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An analysis-by-modification of a film sequence of Alexander Nevsky, repeated 3 times on an evolving music. The changes in the music provoke different types of underscoring, and the audience perceives either the general movement and structur, or the small gestures.

An analysis-by-modification of a film sequence of Alexander Nevsky, repeated 3 times on an evolving music. The changes in the music provoke different types of underscoring, and the audience perceives either the general movement and structur, or the small gestures.

An analysis-by-modification of a film sequence of Alexander Nevsky, repeated 3 times on an evolving music. The changes in the music provoke different types of underscoring, and the audience perceives either the general movement and structur, or the small gestures.

This article has been carried out with university students, who were completing the Primary Education Teacher Degree in Spain and Portugal during the 2018-2019 academic year. The main objective is to know to what extent the visualization of the musical performance transmits emotions different from those transmitted only when listening to it. Various studies have shown that the perception of emotions caused by listening to music is largely influenced by the performance of the musicians. In this study, a questionnaire composed of closed questions was used to collect the data. 125 students from their respective higher education institutions both in Portugal and Spain participated. The results obtained support, in general, the theoretical reasonings and the empirical results shown in preceding evidence. The participants show that the visualization of a musical work generates different emotions performed by the interpretation of the musician, that is, that the interpretive features of each interpreter are of vital importance for the transmission of the different emotions., El presente artículo se ha realizado con estudiantes universitarios que estaban realizando el Grado de Maestro de Educación Primaria en España y Portugal durante el curso 2018-2019. El objetivo principal es conocer hasta qué punto la visualización de la interpretación musical transmite emociones diferentes de las transmitidas solo al escucharla. Diversos estudios han demostrado que la percepción de las emociones provocadas por la escucha de la música está en gran medida influenciada por la interpretación de los músicos. En este estudio, se utilizó un cuestionario compuesto por preguntas cerradas para recopilar los datos. Participaron 125 estudiantes de sus respectivas instituciones de educación superior tanto en Portugal como en España. Los resultados obtenidos corroboran, en general, las representaciones teóricas y los resultados empíricos presentados en la literatura previa. Los participantes muestran que la visualización de una obra musical genera diferentes emociones generadas por la interpretación del músico, es decir, que los rasgos interpretativos de cada intérprete son de vital importancia para la transmisión de las distintas emociones.

Статья посвящена проблеме музыкальных практик в жизни современной молодежи. Автор рассматривает изменения, произошедшие в эпоху постиндустриального общества в сфере музыки. Особый интерес в работе уделяется понятию «музыкальные практики». В статье описаны результаты социологического анализа музыкальных практик в жизни молодежи. Автор использует два метода исследования: анкетный опрос и глубинное интервью. The article is devoted to the problem of musical practices in the life of modern youth. The author considers the changes that have occurred in the era of post-industrial society in the field of music. Particular interest in the work is given to the concept of “musical practices”. The article describes the results of a study of a sociological analysis of musical practices in the life of youth. The author uses two research methods: questionnaire survey and indepth interview.

Many famous film music pieces are composed from a recognizable theme with different arrangements. However, it is time consuming for composers to fit the mood of the music to the desired mood. In this thesis, we propose a real-time music arrangement system, which allows the user to modulate the mood of the music in real-time while retaining the underlying melody (i.e., theme). In order to know how to achieve the target mood in music arrangement, the mood distribution among the Valence-Arousal model and the relationship between the music parameters and the mood categories are carefully studied by conducting a series of listening tests. In the system, the target mood is used to modulate the music parameters (e.g., tempo, mode), and then the melody is modified while the harmony is automatically created. Modulation of the opening joyous music from the opera Carmen with the moods Scary, Sad, and Romantic is demonstrated. Whether the target mood can be expressed by our system and the musical quality of the generated songs are also evaluated in this thesis. The system makes it easy for composers to produce film music from a theme, and it could also be integrated into interactive games to allow the music to follow the action of the game.

The present article exposes the results of a research project developed between 2011, 2012 and 2016 with Trío Los Cholos in the city of Lima, in which I sought to problematize the sense and use given to the notion of «traditional» within the musical practice of the ensemble, in interaction with its performance contexts. Our departure point was not to consider such term as an objective trait, characteristic of a variety of cultural artifacts according to authenticity rhetorics or academic folklore theories, but as an abstract principle constructed based on a set of meanings, perceptions or valuations defined by the ensemble’s performers. In this sense, it is not sought to determine what is «traditional» but which processes operate to determine the applicability of that category and the actors involved in them. To do this, we reconstructed the life histories of the members of the ensemble and conducted controlled sessions of musical exposition. This allowed us to observe that what we understand as «traditional» responds to a process that starts from the identification of sonorities and styles, which in turn activates representations of place associated to musical geographies and abstract performance contexts., El presente artículo expone los resultados del proyecto de investigación desarrollado entre 2011, 2012 y 2016 con el Trío Los Cholos en la ciudad de Lima, el cual buscó problematizar el sentido y uso dado a la noción de lo tradicional desde la práctica musical del conjunto en interacción con sus contextos de performance. Nuestro punto de partida fue no considerar tal término como un rasgo objetivo característico de una variedad de artefactos culturales, siguiendo retóricas de autenticidad o postulados académicos del folklore, sino como un principio abstracto construido a partir de un conjunto de significados, percepciones o valoraciones definidas por los intérpretes en el transcurso de sus trayectorias musicales. En ese sentido, no se buscó determinar qué es tradicional sino qué procesos operan para determinar la aplicabilidad de dicha categoría y los actores involucrados en los mismos. Para ello se reconstruyeron las historias de vida de los integrantes de la agrupación y se condujeron sesiones controladas de exposición musical. Esto permitió observar que lo que entendemos por tradicional responde a un proceso que parte de la identificación de sonoridades y estilos, activa a su vez representaciones de lugar asociados a geografías musicales y contextos abstractos de performance.

