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Artykuły w czasopismach na temat "Perceived musicality"
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Howard, David, Stuart Rosen i Victoria Broad. "Major/Minor Triad Identification and Discrimination by Musically Trained and Untrained Listeners". Music Perception 10, nr 2 (1992): 205–20. http://dx.doi.org/10.2307/40285607.
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The extent to which a computer-synthesized continuum of major to minor triads was categorically perceived was examined using labeling and discrimination tests. The 32 listeners varied widely in " musicality," assessed by an objective test of basic musical skills. There was a strong positive relationship between musicality and ability to label the major/minor continuum consistently ( measured by the slope of the labeling function). Overall discrimination performance varied only weakly with musicality, although the pattern of discrimination performance across the continuum differed strongly among three listener subgroups, distinguished on the basis of musicality. The most "musical" listeners showed a close relationship between the position of the discrimination peak and the category boundary calculated from the labeling function, a strong indicator of categorical perception. On similar criteria, the evidence for categorical perception was nonexistent in the least musical listeners and moderate in an intermediate group. From the evidence that the extent of categorical perception appears to vary in a graded fashion with the degree of musicality, we conclude that categorical perception can arise primarily through a process of learning.
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Dalgarno, Gordon. "Improving on What is Possible with Hearing Aids for Listening to Music". British Journal of Music Education 7, nr 2 (lipiec 1990): 99–121. http://dx.doi.org/10.1017/s0265051700007610.
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There is no difference between the inherent musicality of people with impaired hearing and those with normal hearing. This applies even to the profoundly deaf, provided that music can adequately be perceived. Recognising the shortcomings of hearing aids designed primarily for speech, the author shows how music listening for the deaf can be very considerably improved by using readily available equipment to process sound in particular ways to compensate for different types of hearing deficiency. He observes that some deaf people seem able to perceive music, especially the pitch of notes, more clearly than others who are substantially less hearing impaired. A possible explanation for this paradox is given.
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Tierney, Adam, Aniruddh D. Patel i Mara Breen. "Repetition Enhances the Musicality of Speech and Tone Stimuli to Similar Degrees". Music Perception 35, nr 5 (1.06.2018): 573–78. http://dx.doi.org/10.1525/mp.2018.35.5.573.
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Certain spoken phrases, when removed from context and repeated, begin to sound as if they were sung. Prior work has uncovered several acoustic factors that determine whether a phrase sounds sung after repetition. However, the reason why repetition is necessary for song to be perceived in speech is unclear. One possibility is that by default pitch is not a salient attribute of speech in non-tonal languages, as spectral information is more vital for determining meaning. However, repetition may satiate lexical processing, increasing pitch salience. A second possibility is that it takes time to establish the precise pitch perception necessary for assigning each syllable a musical scale degree. Here we tested these hypotheses by asking participants to rate the musicality of spoken phrases and complex tones with matching pitch contours after each of eight repetitions. Although musicality ratings were overall higher for the tone stimuli, both the speech and complex tone stimuli increased in musicality to a similar degree with repetition. Thus, although the rapid spectral variation of speech may inhibit pitch salience, this inhibition does not decrease with repetition. Instead, repetition may be necessary for the perception of song in speech because the perception of exact pitch intervals takes time.
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Mamonova, Yana A., i Denis V. Tsarev. "Advantages of Music Game As a Method of Teaching Junior Schoolchildren". Uchenye Zapiski RGSU 20, nr 1 (30.03.2021): 148–55. http://dx.doi.org/10.17922/2071-5323-2021-20-1-148-155.
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The purpose of the work is to theoretically justify and experimentally prove the effectiveness of the use of musical and didactic games as a means of teaching younger students in music lessons and identify its advantages in comparison with traditional methods. The main conclusion of the work – a comparative analysis of the results of experimental work showed that significant changes took place in the development of the musicality of elementary school students, in which musical and didactic games were used. In general, after the use of music and didactic games in music lessons in elementary school, more schoolchildren with a high level of musicality development were identified. The results of the study showed the effectiveness and efficiency of developing the musicality of primary school students using music and didactic games and the feasibility of their use in music lessons in primary school. The great advantage of games is that this type of work is joyfully perceived by younger students, and you can organize the game so that it will contribute to solving the problems of their musical training, education, development. When using music and didactic games in music lessons in elementary school, the dynamics of the development of the musicianship of students is clearly observed.
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Bugaj, Katarzyna A., James Mick i Alice-Ann Darrow. "The Relationship Between High-Level Violin Performers’ Movement and Evaluators’ Perception of Musicality". String Research Journal 9, nr 1 (25.06.2019): 23–33. http://dx.doi.org/10.1177/1948499219851374.
