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The article presents innovative forms of work in project activities with children of early preschool age. It is advisable to use the chain method for planning project activities in the DOW. The basics of patriotic education are laid for preschool children from the age of 2-3 on emotional and associative material based on the musical perception of Russian classics by children, through virtual acquaintances, gaming activities.

The musical nature of the sounds of a modern language emitted in the spoken mode, as well as their rhythmic and melodic combinations, exert a considerable "power" on teaching-learning: they provoke, in the learner, decisive auditory reactions, the variables of which are difficult to control, lead to more or less pleasant sensations, (in) understanding, interpretation, produce meaning. Musical perception is at the heart of successful teaching-learning. A language teacher is first and foremost a language music teacher. A French language-culture teacher is above all and always a French music teacher. Among the multidisciplinary relations of the discipline in which it is located, namely Didactology-didactics of the music of the French language-culture, are acoustics and cognitive neurosciences. Despite the extreme complexity of perceptual and neurological processes, turning to musical acoustics at first and then to musical neurosciences secondly makes it possible to recall and discover essential elements and data likely to be of interest to teaching practices.

O objetivo desse estudo foi categorizar e enumerar os estudos encontrados na literatura sobre os temas na educação da percepção musical e cognição no canto coral de idosos, para podermos saber o que tem sido discutido e publicado por outros pesquisadores.

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 prin-cipal 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 edu-cación 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 parti-cipantes 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. 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.

The role of music in the upbringing of a harmoniously developed generation is invaluable. Unlike other forms of art, music is a miraculous tool capable of activating a person’s most delicate feelings, emotions, and rich emotional reserves in a person. This article presents the pedagogical aspects of the formation of personality in the lessons of music culture, suggestions on the use of national melodies, the opportunities of our musical heritage, and suggestions on the use of Uzbek classical music in the development of artistic taste of future music teachers. The three aspects of musical activity, namely the ability to listen to music, musical taste, and musical sensitivity, are analyzed as factors that determine the extent to which a music listener or performer’s overall artistic taste has developed. Keywords: music, sound, aesthetic education, piece of music, listening to music, musical taste, musical perception, rhythm, timbre, artistic taste.

Perception of music is auditory-motor in nature, accompanied by active bodily responses. It would be a gross methodological mistake not to take this intoaccount in the practice of art education. The effects of music, recorded not only by the ear, but also by the body, and by the vibrations of the muscles, indicate a unified musical perception. Sensorimotor skills saturate it with bodily associations, become fixed in memory, become artifacts of co-creation, solidary intonation-bodily empathy. Attempts to separate the bodily reactions of perception from consciousness, to bring them into the realm of the unconscious, which creates obstacles to perception, should be considered as untenable. Auditory-motor actions, including gestures, facial expressions, pantomimics, kinesics, and other bodily manifestations, are nothing more than the unified languages of music, the techniques of nonverbal sound communication peculiar to humans. The system «music-body-consciousness» generates intonation-sound associations of an artistic type, emphasizing the synergetic essence of musical perception, openness to self-completion, resonant spiritual response, actualizing auditory attention. Motor reactions are an essential factor in the emergence of artistic associations, musical thinking, and reflection. The mechanisms of musical perception linked with sensorimotor responses to the intonation of music. In this case, muscle activity acts as a mediating link between sensory responses and emotions transmitted in music. They are associated with the simplest semantic elements of musical perception. Musical perception is based on the synthesis of thought and feeling, spiritual and physical, and aesthetic experiences do not arise spontaneously, like physiological reactions. They are the result of painstaking spiritual and physical work, a symbiosis of artistic imagination and creative imagination, which determine the culture of musical perception of a person. It is impossible to find the experience of empathy, emotional responses to the meaning of music as self-expression of another person's soul, without working them through the mechanisms of bodily perception, which, in fact, is the main pathos of music education. Spiritual and bodily perception of music provides a unique opportunity to feel the present, the real presence in it, the coordination of personal life aspirations with the humanistic attitudes of art culture. Pedagogical comprehension of spiritual and bodily processes expands the possibilities of educating musical perception in secondary schools, overcoming the deficit of theoretical knowledge about music, skills of analysis of musical works, saturation of classes in search of personal meanings in art.

