAUD Al-khair increased after they performed activities play amusical instrument dol. Scores of children's musical ability was recorded at 36.5 at the pre-cycle.Musical ability scores increased to 52.4 at the end of the first cycle, and continuously increased to59.2 at the end of the second cycle. The results of this study implies that playing a musical instrumentdol can be used as one way to improve musical ability in children early age. Keywords: Ability Music, Playing musical instruments Dol Abstrak: Penelitian ini bertujuan untuk mengetahui proses dan hasil bermain alat musik dol untukmeningkatkan kemampuan musikal anak di PAUD Al-khair Kecamatan Air Napal KabupatenBengkulu Utara-Bengkulu, Tahun 2016. Metode penelitian yang digunakan adalah penelitian tindakandengan model Kemmis & Mc Taggart. Subjek penelitian adalah anak kelompok B sebanyak 17 orang.Penelitian dilakukan dalam dua siklus yang terdiri dari sembilan kali pertemuan pada setiap siklus.Tekhnik pengumpulan data dilakukan melalui observasi, wawancara dan studi dokumen. Tekhnikanalisis data dalam penelitian ini adalah analisis data kualitatif dan analisis data kuantitatif. Hasilpenelitian menunjukkan bahwa kemampuan musikal anak kelompok B di PAUD Al-khair mengalamipeningkatan setelah mereka melakukan kegiatan bermain alat musik dol. Skor kemampuan musikalanak tercatat sebesar 36,5 pada tahap pra-siklus. Skor kemampuan musikal meningkat menjadi 52,4pada akhir siklus I, dan terus mengalami peningkatan menjadi 59,2 pada akhir siklus II. Hasilpenelitian ini memberi implikasi bahwa bermain alat musik dol dapat dijadikan sebagai salah satu carauntuk meningkatkan kemampuan musikalitas pada anak-anak usia diri. Kata Kunci: Kemampuan Musik, Bermain alat musik Dol.

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Crawley, Edward J., Barbara E. Acker i Richard E. Pastore. "Ability to detect changes in musical pieces is a function of musical training and musical context". Journal of the Acoustical Society of America 101, nr 5 (maj 1997): 3166. http://dx.doi.org/10.1121/1.419117.

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Dohn, Anders, Eduardo A. Garza-Villarreal, Lars Riisgaard Ribe, Mikkel Wallentin i Peter Vuust. "Musical Activity Tunes Up Absolute Pitch Ability". Music Perception 31, nr 4 (grudzień 2012): 359–71. http://dx.doi.org/10.1525/mp.2014.31.4.359.

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Absolute pitch (AP) is the ability to identify or produce pitches of musical tones without an external reference. Active AP (i.e., pitch production or pitch adjustment) and passive AP (i.e., pitch identification) are considered to not necessarily coincide, although no study has properly compared these abilities. Using a novel computerized pitch adjustment test, we investigated active AP ability in musicians with and without AP (ages 18-43). We found a significant correlation between active and passive AP indicating that AP possessors (APs) identify and produce pitch equally well. Furthermore, we found that APs generally undershoot when adjusting musical pitch, a tendency that decreases when musical activity increases. Finally, APs are less accurate when adjusting the pitch to black key targets than to white key targets. Hence, AP ability may be partly practice-dependent and we speculate that APs may benefit from frequent contact with fixed standard chroma to keep in tune.

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Reker, Paul, Katharina Domschke, Peter Zwanzger i Stefan Evers. "The impact of depression on musical ability". Journal of Affective Disorders 156 (marzec 2014): 150–55. http://dx.doi.org/10.1016/j.jad.2013.12.010.

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Pramudia, Rosa Virginia Cindy, Dewi Indrileani, Tarisya Maretaura Lesmana, Felix Hansel Raditya Wibowo i Hana Permata Heldisari. "Hubungan Kemampuan Musikal dengan Kepekaan Sosial pada Masa Dewasa Awal". Jurnal Mebang: Kajian Budaya Musik dan Pendidikan Musik 2, nr 2 (30.10.2022): 97–110. http://dx.doi.org/10.30872/mebang.v2i2.28.

