Artykuły w czasopismach na temat „Musical perception in children”
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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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Farinazzo Martins, Valéria, Letícia Gomez i Ana Grasielle Dionísio Corrêa. "Teaching Children Musical Perception with MUSIC-AR". EAI Endorsed Transactions on e-Learning 2, nr 5 (17.03.2015): e3. http://dx.doi.org/10.4108/el.2.5.e3.
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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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Kuzmenko, Galina A., Tatyana K. Kim i Elizaveta A. Badanova. "Psychological and Pedagogical Characteristic of 5-6-year-old Children’s Perception of the Tempo-Rhythmic Structure of Movements When Reflecting Musical Image in Modern Dance Classes". Volga Region Pedagogical Search 2, nr 40 (2022): 52–59. http://dx.doi.org/10.33065/2307-1052-2022-2-40-52-59.
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The article is devoted to psychological and pedagogical analysis of 5-6-year-old children’s perception of the tempo-rhythmic structure of movements when reflecting the musical image of modern dances. Musical perception of the tempo-rhythmic structure of movements determines the development of interests and aesthetic feelings in children, forms their musical culture. It has been established that a holistic musical image of a dance composition is formed when the child, through understanding and feeling the image, comes to the conclusion that music and movements are closely related and determine the form and content of the latter. The harmonious perception of basic and background components - music and motor actions allows children to reveal the musical image of movement composition in dance. As a result of the experimental study, the difficulties of musical perception and its reflection in movements were determined, the conditions for the formation of the tempo-rhythmic structure of movements on the basis of the development of a musical image providing musical diversity of movements were identified. The revealed correlation, cluster, factor organization of characteristics of performance of dance composition by children of 5-6 years of age make it possible to assert the importance of the investigated components and determines the development of the content of training sessions focused on the consistent and continuous formation of relevant abilities that provide children with the quality of implementation of dance activities.
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Torppa, Ritva, Andrew Faulkner, Teija Kujala, Minna Huotilainen i Jari Lipsanen. "Developmental Links Between Speech Perception in Noise, Singing, and Cortical Processing of Music in Children with Cochlear Implants". Music Perception 36, nr 2 (1.12.2018): 156–74. http://dx.doi.org/10.1525/mp.2018.36.2.156.
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The perception of speech in noise is challenging for children with cochlear implants (CIs). Singing and musical instrument playing have been associated with improved auditory skills in normal-hearing (NH) children. Therefore, we assessed how children with CIs who sing informally develop in the perception of speech in noise compared to those who do not. We also sought evidence of links of speech perception in noise with MMN and P3a brain responses to musical sounds and studied effects of age and changes over a 14–17 month time period in the speech-in-noise performance of children with CIs. Compared to the NH group, the entire CI group was less tolerant of noise in speech perception, but both groups improved similarly. The CI singing group showed better speech-in-noise perception than the CI non-singing group. The perception of speech in noise in children with CIs was associated with the amplitude of MMN to a change of sound from piano to cymbal, and in the CI singing group only, with earlier P3a for changes in timbre. While our results cannot address causality, they suggest that singing and musical instrument playing may have a potential to enhance the perception of speech in noise in children with CIs.
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Liu, Xuan. "Design and Implementation of Multimedia Teaching Course for Piano Enlightenment Oriented to Aesthetic Ability Development". International Journal of Web-Based Learning and Teaching Technologies 18, nr 2 (13.10.2023): 1–12. http://dx.doi.org/10.4018/ijwltt.332065.
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Piano education for children is based on the child's psychological characteristics and the artistic characteristics of musical works. Piano initiation education for young children can enhance perception, aesthetic ability, and creative skills; promote the overall development of children; and is also a crucial channel to promote young children to develop and transfer their own musical experience. This paper analyzes the current problem of cultivating children's musical aesthetic ability in piano initiation education and proposes the use of multimedia and artificial intelligence technology to compare the repertoire played by piano learners with the original repertoire, combined with aesthetic evaluation technology to analyze and give guidance for piano initiation practice, so that piano learners can be more targeted. The program is designed to solve the problems in the piano practice process, to enhance the musical perception and aesthetic feeling of children, and to improve their aesthetic ability.
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Heaton, Pamela. "Assessing musical skills in autistic children who are not savants". Philosophical Transactions of the Royal Society B: Biological Sciences 364, nr 1522 (27.05.2009): 1443–47. http://dx.doi.org/10.1098/rstb.2008.0327.
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Descriptions of autistic musical savants suggest that they possess extraordinary skills within the domain. However, until recently little was known about the musical skills and potential of individuals with autism who are not savants. The results from these more recent studies investigating music perception, cognition and learning in musically untrained children with autism have revealed a pattern of abilities that are either enhanced or spared. For example, increased sensitivity to musical pitch and timbre is frequently observed, and studies investigating perception of musical structure and emotions have consistently failed to reveal deficits in autism. While the phenomenon of the savant syndrome is of considerable theoretical interest, it may have led to an under-consideration of the potential talents and skills of that vast majority of autistic individuals, who do not meet savant criteria. Data from empirical studies show that many autistic children possess musical potential that can and should be developed.
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Chervenakova, Iliana. "MUSICAL LITERACY, AN ESSENTIAL COMPONENT OF CHILDREN'S MUSICAL DEVELOPMENT". Knowledge International Journal 34, nr 6 (4.10.2019): 1703–9. http://dx.doi.org/10.35120/kij34061703c.
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In the recent past, the speculative approach to introducing children to musical literacy was at the forefront. In the background were the musical and auditory development of the children and the emotional responsiveness to the perception of the musical works. It is well known that auditory imitation play and conscious reading of a musical note text are two steps of the same process.Much more successful will be the learning of a new knowledge if the learning of ready rules and laws, purely technically, remains in the background.The proposed technology system aims at the performance of a melody tune and playing notes of an unfamiliar note text immediately after the stage of auditory repeating. For this purpose, games and game approaches are used to deliberately introduce children to music literacy.The tasks are constructed in a specific algorithm. The process of musical literacy is conditionally divided into several interrelated stages, which are presented in detail.The results achieved suggest that the proposed technology is successful for the initial musical literacy of children from the early stage of their musical development.
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Marquetti, Beatriz Quirino, Éder Costa Muchiutti i Felipe Viegas Rodrigues. "Pitch perception preference in children with or without formal musical education". Percepta - Revista de Cognição Musical 10, nr 1 (30.12.2022): 83–95. http://dx.doi.org/10.34018/2318-891x.10(1)83-95.