The author analyzed the essence of the concept "performance stability of musicians in concert and stage activities". It was found that it does not reflect the error-free sound realization of the author's musical text, but the repetition of its previous realization, even with the admission of a large number of the same mistakes. The expediency of identifying in modern science the infallibility of performing any professional activity of subjects with the meaning of the concept of "reliability" is argued. The performance reliability of musicians in concert and stage activities is considered in the context of the semantically close concepts of "psychological reliability", "functional reliability" and "structural reliability of anatomic-morphological systems of the personality". Performance reliability of musicians in concert and stage activities is characterized from the standpoint of genetics and genesis. The author has proved that the specified phenomenon is not an innate, but a formed property of musicians-performers, which not only ensures the emergence of stimulating types of pop excitement in them, but also creates favorable conditions for the coherence of the course of cognitive processes aimed at the error-free sound realization of the author's musical text and successful implementation of an imaginatively created variational-figurative model of a musical work during a public performance. The main signs of qualitatively formed performance reliability of musicians in concert and stage activities are described, which include: the dominance of stimulating types of pop excitement ("excitement-eхaltation", "excitement in image") over destructive ones ("excitement-fear", "excitement-panic" and "excitement-apathy"); stability of error-free sound realization of the author's music note text of a musical work; consistency of reproduction of automated executive actions as components of executive skills; uninterrupted work for the required time in the intellectual, auditory, emotional-volitional and motor spheres of the personality; non-stop performance of regulatory functions in the process of musical performance; the presence of a "motivational optimum", under which favorable conditions are created for the realization of creative and interpretive desires; sudden mobilization of the body's reserve forces to create emotional stability during the period of excessive stressors., Проаналізовано сутність поняття «виконавська стабільність музикантів у концертно-сценічній діяльності». З’ясовано, що воно відображає не безпомилкову звукову реалізацію авторського нотного тексту музичного твору, а повторення попередньої її реалізації навіть з допущенням великої кількості тих самих помилок. Аргументовано доцільність ототожнення у сучасній науці безпомилковості виконання будь-якої професійної діяльності суб’єктів зі змістом поняття «надійність». Розглянуто виконавську надійність музикантів у концертно-сценічній діяльності в контексті семантично наближених понять «психологічна надійність», «функціональна надійність» і «структурна надійність анатомо-морфозних систем особистості». Охарактеризовано виконавську надійність музикантів у концертно-сценічній діяльності з позицій генетики та генезису. Доведено, що означений феномен є не вродженою, а сформованою властивістю музикантіввиконавців, яка не тільки забезпечує появу у них спонукальних видів естрадного хвилювання, а й створює сприятливі умови для злагодженості перебігу когнітивних процесів, спрямованих на безпомилкову звукову реалізацію авторського нотного тексту і на успішну реалізацію уявно створеної варіативно-образної моделі музичного твору під час прилюдного виступу. Описано основні ознаки якісно-сформованої виконавської надійності музикантів у концертно-сценічній діяльності, до яких віднесено: домінування спонукальних видів естрадного хвилювання («хвилювання-піднесення», «хвилювання в образі») над руйнівними («хвилювання-острах», «хвилювання-паніка» і «хвилювання-апатія»); стабільність безпомилкової звукової реалізації авторського нотного тексту музичного твору; злагодженість відтворення автоматизованих виконавських дій як складників виконавських навичок; безвідмовність роботи упродовж необхідного часу інтелектуальної, слухової, емоційно-вольової та моторної сфер особистості; безупинне виконання регулятивних функцій у процесі музично-виконавської діяльності; наявність «мотиваційного оптимуму», за якого створюються сприятливі умови для реалізації творчо-інтерпретаційних бажань; раптову мобілізацію резервних сил організму для створення емоційної стійкості у період появи надмірної дії стресорів.

The purpose of the study is to compare at the physiological and functional levels, the effectiveness of speech and music perception among musicians and non-musicians. The study was conducted in 201...