The present article exposes the results of a research project developed between 2011, 2012 and 2016 with Trío Los Cholos in the city of Lima, in which I sought to problematize the sense and use given to the notion of «traditional» within the musical practice of the ensemble, in interaction with its performance contexts. Our departure point was not to consider such term as an objective trait, characteristic of a variety of cultural artifacts according to authenticity rhetorics or academic folklore theories, but as an abstract principle constructed based on a set of meanings, perceptions or valuations defined by the ensemble’s performers. In this sense, it is not sought to determine what is «traditional» but which processes operate to determine the applicability of that category and the actors involved in them. To do this, we reconstructed the life histories of the members of the ensemble and conducted controlled sessions of musical exposition. This allowed us to observe that what we understand as «traditional» responds to a process that starts from the identification of sonorities and styles, which in turn activates representations of place associated to musical geographies and abstract performance contexts., El presente artículo expone los resultados del proyecto de investigación desarrollado entre 2011, 2012 y 2016 con el Trío Los Cholos en la ciudad de Lima, el cual buscó problematizar el sentido y uso dado a la noción de lo tradicional desde la práctica musical del conjunto en interacción con sus contextos de performance. Nuestro punto de partida fue no considerar tal término como un rasgo objetivo característico de una variedad de artefactos culturales, siguiendo retóricas de autenticidad o postulados académicos del folklore, sino como un principio abstracto construido a partir de un conjunto de significados, percepciones o valoraciones definidas por los intérpretes en el transcurso de sus trayectorias musicales. En ese sentido, no se buscó determinar qué es tradicional sino qué procesos operan para determinar la aplicabilidad de dicha categoría y los actores involucrados en los mismos. Para ello se reconstruyeron las historias de vida de los integrantes de la agrupación y se condujeron sesiones controladas de exposición musical. Esto permitió observar que lo que entendemos por tradicional responde a un proceso que parte de la identificación de sonoridades y estilos, activa a su vez representaciones de lugar asociados a geografías musicales y contextos abstractos de performance.

[EN] The present work deals with the greek traditional music, regarding its special caracteristics such as non equal temperament and asymmetric rhythms. In some cases, greek traditional instruments have been replaced by european clasisical instruments such as the clarinet and the violin. However the special features of the traditional style of interpretation have been kept and applied on the new instruments thus continuing the oral transmission of the melodies and their interpretacion, In that case , we will examine a traditional song called Mou Paríggeile t Aidoni (The nightingale has asked me for ). This song is based on a 7/8 rhythm and all of the first six versions that present important differences will be studied acording to their instrumentation, mode applied and wil be transcribed in detail. There will be an introductory seccion about the greek traditional music, its influences and evolucion, the modes and the instruments used at certain regions and periods. Finally there will be a recording proposal with four instruments chosen according to the temperament. Four new versions of the song will be made according to the aesthetics of the greek traditional music and towards a new result. An experiment of musical perceptions is going to be proposed so as to establish results regarding the versions according to various parameters such as the mode applied, ornamentation and melodic design. The results will enable a cognitive assessment for every instrumentacion also including the relation between the period and place of the people who take part in., [ES] Este trabajo de máster se centra en la música tradicional griega, que tiene como características el haber mantenido unas escalas no normalizadas con el temperamento estándar de la música clásica, así como estructuras rítmicas específicas. En algunos casos, los instrumentos tradicionales griegos han sido suplantados por instrumentos de la orquesta occidental, el violín y el clarinete, abandonando la flauta pastoral, instrumentos de doble lengüeta o de arco. Sin embargo, las especificaciones de la interpretación tradicional se han mantenido con los nuevos instrumentos, con una transmisión oral de las melodías y su interpretación. En este caso nos centraremos en un tema tradicional del cual existen grabaciones desde 1919, Mou Paríggeile t Aidoni (Me ha pedido el ruiseñor). De este tema, con una base rítmica de 7/8, se estudiarán las diferentes versiones grabadas, para estudiar la instrumentación, anotar la melodía en sus diferentes modos, y la armonía utilizada. Aunque esta melodía pueda tener un compositor, su transmisión es oral y los compositores tradicionales no solían escribir las músicas. De hecho, cuando el mundo académico del conservatorio ha procedido a recopilar músicas tradicionales, ha cambiado su naturaleza al transcribirlo para piano temperado. Este trabajo tendrá una parte introductoria sobre la música tradicional griega, incluyendo las influencias y su evolución, los modos y los instrumentos que se han utilizado en ciertas regiones y períodos. A partir de esta introducción, se hará una restitución de la melodía mencionada, probando la utilización de instrumentos tradicionales que puedan cumplir con las funciones que han cogido el violín y el clarinete. Finalmente se procederá a hacer una grabación con diferentes instrumentos tradicionales de cuerda, que tienen unas connotaciones regionales y/o socio-culturales en los oyentes griegos. Se podrá completar las grabaciones con instrumentos occidentales temperados, de modo que se pueda estudiar la influe