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This study aims to determine whether or not there is a relationship between musical ability and social sensitivity in the early adulthood of students at Fermata Music Course, Antonio School of Music, and Allegretto School of Music Yogyakarta, which totaled 107 students. This research uses a quantitative approach with a type of correlation. The population of this study was all students at Fermata Music Course, Antonio School of Music, and Allegretto School of Music Yogyakarta, with a total of 107 people. The samples in this study were taken by purposive random sampling, with criteria of 20-25 years, so a sample of 30 people was obtained. Data collection was carried out with questionnaire techniques to measure social sensitivity and tests to measure musical ability. Instruments are tested by content validation through expert judgment and construct validation with product moment techniques. With musical talent as the independent variable and social sensitivity as the dependent variable, Pearson's product-moment correlation was applied to analyze the data. According to the determined r value of -0.423 and sig of 0.02, there was a moderately unfavorable and statistically significant link between musical talent and social sensitivity in early adulthood. It means that the higher the musical ability, the lower the social sensitivity, on the contrary, the lower the musical ability, the higher the social sensitivity will be. Penelitian ini bertujuan untuk mengetahui ada atau tidaknya hubungan antara kemampuan musikal dan kepekaan sosial pada masa dewasa awal murid di Fermata Music Course, Antonio School of Music, and Allegreto School of Music Yogyakarta yang berjumlah 107 murid. Penelitian ini menggunakan pendekatan kuantitatif dengan jenis korelasi. Populasi penelitian ini adalah seluruh murid di Fermata Music Course, Antonio School of Music, and Allegreto School of Music Yogyakarta dengan jumlah 107 orang. Sampel dalam penelitian ini diambil secara purposive random sampling, dengan kriteria 20-25 tahun sehingga diperoleh sampel sebanyak 30 orang. Pengumpulan data dilakukan dengan teknik angket untuk mengukur kepekaan sosial dan tes untuk mengukur kemampuan musikal. Instrumen diuji dengan validasi isi melalui expert judgement dan validasi konstruk dengan teknik product moment. Dengan bakat musik sebagai variabel independen dan kepekaan sosial sebagai variabel dependen, korelasi product moment pearson digunakan untuk menganalisis data. Berdasarkan nilai r yang ditentukan sebesar -0,423 dan sig 0,02, terdapat hubungan yang cukup tidak menguntungkan dan signifikan secara statistik antara bakat musik dan kepekaan sosial pada masa dewasa awal. Ini berarti semakin tinggi kemampuan musikal maka akan semakin rendah kepekaan sosialnya, sebaliknya semakin rendah kemampuan musikal maka akan semakin tinggi pula kepekaan sosialnya.

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Miller, Bruce L., Kyle Boone, Jeffrey L. Cummings, Stephen L. Read i Fred Mishkin. "Functional correlates of musical and visual ability in frontotemporal dementia". British Journal of Psychiatry 176, nr 5 (maj 2000): 458–63. http://dx.doi.org/10.1192/bjp.176.5.458.

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BackgroundThe emergence of new skills in the setting of dementia suggests that loss of function in one brain area can release new functions elsewhere.AimsTo characterise 12 patients with frontotemporal dementia (FTD) who acquired, or sustained, new musical or visual abilities despite progression of their dementia.MethodTwelve patients with FTD who acquired or maintained musical or artistic ability were compared with 46 patients with FTD in whom new or sustained ability was absent.ResultsThe group with musical or visual ability performed better on visual, but worse on verbal tasks than did the other patients with FTD. Nine had asymmetrical left anterior dysfunction. Nine showed the temporal lobe variant of FTD.ConclusionLoss of function in the left anterior temporal lobe may lead to facilitation of artistic or musical skills. Patients with the left-sided temporal lobe variant of FTD offer an unexpected window into the neurological mediation of visual and musical talents.

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Koniari, Dimitra, Sandrine Predazzer i Marc Méélen. "Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children". Music Perception 18, nr 3 (2001): 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.

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This study investigates the role of the cue abstraction mechanism within the framework of cognitive processes underlying listening to a piece of music by 10- to 11-year-old children. Four experiments used different procedures to address three main processes: (a) the categorization of musical features, (b) the segmentation of the musical discourse, and (c) the elaboration of a mental schema of the piece. Two short tonal pieces from the classical piano repertoire were used as experimental material. Experiments 1 and 2 assessed children's capacity to classify segments from the same musical piece into the appropriate category and to evaluate the segments' degree of similarity. Experiment 3 investigated the segmentation process, which underlies the organization of musical events into groups. Experiment 4 explored children's ability to reconstruct a piece of music after hearing it. The influence of musical training is investigated by comparing musician and nonmusician children. In addition, the effects of different musical features are explored. La préésente éétude porte sur le méécanisme d'extraction d'indices dans le cadre des processus cognitifs sous-tendant l'éécoute d'un morceau de musique chez des enfants de 10-11 ans. Les diverses procéédures utiliséées dans les quatre expéériences portent sur trois processus: a) la catéégorisation de caractééristiques musicales, b) la segmentation du discours musical et c) l'éélaboration d'un schééma mental de la pièèce. Deux courtes pièèces du réépertoire classique pour piano ont servi de matéériel expéérimental. Les expéériences 1 et 2 éévaluent la capacitéé des enfants àà classer des segments issus d'un mêême pièèce musicale dans leur catéégorie respective et àà appréécier leur degréé de similaritéé. L'expéérience 3 éétudie le processus de segmentation qui sous-tend l'organisation des éévéénements musicaux en groupes. L'expéérience 4 explore l'aptitude des enfants àà reconstruire la pièèce aprèès l'avoir entendue. L'influence de la formation musicale est prise en compte àà travers une comparaison d'enfants musiciens et non-musiciens. De plus, l'effet de difféérents traits musicaux est exploréé.

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Heldisari, Hana Permata. "Musical Ability and Interpersonal Intelligence in The Late Childhood Period". Gondang: Jurnal Seni dan Budaya 4, nr 2 (20.12.2020): 185. http://dx.doi.org/10.24114/gondang.v4i2.18867.