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Among the mental functions recruited by music, timbre processing is possibly one of the most interesting, as it exemplifies the perceptual constancy that allows recognition of regularities in the environment. The objective of the present work was to investigate the musical perception of children with formal music education and the prevalence of fundamental and spectral lis-teners based on the differential perception of complex tones. Thirty children between 10 and 15 years old participated, who responded to 48 pairs of tones, in which the second tone should be judged as ascending or descending. The participants' responses allowed the calculation of an index of pitch perception preference (Δp). The results show that the Control Group pre-sented Δp closer to zero than the Musicians Group, both with normal distribution. Therefore, musicians and nonmusicians have subtle differences in the perception of complex tones, with a preference for fundamental listeners among the musicians investigated.
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Morrongiello, Barbara A., Caroline L. Roes i Faith Donnelly. "Children's Perception of Musical Patterns: Effects of Music Instruction". Music Perception 6, nr 4 (1989): 447–62. http://dx.doi.org/10.2307/40285442.
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Musically trained and untrained children between 4 and 6 years of age were tested for their discrimination of transformations of an unfamiliar six-tone melody. Transformations involved a change in one, two, or all three of the following features: melodic contour, musical intervals, or individual frequencies. In order to manipulate task difficulty, melodies were played at different presentation rates. Results revealed that discrimination performance varied as a function of (1) musical training, (2) what features of a melody were changed, (3) number of features of a melody that changed, and (4) rate of presentation. Musically trained children performed better than children without training, they showed enhanced sensitivity to the more specific melodic features (i. e., individual frequencies), they were better at detecting transformations involving changes in a fewer number of features, and their performance was unaffected by rate of presentation. In contrast, children without training attended primarily to more general pattern features (i. e., melodic contour) and needed a change involving a larger number of musical features for reliable discrimination of a transformation. In general, as the rate of presentation of the melody increased a decrement in performance occurred for untrained listeners, but the magnitude of these effects varied with transformation type.
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Ho, Wai-Chung. "The Perception of Music Learning among Parents and Students in Hong Kong". Bulletin of the Council for Research in Music Education, nr 181 (1.07.2009): 71–93. http://dx.doi.org/10.2307/40319228.
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Abstract Music education is not confined to the school context, nor does learning stop after school hours. The out-of school experiences ofchildren y especially those gained at home, are just as valuable. Parent involvementy in the form of listening to music, concert attendance, instrumental learning, and aspirations in music education, has significant direct as well as indirect effects on childrens attitudes towards music. 19 families, including 20 parents and their 21 children, revealed a number of complex and interconnected themes, which both aided and hindered students’ participation in, and learning about, music. The interview data show that: (a) though the parents and their children have different musical experiences, parents influence concert attendance, and offer financial support for childrens participation in music; (b) although instrumental learning is commonly found among students, parents often question the value of persistent learning; and (c) school music education is highly regarded by most parents though they do not expect their children to aspire to further development of their musical abilities in the future. By looking at examples of interactions between parents and children with respect to music participation and learning, this study challenges conventional notions of the extent to which parent involvement could have a positive effect on students’ attitudes toward music learning.
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Muhammad Syafe’i. "Upaya Mengembangkan Kecerdasan Musikal Melalui Permainan Persepsi Bentuk Musikal Pada Anak Kelomok B di TK Pertiwi Tanjung Juwiring Klaten". SALIHA: Jurnal Pendidikan & Agama Islam 1, nr 2 (16.07.2018): 71–85. http://dx.doi.org/10.54396/saliha.v1i2.14.
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This study aims to develop musical intelligence group B children in TK Pertiwi Desa Tanjung District Juwiring Klaten Lesson Year 2012/2013 through the game of musical form perception. This research is a classroom action research (PTK). In this research, the students are group B in TK Pertiwi Desa Tanjung Kecamatan Juwiring Klaten District Lessons Year 2012/2013 as many as 18 children, consist of 12 men and 6 women. This research was conducted in two cycles each cycle consisting of planning stage, action stage, observation, reflection. Children's musical intelligence data was collected through observation methods, and documentation. Data analysis technique used is descriptive qualitative with interactive analysis consisting of data reduction, datapresentation, and conclusion of analysis result. Research results before the implementation of the cycle obtained results of 41.9%, the first cycle reached 56.4%, and the second cycle reached 80.1%. based on research that has been done can be concluded that through the game perception of musical form can improve the musical intelligence of children in kindergarten Pertiwi Village Cape District Juwiring Klaten Lesson Year 2012/2013.
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Dolean, Dacian Dorin, i Ioana Tincas. "Cognitive factors explain inter-cultural variations of abilities in rhythm perception: The case of the Roma minority". Psychology of Music 47, nr 5 (8.05.2018): 757–66. http://dx.doi.org/10.1177/0305735618766715.
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This study aimed to determine what role cognitive factors play in inter-cultural variations of rhythm perception and to assess whether the stereotype of enhanced musical abilities in the Roma minority is supported by empirical evidence. The rhythm perception of 487 Roma and non-Roma children was assessed comparatively, while controlling for cognitive skills. Contrary to popular belief, the rhythm perception of Roma children was lower than that of their non-Roma peers; however, this difference in performance was explained fully by cognitive variables. The results indicate that further comparative investigations of rhythm perception across cultures should account for cognitive factors, and that the reported enhanced musical ability of the Roma minority is a stereotype that is not supported by empirical evidence.
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Rodsakan, Tepika. "Comparison of the Effects of Using Traditional Thai Musical Instruments and Carl Orff’s Instruments on Mentally Disabled Children’s Perception and Reaction to the Musical Elements". International Journal of Creative and Arts Studies 2, nr 2 (18.12.2015): 35. http://dx.doi.org/10.24821/ijcas.v2i2.1796.
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This research dealt with the comparison of the effects of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. The objectives of the research were 1) to study the results of the effects of using traditional Thai musical instruments on mentally disabled children’s perception and reaction to the musical elements 2) to study the results of the effects of Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements 3) to compare the results of the effects of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. The sample used in the research were 11 educable mentally disabled children from Panyawutikorn School aged between 8-10 years old. The sample had been tested and confirmed by the psychologist to have IQ range from 50-70, to be non-sound sensitive and to be devoid of any multiple handicaps. The sample were selected using purposive sampling. The tool used in this research were an interactive 9-question test of the sample group’s perception and reaction to musical elements using traditional Thai musical instruments and Carl Orff’s instruments. The sample group responded accordingly to the different given tasks in the test including singing, physical movement, playing musical instruments and musically melodic creation. The data obtained are then analyzed using statistical calculation, i.e. median, percentage and mean. The test results revealed the following findings; the results were as follows: 1. Results of the effects of using traditional Thai musical instruments on mentally disabled children’s perception and reaction to the musical elements were found to be in the “good” criteria. 2. Results of the effects of using Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements were found to be in the “good” criteria. When considered each factor individually, the perception and reaction to sound was in the “fair” criteria while the perception and reaction to rhythm and melody were in the “good” criteria. 3. By comparing the results of the effect of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements, it was found to be different on the whole. When considered each factor individually, there was a difference in the perception of sound while there was no difference in perception and reaction to rhythm and melody.