[EN] The present work deals with the greek traditional music, regarding its special caracteristics such as non equal temperament and asymmetric rhythms. In some cases, greek traditional instruments have been replaced by european clasisical instruments such as the clarinet and the violin. However the special features of the traditional style of interpretation have been kept and applied on the new instruments thus continuing the oral transmission of the melodies and their interpretacion, In that case , we will examine a traditional song called Mou Paríggeile t Aidoni (The nightingale has asked me for ). This song is based on a 7/8 rhythm and all of the first six versions that present important differences will be studied acording to their instrumentation, mode applied and wil be transcribed in detail. There will be an introductory seccion about the greek traditional music, its influences and evolucion, the modes and the instruments used at certain regions and periods. Finally there will be a recording proposal with four instruments chosen according to the temperament. Four new versions of the song will be made according to the aesthetics of the greek traditional music and towards a new result. An experiment of musical perceptions is going to be proposed so as to establish results regarding the versions according to various parameters such as the mode applied, ornamentation and melodic design. The results will enable a cognitive assessment for every instrumentacion also including the relation between the period and place of the people who take part in., [ES] Este trabajo de máster se centra en la música tradicional griega, que tiene como características el haber mantenido unas escalas no normalizadas con el temperamento estándar de la música clásica, así como estructuras rítmicas específicas. En algunos casos, los instrumentos tradicionales griegos han sido suplantados por instrumentos de la orquesta occidental, el violín y el clarinete, abandonando la flauta pastoral, instrumentos de doble lengüeta o de arco. Sin embargo, las especificaciones de la interpretación tradicional se han mantenido con los nuevos instrumentos, con una transmisión oral de las melodías y su interpretación. En este caso nos centraremos en un tema tradicional del cual existen grabaciones desde 1919, Mou Paríggeile t Aidoni (Me ha pedido el ruiseñor). De este tema, con una base rítmica de 7/8, se estudiarán las diferentes versiones grabadas, para estudiar la instrumentación, anotar la melodía en sus diferentes modos, y la armonía utilizada. Aunque esta melodía pueda tener un compositor, su transmisión es oral y los compositores tradicionales no solían escribir las músicas. De hecho, cuando el mundo académico del conservatorio ha procedido a recopilar músicas tradicionales, ha cambiado su naturaleza al transcribirlo para piano temperado. Este trabajo tendrá una parte introductoria sobre la música tradicional griega, incluyendo las influencias y su evolución, los modos y los instrumentos que se han utilizado en ciertas regiones y períodos. A partir de esta introducción, se hará una restitución de la melodía mencionada, probando la utilización de instrumentos tradicionales que puedan cumplir con las funciones que han cogido el violín y el clarinete. Finalmente se procederá a hacer una grabación con diferentes instrumentos tradicionales de cuerda, que tienen unas connotaciones regionales y/o socio-culturales en los oyentes griegos. Se podrá completar las grabaciones con instrumentos occidentales temperados, de modo que se pueda estudiar la influe

Este trabajo busca hacer aportes, desde mi experiencia personal específica como invidente, para que estudiantes con discapacidad visual puedan tener mayor y mejor acceso a la educación universitaria, en la medida en que también los docentes quieran asumir este reto sin temores y con la satisfacción de dar oportunidad a que dichas personas se sientan incluidas y aceptadas y puedan llegar a lograr su profesionalización -- Presento entonces mi experiencia como invidente que logró superar algunas dificultades y que tuvo que establecer en ciertos momentos sus propias estrategias de trabajo, sin desligarse de las reglas y preceptos establecidos por la academia, pero convirtiendo la discapacidad visual en una oportunidad de acceso al aprendizaje de la música por otras vías -- En primer lugar, expondré entonces aquellas herramientas tradicionales de la pedagogía musical, indudablemente importantes pero que no son los únicos medios para lograr un buen desempeño en la formación como músico profesional -- Luego daré cuenta de la manera en que fueron surgiendo las estrategias que utilicé para el aprendizaje, entre ellas la musicografía Braille, ya existente, pero también “la orquesta mental” y el “piano mental”, desarrolladas por mis propios medios y que se convierten en la propuesta pedagógica de este trabajo

Es frecuente escuchar a nuestros maestros de piano decir que nosotros no sabemos estudiar, que no aprovechamos eficientemente el tiempo de estudio -- Nos dan sus estrategias, pero no nos rinde y, en un cualquier momento del semestre, el trabajo con las obras se estanca -- ¿Cuál es la razón principal que causa esta situación? ¿Quizá no hemos adquirido un método de estudio propio? ¿Es probable que estudiemos en “piloto automático” la mayoría del tiempo? ¿Cuáles son los parámetros cuando intentamos aprender? ¿El estudio es metodológico y sistemático? -- El estudio del piano es una actividad compleja pues tiene de ciencia aplicada, de técnica corporal y de estudio y, claro, de arte -- Esto último, que implica el ser guiada en gran parte por las emociones, la hace, con frecuencia, resistente a ser tratada con fría objetividad cuando de estudiar se trata -- La concentración, la atención, el planteamiento de objetivos claros, son algunos elementos importantes dentro del aprendizaje -- Este artículo muestra algunas herramientas útiles para optimizar el estudio

Perpetual Deliberation consists of three resonating chambers aligned along a linearaxis. Two of the three forms (the clay bell and the suikinkutsu) are ceramic, while thesecond bell is metal. The idea for the work began around giving form to the push andpull between the traditional modes of making that have influenced me, and modernmethods of fabrication that blur the boundaries between authorship and collectiveproduction. The installation’s linear design emphasizes the polarity between thesemodes and the need to find balance between these extremes. Its axial orientation drawsthe participant from the impersonality of the steel bell’s industrial fabrication, to thecontinuous sounds of the water harp, to the warmth of the ceramic bell with its woodensupport (Figure 1). The continuous sound from the water harp always centers theviewer, even with the perpetual ringing of the bells at the extremities of the work. Thework places the participant in an environment that promotes reflection on finding andholding onto a sense of balance within everyday life.