The article reveals the psychological aspects of the perception of music and interaction with it when using music computer technologies, which are a software and hardware complex (musical computer, keyboard synthesizer, DJ console, smartphone with sound programs, etc.) in conjunction with the methodology of its application in creativity and in music training. Revealing the contradictions that are typical for the educational field “Art: Music”, the authors propose and use in their research an interdisciplinary approach (psychology, neurophysiology, pedagogy, computer science and Information & Communication Technology) in a holistic consideration of the phenomenon of music in connection with the phenomenon and processes of its perception, creation, and translation. The main problem is identified as the need to identify and take into account the psychophysiological factors that affect a person when interacting with music. The goal is to study the effect of convergence of the music computer technologies, manifested through the phenomenon of polymodality of perception of an artistic image is solved through the analysis of existing interpretations of polymodality, related connotations and classifications of synesthesia, using examples of technological and cultural manifestations of the polymodal nature of perception (syncretism of arts, associativity as a method of interpretation of an artistic image). Discussed insights on the future prospects of the study of polymodality of perception and representation of the artistic image of a musical work as one of the key features actualized in music computer technologies the effect of convergence and to explore the effect of virtualization, the use of potential of these technologies and multimodal nature of human perception for the holistic understanding of works of art.

La Lengua de Signos incorporada a la música es un nuevo arte inclusivo que cada vez va ganando más presencia en la sociedad, debido a su difusión en las redes sociales y a diferentes iniciativas artísticas. Se concibe la música como una experiencia multisensorial en la que los estímulos visuales, táctiles y el movimiento expresivo enriquecen la experiencia auditiva. El objetivo de este estudio es conocer la incidencia de la lengua de signos aplicada a la interpretación musical en sus diferentes modalidades, así como evidenciar sus aportaciones a la percepción musical de las personas sordas y oyentes a través de una revisión de la literatura académica existente. La búsqueda se realiza a partir de bases de datos especializadas, Web of Science (WoS), Scopus-Elsevier (Scopus), ProQuest, y el buscador digital Google Académico en español y en inglés. Se establecen unos criterios de inclusión y exclusión con el fin de obtener los documentos relacionados con el objetivo de estudio. En los resultados obtenidos se localizan escasez de estudios y la mayor parte de los documentos tratan de experiencias personales o analizan videos de YouTube. Se verifica que la amalgama de música más Lengua de Signos es una práctica inclusiva multimodal que hace que las experiencias perceptivas sean más significativas para las personas con o sin discapacidad auditiva. Al mismo tiempo, se evidencia que otros presuntos beneficios de esta práctica están todavía pendientes de estudio.

Orientador: José Eduardo Fornari Novo Junior Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Este trabalho propõe o desenvolvimento de um novo método de mixagem de áudio digital que visa automatizar dois principais processos comuns à tarefa de mistura de sons de instrumentos musicais. O propósito prático desta automatização computacional é facilitar o trabalho do engenheiro de som no equilíbrio dos instrumentos musicais individuais, melhorando a sonoridade da música gravada e o equilíbrio geral da gravação. Primeiramente, discutimos os aspectos perceptuais do áudio, os equipamentos de manipulação sonora usualmente encontrados em estúdios de gravação, e também alguns aspectos estético-musicais. Como uma contribuição original á área, descrevemos este novo método de mixagem automática que visa à otimização da dinâmica musical e distribuição espectral do áudio digital. Nosso modelo é baseado na aproximação do espectro da mixagem a um espectro de referência via matrizes de volume e equalização para cada instrumento individualmente. Alguns tipos de espectros de referência propostos são baseados no princípio das curvas isofônicas de Fletcher & Munson. O modelo, com todos os seus módulos, foi implementado computacionalmente em MATLAB e, potencialmente, pode futuramente vir a ser exportado como um programa standalone (independente) para ser utilizado por músicos, técnicos e engenheiros de som. O modelo computacional apresentado tem o propósito de validar nosso método de atingir o equilíbrio sonoro da mixagem pela automatização de três processos: a) otimização da dinâmica instrumental no domínio do tempo, b) correção tonal/espectral do áudio de cada instrumento gravado, c) melhoria de balanço tonal/espectral da soma final resultante da mixagem. Por fim, um exemplo completo da aplicação deste processo de mixagem automática é aqui apresentado e descrito Abstract: In this work we propose the development of a new method of digital audio mixing that aims to automate two main usual processes for the task of mixing musical instrument sounds. The practical purpose of this computational automation is to facilitate the sound engineer's work for the balance of individual musical instruments, improving the sound of the recorded music and the overall balance of the recording. Firstly, we discuss the perceptual aspects of audio, the sound manipulation equipment usually found in recording studios, as well as some aesthetic-musical aspects. As an original contribution to the field, we describe a new method of automatic mixing that aims the optimization of the musical dynamics and spectral distribution of digital audio. Our model is based on the approximation of the mixing spectrum to a reference spectrum via sound volume matrices and individual equalization for each instrument. Some proposed types of reference spectra are based on Fletcher & Munson's equal-loudness contours. The model, with all its modules was computationally implemented in MATLAB and eventually can be exported as a stand-alone program for use by musicians, technicians and sound engineers. This software achieves our propose of sound balance through the automation of three processes: a) optimization of the instrumental dynamics in the time domain, b) tonal / spectral correction of each recorded instrument, c) improvement of tonal / spectral balance of the final sum resulting from the mixing Mestrado Música, Teoria, Criação e Prática Mestre em Música