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Tsenova, Plamena. "MUSIC AS A METHOD FOR WORKING WITH CHILDREN IN KINDERGARTEN". Education and Technologies Journal 12, nr 2 (1.08.2021): 424–25. http://dx.doi.org/10.26883/2010.212.3604.
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Music is one of the strongest means for raising a young child. In order to get rapid and positive results from music, we should first of all develop a sense of rhythm in the child’s mind. One of the main types of musical activity in kindergarten is the perception of music. It is expressed primarily in the ability to actively feel and experience, emotionally. In addition, children get to know and learn to distinguish some elements of musical expression (melody, metro, rhythm, tempo, dynamics, timbre, etc.). In the kindergarten, the children get acquainted with a suitable range of artistic samples – contemporary, classical and folk music. They listen mainly to vocal recordings, whose verbal text facilitates the perception of music. These are the songs that are to be studied and performed by the children. Why? Because they are composed with more limited musical expressions – melody in a limited range, light intonation moves, light texture, etc. There are also songs only for listening, which are not performed by children, as they exceed their singing abilities, but showcase in front of them another mean to enrich their musical experience.
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Banai, Karen, i Merav Ahissar. "Musical Experience, Auditory Perception and Reading-Related Skills in Children". PLoS ONE 8, nr 9 (24.09.2013): e75876. http://dx.doi.org/10.1371/journal.pone.0075876.
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Gromko, Joyce Eastlund, i Karen Walters. "The Development of Musical Pattern Perception in School-Aged Children". Research Studies in Music Education 12, nr 1 (czerwiec 1999): 24–29. http://dx.doi.org/10.1177/1321103x9901200103.
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Sampath, Sridhar, i Devi Neelamegarajan. "Influence of auditory working memory in discriminating children with good musical abilities from children with poor musical abilities". Journal of All India Institute of Speech and Hearing 42, nr 1 (2023): 43–48. http://dx.doi.org/10.4103/jose.jose_7_22.
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Abstract Purpose: Musical abilities are associated with the perception of complex acoustic features in an auditory scene, which requires a good load of cognitive processing. Musical sleepers (individuals with good musical abilities without formal music training) were proven to be in adults, and their enhanced cognitive abilities were established, but such a phenomenon in children is not explored yet. Hence, the present study was carried out to assess auditory working memory (AWM) abilities in children with widespread musical abilities. Materials and Methods: Twenty-nine children within the age range of 7–13 years participated in the study. The children’s musical abilities were assessed using the Montreal Battery for Evaluation of Musical Abilities and scores were recorded. Sixteen and thirteen children were categorized into individuals with good and poor musical abilities, respectively, based on the 50th percentile score as the cutoff. The tests for AWM, such as forward span, backward span, and N-back, were administered. Results: Point biserial correlation showed that groups had a significant positive association with forward span (r = 0.65; P = 0.00), backward span test (r = 0.41; P = 0.02), and N-back test (r = 0.70; P = 0.00). Multivariate analysis of variance (MANOVA) indicated a significant main effect of groups, and post hoc analysis showed that children with good musical abilities outperformed the ones with poor musical abilities in all three working memory measures. Further, Fisher’s discriminant analysis revealed that the N-back test, with discriminant coefficient of 0.75, is the best auditory-cognitive predictor of musical abilities in children. Conclusions: Children who had no musical training exhibited better musical ability. This may be mediated by improved AWM, but an additional investigation into the relationship between musical aptitude and other psychophysical abilities in children without musical training is necessary.
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Davidova, Jelena, Galina Zavadska, Asta Rauduvaite i Ming-Jen Chuang. "PSYCHOLOGICAL ASPECTS OF DEVELOPMENT OF COORDINATION BETWEEN 6-8 YEARS OLD CHILDREN’S MUSICAL HEARING AND VOCAL APPARATUS". SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 4 (26.05.2017): 39. http://dx.doi.org/10.17770/sie2017vol4.2437.
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In the present article, the psychological aspects of the development and process of coordination between 6-8 years old children’s musical hearing and vocal apparatus are considered, among which an important role is played by such cognitive processes as music perception, representation of musical hearing, musical thinking, musical memory and self-control. This research aims at studying the psychological aspects of the process of coordination of musical hearing and vocal apparatus between 6-8 years old children.
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QƏRİBOVA, A. H. "UŞAQLARIN HƏRTƏRƏFLİ İNKİŞAFINDA MUSİQİ TƏRBİYƏSİNİN ƏHƏMİYYƏTİ". Actual Problems of study of humanities 1, nr 2024 (15.04.2024): 224–27. http://dx.doi.org/10.62021/0026-0028.2024.1.224.
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The importance of musical education in the comprehensive development of children Summary The purpose of the article is to show the importance of musical education in the comprehensive development of children. It is noted here that for the timely education and direction of children’s interest in music, it is necessary to properly establish and regularly continue music education in kindergartens. The article concludes that musical education, in addition to shaping the personality of preschoolers and improving their overall musical development, develops their artistic taste, instills in them a passion for beauty, the ability to choose between good and bad, and develops the ability to independently engage in any type of musical activity. Key words: musical education, development, perception of music, artistic taste
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FORGEARD, MARIE, GOTTFRIED SCHLAUG, ANDREA NORTON, CAMILLA ROSAM, UDITA IYENGAR i ELLEN WINNER. "THE RELATION BETWEEN MUSIC AND PHONOLOGICAL PROCESSING IN NORMAL-READING CHILDREN AND CHILDREN WITH DYSLEXIA". Music Perception 25, nr 4 (1.04.2008): 383–90. http://dx.doi.org/10.1525/mp.2008.25.4.383.
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PAST RESEARCH HAS SHOWN THAT MUSIC and language skills are related in normal-reading children as well as in children with dyslexia. In both an ongoing longitudinal study with normal-reading children and a pilot study with children with dyslexia, we found a strong relationship between musical discrimination abilities and language-related skills. In normal-reading children, musical discrimination predicted phonological and reading skills (Studies 1 and 2). These relationships were stronger in children with music training than in control children without music training. In children with dyslexia,musical discrimination predicted phonological skills, which in turn predicted reading abilities (Study 3). Furthermore, normal-reading children with music training surpassed both normal-reading controls and children with dyslexia in melodic discrimination. Controls also outperformed children with dyslexia (Study 4). Taken together, these findings suggest that a music intervention that strengthens the basic auditory music perception skills of children with dyslexia may also remediate some of their language deficits.