Currently little is known about the brain dynamics and expressive movements that support musical engagement. We hypothesize that repetitive expressive gestures play an important role in inviting musical engagement in listeners, and that these movements can reveal the feelings experienced by the listener. Furthermore, we hypothesize that brain dynamics supporting these expressive movements play a key role in musical engagement. We trained expert and non-expert participants to communicate the feeling of music they are hearing using simple rhythmic U-shaped hand /arm "conducting" gestures that animate the 2-D movement of a spot of light on a video display while we use body motion capture and EEG to record their movements and brain activity. Periodically we introduced a "not engaged" condition during which a distractor task impedes the participant's engagement in the engaged listening task. We then asked viewers to rate the recorded 2-D spot animations of the recorded gestures on a musical emotion rating scale to test to what extent the musical affective experience of the "conductors" can be conveyed by these animations to viewers who do not hear the music. The ratings from the conductor and viewer groups were well correlated, verifying that the affective intent of the conductors' gestures are experienced by viewers. Statistically significant differences were found in the motion capture and EEG data between the fully engaged condition and the not-engaged condition. A comparison of the EEG data recorded during the two conditions revealed low alpha- and theta-synchronization in the parietal- temporaloccipital (PTO) junction which was specific to the engaged condition, and time-locked to the participants' expressive movements. The results from the viewer experiment suggest that the feeling intention of the expressive gesture task is communicable through a single point-light display, and that viewers can distinguish engaged performances from not-engaged performances. Our EE

Currently little is known about the brain dynamics and expressive movements that support musical engagement. We hypothesize that repetitive expressive gestures play an important role in inviting musical engagement in listeners, and that these movements can reveal the feelings experienced by the listener. Furthermore, we hypothesize that brain dynamics supporting these expressive movements play a key role in musical engagement. We trained expert and non-expert participants to communicate the feeling of music they are hearing using simple rhythmic U-shaped hand /arm "conducting" gestures that animate the 2-D movement of a spot of light on a video display while we use body motion capture and EEG to record their movements and brain activity. Periodically we introduced a "not engaged" condition during which a distractor task impedes the participant's engagement in the engaged listening task. We then asked viewers to rate the recorded 2-D spot animations of the recorded gestures on a musical emotion rating scale to test to what extent the musical affective experience of the "conductors" can be conveyed by these animations to viewers who do not hear the music. The ratings from the conductor and viewer groups were well correlated, verifying that the affective intent of the conductors' gestures are experienced by viewers. Statistically significant differences were found in the motion capture and EEG data between the fully engaged condition and the not-engaged condition. A comparison of the EEG data recorded during the two conditions revealed low alpha- and theta-synchronization in the parietal- temporaloccipital (PTO) junction which was specific to the engaged condition, and time-locked to the participants' expressive movements. The results from the viewer experiment suggest that the feeling intention of the expressive gesture task is communicable through a single point-light display, and that viewers can distinguish engaged performances from not-engaged performances. Our EE

El presente trabajo se enmarca dentro de un estudio de mayores dimensiones motivado por el interés de los autores en la didáctica de la audición musical, convencidos de que los principios fundamentales sobre los que se debería apoyar la educación musical actualmente en la Educación Secundaria Obligatoria son, por una parte, la necesidad de una mayor contribución de la misma a una educación integradora de todas las dimensiones del ser humano, y por otra, la conveniencia de otorgarle un mayor protagonismo a la educación auditiva en el proceso de enseñanza-aprendizaje de la materia de música en dicha etapa educativa. El propósito es dar respuesta a una serie de interrogantes que surgen en torno a las estrategias metodológicas más adecuadas para llevar a cabo una verdadera educación auditiva, para lo cual se ha utilizado el método de la Action Research, un enfoque cualitativo cuyo objeto de estudio es la propia práctica educativa, con la intención de mejorarla, desde la convicción de que únicamente a través de la interacción directa y la participación en la experiencia real el investigador puede obtener conocimientos auténticos. Los resultados obtenidos con la experiencia didáctica llevada a cabo aportan una serie de sugerencias que deberían ser tenidas en cuenta para la práctica docente del profesorado de música., This work is part of a larger study, motivated by the interest of the authors in the didactics of musical hearing, convinced that the fundamental principles on which musical education should support currently in the secondary education are, on one hand, the need for a greater contribution of musical education to an education including all human being dimensions, and on the other hand, the convenience of giving a greater role to the auditorial education in the process of teaching and learning music, which is what matters in this educational stage. The purpose is to answer a series of questions that arise around the approaches best suited to carry out a real education hearing, for which we used the method of the Action Research, a qualitative approach whose object of study is the own educational practice, with the intention of improving it, from the conviction that only through direct interaction and participation in the actual experience the researcher can get authentic knowledge. The results obtained with the accomplished teaching experience with a range of suggestions that should be taken into account in the teaching practice of teachers of music.