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The purpose of this study was to examine possible relationships between the extent of high-level violin performers’ movement during performance and evaluators’ perceptions of their musicality. Stimuli were 10 excerpts of solo violin performances from the 2015 Tadeusz Wronski International Violin Competition for Solo Violin, selected to convey high and low amounts of performer movement. Participants were undergraduate music majors ( N = 274) divided into three groups by experimental conditions: visual-only ( n = 109), audio-only ( n = 78), or audio-visual ( n = 87). Analysis demonstrated that performers exhibiting high movement were perceived as more musical than performers exhibiting low movement. The findings suggest that even accomplished musicians are subject to evaluation biases based on stage presence and physical behaviors such as movement.
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Monaci, Maria Grazia, Maya Gratier, Colwyn Trevarthen, Didier Grandjean, Pierre Kuhn i Manuela Filippa. "Parental Perception of Vocal Contact with Preterm Infants: Communicative Musicality in the Neonatal Intensive Care Unit". Children 8, nr 6 (17.06.2021): 513. http://dx.doi.org/10.3390/children8060513.
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In this study, we evaluate mothers’ subjective experience of speaking and singing to their infants while they are in their incubators. We also discuss the relevance of the theoretical framework of Communicative Musicality for identifying the underlying mechanisms that may help explain its beneficial effects, both for parents and infants. Nineteen mothers talked and sung to their stable preterm infants in the incubators, for 5 min each, in three sessions over a period of 6 days. After each session, mothers were asked to assess in a self-report questionnaire the ease and the effectiveness of addressing their infants by speaking and singing and their prior musical experience. Perceived ease and effectiveness in communication were found to increase progressively from one session to the next. Mothers rated the speech to be increasingly more effective. This intuitive mean of interaction between parents and infants could be encouraged and supported by the nurses and the medical staff. Furthermore, individual musical experience affects perceived ease of communicating vocally with infants after a premature birth and should thus be encouraged during pregnancy.
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Macenka, Svitlana. "Music as Metaphor and Music Metaphors in Belles-Lettres and Scientific Music-Literary Discourse". Pitannâ lìteraturoznavstva, nr 101 (9.07.2020): 88–108. http://dx.doi.org/10.31861/pytlit2020.101.088.
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In view of the importance of music as metaphor in the famous works of German literature (Thomas Mann's Doctor Faustus, Hermann Hesse's The Bead Game) and with reference to numerous statements made by the authors about music as an important element of their creativity, the article offers insight into the advantages of metaphorical approach to the analysis of music in literature as one that is productive and compatible with intermediality. As some Germanic literary studies papers attest, the proponents of metaphorical understanding of the interaction between literature and music (e.g. English modernist literature researcher Sarah Fekadu, Hermann Hesse's scholar Julia Moritz, theoretician of literature and jazz relations Erik Redling) rely on leading concepts about metaphor (those by Wilhelm Köller, Hans Blumenberg, George Lakoff and Mark Johnson) to substantiate the specific idea of musicality behind literary text. In particular, J. Moritz suggests that the musicality of a literary text should be perceived as metaphor which enables different ideas, depending on context or literary phenomena. Music and literature in this case form a completely different link, in which not the forms of art themselves but the perceptions of them are transformed in such a way as to create a new image which reveals a specific quality of literary text. It is emphasized that the metaphorical model helps solve the dilemma of whether “real” music can be found in literature as we no longer speak of such medium as “music” but of musicality as a specific quality of literature. That is why, literature which possesses musicality does not need to give up its essence to imitate music. The interdisciplinary character of the metaphorical understanding of music is also discussed and exemplified by current music studies papers which study literature. Music studies scholars do not deny the interaction between the two sign systems – music and literature. Thus, Christian Thorau claims that metaphorical calling is the calling of “contrastive exemplification”, figurative and sensual calling of common and different qualities. Semiotic prospect maintains sensibility where heterogeneous sign constellations (for instance, painting and music but also music and verbalized text) produce the moment of conflict through different sign forms regardless of the strength of semantic compatibility or difference. Within the semiotic mode this conflict may be studied as cross-modal metaphorism.
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Costes-Onishi, Pamela. "Negotiating the boundaries between the formal and the informal: An experienced teacher's reflective adaptations of informal learning in a keyboard class for at-risk students". British Journal of Music Education 33, nr 3 (30.06.2016): 309–26. http://dx.doi.org/10.1017/s0265051716000140.
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The objective of this study is to address the important questions raised in literature on the intersections between formal and informal learning. Specifically, this will be discussed within the concept of ‘productive dissonance’ and the pedagogical tensions that arise in the effort of experienced teachers to transition from the formal to the informal. This case study discusses the issues that ensue when strict demarcations between formal and informal are perceived, and demonstrates that the former is vital to the facilitation of the latter. The blurring of formal and informal pedagogical approaches has shown that the concept of ‘critical musicality’ becomes more apparent in student learning and that engagement increases especially among at-risk students.