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Hande, Vasudha, i Shantala Hegde. "Deficits in musical rhythm perception in children with specific learning disabilities". NeuroRehabilitation 48, nr 2 (9.03.2021): 187–93. http://dx.doi.org/10.3233/nre-208013.
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BACKGROUND: A specific learning disability comes with a cluster of deficits in the neurocognitive domain. Phonological processing deficits have been the core of different types of specific learning disabilities. In addition to difficulties in phonological processing and cognitive deficits, children with specific learning disability (SLD) are known to have deficits in more innate non-language-based skills like musical rhythm processing. OBJECTIVES: This paper reviews studies in the area of musical rhythm perception in children with SLD. An attempt was made to throw light on beneficial effects of music and rhythm-based intervention and their underlying mechanism. METHODS: A hypothesis-driven review of research in the domain of rhythm deficits and rhythm-based intervention in children with SLD was carried out. RESULTS: A summary of the reviewed literature highlights that music and language processing have shared neural underpinnings. Children with SLD in addition to difficulties in language processing and other neurocognitive deficits are known to have deficits in music and rhythm perception. This is explained in the background of deficits in auditory skills, perceptuo-motor skills and timing skills. Attempt has been made in the field to understand the effect of music training on the children’s auditory processing and language development. Music and rhythm-based intervention emerges as a powerful intervention method to target language processing and other neurocognitive functions. Future studies in this direction are highly underscored. CONCLUSIONS: Suggestions for future research on music-based interventions have been discussed.
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Nan, Yun, Li Liu, Eveline Geiser, Hua Shu, Chen Chen Gong, Qi Dong, John D. E. Gabrieli i Robert Desimone. "Piano training enhances the neural processing of pitch and improves speech perception in Mandarin-speaking children". Proceedings of the National Academy of Sciences 115, nr 28 (25.06.2018): E6630—E6639. http://dx.doi.org/10.1073/pnas.1808412115.
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Musical training confers advantages in speech-sound processing, which could play an important role in early childhood education. To understand the mechanisms of this effect, we used event-related potential and behavioral measures in a longitudinal design. Seventy-four Mandarin-speaking children aged 4–5 y old were pseudorandomly assigned to piano training, reading training, or a no-contact control group. Six months of piano training improved behavioral auditory word discrimination in general as well as word discrimination based on vowels compared with the controls. The reading group yielded similar trends. However, the piano group demonstrated unique advantages over the reading and control groups in consonant-based word discrimination and in enhanced positive mismatch responses (pMMRs) to lexical tone and musical pitch changes. The improved word discrimination based on consonants correlated with the enhancements in musical pitch pMMRs among the children in the piano group. In contrast, all three groups improved equally on general cognitive measures, including tests of IQ, working memory, and attention. The results suggest strengthened common sound processing across domains as an important mechanism underlying the benefits of musical training on language processing. In addition, although we failed to find far-transfer effects of musical training to general cognition, the near-transfer effects to speech perception establish the potential for musical training to help children improve their language skills. Piano training was not inferior to reading training on direct tests of language function, and it even seemed superior to reading training in enhancing consonant discrimination.
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Lynch, Michael P., i Rebecca E. Eilers. "Children's Perception of Native and Nonnative Musical Scales". Music Perception 9, nr 1 (1991): 121–31. http://dx.doi.org/10.2307/40286162.
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The influence of musical experience on children's perception of culturally familiar (native) and culturally unfamiliar (nonnative) musical scales was studied. Western musician and nonmusician 10- to 13-year olds were tested in detection of mistunings in a melody based on either the Western major, Western minor, or Javanese pelog scales. In the Javanese scale context, the performance of the musicians was not different from that of the nonmusicians, and neither group detected mistunings in this context significantly better than chance. The child musicians' performance in the Western contexts, however, was better than in the Javanese context and also was better than that of the child nonmusicians. In contrast, the child nonmusicians' performance in the Western contexts was significantly better than chance, but these children did not have significantly greater success at detecting mistunings in the Western than Javanese contexts. These findings suggest that informal musical acculturation results in somewhat better perception of native than nonnative scales by 10-13 years of age but that formal musical experience can facilitate the acculturation process. These results are compared with other published data on infants and adults tested with the same stimuli.
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Boal-Palheiros, Graça, Pedro Figueira i São Luís Castro. "Habilidades musicales y cognitivas en niños/as de entornos desfavorecidos". Revista Electrónica de LEEME, nr 49 (4.06.2022): 85. http://dx.doi.org/10.7203/leeme.49.24089.
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Human beings are born with several abilities which are amenable to change. A growing number of studies have focused on the relations between musical and cognitive abilities but research with children from disadvantaged communities is scarce. This study explored the relations between musical and cognitive abilities in disadvantaged children. Participants were 169 children from deprived neighborhoods, attending the second year of primary education in public schools that do not offer music education. Children’s musical abilities (perception) were measured with the Melody, Rhythm, and Memory tests of Montreal Battery for the Evaluation of Musical Abilities and their cognitive abilities, with five WISC-III subtests (Similarities, Vocabulary, Cubes, Picture Arrangement, and Digits). Parental level of education was obtained from a questionnaire on the socio-economic status of children’s families. Results revealed (1) few and weak correlations between musical and cognitive abilities; (2) stronger correlations of Socioeconomic Status (SES) with cognitive than with musical abilities; (3) digit span predicts all musical abilities; 4) a clear factorial distinction between musical and cognitive abilities. Overall, results suggest that disadvantaged children’s musical and cognitive abilities, as measured by the present instruments, are partly independent regarding processing components.
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Rocca, C., i P. Boyle. "E026 Musical pitch perception and production in children with cochlear implants". International Journal of Pediatric Otorhinolaryngology 75 (maj 2011): 65–66. http://dx.doi.org/10.1016/s0165-5876(11)70334-2.
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Bogusz-Witczak, Edyta, Ewa Skrodzka i Hanna Turkowska. "Influence of Musical Experience of Blind and Visually Impaired Young Persons on Performance in Selected Auditory Tasks". Archives of Acoustics 40, nr 3 (1.09.2015): 337–49. http://dx.doi.org/10.1515/aoa-2015-0037.