A lo largo de este trabajo, se revisaron las principales investigaciones que dan cuenta del efecto del entrenamiento musical tanto del cerebro adulto como en desarrollo. La música realiza demandas únicas al sistema nervioso. Esto llamó la atención de muchos investigadores provocando, en los últimos años, un incremento en las investigaciones en relación a la temática. Este aumento se vio beneficiado por el surgimiento de nuevas técnicas de neuroimagen y que posiciona a la música como una herramienta de investigación de la cognición humana y los mecanismos cerebrales superiores. La percepción y la producción musical son funciones particulares del cerebro humano que dependen de una amplia red neural córtico-subcortical distribuida en ambos hemisferios cerebrales y cerebelo. Los hallazgos en relación al tema indicarían que se encuentran diferencias tanto en la estructura como en el funcionamiento de los cerebros de adultos y de niños debido al entrenamiento musical, y que esto tiene más relevancia que las propiedades innatas de los sujetos. Existe una plasticidad cerebral que se debe a procesos adaptativos fruto de la estimulación ambiental, The main research about the effect of musical training in adult and childhood brain was revised in this work. The music realizes unique demands to our nervous system. This call the attention of several researchers causing, in the past years, an enhancement of the exploration about this topic; this increment was benefit for the emergence of new neuroimaging techniques, the music positioned as an investigation tool of human cognition and superior brain mechanisms. The musical perception and production are specific functions of the human brain that depend of a wide cortical-subcortical neural net distributed across both hemispheres and cerebellum. The main findings in this area indicated structural and functional differences in the adult and child brain due to musical training, and this is more relevant that innate properties of the subject. There is brain plasticity due to adaptive processes product of the environmental stimulation.

The purpose of this work is to explore the possibilities of advanced contrapuntal techniques in music. Bipolarity is a composition consisting of two complete, self-contained works that were also designed to be performed simultaneously. The fact that these individual pieces are performed at the same time does not necessarily indicate that they will function in dissonance. There are many moments of both consonance and dissonance with respect to harmony, rhythm, and motive within this work. The purpose of Bipolarity is to demonstrate that the two pieces can function conjointly while retaining their own identity.

Modern pedagogical approaches to consonance have three problems in common: they often conflate consonance with subjective cultural factors, they do not account for the most recent psychological research, and they do not adequately explain musical phenomena as they are idiomatically written in musical compositions and how they are perceived by both naive and trained listeners. The approach presented in this thesis balances historical considerations, theoretical speculations, and the most recent research in psychoacoustics to offer a more comprehensive and comprehensible definition of consonance than currently available in pedagogical approaches (such as in undergraduate theory texts). Most importantly, the approach advocates a separation between consonance, defined as an aspect of the sonority itself, and harmonic stability, defined by the musical and cultural context. Given these two ideas, sonorities and passages of music may be described as either stable consonances, unstable consonances, stable dissonances, or unstable dissonances. The approach presented uses schemata theory, Gestalt psychology, and Fred Lerdahl's theories in Tonal Pitch Space. Further research extends the approach using Schenkerian analyses of jazz and suggestions for experiments in cognitive and developmental psychology. The approach itself is a simple pedagogical tool meant to affect the way consonance is taught in undergraduate music theory and aural skills textbooks. A thorough discussion of musical examples and methods of teaching is included.

Анализируется феномен аудиальной культуры. Раскрываются сущность, содержание, структура и функции данного явления. Представлен авторский взгляд на аудиальную культуру как часть общей культуры личности. Рассмотрены различные научные подходы к аудиальной культуре: физический, биоакустический, физиологический, психоакустический, лингвистический, культурологический, искусствоведческий, музыкально-психологический., The article is considered the phenomenon of audial culture. The essence, the maintenance, structure and functions of the given phenomenon reveals. The author's sight on audial culture as a part of the general culture of the person is presented. The various scientific approaches opening the different parties audial of culture are considered: the physical approach, the bioacoustic approach, the physiological approach, the psychoacoustic approach, the linguistic approach, the culturological approach, the art criticism approach, the is musical-psychological approach.

The study of music has been crucial for the exploration of how the brain modifies through experience. This study explored the type, level, and localization of electroencephalographic activity in accordion players from different cultural contexts during the musical perception of classic and indigenous musical pieces played in accordion, mapping the brain with electroencephalograms. Theoretical analysis was based on Altenmüller’s musical perception model, according to which it was found that in comparing participants without musical training, in classical and indigenous musicians more brain regions activate during perception. In contrast, in the type of electroencephalographic activity it was observed that while rapid activity predominated in classical musicians, the records of indigenous musicians presented negative figures on the rapid activity’s base register, predominance of slow frequencies, and outstanding changes in the amplitude. As explanation, it was considered that slow activity might be associated to more emotional, spiritual, and intuitive representations that indigenous build in music since it has a sacred and ritual connotation and is considered a vehicle of communication between “the symbolic universe and the earthly life”., Os estudos sobre a música têm mostrado serem chaves para indagar sobre como o cérebro modifica-se com a experiência. O objetivo do estudo presente foi indagar pelo tipo, nível e localização da atividade electroencefalográfica em músicos acordeonistas pertencentes aos diferentes contextos culturais durante a percepção musical de peças clássicas e indígenas interpretadas com acordeão, para o qual se utilizou a metodologia de mapear o cérebro com um eletroencefalograma. A análise teórica foi feita com base no modelo da percepção musical proposto por Altenmüller. Em coerência com este modelo, encontrou-se que em comparação com os participantes que não tem formação musical, nos músicos clássicos e indígenas se ativam mais regiões cerebrais durante tarefas de percepção musical. Ao contrario, com relação ao tipo de atividade electroencefalográfica observou-se que enquanto os músicos clássicos predominaram as freqüências rápidas, os músicos indígenas caracterizaram-se pela apresentação de valores negativos com respeito ao registro de base para a atividade rápida, predomínio de freqüências lentas e mudanças de destaque na amplitude. Como uma provável explicação se coloca que a apresentação de atividade lenta pode associar-se a representações mais emocionais, espirituais e intuitivas que sobre a música constroem os indígenas, entretanto esta tem uma conotação sagrada e ritual e é considerado veículo de comunicação entre “o universo simbólico e o terrenal”., Los estudios sobre música han mostrado ser claves para indagar sobre cómo el cerebro se modifica con la experiencia. El objetivo del presente estudio es indagar por el tipo, nivel y localización de la actividad electroencefalográfica en músicos acordeonistas pertenecientes a diferentes contextos culturales, durante la percepción musical de piezas clásicas e indígenas interpretadas con acordeón. Para esta investigación, se utilizó la metodología de mapeo cerebral con electroencefalograma. El análisis teórico se hizo con base en el modelo de percepción musical propuesto por Altenmüller. En coherencia con este modelo, se encontró que: en comparación con los participantes que no han recibido formación musical, en los músicos clásicos e indígenas se activan más regiones cerebrales durante tareas de percepción musical. En contraste, en relación con el tipo de actividad electroencefalográfica se observó que, mientras en el caso de los músicos clásicos hubo predominio de frecuencias rápidas, los registros de los músicos indígenas se caracterizaron por la presentación de valores negativos con respecto al registro de base para la actividad rápida, predominio de frecuencias lentas y cambios sobresalientes en la amplitud. Como una probable explicación, se plantea que la presentación de actividad lenta puede asociarse a representaciones más emocionales, espirituales e intuitivas que sobre la música construyen los indígenas, en tanto esta tiene una connotación sagrada y ritual y es considerada vehículo de comunicación entre “el universo simbólico y lo terrenal”