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Learning to adjust to peers and develop attitudes towards social groups and institutions is one of the developmental tasks of late childhood. Musical abilities present as innate and function since childhood.Associated with two things namely interpersonal intelligence and musical abilities, both are being developed in late childhood. This study aims to determine whether there is a relationship between musical ability and interpersonal intelligence in the late childhood period. This research uses quantitative research method with the type of correlation. The population of this research was all students in grade 1-3 of Pangen Gudang Purworejo State Elementary School with a total of 107 people. The sample in this study was taken proportionally stratified random sampling, with a sample size of 32 people. The data collection was carried out by using questionnaire and test techniques. The data analysis uses product moment correlation, with musical ability as the independent variable and interpersonal intelligence as the dependent variable. The result showed that there was a strong and significant positive relationship between musical abilities and interpersonal intelligence in children during late childhood period. This evidence was obtained by r count > r table (0.643> 0.349) at 5% significance level. This means that the higher the musical ability, the higher the interpersonal intelligence students will have.

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Bishop, Laura, Freya Bailes i Roger T. Dean. "Performing Musical Dynamics". Music Perception 32, nr 1 (1.09.2014): 51–66. http://dx.doi.org/10.1525/mp.2014.32.1.51.

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Musicians anticipate and monitor the expressive effects of their actions during performance. Previous research suggests that the ability to imagine desired outcomes can partially compensate when auditory feedback is absent, permitting continued performance even though information about whether these outcomes are realized is unavailable. Research also suggests that musical imagery ability improves with increasing musical expertise. This study tested the hypothesis that expert musicians’ superior imagery abilities enable reduced reliance on auditory feedback, relative to novice musicians, during the performance of loudness changes (i.e., dynamics). Musicians reproduced the dynamic changes of sounded scales using a loudness slider as the availability of imagery and auditory feedback was manipulated. Contrary to expectations, only novices showed impairment in performing dynamics during imagery disruption and auditory feedback deprivation. Experts showed limited dependence on both sources of information, suggesting greater flexibility in how musical information is mentally represented, compared to novices, and an improved ability to adapt planning strategies.

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Gang, Yi, i Bi Zhang. "A Study of Choreography Courses for Musical Theater Majors". Studies in Art and Architecture 1, nr 1 (grudzień 2022): 8–13. http://dx.doi.org/10.56397/saa.2022.12.02.

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Musical theater education in Chinese universities is generally focused on training musical performance talents, and the dance courses involved are also set up to enhance dance performance. The dance styles learned are mainly ballet, modern dance, jazz dance and tap dance, which are common in European and American musicals. However, in the actual musical rehearsal process, the use of dance to create dramatic characters, develop dramatic events, and show dramatic emotions and conflicts requires the skilled creative ability of the musical choreographer. The educational process of musical choreography is a multi-faceted process, which requires the choreographer to have a solid theoretical basis and flexible creative skills. By comparing with universities in Europe, America and South Korea that have musical theater major, this paper studies the advantages and disadvantages of musical theater major courses in Chinese universities in terms of choreography training. Based on the actual situation of China, this study finds the curriculum that conforms to musical choreography through multi-angle analysis of practice, creation, and theory.

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Boll-Avetisyan, Natalie, Anjali Bhatara i Barbara Höhle. "Processing of Rhythm in Speech and Music in Adult Dyslexia". Brain Sciences 10, nr 5 (30.04.2020): 261. http://dx.doi.org/10.3390/brainsci10050261.

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Recent studies have suggested that musical rhythm perception ability can affect the phonological system. The most prevalent causal account for developmental dyslexia is the phonological deficit hypothesis. As rhythm is a subpart of phonology, we hypothesized that reading deficits in dyslexia are associated with rhythm processing in speech and in music. In a rhythmic grouping task, adults with diagnosed dyslexia and age-matched controls listened to speech streams with syllables alternating in intensity, duration, or neither, and indicated whether they perceived a strong-weak or weak-strong rhythm pattern. Additionally, their reading and musical rhythm abilities were measured. Results showed that adults with dyslexia had lower musical rhythm abilities than adults without dyslexia. Moreover, lower musical rhythm ability was associated with lower reading ability in dyslexia. However, speech grouping by adults with dyslexia was not impaired when musical rhythm perception ability was controlled: like adults without dyslexia, they showed consistent preferences. However, rhythmic grouping was predicted by musical rhythm perception ability, irrespective of dyslexia. The results suggest associations among musical rhythm perception ability, speech rhythm perception, and reading ability. This highlights the importance of considering individual variability to better understand dyslexia and raises the possibility that musical rhythm perception ability is a key to phonological and reading acquisition.

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정나영 i Kim,Soo-Young. "The effect of the children’s creativity and musical ability on children’s musical creativity". EARLY CHILDHOOD EDUCATION & CARE 5, nr 2 (październik 2010): 25–47. http://dx.doi.org/10.16978/ecec.2010.5.2.002.