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AbstractThe impact of musical experience on results concerning sound perception in selected auditory tasks, such as pitch discrimination, pitch-timbre categorization and pitch memorization for blind and visually impaired children and teenagers is discussed. Subjects were divided into three groups: of those with no experience of music, with small musical experience and with substantial musical experience. The blind and visually impaired subjects were investigated, while sighted persons formed reference groups. To date no study has described impact of musical experience on results of such experiments for blind and visually impaired children and teenagers. Our results suggest that blind persons with musical experience may be more sensitive to frequency differences and differences in timbre between two signals as well as may have better short-term auditory memory than blind people with no musical experience. Musical experience of visually impaired persons does not necessary lead to better performance in all conducted auditory tasks.
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Yegorova, M. A., i T. M. Rabina. "METHODS OF MUSICAL AND RHYTHMIC EDUCATION OF PRESCHOOL CHILDREN WITH VISUAL DISABILITIES BASED ON PEDAGOGICAL SYSTEM OF KARL ORFF". Arts education and science 1, nr 1 (2020): 155–61. http://dx.doi.org/10.36871/hon.202001020.
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The article reveals the methods of musical-rhythmic education of preschool children with visual disabilities on the basis of pedagogical system by Karl Orff in the process of musical lessons in kindergarten. This method includes the development of speech, figurative thinking, coordination of movements, the development of communication skills, emotionality and creativity of children with visual disabilities. The method provides different musical quests using simple literary text, that allows children to sing along with the teacher, thereby developing their speech; literary and musical images, displayed by various attributes, which children are able to understand, and also tasks for the development of children’s spatial coordination. The method involves different kinds of tasks, such as “Songs with replacement”, in which words are replaced by defined movements, aiming to develop coordination, attention and mind, as well as creative participation of all children in the execution of the musical composition. The tone of voice of the teacher, his manner of communication with children are of great importance along with the laws of perception: a) Tell me an I forget, b) Show me and I remember, c) Put me in the process and I understand.
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Masten, William G. "Creative Self-Perceptions of Mexican-American Children". Psychological Reports 64, nr 2 (kwiecień 1989): 556–58. http://dx.doi.org/10.2466/pr0.1989.64.2.556.
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Responses from 96 ( M age: 11-yr.-old) Mexican-American children, 55 boys and 41 girls in Grades 3 to 8, on Something About Myself from the Khatena-Torrance Creative Perception Inventory showed they believed themselves to be talented in many different areas and to use original ideas to solve problems as well as not take for granted what they are told, but do not participate in musical or dramatic expressions.
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Reshetova, Natalia M. "MUSICAL DRAMATICS OF CHILDREN'S PUPPET SHOW". Vestnik Tomskogo gosudarstvennogo universiteta. Kul'turologiya i iskusstvovedenie, nr 42 (2021): 214–22. http://dx.doi.org/10.17223/22220836/42/18.
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The musical dramaturgy of a child's puppet show is a unique phenomenon, characterized by brevity, conciseness, minimalism of forms and structures. It relies on the generally accepted laws of theatrical productions, which include the exposition, the outset, the culmination, the denouement, and so on. Specific features of the children's puppet show are manifested in the plot-sense, figurative and genre aspects, as well as in the means of musical and artistic expressiveness. The basis of the puppet show is the genre of the fairy tale, which in the form accessible to the children reveals the main meaning of the artwork. Through the genre of fairy tales, children distinguish good deeds, truth and lies, learn about living and inanimate nature, people, fairy-tale characters, fantasize, ponder, memorize. The imagery that are revealed in the puppet show are actual to the child. The musical side of the performances contributes to his perception. Particular importance is the theater dramaturgy and musical dramaturgy of the children's puppet show. They contribute to the organization of the musical and artistic consciousness of the child, who first gets acquainted with the theater world. The musical dramaturgy of the children's puppet show is based on song and folklore genres. The musical and artistic expressiveness is based on the melody of the word and the structural and rhythmic patterns of verbal speech. The analysis of the integral dramaturgy of the children's puppet show testifies to the birth of original, original genre models – a fairy tale with music, a musical fairy tale and an interactive performance. Children's puppet show is close to the psychology of children's perception. At the same time, it has musical, artistic, teaching and educational significance. Puppet show captivates and helps children enter into real life with the help of artistic-figurative and musical-figurative experiences and impressions. In this process, dramaturgy, as well as various means of musical and artistic expression, a decisive role in the play. Moreover, successful dramaturgic decisions of the play control the perception and consciousness of the audience and lead it to the expected results for the authors of show. With respect to the children's audience, the result should be considered not entertainment, but educational and educational success. It is here that the main meaning of children's puppet shows is concluded, which through the artistic influence form and develop the personality of a small person.
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Gordon, Karen A. "Perception of emotional music by children with cochlear implants reveals developmental plasticity". Journal of the Acoustical Society of America 153, nr 3_supplement (1.03.2023): A286. http://dx.doi.org/10.1121/10.0018865.
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Cochlear implants provide poor access to the frequency components needed to accurately identify emotional music and speech. Nonetheless, a series of studies revealed that children with cochlear implants develop unique strategies to identify emotion in music. Although musical changes were difficult for them to detect, children with cochlear implants responded most accurately to rhythmic changes and also relied mainly on temporal information to judge whether music was happy or sad. By contrast, mode (frequency) information dominated perception of musical emotion in typically developing children and was used more clearly by bimodal device users (cochlear implant in one ear with acoustic hearing in the other) than children with bilateral deafness using unilateral or bilateral cochlear implants. Mode became the more dominant cue with increasing residual hearing in the non-implanted ear. Children with unilateral cochlear implants showed prolonged response times relative to a control group of normal hearing peers while judging whether music was happy or sad. Response times in children with bimodal devices and bilateral cochlear implants were more similar to controls. Together, these results demonstrate development of novel strategies for music listening and perception of emotion in music based on available cues in children with cochlear implants and suggest that these strategies require cognitive resource.
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Marquetti, Beatriz Quirino, Éder Costa Muchiutti i Felipe Viegas Rodrigues. "Preferência de percepção tonal em crianças com ou sem educação musical formal". Percepta - Revista de Cognição Musical 9, nr 2 (30.07.2022): 95–108. http://dx.doi.org/10.34018/2318-891x.9(2)95-108.