Summary: This dissertation investigated the nature of pulse in the tempo fluctuation of music performance and how people entrain with these performed musical rhythms. In Experiment 1, one skilled pianist performed four compositions with natural tempo fluctuation. The changes in tempo showed long-range correlation and fractal (1/f) scaling for all four performances. To determine whether the finding of 1/f structure would generalize to other pianists, musical styles, and performance practices, fractal analyses were conducted on a large database of piano performances in Experiment 3. Analyses revealed signicant long-range serial correlations in 96% of the performances. Analysis showed that the degree of fractal structure depended on piece, suggesting that there is something in the composition's musical structure which causes pianists' tempo fluctuations to have a similar degree of fractal structure. Thus, musical tempo fluctuations exhibit long-range correlations and fractal scaling. To examine how people entrain to these temporal fluctuations, a series of behavioral experiments were conducted where subjects were asked to tap the pulse (beat) to temporally fluctuating stimuli. The stimuli for Experiment 2 were musical performances from Experiment 1, with mechanical versions serving as controls. Subjects entrained to all stimuli at two metrical levels, and predicted the tempo fluctuations observed in Experiment 1. Fractal analyses showed that the fractal structure of the stimuli was reected in the inter-tap intervals, suggesting a possible relationship between fractal tempo scaling, pulse perception, and entrainment. Experiments 4-7 investigated the extent to which people use long-range correlation and fractal scaling to predict tempo fluctuations in fluctuating rhythmic sequences., Summary: Both natural and synthetic long-range correlations enabled prediction, as well as shuffled versions which contained no long-term fluctuations. Fractal structure of the stimuli was again in the inter-tap intervals, with persistence for the fractal stimuli, and antipersistence for the shuffled stimuli. 1/f temporal structure is suficient though not necessary for prediction of fluctuations in a stimulus with large temporal fluctuations., by Summer K. Rankin., Vita., Thesis (Ph.D.)--Florida Atlantic University, 2010., Includes bibliography., Electronic reproduction. Boca Raton, Fla., 2010. Mode of access: World Wide Web.

Summary: I investigated how two types of rhythmic complexity, syncopation and tempo fluctuation, affect the neural and behavioral responses of listeners. The aim of Experiment 1 was to explore the role of attention in pulse and meter perception using complex rhythms. A selective attention paradigm was used in which participants attended either to a complex auditory rhythm or a visually presented list of words. Performance on a reproduction task was used to gauge whether participants were attending to the appropriate stimulus. Selective attention to rhythms led to increased BOLD (Blood Oxygen Level-Dependent) responses in basal ganglia, and basal ganglia activity was observed only after the rhythms had cycled enough times for a stable pulse percept to develop. These observations show that attention is needed to recruit motor activations associated with the perception of pulse in complex rhythms. Moreover, attention to the auditory stimulus enhanced activity in an attentional sensory network including primary auditory, insula, anterior cingulate, and prefrontal cortex, and suppressed activity in sensory areas associated with attending to the visual stimulus. In Experiment 2, the effect of tempo fluctuation in expressive music on emotional responding in musically experienced and inexperienced listeners was investigated. Participants listened to a skilled music performance, including natural fluctuations in timing and sound intensity that musicians use to evoke emotional responses, and a mechanical performance of the same piece, that served as a control. Participants reported emotional responses on a 2-dimensional rating scale (arousal and valence), before and after fMRI scanning. During fMRI scanning, participants listened without reporting emotional responses. Tempo fluctuations predicted emotional arousal ratings for all listeners., Summary: Expressive performance was associated with BOLD increases in limbic areas for all listeners and in limbic and reward related areas forthose with musical experience. Activity in the dorsal anterior cingulate, which may reflect temporal expectancy, was also dependent on the musical experience of the listener. Changes in tempo correlated with activity in a mirror neuron network in all listeners, and mirror neuron activity was associated with emotional arousal in experienced listeners. These results suggest that emotional responding to music occurs through an empathic motor resonance., by Heather L. Chapin., Thesis (Ph.D.)--Florida Atlantic University, 2009., Includes bibliography., Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