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Akagawa, Yoshiki, William Honer i Ken Sawada. "M54. ASSOCIATIONS BETWEEN MUSICAL ABILITY SUBSCALE PERFORMANCE, PSYCHIATRIC SYMPTOMS, AND COGNITIVE FUNCTIONING IN SCHIZOPHRENIA". Schizophrenia Bulletin 46, Supplement_1 (kwiecień 2020): S154—S155. http://dx.doi.org/10.1093/schbul/sbaa030.366.

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Abstract Background Several studies showed that patients with schizophrenia have a lower musical ability that correlates with poorer cognitive functions and severer negative symptoms. Despite the strong relevance of musical ability to cognitive functions and psychiatric symptoms, little is known about the correlation of each subscale of musical ability to cognitive functions and psychiatric symptoms. Therefore, we sought to analyze the correlations of the subtests of musical ability to cognitive functions and psychiatric symptoms. Methods Sixty-four patients with schizophrenia (36 males, mean age = 48.6 ± 10.9 years old) and 80 healthy control subjects (44 males, mean age = 45.3 ± 12.3 years old) consented to participate. We measured musical ability, cognitive functions, and symptom severity using the Montreal Battery for Evaluation of Amusia (MBEA), Brief Assessment of Cognition in Schizophrenia (BACS), and Positive and Negative Syndrome Scale (PANSS), respectively. MBEA subscales include melody discrimination, rhythm discrimination, and musical memory. BACS subscales are comprised of verbal memory, working memory, motor speed, word fluency, attention/processing speed, and executive function. We used the Bonferroni correction for multiple comparisons. For the BACS six subscales, and the three musical subscales, we considered p < 0.00278 to be significant (18 tests), and for PANSS three symptom subscale scores and three musical subscales, we considered p < 0.0056 to be significant (9 tests). Results All musical subscale scores of patients were significantly lower than controls. Lower musical ability subscales were correlated with lower cognitive functions in both healthy controls and patients. In schizophrenia, as previously reported, there were associations between lower musical ability subscales, lower cognitive functions, and more severe psychiatric symptoms. In patients with schizophrenia, while melody discrimination was not correlated with cognitive functions, rhythm discrimination was correlated with verbal memory (beta = 0.378, SE= 0.010, t = 3.42, p = 0.0012) and attention/processing speed (beta = 0.433, SE= 0.013, t = 3.20, p = 0.0022) adjusted for age, gender, and years of musical education. PANSS negative symptoms were correlated with melody discrimination (beta = 0.346, SE= 0.051, t = -2.82, p = 0.0066) and rhythm discrimination (beta = 0.3259, SE= 0.045, t = -2.88, p = 0.0056), but not musical memory. Discussion This study revealed an association between performance on rhythm discrimination and both verbal memory and word fluency. Furthermore, more severe negative symptoms were associated with lower abilities in melody and rhythm discrimination. Rhythm discrimination could be associated with language disturbances, possibly providing a new insight into the language and musical deficits contributing to the pathophysiology of schizophrenia.

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Murphy, Christopher. "How far do tests of musical ability shed light on the nature of musical intelligence?" British Journal of Music Education 16, nr 1 (marzec 1999): 39–50. http://dx.doi.org/10.1017/s0265051799000133.

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This article suggests that traditional conceptions of musical ability, as advanced in the psychometric tradition of psychology, tell us very little about the nature of musical behaviour and how it is developed. The psychometric tradition, with its view that musical ability is innate rather than learned, has exerted a powerful and potentially damaging influence on the practice of music education over the past fifty or so years. It is only relatively recently, mainly in the field of Developmental Psychology, that these ideas have been challenged. In contrasting theories advanced by different psychological schools the article gives a broader perspective to the psychological debate on human intelligence / musical ability and shows the context in which musical behaviour might be viewed as a distinct or even autonomous form of intelligence – a ‘way of knowing’. It suggests that musical thinking should be considered as an ‘intellectual’ as well as aesthetic mode of thought and that musical ability, in the traditional sense, has little educational utility or relevance to music as a curriculum subject in schools.

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Chen, Jie, Panpan Yuan, Hong Li, Changming Chen, Yi Jiang i Kang Lee. "Music-reading expertise associates with face but not Chinese character processing ability". Quarterly Journal of Experimental Psychology 75, nr 5 (1.11.2021): 854–68. http://dx.doi.org/10.1177/17470218211053144.

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A growing number of behavioural and neuroimaging studies have investigated the cognitive mechanisms and neural substrates underlying various forms of visual expertise, such as face and word processing. However, it remains poorly understood whether and to what extent the acquisition of one form of expertise would be associated with that of another. The current study examined the relationship between music-reading expertise and face and Chinese character processing abilities. In a series of experiments, music experts and novices performed discrimination and recognition tasks of musical notations, faces, and words. Results consistently showed that musical experts responded more accurately to musical notations and faces, but not to words, than did musical novices. More intriguingly, the music expert’s age of training onset could well predict their face but not word processing performance: the earlier musical experts began musical notation reading, the better their face processing performance. Taken together, our findings provide preliminary and converging evidence that music-reading expertise links with face, but not word, processing, and lend support to the notion that the development of different types of visual expertise may not be independent, but rather interact with each other during their acquisition.