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Cramer, Alfred W. "Of Serpentina and Stenography: Shapes of Handwriting in Romantic Melody". 19th-Century Music 30, nr 2 (2006): 133–65. http://dx.doi.org/10.1525/ncm.2006.30.2.133.
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Like nineteenth-century handwriting, Romantic melody consisted of a single unbroken, shaped curviline and was invested with the ability to evoke the ideal, maternal feminine, to evoke deeper images and specific meanings, and to function simultaneously as language and as signifier of infinite meaning. It can be fruitfully compared with stenography, a handwriting-based information technology flourishing in the middle nineteenth century. This article documents the perceived handwriting-like nature of music and the perceived musicality of stenography through writings of E. T. A. Hoffmann, Robert Schumann, Wagner, and the stenographer F. X. Gabelsberger. The perceptual phenomenon of auditory streaming, along with analytical approaches developed by Robert O. Gjerdingen and Eugene Narmour, makes it possible to demonstrate structural similarities between stenography and melody (in examples by Berlioz, Mendelssohn, and Wagner) and to show commonalities between the notion of the "music of the future" and the futuristic aspirations of stenography. In turn, it becomes possible to perform the shapes of handwriting in Romantic melody and hear voices and fantastic visions in those shapes.
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Chybowski, Julia J. "Blackface Minstrelsy and the Reception of Elizabeth Taylor Greenfield". Journal of the Society for American Music 15, nr 3 (sierpień 2021): 305–20. http://dx.doi.org/10.1017/s1752196321000195.
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AbstractThis article explores blackface minstrelsy in the context of Elizabeth Taylor Greenfield's singing career of the 1850s–1870s. Although Greenfield performed a version of African American musicality that was distinct from minstrel caricatures, minstrelsy nonetheless impacted her reception. The ubiquity of minstrel tropes greatly influenced audience perceptions of Greenfield's creative and powerful transgressions of expected race and gender roles, as well as the alignment of race with mid-nineteenth-century notions of social class. Minstrel caricatures and stereotypes appeared in both praise and ridicule of Greenfield's performances from her debut onward, and after successful US and transatlantic tours established her notoriety, minstrel companies actually began staging parody versions of Greenfield, using her sobriquet, “Black Swan.” These “Black Swan” acts are evidence that Greenfield's achievements were perceived as threats to established social hierarchies.
Rozprawy doktorskie na temat "Perceived musicality"
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Ruddock, Eve. "Ballad of the never picked : a qualitative study of self-perceived non-musicians' perceptions of their musicality". University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0103.
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Humans are a musical species and every culture has its music. However, twenty individuals out of a cohort of twenty-nine participants in this study judged themselves to be 'not musical'. Through their words, silences and responses, the story of music in the lives of these self-perceived non-musicians uncovered a musical world where concepts of performance, judgment and talent dominate. My investigation into individuals' perceptions of their musicality revealed a pervasive societal belief that individuals were either born 'musical' or they were not; their everyday reality was one where music was perceived as a performance, an object, something that only talented people can 'do'. I planned conversations with participants that aimed to reveal clues that could help to unravel a paradox that lies within music in our Western culture: every young human is intrinsically musical but only some are born with a gift to be musical. Participant convictions that they were not musical deterred some individuals from active engagement in music making. They felt as if they had been left out of the 'musical ballpark'. Details from conversations illustrated a constricting cultural imposition on individuals; this was perpetuated in many schools and also in private music teaching. Data revealed that current educational practice contributed to a denial of a natural birthright and alienated some individuals from being part of a musical community. As their stories revealed failed attempts to engage in music making, iterative contacts created a daunting quantity of data. But there was poetry in participant data. These self-perceived non-musicians simultaneously demonstrated their musicality in the rhythms of their narrative as they denied that they were musical; this emerged as a means to report the research whereby participants' words combined to tell a non-musician's tale. Compelling narrative revealed a society where educational practice does little to address individual musical development. While each story alone was specific and complex, once the stories became woven together as a complex and contradictory whole, the ballad of the never picked captured the essence of a distanced musicality in our Western society. Narrative drove towards meaning. Through interpretation and detailed qualitative analysis, understandings began to emerge from depths of experience and from friction existing within contradictions. Deep within narrative which evolved over a period of five years were perceptions that led to understandings of our cultural reality. Active involvement in this research became part of an emancipatory process for several participants where mutually reflective acts exposed unnecessary impositions from societal expectations. Participant voices uncover a bifurcated reality wherein the musical development of many individuals is undermined through an ignorance of holistic human potential; this musical-unmusical divide is perpetuated in educational practice.
Książki na temat "Perceived musicality"
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Richardson, John. Between Speech, Music, and Sound. Redaktor Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.47.