The article defines the essence, content and structure of the category "artistic and performing self-efficacy of the teacher of musical art" highlights the functions of this phenomenon in professional music-pedagogical activity. The structure of artistic and performing self-efficacy of a teacher of music art is outlined in the article. Essential possibilities of artistic and performing self-efficacy in stimulating the creative process of interpretation of musical works are discussed, the connection of teacher's self-efficacy with the ability to optimally manage the development of musical perception of pupils and their involvement in musical activity is clarified. It is proved that teacher's self-efficacy is manifested in professional pedagogical activity, in organization of educational process, in communication with students. The article defines artistic and performing self-efficacy of the teacher of musical art as a personal dynamic formation, which provides confidence in one's own performing abilities, promotes the development of music interpretation and artistic expressive performance of musical works in front of a student audience. The influence of teacher's self-efficacy on the effectiveness of the music-pedagogical process is monitored. It is proved that pedagogical importance of artistic and performing self-efficacy of the teacher of musical art in its considerable potential for improvement of practical methods of vocal training of students.

In this study, the effects of visual and audial images on the perception, which is one of the most outstanding subjects in musicology, have been investigated. Everything pertaining to the perception represents an image. All the impressions in our minds which are made by the things called the sound are named as audial image. For the purpose, an investigation was conducted as to how the audial images and music are perceived in the human mind. Findings on what effects the visual images have on the perception of audial images were obtained, as well. As related to music discipline, it has been needed to be thought carefully both each sound symbol that can be called as music and each symbol that takes part among symbols used in music science. Related to perception, symbols have been approached in two different dimensions so as to address the most generally visual and auditory senses .It has been seen in this study that in order to form a concept via perception, some certain stages must be followed so it has been predicted that if it is needed, related visual symbols must be used in a harmony with auditory symbols. The education which is given by following a perceptional method so as to try to affect the perception level of in

Introduction: The objective of our study was to evaluate musical perception and its relation to the quality of life in patients with bimodal binaural auditory stimulation.Materials and Methods: Nineteen adult patients with a cochlear implant (CI) for minimum 6 months, and moderate to severe contralateral hearing loss with a hearing aid (HA), and 21 normal hearing adults were included in this prospective, cross-sectional study. Pure-tone and speech audiometry, musical test evaluating sound perception characteristics and musical listening abilities, Munich questionnaire for musical habits, and the APHAB questionnaire were recoded. Performance in musical perception test with HA, CI, and HA + CI, and potential correlations between music test, audiometry and questionnaires were investigated.Results: Bimodal stimulation improved musical perception in several features (sound brightness, roughness, and clarity) in comparison to unimodal hearing, but CI did not add to HA performances in texture, polyphony or musical emotion and even appeared to interfere negatively in pitch perception with HA. Musical perception performances (sound clarity, instrument recognition) appeared to be correlated to hearing-related quality of life (APHAB RV and EC subdomains) but not with speech performances suggesting that the exploration of musical perception complements speech understanding evaluation to better describe every-day life hearing handicap.Conclusion: Testing musical sound perception provides important information on hearing performances as a complement to speech audiometry and appears to be related to hearing-related quality of life.