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Chen, Jie, Panpan Yuan, Hong Li, Changming Chen, Yi Jiang i Kang Lee. "Music-reading expertise associates with face but not Chinese character processing ability". Quarterly Journal of Experimental Psychology 75, nr 5 (1.11.2021): 854–68. http://dx.doi.org/10.1177/17470218211053144.

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A growing number of behavioural and neuroimaging studies have investigated the cognitive mechanisms and neural substrates underlying various forms of visual expertise, such as face and word processing. However, it remains poorly understood whether and to what extent the acquisition of one form of expertise would be associated with that of another. The current study examined the relationship between music-reading expertise and face and Chinese character processing abilities. In a series of experiments, music experts and novices performed discrimination and recognition tasks of musical notations, faces, and words. Results consistently showed that musical experts responded more accurately to musical notations and faces, but not to words, than did musical novices. More intriguingly, the music expert’s age of training onset could well predict their face but not word processing performance: the earlier musical experts began musical notation reading, the better their face processing performance. Taken together, our findings provide preliminary and converging evidence that music-reading expertise links with face, but not word, processing, and lend support to the notion that the development of different types of visual expertise may not be independent, but rather interact with each other during their acquisition.

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Sari, Ari Patma, Dwi Prasetiyawati Diyah Hariyanti i Purwadi Purwadi. "ANALISIS KECERDASAN MUSIKAL ANAK USIA DINI DENGAN BERMAIN ALAT MUSIK ANGKLUNG DI KELOMPOK B". Wawasan Pendidikan 1, nr 2 (30.08.2021): 225–33. http://dx.doi.org/10.26877/wp.v1i2.8839.

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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.

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Johnson, Daniel C., i John Sloboda. "Exploring the Musical Mind: Cognition, Emotion, Ability, Function". Music Educators Journal 93, nr 2 (listopad 2006): 20. http://dx.doi.org/10.2307/3878459.

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LIU, Yuan, i Hong-Yun LIU. "Musical Ability Tests: Construct Extension and Analytical Transition". Advances in Psychological Science 20, nr 8 (7.06.2013): 1322–28. http://dx.doi.org/10.3724/sp.j.1042.2012.01322.

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Douglas, Sheila, i Peter Willatts. "The relationship between musical ability and literacy skills". Journal of Research in Reading 17, nr 2 (wrzesień 1994): 99–107. http://dx.doi.org/10.1111/j.1467-9817.1994.tb00057.x.

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Howe, Michael J. A., Jane W. Davidson, Derek G. Moore i John A. Sloboda. "Are There Early Childhood Signs of Musical Ability?" Psychology of Music 23, nr 2 (październik 1995): 162–76. http://dx.doi.org/10.1177/0305735695232004.

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Hou, Jiancheng, Qinghua He, Chuansheng Chen i Qi Dong. "Early musical training contributes to decision-making ability." Psychomusicology: Music, Mind, and Brain 27, nr 1 (2017): 75–80. http://dx.doi.org/10.1037/pmu0000174.

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Huron, David. "Exploring the Musical Mind: Cognition, Emotion, Ability, Function". Musicae Scientiae 9, nr 2 (lipiec 2005): 217–21. http://dx.doi.org/10.1177/102986490500900203.

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Hachinski, Vladimir. "Effect of Strokes on Musical Ability and Performance". Seminars in Neurology 9, nr 02 (czerwiec 1989): 159–62. http://dx.doi.org/10.1055/s-2008-1041320.

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Jones, Meghan E., Michael M. Roy i Jay Verkuilen. "The relationship between reflective rumination and musical ability." Psychology of Aesthetics, Creativity, and the Arts 8, nr 2 (maj 2014): 219–26. http://dx.doi.org/10.1037/a0035634.

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Tölgyesi, Bernadette, i Stefan Evers. "The impact of cerebellar disorders on musical ability". Journal of the Neurological Sciences 343, nr 1-2 (sierpień 2014): 76–81. http://dx.doi.org/10.1016/j.jns.2014.05.036.

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Bishop, Laura, Freya Bailes i Roger T. Dean. "Musical Expertise and the Ability to Imagine Loudness". PLoS ONE 8, nr 2 (27.02.2013): e56052. http://dx.doi.org/10.1371/journal.pone.0056052.

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Zenatti, Arlette. "The Role of Perceptual-Discrimination Ability in Tests of Memory for Melody, Harmony, and Rhythm". Music Perception 2, nr 3 (1985): 397–403. http://dx.doi.org/10.2307/40285307.

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Findings from a number of investigations into the role of memory in children's performance on musical tests are summarized. The influence of musical structure, musical acculturation, and temporal organization on discriminative capacities is reviewed.

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Kaszycka, Mariola. "A study on the relationship between musical ability and EFL pronunciation proficiency". Linguistics Beyond and Within (LingBaW) 7 (30.12.2021): 58–67. http://dx.doi.org/10.31743/lingbaw.13453.