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Among the mental functions recruited by music, timbre processing is possibly one of the most interesting, as it exemplifies the perceptual constancy that allows recognition of regularities in the environment. The objective of the present work was to investigate the musical perception of children with formal music education and the prevalence of fundamental and spectral lis-teners based on the differential perception of complex tones. Thirty children between 10 and 15 years old participated, who responded to 48 pairs of tones, in which the second tone should be judged as ascending or descending. The participants' responses allowed the calculation of an index of pitch perception preference (Δp). The results show that the Control Group pre-sented Δp closer to zero than the Musicians Group, both with normal distribution. Therefore, musicians and non-musicians have subtle differences in the perception of complex tones, with a preference for fundamental listeners among the musicians investigated.
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Chen-Hafteck, Lily. "Pitch abilities in music and language of Cantonese-speaking children". International Journal of Music Education os-31, nr 1 (maj 1998): 14–24. http://dx.doi.org/10.1177/025576149803100102.
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The relationship between musical and linguistic pitch abilities in young children was explored. Developmental research demonstrated that abilities in pitch perception and production in early music and language development are closely integrated. Cross-cultural evidence also illustrated the influence of language characteristics on music, children's songs and spontaneous singing. A close examination into the singing ability of the Cantonese-speaking children in Hong Kong showed that pitch abilities in language can possibly enhance pitch accuracy in singing. It was therefore suggested that musical and linguistic abilities should be encouraged in close connection during early childhood.
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Shevtsova, Olena, Vladyslav Tsarenko, Snizhana Kurkina, Petro Voloshyn i Tetiana Lisovska. "The importance of musical and aesthetic education of young people in modern society". Revista Amazonia Investiga 12, nr 61 (28.02.2023): 51–60. http://dx.doi.org/10.34069/ai/2023.61.01.6.
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The importance of musical and aesthetic education of young people to form their spiritual world in modern conditions of the information society is clarified. The approaches of scientists to understanding the phenomenon of "musical and aesthetic education" are generalized, which gives grounds to assert that this concept is: a component of the spiritual development of the individual, his artistic and emotional sphere, aesthetic attitude to the surrounding reality; a means of developing his musical abilities in the process of conscious perception of works of musical art and critical attitude to musical phenomena; a specially organized purposeful process of forming musical qualities and musical and aesthetic consciousness of the individual. The main purpose of musical education is to teach children to understand music by familiarizing children with folk music, works of great composers and organizing music circles where you can study musical literacy, music history, and learn to play musical instruments. It is proved that teenagers are the most susceptible to the influence of music, since they are passionate about listening to music and are included in performing musical activities, striving to improve melodic hearing, fret sense, develop harmonious hearing, auditory representations and musical abilities.
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Walls, Kimberly C. "Effects of Intensity and Age on Perception of Accent in Isochronous Sequences of a Snare Drum Timbre". Journal of Research in Music Education 42, nr 1 (kwiecień 1994): 36–44. http://dx.doi.org/10.2307/3345335.
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Musical expression is often dependent upon accentuation, yet there is little research in the perception of dynamic accent in music and its relationship to intensity just noticeable differences (JNDs). This experiment estimated relationships among (a) accent limen (AL), (b) difference limen (DL), and (c) the ages of the nonmusician female subjects (N = 51). The AL was the intensity increment producing 80 % correct criteria in subjects' perceptions of single accented tones embedded xvithin seven-tone isochronous series. The unaccented tones were identical-timbre 87-dB(A) digitally produced snare drum sounds. The DL was the intensity difference in tone pairs that produced a 75% correct criterion. The relationship between AL and DL was not significant [F(1, 48) = 5.505, p = .197]. The relationship between AL and age was significant [F(1, 48) = 5.732, p = .021], suggesting that the amount of intensity change required for perception of intensity accentuation in musical set-I tings (especially by children) should be larger than the DL.
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Gelman, Viktor. "The specificity of cerebral lateralization in perception of emotional intonation of speech among children with special abilities". Психолог, nr 6 (czerwiec 2021): 52–60. http://dx.doi.org/10.25136/2409-8701.2021.6.36345.
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Much attention has been recently given to examination of developmental peculiarities of cognitive processes of children and adolescents with special abilities. The goal lies in comparative study of the ontogenetic peculiarities of cerebral mechanisms underlying the processing of emotional information in children who are engaged in extracurricular musical and mathematical activities. The sampling included the children engaged in additional activities and the control group, and consisted of the three age groups: 7-10 year, 10-13 years, and 14-17 years. In the conducted experimental studies, the respondents had to identify the emotional intonation of speech in the given phrase. The study revealed the significant ontogenetic differences in perception of emotional prosody of speech between the control group and the children engaged in additional activities. In the group of children of 7-13 years, who are engaged in additional classes, the predominant activity of left hemisphere testifies to the specificity of inter-hemispheric connections in the perception of emotional information. The dependence of the effects of cerebral lateralization on age was analogous in the groups of children engaged in mathematical and musical activities; and differed from the results of the control group, which allows claiming that the interinfluence of mathematical and musical skills is to a certain extent explained by the peculiarities of developmental age of cerebral lateralization in childhood and adolescence.
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Habalová, Mária. "Musical Activities in the Development of Cognitive Processes (Attention) in Children in Early Childhood Intervention". Studia Scientifica Facultatis Paedagogicae Universitas Catholica Ružomberok 21, nr 2 (2022): 67–78. http://dx.doi.org/10.54937/ssf.2022.21.2.67-78.
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The perception of music requires focus on what is happening here and now. When working with children with developmental issues, it is important to modulate stimuli, so they are strong enough to attract and sustain their attention, despite any limitations. In musical activities, the children follow and respond to the musical movement that occurs within various changes in pitch, melody, intensity, rhythm, timbre, etc. Through these changes, it is possible to regulate the level of attention span. Different musical activities can be implemented into various educational and intervention strategies according to the children’s interests as well as their specific needs. The aim of this paper is to present music as an attractive and effective medium to improve children’s attention.
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Corrigall, Kathleen A., i Laurel J. Trainor. "Musical Enculturation in Preschool Children: Acquisition of Key and Harmonic Knowledge". Music Perception 28, nr 2 (1.12.2010): 195–200. http://dx.doi.org/10.1525/mp.2010.28.2.195.
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Even adults without formal music training have implicit musical knowledge that they have acquired through day-to-day exposure to the music of their culture. Two of the more sophisticated musical abilities to develop in childhood are knowledge of key membership (which notes belong in a key) and harmony (chords and chord progressions). Previous research suggests sensitivity to key membership by 4 or 5 years, but provides no behavioral evidence of harmony perception until 6 or 7. Thus, we examined knowledge of key membership and harmony in 4- and 5-year-old children using a simple task and a familiar song. In line with previous research, we found that even the youngest children had acquired key membership. Furthermore, even 4-year-olds demonstrated some knowledge of Western harmony, which continued to develop between 4 and 5 years of age. In sum, our results indicate that harmony perception begins to develop earlier than has been previously suggested.