This dissertation investigates a way of coming to terms with the heterogeneity of musical phenomena rather than attempting to tame and control it through a reductive process, such as a forced mapping of musical theory to neuropsychological theory of musical perception. I probe the boundaries of current theories, musical and other, ranging from empirical process-oriented theories, to embodied phenomenology and Schenkerian theory--exploring how such theories relate to our perception and what kind of work they are doing. Instead of assuming that acts of perceiving and acts of theorizing are fundamentally different things, I suggest that musical perception should be understood as responsive to acts of theorizing. Critical to this is questioning the plausibility of theoretical singularity with respect to musical phenomena and seeking to come to terms with the manner in which theory opens perceivers to the aspect multiplicity of music. In this sense, I show how theory helps get us closer to the music and how music works in the world as a performance of something--be it culture, gender, sexuality, policy, anxiety, intellect, physicality, or something else. By turning our attention towards the heterogeneity of musical experience, we can begin to understand both culture and the "music itself." Such theorizing is tested in multidimensional analyses of operatic works by Mozart and one of his contemporaries where I explore the essence, or the implicit, of a musical piece from within. The analyses begin from music theorists David Lewin, Eugene Narmour, and Christopher Hasty, and attempt to carry their tools forward by mapping out multiple processes that draw us further into the implicit--a state that we might refer to as an assent to the ineffable

This dissertation investigates a way of coming to terms with the heterogeneity of musical phenomena rather than attempting to tame and control it through a reductive process, such as a forced mapping of musical theory to neuropsychological theory of musical perception. I probe the boundaries of current theories, musical and other, ranging from empirical process-oriented theories, to embodied phenomenology and Schenkerian theory--exploring how such theories relate to our perception and what kind of work they are doing. Instead of assuming that acts of perceiving and acts of theorizing are fundamentally different things, I suggest that musical perception should be understood as responsive to acts of theorizing. Critical to this is questioning the plausibility of theoretical singularity with respect to musical phenomena and seeking to come to terms with the manner in which theory opens perceivers to the aspect multiplicity of music. In this sense, I show how theory helps get us closer to the music and how music works in the world as a performance of something--be it culture, gender, sexuality, policy, anxiety, intellect, physicality, or something else. By turning our attention towards the heterogeneity of musical experience, we can begin to understand both culture and the "music itself." Such theorizing is tested in multidimensional analyses of operatic works by Mozart and one of his contemporaries where I explore the essence, or the implicit, of a musical piece from within. The analyses begin from music theorists David Lewin, Eugene Narmour, and Christopher Hasty, and attempt to carry their tools forward by mapping out multiple processes that draw us further into the implicit--a state that we might refer to as an assent to the ineffable

The purpose of this study was to create an online database to organize and summarize the field of neuromusical research (i.e., the study of brain processes involved with musical experiences). The guiding principles of this dissertation were to (1) assess and clarify the current state of neuromusical research, and (2) explore how this research relates to the pedagogical, psychological and philosophical foundations of music education. Given the rise of brain-imaging neuromusical research in the last two decades, in conjunction with a lack of holistic efforts to evaluate these studies, there is a clear need to compile and summarize neuromusical research into a summative database. Until this time, no such resource has existed. The resulting database of this project has been titled the Musical Brain Imaging Research Database (MusicBIRD) and currently holds 473 studies of neuromusical research available online at http://www.uncg.edu/mus/mri/neuromusical.html. Qualifying neuromusical studies were identified with a keyword search for "music" and "brain" in leading electronic research databases (e.g., PubMed and RILM). After reviewing each study, summative information was entered into an electronic storage format within the following data fields: Title, Author(s), Date, Keywords, Source, Volume, Issue, Online Source, and Abstract. A content analysis of the studies in the final database was conducted to reveal trends in neuromusical research and insights for music educators about the role of neuroscience in music teaching. Among the leading trends in neuromusical research identified in the content analysis were the most frequently used brain imaging device (EEG in 28.8% of all MusicBIRD studies), the most common research methodologies - evaluating changes in brain activity due to music processing (35.57% of all MusicBIRD studies), and comparisons between musically and non-musically trained subjects (25.57% of all MusicBIRD studies). The implications of neuromusical research f

Music, a universal human endeavor, offers a unique perspective on studying the humanities. Studying music combines the intellectual and emotional meaning listeners make from music, engaging them in aesthetically focused-activities. In this article, the benefits of teaching music using a methodology based on critical thinking are discussed. Additionally, the nature of critical thinking as an instructional methodology is explored from multiple perspectives. To elevate intellectual standards and to effect a qualitative change in thinking, critical thinking advocates have encouraged students to think for themselves by guiding students’ reflection on their own experiences, by developing listening as a critical thinking skill, and by asking probing questions. To reflect the fast-paced technological changes in contemporary society and education, teachers should impart thinking skills instead of mere information. As Whitehead suggested, the real goal of education is the development of thought processes instead of the accumulation of information. Constructivism, an approach emphasizing the meaning students create in the process of education, is also examined in terms of musical settings. While human beings are naturally predisposed to create meaning and construct concepts, particular ways in which we make sense of the world are learned. From constructivist paradigms to educational interventions, critical thinking is discussed as a movement based both on theory and applied techniques. Among the goals of this movement is the responsibility to educate independent thinkers and autonomous learners who actively make their own meaning of the world. Implications for understanding music, critical thinking, and the humanities in general conclude this paper.