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This study investigates the relationship between musical ability and pronunciation proficiency of English as a foreign language [EFL] of university students of English philology. English pronunciation of the participants is evaluated by academic teachers of English in three categories: the general impression of the foreign or native accent, the accuracy of production of English sounds and the use of word stress and intonation. This experiment was conducted entirely online. Participants’ musical ability was tested using Gordon’s Advanced Measure of Music Audiation [AMMA]. The results of this study demonstrate a moderately positive correlation between musicality and FL pronunciation proficiency. The more musical students, the higher marks from the judges. The present findings seem to be consistent with other studies which suggest that musical skills may positively affect the acquisition of foreign language pronunciation.

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Peretz, Isabelle. "Musical Disorders". Current Directions in Psychological Science 17, nr 5 (październik 2008): 329–33. http://dx.doi.org/10.1111/j.1467-8721.2008.00600.x.

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Research over the last decade has provided compelling evidence that the ability to engage with music is a fundamental human trait, yet the biological basis of music remains largely unknown. Recent findings indicate that a small number of individuals have severe musical problems that have neurogenetic underpinnings. Such deficiencies are termed congenital amusia, an umbrella term for lifelong musical disabilities that cannot be attributed to mental retardation, deafness, lack of exposure to music, or brain damage after birth. Congenital amusia constitutes a natural experiment, giving us a rare chance to examine the biological basis of music by tracing causal links among genes, environment, brain, and behavior.

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Christiner, Markus, Valdis Bernhofs, Sabine Sommer-Lolei i Christine Groß. "What Makes a Foreign Language Intelligible? An Examination of the Impact of Musical Ability and Individual Differences on Language Perception and How Intelligible Foreign Languages Appear". Journal of Intelligence 11, nr 3 (23.02.2023): 43. http://dx.doi.org/10.3390/jintelligence11030043.

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Previous research suggests that musical ability is associated with language processing and foreign language pronunciation. Whether musical ability is associated with the ability to generate intelligible unfamiliar utterances has not been investigated. Furthermore, how unfamiliar languages are perceived has rarely been related to musical ability. We tested 80 healthy adults, with a mean age of 34.05 and a combination of 41 women and 39 men. We used batteries of perceptual and generational music and language measures to assess foreign language intelligibility and musical capacity. Regression analysis revealed that five measures explained the variance in the intelligibility of unfamiliar foreign utterances. These were short-term memory capacity, melodic singing ability, speech perception ability, and how melodic and memorable the utterances sounded to the participants. Correlational analyses revealed that musical aptitude measures are related to melodic perception and how memorable unfamiliar utterances sound, whereas singing aptitude is related to the perceived difficulty level of the language material. These findings provide novel evidence of the link between musical and speech abilities. In particular, intelligibility measures are associated with singing aptitude and how melodic languages appear to be. As impressions on how foreign languages are perceived are also related to musical capacities, perceptual language parameters address a new perspective that facilitates the understanding of the link between music and language in general.

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Demorest, Steven M., Jamey Kelley i Peter Q. Pfordresher. "Singing Ability, Musical Self-Concept, and Future Music Participation". Journal of Research in Music Education 64, nr 4 (30.11.2016): 405–20. http://dx.doi.org/10.1177/0022429416680096.

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Research on adults who identify as “tone deaf” suggest that their poor musical self-concept is shaped by a view of themselves as nonsingers even when their perceptual skills and singing ability are not significantly worse than the general population. Many of these adults self-selected out of further participation as children but expressed regret as adults for lost opportunities. The purpose of this investigation was to explore the role of musical self-concept, attitude, and related variables in predicting students’ decisions to participate in elective music instruction in junior high and whether those same variables were related to their assessed singing ability. Findings suggest that family music participation and positive attitudes toward music, particularly their view of themselves as musicians, can predict with 74% accuracy which students choose to continue in elective music. Musical self-concept was also a unique predictor of singing accuracy performance, suggesting a connection between students’ actual singing ability and their view of themselves as musicians.

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Liu, Jinji. "Aesthetic ability cultivation on autistic college students in music education psychology". CNS Spectrums 28, S2 (październik 2023): S145. http://dx.doi.org/10.1017/s1092852923006193.

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BackgroundAutistic patients often exhibit social impairments and have a longer recovery period. The cultivation of musical aesthetic ability will expand the interests and hobbies of the trainees and alleviate social pressure. Therefore, the cultivation of musical aesthetic ability can be used in research on treating students with autism.Subjects and MethodsIn order to analyze the effectiveness of cultivating musical aesthetic ability in the treatment of autism among college students, the study randomly selected 60 college students with autism and divided them into two groups. One group is a blank group, which only receives conventional treatment. The other group is the experimental group, where patients in the experimental group receive routine treatment while also developing their musical aesthetic abilities. Two groups of experimental personnel were evaluated using the Children’s Autism Rating Scale (CARS) and the Kirschner Autism Behavior Scale (CABS) before and after the experiment.Results Before the experiment, the CARS scores of the blank group and the experimental group were 34.83 ± 1.25 and 33.46 ± 2.06, respectively. After the experiment, the scores changed to 30.26 ± 2.81 and 28.16 ± 2.05, respectively. In the evaluation of the CABS scale, the scores of the blank group and the experimental group before the experiment were 16.26 ± 2.06 and 16.59 ± 1.75, respectively. After the experiment, the scores of the two groups were 15.73 ± 1.74 and 13.71 ± 2.05, respectively.ConclusionsThe cultivation of musical aesthetic ability in vocal music teaching in universities has an excellent therapeutic effect on autism among college students.