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Smilkova, Smilena. "DEVELOPMENT OF MILITARY SKILLS IN CHILDREN FROM NUV BY EDUCATIONAL NUCLEAR MUSICAL PRACTICE AND ELEMENTS OF MUSICAL EXPRESSION". Knowledge International Journal 28, nr 3 (10.12.2018): 1031–34. http://dx.doi.org/10.35120/kij28031031s.
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The curiosity of the children is the driving force of their behavior, their impulse for action, their flight of fantasy, the "discovery" of the world, their proof and self-affirmation to others and to themselves.The pursuit of "discovery" has different manifestations in different children. It is manifested in the ways of perceiving and clarifying the reality of children's fantasy, its creativity, its courage, its ingenuity, its ingenuity.This article examines the problem of developing soft skills in primary school children through certain educational cohorts in music education: Musical practice including perception and reproduction and Elements of musical expression. A literary review of the problem has been carried out. An attempt is made to identify the intersections between the music education in elementary school and the development of soft skills in the students.Music is a serious "provocateur" in the expression of childhood. She, the music, educates, trains, stimulates, enthusiastically. "Invisible" as an image of time, the music introduces the children to the styles of different ages, to the thoughts and emotions of the people who lived "long ago" and "now," with the ways of expressing them both from the ethnos and from the personal creative vision of the composer. Music helps children walk around the world, worn by the wings of imagination and aided by the craftsmanship of the creators who have left behind the trail of personal and social understanding of the world and life.Through the music practice of Perception, children learn about the masterpieces of renowned masters. Through the second element of the musical practice - Reproduction, they become interpreters, "interpreters" of the vast universe of human dreams, sorrows, desires, gusts, hopes. The nature and essence of the Elements of Musical Expression leads them to a logical and reasoned explanation of the difficult and enigmatic musical language.How do the Educational Kernels Influence Musical Practice and Elements of Musical Expression on the Development of Soft Skills in Children of primary school? Comprehensive! They create listening and listening skills, feedback, flexibility and adaptability, thinking outside of the box, telling stories, personal and social organization, "seeing" and evaluating the positive.Of course, learning music, understanding and performing it, creating soft skills during the learning period takes place over time - a long, gradual, permanent, labor-intensive process. But resisting the time, embracing music with the interest, curiosity and purity of the child's soul, it is the time that is grateful for the knowledge and wisdom of the formed spiritual person.
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Reva, V. P., i H. V. Torkhava. "Systemic and synergetic preconditions for musical perception training in younger school children". Science of the Person: Humanitarian Researches 15, nr 2 (2021): 107–15. http://dx.doi.org/10.17238/issn1998-5320.2021.15.2.13.
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Sallat, Stephan, i Sebastian Jentschke. "Music Perception Influences Language Acquisition: Melodic and Rhythmic-Melodic Perception in Children with Specific Language Impairment". Behavioural Neurology 2015 (2015): 1–10. http://dx.doi.org/10.1155/2015/606470.
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Language and music share many properties, with a particularly strong overlap for prosody. Prosodic cues are generally regarded as crucial for language acquisition. Previous research has indicated that children with SLI fail to make use of these cues. As processing of prosodic information involves similar skills to those required in music perception, we compared music perception skills (melodic and rhythmic-melodic perception and melody recognition) in a group of children with SLI (N=29, five-year-olds) to two groups of controls, either of comparable age (N=39, five-year-olds) or of age closer to the children with SLI in their language skills and about one year younger (N=13, four-year-olds). Children with SLI performed in most tasks below their age level, closer matching the performance level of younger controls with similar language skills. These data strengthen the view of a strong relation between language acquisition and music processing. This might open a perspective for the possible use of musical material in early diagnosis of SLI and of music in SLI therapy.
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Christiner, Markus, i Susanne Reiterer. "Early Influence of Musical Abilities and Working Memory on Speech Imitation Abilities: Study with Pre-School Children". Brain Sciences 8, nr 9 (1.09.2018): 169. http://dx.doi.org/10.3390/brainsci8090169.
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Musical aptitude and language talent are highly intertwined when it comes to phonetic language ability. Research on pre-school children’s musical abilities and foreign language abilities are rare but give further insights into the relationship between language and musical aptitude. We tested pre-school children’s abilities to imitate unknown languages, to remember strings of digits, to sing, to discriminate musical statements and their intrinsic (spontaneous) singing behavior (“singing-lovers versus singing nerds”). The findings revealed that having an ear for music is linked to phonetic language abilities. The results of this investigation show that a working memory capacity and phonetic aptitude are linked to high musical perception and production ability already at around the age of 5. This suggests that music and (foreign) language learning capacity may be linked from childhood on. Furthermore, the findings put emphasis on the possibility that early developed abilities may be responsible for individual differences in both linguistic and musical performances.
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Creel, Sarah C., Reina Mizrahi, Alicia G. Escobedo, Li Zhao i Gail D. Heyman. "No Heightened Musical Pitch Weighting For Tone Language Speakers in Early Childhood". Music Perception 40, nr 3 (1.02.2023): 193–201. http://dx.doi.org/10.1525/mp.2023.40.3.193.
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Numerous studies suggest that speakers of some tone languages show advantages in musical pitch processing compared to non-tone language speakers. A recent study in adults (Jasmin et al., 2021) suggests that in addition to heightened pitch sensitivity, tone language speakers weight pitch information more strongly than other auditory cues (amplitude, duration) in both linguistic and nonlinguistic settings compared to non-tone language speakers. The current study asks whether pitch upweighting is evident in early childhood. To test this, two groups of 3- to 5-year-old children—tone-language speakers (n = 48), a group previously shown to have a perceptual advantage in musical pitch tasks (Creel et al., 2018), and non-tone-language speakers (n = 48)—took part in a musical “word learning” task. Children associated two cartoon characters with two brief musical phrases differing in both musical instrument and contour. If tone language speakers weight pitch more strongly, cue conflict trials should show stronger pitch responding than for non-tone speakers. In contrast to both adult speakers’ stronger pitch weighting and child and adult pitch perception advantages, tone-language-speaking children did not show greater weighting of pitch information than non-tone-language speaking children. This suggests a slow developmental course for pitch reweighting, contrasting with apparent early emergence of pitch sensitivity.
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Zhang, Meng. "Analysis and Research on the Role of Family Music Education in Children's Music Education". Journal of Intelligence and Knowledge Engineering 1, nr 4 (grudzień 2023): 32–35. http://dx.doi.org/10.62517/jike.202304408.