Szeto, Wai Man., Thesis (M.Phil.)--Chinese University of Hong Kong, 2003., Includes bibliographical references (leaves 81-86)., s in English and Chinese., p.ii, Acknowledgements --- p.vi, Chapter 1 --- Introduction --- p.1, Chapter 1.1 --- Motivations and Aims --- p.1, Chapter 1.2 --- Thesis Organization --- p.6, Chapter 2 --- Preliminaries --- p.7, Chapter 2.1 --- Fundamentals of Music and Terminology --- p.7, Chapter 2.2 --- Findings in Auditory Psychology --- p.8, Chapter 3 --- Literature Review --- p.12, Chapter 3.1 --- Pattern Matching Techniques for Music Information Retrieval --- p.12, Chapter 3.2 --- Stream Segregation --- p.14, Chapter 3.3 --- Post-tonal Music Analysis --- p.15, Chapter 4 --- Proposed Method for Stream Segregation --- p.17, Chapter 4.1 --- Music Representation --- p.17, Chapter 4.2 --- Proposed Method --- p.19, Chapter 4.3 --- Application of Stream Segregation to Polyphonic Databases --- p.27, Chapter 4.4 --- Experimental Results --- p.30, Chapter 4.5 --- Summary --- p.36, Chapter 5 --- Proposed Approaches for Post-tonal Music Analysis --- p.38, Chapter 5.1 --- Pitch-Class Set Theory --- p.39, Chapter 5.2 --- Sequence-Based Approach --- p.43, Chapter 5.2.1 --- Music Representation --- p.43, Chapter 5.2.2 --- Matching Conditions --- p.44, Chapter 5.2.3 --- Algorithm --- p.46, Chapter 5.3 --- Graph-Based Approach --- p.47, Chapter 5.3.1 --- Graph Theory and Its Notations --- p.48, Chapter 5.3.2 --- Music Representation --- p.50, Chapter 5.3.3 --- Matching Conditions --- p.53, Chapter 5.3.4 --- Algorithm --- p.57, Chapter 5.4 --- Experiments --- p.67, Chapter 5.4.1 --- Experiment 1 --- p.67, Chapter 5.4.2 --- Experiment 2 --- p.68, Chapter 5.4.3 --- Experiment 3 --- p.70, Chapter 5.4.4 --- Experiment 4 --- p.75, Chapter 6 --- Conclusion --- p.79, Bibliography --- p.81, A Publications --- p.87, http://library.cuhk.edu.hk/record=b5891706, Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/)

Szeto, Wai Man., Thesis (M.Phil.)--Chinese University of Hong Kong, 2003., Includes bibliographical references (leaves 81-86)., s in English and Chinese., p.ii, Acknowledgements --- p.vi, Chapter 1 --- Introduction --- p.1, Chapter 1.1 --- Motivations and Aims --- p.1, Chapter 1.2 --- Thesis Organization --- p.6, Chapter 2 --- Preliminaries --- p.7, Chapter 2.1 --- Fundamentals of Music and Terminology --- p.7, Chapter 2.2 --- Findings in Auditory Psychology --- p.8, Chapter 3 --- Literature Review --- p.12, Chapter 3.1 --- Pattern Matching Techniques for Music Information Retrieval --- p.12, Chapter 3.2 --- Stream Segregation --- p.14, Chapter 3.3 --- Post-tonal Music Analysis --- p.15, Chapter 4 --- Proposed Method for Stream Segregation --- p.17, Chapter 4.1 --- Music Representation --- p.17, Chapter 4.2 --- Proposed Method --- p.19, Chapter 4.3 --- Application of Stream Segregation to Polyphonic Databases --- p.27, Chapter 4.4 --- Experimental Results --- p.30, Chapter 4.5 --- Summary --- p.36, Chapter 5 --- Proposed Approaches for Post-tonal Music Analysis --- p.38, Chapter 5.1 --- Pitch-Class Set Theory --- p.39, Chapter 5.2 --- Sequence-Based Approach --- p.43, Chapter 5.2.1 --- Music Representation --- p.43, Chapter 5.2.2 --- Matching Conditions --- p.44, Chapter 5.2.3 --- Algorithm --- p.46, Chapter 5.3 --- Graph-Based Approach --- p.47, Chapter 5.3.1 --- Graph Theory and Its Notations --- p.48, Chapter 5.3.2 --- Music Representation --- p.50, Chapter 5.3.3 --- Matching Conditions --- p.53, Chapter 5.3.4 --- Algorithm --- p.57, Chapter 5.4 --- Experiments --- p.67, Chapter 5.4.1 --- Experiment 1 --- p.67, Chapter 5.4.2 --- Experiment 2 --- p.68, Chapter 5.4.3 --- Experiment 3 --- p.70, Chapter 5.4.4 --- Experiment 4 --- p.75, Chapter 6 --- Conclusion --- p.79, Bibliography --- p.81, A Publications --- p.87, http://library.cuhk.edu.hk/record=b5891706, Use of this resource is governed by the terms and conditions of the Creative Commons “Attribution-NonCommercial-NoDerivatives 4.0 International” License (http://creativecommons.org/licenses/by-nc-nd/4.0/)

Description of musical perception in terms of socionic aspects of informational flow is proposed. Correlation of different musical styles with the socionic types is demonstrated. An example of rock style is used to trace its development according to the quadral succession law of Bukalov and Gulenko., Предложено описание музыкального восприятия в терминах соционических аспектов информационного потока. Показана связь различных музыкальных стилей с соционическими типами. На примере рок музыки прослежено развитие этого направления в соответствии с законом сменяемости квадр Букалова-Гуленко.