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Tinti, Francesca. "la musica e il potenziamento dei prerequisiti di apprendimento". International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 1, nr 1 (11.06.2016): 315. http://dx.doi.org/10.17060/ijodaep.2015.n1.v1.94.

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Riassunto: Premessa: La musica viene utilizzata come canale elettivo nella prevenzione dei disturbi di apprendimento. Il DSA è una disabilità specifica dell'apprendimento, di origine neurobiologica, che interessa uno specifico dominio di abilità (lettura, scrittura, calcolo). Il corso di propedeutica musicale è stato rivolto a bambini dai 4 ai 6 anni, fascia di età in cui la diagnosi di DSA non può ancora essere effettuata ma si possono individuare i bambini a rischio attraverso la valutazione dei prerequisiti di apprendimento. Obiettivo: intervenire in maniera preventiva sulle difficoltà di apprendimento, attraverso il potenziamento dei prerequisiti necessari, con attività propedeutica musicale nella scuola d'infanzia. Metodo: il campione esaminato è composto da 50 bambini appartenenti ad una popolazione d'età compresa dai 4 ai 6 anni. Al campione è stato somministrato il test per la valutazione dei prerequisiti di apprendimento, il Prcr-2 di Cornoldi (2009), prima e dopo il trattamento, riguardante uno specifico metodo di propedeutica musicale con attività di pre-scrittura e pre-lettura delle 7 note (nel pentagramma) durato per 4 mesi. Conclusioni: i dati ottenuti evidenziano come l' attività musicale correli positivamente col miglioramento dei prerequisiti di apprendimento.PAROLE CHIAVE: Musica, DSA, Prerequisiti di apprendimento, Prevenzione. Abstract: The music is used as an elective channel in the prevention of learning disorder.SLD (Specific Learning Disorder) is a specific learning disability of neurobiological origin, characterized by a lack in a specific learning ability (reading , writing, computing). The preparatory music course was intended for children aged 4 to 6 years, that is the age in which the diagnosis of DSA cannot yet be done but we can still identify children at risk through the evaluation of the prerequisites for learning. Objective: preventative intervention on learning difficulties through the enhancement of prerequisites for reading and writing using preparatory music, during preschool years. Method: The examined sample consists of 50 preschooler aged 4 to 6. The Prcr2 Cornoldi test (2010) had been administered to the sample, before and after the treatment, which consisted in a 4 months project of preparatory musical activities based on pre-writing and pre-reading the 7 notes (on the staff). Conclusions: The data obtained show that the musical activities correlates positively with the positive evolution of the pre-requisites of learning. Keywords: Music, LSD, learning prerequisites, Prevention

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Firdhani, Aldhila Mifta. "Peningkatan Kemampuan Musikal Peserta Didik Melalui Aktivitas Musik Kreatif". Indonesian Journal Of Performing Arts Education 1, nr 1 (31.01.2021): 11–17. http://dx.doi.org/10.24821/ijopaed.v1i1.4915.

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AbstractThis study aims to determine the effectiveness of creative music to improve students' musical abilities in learning music. The research method uses this type of classroom action research conducted in 2 cycles. The research was conducted at SMP Sunan Averroes Sleman Yogyakarta for three months. The object of the study was 13 students of class VIII. Sources of data used in this study are the results of observations and test results of musical abilities. Data analysis techniques were carried out qualitatively, which were identified to see the achievement and improvement results in each cycle. The results showed that creative music activity could improve students' musical abilities in learning music based on the analysis. This increase was evidenced by observations and the acquisition of students' musical abilities in cycle I to cycle II. Based on the observations' results, it can be seen that the average score of students' musical ability in cycle I was 29.5, while in cycle II was 40.1. Based on this average value, it is known that the increase in students' musical abilities is 10.6. So based on this data analysis, it can be said that creative music activities in learning music can improve students' musical abilities. AbstrakPenelitian ini bertujuan untuk mengetahui keefektifan musik kreatif untuk meningkatkan kemampuan musikal peserta didik dalam pembelajaran musik. Metode penelitian menggunakan jenis penelitian tindakan kelas yang dilakukan dalam 2 siklus. Penelitian dilakukan di SMP Sunan Averroes Sleman Yogyakarta selama 3 bulan. Objek penelitian adalah peserta didik kelas VIII yang berjumlah 13 anak. Sumber data yang digunakan dalam penelitian ini adalah hasil observasi dan hasil tes kemampuan musikal. Taknik analisis data dilakukan secara kualitatif yang diidentifikasi untuk melihat hasil pencapaian dan menyempurnakan di setiap siklusnya. Berdasarkan analisis, hasil penelitian menunjukkan bahwa aktivitas musik kreatif dapat meningkatkan kemampuan musikal peserta didik dalam pembelajaran musik. Peningkatan ini dibuktikan berdasarkan hasil observasi dan perolehan skor kemampuan musikal peserta didik pada siklus I ke siklus II. Berdasarkan hasil observasi dapat diketahui bahwa nilai rata-rata kelas kemampuan musikal peserta didik pada siklus I sebesar 29,5, sedangkan pada siklus II sebesar 40,1. Sehingga berdasarkan nilai rata-rata tersebut diketahui peningkatan kemampuan musikal peserta didik sebesar 10,6. Sehingga berdasarkan analisis data tersebut dapat dikatakan bahwa aktivitas musik kreatif dalam pembelajaran musik dapat meningkatkan kemampuan musikal