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This chapter discusses the growing tendency toward aestheticization of the spoken voice in cinema. It provides a taxonomy of different means of speech aestheticization, including poetic speech; accelerated and decelerated speech; wordy or dialogue-heavy soundtracks; heightened voice and dialogue in literary adaptations; fetishization of the voice; technologically manipulated speech; aesthetically marked speech resulting from distinct physical or psychological attributes; comic timing as musicality in speech; and interaction of voices with environmental sounds or aestheticized non-diegetic sounds. Undoubtedly, this phenomenon is bound up with proliferation of digital technologies, which means that previous inaudible sounds can be perceived with increased clarity and sonic manipulation is accomplished with little effort. Occupying a liminal zone between speech and song, flowing speech in cinema is suspended in the middle stage of what Rick Altman calls “audio dissolve,” where the actor in a musical inflects her speech aesthetically while transitioning into song and dance.
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Straus, Joseph. Representing the Extraordinary Body. Redaktorzy Blake Howe, Stephanie Jensen-Moulton, Neil Lerner i Joseph Straus. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199331444.013.45.
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Art historian Tobin Siebers has recently argued that modern visual art is centrally concerned with representing and finding new sorts of beauty in the fractured, disfigured, disabled human body. This essay asks whether the modern in music manifests itself as disability. Focusing on the Stravinskian strand of musical modernism and taking the second of his Three Pieces for String Quartet as a case study, this essay notes that the music can be understood as representing disability in its shape and appearance, its movements, and its implicit mental capacity and affect. Stravinsky’s description of this music as his effort to represent musically the appearance and “the jerky, spastic movements” of a famous music hall performer, Little Tich, whose small stature was perceived by contemporary observers as a grotesque deformation, suggests the music may be understood not only to represent disability generically and metaphorically but also to represent a particular disabled body.
Części książek na temat "Perceived musicality"
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Copeland, Ian R. "Making a Difference?" W The Art of Emergency, 90–116. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190692322.003.0005.
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In Malawi as elsewhere, several NGOs recruit fee-paying “volun-tourists” drawn to a seductive fusion of service and adventure. This chapter considers one such organization—World Camp, Incorporated—and its use of musical strategies during residencies that take place in primary schools and conclude with student-led performances. The efficacy of World Camp’s public health interventions is a matter of considerable ambivalence. In wedding biomedical lyrical content to locally legible musical forms, students enact a hybridized genre with the potential to subvert autochthonous models of knowledge circulation. Volunteers, meanwhile, perceive their students’ performative capabilities through a romantic prism of endemic musicality, an interpretive move that elides the complexity of local praxis and rehashes racial tropes. Ultimately, this chapter argues that volunteers’ reception of their students’ performances completes a circuit of semiotic validation, reifying outsiders’ sense of altruism and perpetuating a model of humanitarian intervention with compromised regard for local impact.
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Avila, Jacqueline. "The Prostitute and the Cinematic Cabaret". W Cinesonidos, 21–67. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190671303.003.0002.
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Chapter 1 focuses on the diegetic music performed in the prostitute melodrama and the cabaretera subgenre, concentrating on the genre’s associations with sexuality, modernity, and gender. Since the Porfiriato, the prostitute functioned as a deeply controversial figure and symbol of womanhood in popular culture, perceived at once as a social vice and as an exploited “necessary evil.” Santa (1931), the tragic story of a young country girl turned prostitute, became Mexico’s first sound film. Cinema presented her musically in two distinct ways: dance music exposed her as a sexual figure, while romantic and sentimental boleros painted her as a figure of tragedy. This chapter analyzes the function of music performances in two canonic prostitute melodramas, Santa and the 1950 cabaretera film Víctimas del pecado. Music signified the prostitute-protagonist’s split identity as a seductress and an empathetic figure, uncovering her problematic position that continued to be exploited on and off screen.
Streszczenia konferencji na temat "Perceived musicality"
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Tsuchiya, Takahiko, i Jason Freeman. "A Study of Exploratory Analysis in Melodic Sonification with Structural and Durational Time Scales". W The 24th International Conference on Auditory Display. Arlington, Virginia: The International Community for Auditory Display, 2018. http://dx.doi.org/10.21785/icad2018.031.
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Melodic sonification is one of the most common methods of sonification: data modulates the pitch of an audio synthesizer over time. This simple sonification, however, still raises questions about how we listen to a melody and perceive the motions and patterns characterized by the underlying data. We argue that analytical listening to such melodies may focus on different ranges of the melody at different times and discover the pitch (and data) relationships gradually over time and after repeated listening. To examine such behaviors in real-time listening to a melodic sonification, we conducted a user study employing interactive time and pitch resolution controls for the user. The study also examines the relationships of these changing time and pitch resolutions to perceived musicality. The results indicate a stronger general relationship between the time progression and the use of time-resolution control to analyze data characteristics, while the pitch resolution controls tend to have more correlation with subjective perceptions of musicality.