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Family education plays an important role in the comprehensive development of children. In terms of musical ability, good family music education can enhance children's musical perception, understanding, expression, and creativity. In terms of cognitive ability, family music education is also beneficial for improving children's thinking ability, memory, and attention. In addition, music education can also promote the development of children's language and motor abilities. Parents should deeply recognize the crucial role of the family in music education, provide a good music learning environment and diverse music experience atmosphere for their children, and promote their comprehensive development.
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Iuşcă, Dorina Geta. "1. Musical Abilities Very Early in Life". Review of Artistic Education 25, nr 1 (1.03.2023): 1–6. http://dx.doi.org/10.2478/rae-2023-0001.
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Abstract Music-related skills are not always an effect of systematic music education. Many music perception acquisitions develop naturally due to children’s exposure to melodic and rhythmical structures across their life. Experts found that even at very early stages of life, children are capable of identifying and differentiating musical structures. More so, they develop musical preferences closely related to certain biological features or certain emotional aspects regarding their relationship with their mother. The present study aims to review the latest findings associated to these musical skills that occur during the prenatal period and the first year of life.
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En Hui, Li. "Methodological Principles for Forming of Younger School-Age Children’s Musical and Auratory Ideas in the Process of Teaching and Learning the Piano". Intellectual Archive 12, nr 4 (9.12.2023): 56–67. http://dx.doi.org/10.32370/ia_2023_12_6.
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The article emphasizes that the state of modern music education in Ukraine and China requires the introduction of new methods aimed at forming musical and auditory ideas into the practice of teaching pupils’ in extracurricular art educational institutions. Taking into account the complexity and different ways, they are considered in the process of teaching and learning the piano on the basis of environmental, individually differentiated, reflective and creative activity approaches. The author points out some pedagogical principles: realization of the pupils’ personal potential, accentuation of auditory attention during the performance of a musical piece, aesthetic perception of musical works, focus of musical education on the development of the emotional and sensory experience of younger school-age children, encouragement to self-evaluation and personal adjustment of one's own games in accordance with the imagined image, the connection of musical education with national culture. Thus, the selected scientific approaches and pedagogical principles become the basis for using the necessary methods and techniques for working with elementary school-age children. Pedagogical conditions were also substantiated for effective musical education of younger school-age children: 1) selection of the most emotionally expressive musical works taking into account their pedagogical tasks; 2) the introduction of creative tasks aimed at the development of musical and auditory ideas of younger school-age children into the system of primary education of children; 3) orientation of musical and auditory ideas of younger school-age children in the mode of independent development. The step-by-step method covers in teaching and learning the piano of younger school-age children in three stages: emotional-developmental, reproductive-accumulating and communicative-creative. By their essence, these stages correspond to the content of piano learning in extracurricular art institutions and are correlated with certain structural components: motivational, emotional-reflective, active and creative-performing. The theoretical provisions developed by the author regarding the formation of musical and auditory ideas of younger school-age children are presented in the form of an organizational and methodological model, which includes the goal, tasks, principles, pedagogical conditions, structural components, stages, forms and methods. During testing in Ukrainian and Chinese specialized music institutions, it showed its effectiveness and feasibility in the process of teaching and learning the piano.
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Biedna, Yuliia. "CORRECTION OF ATTENTION OF SCHOOLCHILDREN WITH SPECIAL NEEDS BY MEANS OF MUSICAL AND INTONATIONAL INVENTION". Academic Notes Series Pedagogical Science 1, nr 204 (czerwiec 2022): 95–98. http://dx.doi.org/10.36550/2415-7988-2022-1-204-95-98.
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The article is devoted to the consideration of means of musical-intonational suggestion for the correction of attention of students with autism spectrum disorders. This correction method is presented in light of its potential to improve the general psycho-emotional state of students with appropriate nosology, which has a positive effect on the mental development of such children by improving the functioning of cognitive mental processes, including voluntary attention. Emphasis is placed on the psychological patterns of perception of a musical work in the process of pedagogical work with autistic children, which in the context of our theoretical study sheds light on the mechanisms of facilitating and intensifying the formation of attention processes during pedagogical interaction in class. The unique ability of music to change and adjust the emotional state of a student with special educational needs in combination with intonationally emphasized verbal instructions of the teacher allow arbitrary management of his educational and cognitive activities, which in turn "pulls" the development of attention and attention of such students. It is determined that to achieve the desired effect in creating a situation of music perception by children with autism, it is necessary to take into account their current emotional state at the beginning of music, their level of mental mobilization, activity, and plan and practice teacher behavior, including expression, pauses, intonations , gestures, facial expressions, selection of information material of the lesson. The function of suggestion for a certain category of children should be aimed at the child's perception of certain kinds of thoughts, positive feelings that directly affect the psyche and, accordingly, become a corrector of its attention. It is proved that the musical- intonational content of pedagogical interaction derives its potential from many sources of non-special content, and its expressiveness is based on associations with other sound sources due to auditory experience, which are prerequisites for psychophysiological influence of music on the child's emotional sphere. As a result of the conducted analytical work it is proved that the process of suggesting musical intonation for autistic children of primary school age is an important suggestive factor that allows to achieve the desired effect in the functioning of their cognitive mental processes.
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Kastner, Marianna Pinchot, i Robert G. Crowder. "Perception of the Major/Minor Distinction: IV. Emotional Connotations in Young Children". Music Perception 8, nr 2 (1990): 189–201. http://dx.doi.org/10.2307/40285496.
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Thirty-eight children between ages 3 and 12 listened to 12 short musical passages derived from a counterbalanced 2 × 2 arrangement of (1) major versus minor modes and (2) harmonized versus simple melodic realizations of these modes. For each passage, they pointed to one of four schematic faces chosen to symbolize happy, sad, angry, and contented facial expressions. The main result was that all children, even the youngest, showed a reliable positive-major/negative-minor connotation, thus conforming to the conventional stereotype. The possible contributions of native and experiential factors to this behavior are discussed.
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Stachó, László, Suvi Saarikallio, Anemone Van Zijl, Minna Huotilainen i Petri Toiviainen. "Perception of emotional content in musical performances by 3–7-year-old children". Musicae Scientiae 17, nr 4 (8.10.2013): 495–512. http://dx.doi.org/10.1177/1029864913497617.
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Sendesen, İrem, Eser Sendesen i Esra Yücel. "Evaluation of musical emotion perception and language development in children with cochlear implants". International Journal of Pediatric Otorhinolaryngology 175 (grudzień 2023): 111753. http://dx.doi.org/10.1016/j.ijporl.2023.111753.
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