The purpose of the article is to reveal innovative views on the importance of musical activity in the symbiosis of psychological and pedagogical approaches. The methodology consists of the study and analysis of pedagogical, musicological, art history source base, analysis, systematization, and generalization of scientific and methodological sources. The scientific novelty of the work is to study the features of the study of musical activity from a psycho-pedagogical perspective, taking into account the changing socio-cultural environment of the early 21st century. Conclusions. Musical activity in scientific works of the 21st century is studied in the traditional psycho-pedagogical approach but taking into account innovative pedagogical concepts (K.Orff, Z.Kodai, J.Ducklcroze, S.Suzuki) and the introduction of an updated methodology. Among the relevant in the 21st-century methods of teaching music are as follows: alternation of different types of creativity, use of various creative methods, development of unity of motor and musical abilities, improvisation, active musical perception, the combination of collective and individual types of musical activity, participation in artistic and cultural events, communication with artists, the involvement of parents in education., Метою роботи є розкриття інноваційних поглядів на значення музичної діяльності в симбіозі психологічного та педагогічного підходів. Методологія дослідження полягає у вивченні та аналізі педагогічної, музикознавчої, мистецтвознавчої джерельної бази, аналізі, систематизації та узагальненні наукових та методичних джерел. Наукова новизна роботи полягає у вивченні особливостей дослідження науковцями музичної діяльності у психолого-педагогічному ракурсі із врахуванням особливостей мінливого соціокультурного середовища початку ХХІст., а також узагальненні наявних інноваційних методів та поглядів на трактування сутності «музичної діяльності» та її впливу на особистість дитини. Висновки. Музична діяльність у наукових розвідках ХХІст. вивчається у традиційному психолого-педагогічному підході, але із врахуванням інноваційних педагогічних концепцій (К.Орф, З.Кодай, Ж.Даклькроз, Ш.Сузукі) та введенням оновленої методики. Серед актуальних у ХХІст. методик навчання музичній діяльності є наступні: чергування різних видів творчості, використання різних творчих методів, розвиток єдності рухових та музичних здібностей, імпровізування, активне музичне сприйняття, поєднання колективних та індивідуальних видів музичної діяльності, участь у мистецьких та культурних подіях, спілкування із митцями, залучення батьків у навчання.

Orientador: Ricardo Goldemberg Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: O presente trabalho teve por finalidade investigar a situação atual em que se encontra a disciplina Percepção Musical no âmbito dos cursos superiores de música do Brasil. Através dos professores atuantes de todo país, foi possível observar a estrutura e o perfil da disciplina no programa curricular como, por exemplo, a quantidade de docentes, de horas de aula, de alunos nas classes, além de opiniões quanto a cuidados pedagógicos, ouvido absoluto e qualidades necessárias para um bom professor da matéria. Para a conquista desses dados duas abordagens metodológicas foram utilizadas: a pesquisa quantitativa, por meio de questionários aplicados a sessenta docentes, representantes de 89,65% das Instituições de Ensino Superior (IES) que oferecem cursos de música no país, e a pesquisa qualitativa, pelas entrevistas realizadas com cinco professores. O processo de organização, tratamento e interpretação das informações foi duradouro, porém, criterioso e fundamentado na análise de conteúdo segundo Bardin (2002). Então, nesse estudo, percentuais e tabelas caminham lado a lado com reflexões sobre os resultados obtidos. Inicialmente, foi feita uma revisão bibliográfica para contextualizar o meio em que se encaixa a disciplina bem como apresentar o que autores da área já relataram sobre o assunto. Ao aprofundar tais buscas viu-se necessário conhecer a quantidade de trabalhos acadêmicos e materiais didáticos relacionados, portanto, há um texto específico no capítulo um. Reunindo todas as vertentes de conteúdos foi possível verificar que embora iniciativas isoladas tenham existido há muito tempo, uma maior movimentação sobre o tema vem acontecendo nos últimos anos. Os índices percentuais confirmam queixas e afirmações cotidianas dos docentes, revelam fatos novos, e, além disso, os depoimentos contribuíram ricamente nos aspectos didáticos da disciplina. Com isso, um panorama minucioso da Percepção Musical no Brasil é apresentado nessa dissertação Abstract: The main objective of the present work was to investigate the situation of the discipline Musical Perception, within undergraduate courses in Brazil nowadays. Amongst professors from all over the country, it became possible to observe both structures and profile of the discipline in the curricular program as, for example, the quantity of professors, class hours, students in classrooms, besides opinions about pedagogical concerns, absolute ear and necessary qualities a good teacher should have to teach the subject. Two methodological approaches were used in order to reach these results: quantitative research, in which questionnaires were applied among sixty professors, who represented 89.65% of the Colleges that offer music courses in the country; and qualitative research, through interviews with five professors. The process of organization and interpretation of their information took long, but was criterious and based on the analyses of content according to Bardin (2002). So, in this study, percentages and tables go along with reflections about the obtained results. Initially, a bibliographical review was conducted to contextualize about the discipline, and also show what authors of the field have already told about this subject. When this search became more profound, getting to know the amount of academic work and related didactic material turned into a necessity, thus, there is an specific text about it in the first chapter. Gathering all trends of contents made possible to verify that, although isolated initiatives have been taken for a long time, the most effervescence about the subject has only taken place in the last years. The percentage indexes confirm complaints, and professor¿s daily assertations reveal new facts, and moreover, their testimonies have immensely contributed to didactical aspects of the discipline. This way, a meticulous overview of the Musical Perception is presented in this dissertation Mestrado Mestre em Música