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Sheldon, Deborah A. "Listeners' Identification of Musical Expression through Figurative Language and Musical Terminology". Journal of Research in Music Education 52, nr 4 (grudzień 2004): 357–68. http://dx.doi.org/10.1177/002242940405200407.

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This study focused on listeners' ( N=66 undergraduate and graduate music education majors) ability to identify nuances of musical expression using figurative language and specific music terminology. Data reviewed for accuracy in classifying general expressive categories showed that listeners were successful at identifying broad intended realms of expression with both figurative statements and terminology. When outcomes were reviewed for accuracy in terms of specific intended expression rather than general expressive category, accuracy levels dropped. Mimicking the results of general expressive identification, response type (figurative statements or terminology) did not seem to be a factor in response accuracy. Within general expressive categories, listeners selected a wider variety of responses among figurative statements than terminology, suggesting greater ambiguity of meaning among the former than the latter. Although not a primary focus, outcomes as a function of sound manipulation by the performer were given cursory review. This variable may play a role in a listener's ability to grasp a musical expression. February 27, 2004 October 20, 2004.

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KARAELMA, Barış, i Serkan DEMİREL. "SCALE DEVELOPMENT FOR CHILDREN'S MUSICAL HEARING PERCEPTION". Zeitschrift für die Welt der Türken / Journal of World of Turks 13, nr 1 (15.04.2021): 293–311. http://dx.doi.org/10.46291/zfwt/130115.

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The perception of musical hearing has been one of the most prominent elements within the framework of musical talent and many studies have been conducted on it. The main subject of this research is musical hearing perception which is important concept that musical ability tests have been trying to measure for many years. Musical hearing perception is a concept that can be developed with the necessary educational planning, especially in childhood. In this context, based on the constructivist approach, early detection is important according to the level of readiness of the person. The scale in this study was designed to measure the musical hearing perception of children between the ages of 9-12, and was created in such a way that the variable of whether or not to know notes was disabled. Thus, it is aimed to bring the perception of musical hearing, which is the main subject to be measured, to the fore. The scale consists of 3 parts: interval test, melody test and rhythm test. Firstly, the field study was conducted with 100 students, and then 160 students during implementation throughout the design phase of the scale, As a result of the research, statistical reliability and validity analyzes were made and the applicability of the scale was revealed. Keywords: Musical Perception, Musical Ability, Musical Ability Test, Musical Perception In Children

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Hassler, Marianne. "Creative musical behavior and sex hormones: Musical talent and spatial ability in the two sexes". Psychoneuroendocrinology 17, nr 1 (marzec 1992): 55–70. http://dx.doi.org/10.1016/0306-4530(92)90076-j.

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Kovaciny, Stephen M. "Chabanon, the Listening Self and the Prosopopoeia of Aesthetic Experience". Eighteenth Century Music 19, nr 1 (14.02.2022): 13–36. http://dx.doi.org/10.1017/s1478570621000403.

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AbstractMichel-Paul Guy de Chabanon (1730–1792), an aesthetician and partisan of Jean-Philippe Rameau's harmonic theories, is most often remembered for his rejection of musical mimesis and for his separation of music and language. In doing so, he advanced one of the first – if not the first – aesthetic theories of musical autonomy. Yet despite this achievement, little has been written about how or why he came to this conclusion. This article provides a long-overdue reconstruction of Chabanon's claims for autonomy while simultaneously resituating him in eighteenth-century musical discourse. Through a sylleptic reading of his writings and the intertexts that underpin them, I show that Chabanon was an insightful critic of the French Enlightenment's aesthetic project. I accomplish this by reconstructing his argument about music's ability to provoke aesthetic experiences within listeners. As I contend, Chabanon's own encounter with this question articulates an aesthetic theory based upon music's materiality, grounded at once through the science of acoustics, novel theories of sensory experience and the musical theories that they engendered. Using his documented experience of Rameau's Pigmalion (1748) as a point of departure, I argue that Chabanon's transformation of musical aesthetics into an autonomous discipline helps to turn the early-modern subject into the modern listening self.

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Maarefvand, Mohammad, Jeremy Marozeau i Peter J. Blamey. "A cochlear implant user with exceptional musical hearing ability". International Journal of Audiology 52, nr 6 (20.03.2013): 424–32. http://dx.doi.org/10.3109/14992027.2012.762606.

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