Orientador: Ricardo Goldemberg Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes Resumo: Essa pesquisa é um estudo exploratório de natureza qualitativa, e tem como objetivo, analisar a relevância da leitura cantada e da audiação na vida do músico profissional. Inicialmente, apresentam-se dois olhares possíveis para o estudo da leitura cantada: o histórico e o psicológico. O primeiro dirige-se a uma revisão sintética e histórica da sistematização da escrita musical tradicional (a partir do século XI), tendo em vista a preocupação dos principais educadores musicais em facilitar o aprendizado musical, utilizando como uma das ferramentas, a leitura cantada. O segundo olhar, o psicológico, discute aspectos relativos à audiação, que engloba o pensamento musical consciente, expresso, como uma de suas formas, na possibilidade de leitura da partitura de maneira mental e autônoma. Diante da fundamentação teórica, foram colhidos depoimentos de seis músicos profissionais (dois instrumentistas, dois regentes e dois compositores), por meio de entrevistas semiestruturadas, com o objetivo de conhecer suas experiências no campo da leitura cantada e da audiação, no período de formação musical e vida profissional. O resultado da análise de conteúdo dos dados coletados gerou um discurso do sujeito coletivo dos principais temas da pesquisa, no qual se verificou o papel colaborador da leitura cantada no processo da construção da audiação. Constatou-se também a necessidade de conscientização, por parte dos alunos, docentes e instituições de ensino, sobre a importância de se estimular a aquisição das competências aurais no aprendizado musical, por meio de disciplinas integradas, com conteúdos instigantes à audiação, a fim de proporcionar aos alunos o desenvolvimento cada vez maior de suas habilidades musicais Abstract: This research is an exploratory study of qualitative nature, and aims to examine the relevance of sight-singing and audiation in the life of a professional musician. Initially, two possible views are presented for the study of sight-singing: historical and psychological. The former comprises a summarized historical review of the systematization of traditional musical notation (beginning in the 11th century) and concerns of the main musical educators to facilitate music learning using, among other tools, sight-singing. The psychological view discusses aspects regarding audiation, which comprises conscious musical thought, expressed, under one of its forms, in the possibility of reading a musical score in a mental and autonomous manner. Drawing upon this theoretical basis, statements of six professional musicians (two instrument players, two conductors, and two composers) were gathered through semi-structured interviews in order to know their experiences in the field of sight-singing and audiation, during their period of musical formation and professional life. The result of the analysis of the content of the gathered data provided a discourse of the collective subject of the main themes of the research, in which the auxiliary role of sight-singing in the process of construction of audiation was confirmed, as well as the need of awareness, on the part of students, professors and teaching institutions, of the importance of acquisition of aural competencies on the part of the students, by means of integrated subjects, with interesting contents, so as to constantly improve their musical abilities Mestrado Fundamentos Teóricos Mestre em Música

PurposePeople with hearing impairment (HI) face numerous challenges that can be minimized with the use of hearing aids and cochlear implants. Despite technological advances in these assistive hearing devices, musical perception remains difficult for these people. Tests and protocols developed to assess the musical perception of this audience were the target of this systematic review, whose objective was to investigate how assessments of musical perception in people with HI are carried out.MethodSearches for primary articles were carried out in the PubMed/MEDLINE, Scopus, Web of Science, Latin American and Caribbean Health Sciences Literature, and ASHAWire databases. Search results were managed using EndNote X9 software, and analysis was performed according to the PRISMA (Preferred Reporting Items for Systematic Reviews and Meta-Analyses) Statement.ResultsThe 16 cross-sectional included studies analyzed music perception data from people with HI compared to a control group of participants with normal hearing. Among these, four studies were selected to be included in a meta-analysis, performed with timbre and melody. Variability was observed in the tests and between the levels of auditory perception skills analyzed in relation to the components of music. With respect to the tests, sound stimuli generated by synthesizers were the most used stimuli; with the exception of timbre evaluation, the most frequent test environment was a booth with sound attenuation, and the average intensity for presenting sound stimuli was 70 dB SPL. The most evaluated sound component was pitch, followed by rhythm and timbre, with a pattern of responses based on adaptive and psychoacoustic methods.ConclusionsThe heterogeneity of the musical parameters and the auditory abilities evaluated by the tests is a fact that can compromise evidence found in this area of study. It is worth considering the quality of samples that were recorded with real musical instruments and digitized afterward, in comparison with synthesized samples that do not seem to accurately represent real instruments. The need to minimize semantic parallelism that involves the auditory skills and elements of music involved in the assessment of musical perception is highlighted.

В центре внимания работы находятся сочинения для кларнета, созданные в ХХ веке с использованием экспериментальных техник и приемов исполнения. Предмет исследования – особенности восприятия «иностилевых» и собственных этнических музыкальных произведений в современном искусстве Китая. Методологическая основа: комплексный, семантический, компаративистский, культурологический, герменевтический подходы. Новизна исследования состоит в выявлении путей восприятия современной западноевропейской музыки в Китае. Обосновывается, что музыкальная интонация, благодаря своей коммуникативной функции, может «расшифровываться» как слово, помогая воссоздавать и хранить общее содержание музыкального произведения в сознании., The study examines the mechanisms of meaning formation and their perception on the example of the existence of works of modern Western European music for clarinet in China. The main problem of the research is to consider the peculiarities of the musical perception of “foreign-style” musical compositions written using experimental musical techniques and nontraditional methods of performance. The aim of the study is to identify the mechanism of formation and understanding of meanings in the perception of “foreign-style” musical compositions written using experimental musical techniques and non-traditional methods of performance in China. The methodological basis is complex, semantic, comparative, cultural, and hermeneutic approaches. As a result of the study, it is substantiated that the ontology of works of modern music in China is determined by the action of the principle of “aesthetic expectation”: musical stimuli familiar and well-known to listeners, and uncertainty factors that contribute to the search and formation of new meanings. It is emphasized that the communicative functions of musical intonation contribute to building direct connections of musical fragments with the phenomena of reality, other musical styles, performance characteristics, leading to a deeper understanding of the musical work. It is concluded that in such a communicative function, sound-visual intonation appears; signs-signals in music; proto-intonation, activating the human unconscious through the motor-motor component; specific meter and rhythm formulas that contribute to a deeper understanding of the musical content.

İşitme kaybı, işitme duyusunda meydana gelen yetersizlik durumudur. Müzikal algı ise müziğin algılanmasıdır. İşitme kaybı ve müzikal algı ilişkisi son yıllarda sıklıkla karşılaşılan bir araştırma konusudur. Çalışmalarda işitme kayıplı, işitme cihazı ve/veya koklear implant kullanıcısı bireylerin sahip olduğu müzikal algı farklı yönleriyle ele alınmıştır. Bu derlemenin amacı; işitme kayıplı, işitme cihazı ve/veya koklear implant kullanıcısı bireylerde müzik algısına ilişkin bilgileri ve güncel çalışmaları gözden geçirmek ve konuya ilişkin bakış açısı kazandırmaktır., Hearing loss is the inability of hearing. Musical perception is the perception of music. The relationship between hearing loss and musical perception has been a frequently encountered subject of research in recent years. In the studies, different aspects of the musical perception of individuals with hearing loss, hearing aid and/or cochlear implant users have been discussed. The aim of this review is to review the knowledge and current studies on the perception of music in individuals with hearing loss, hearing aid and/or cochlear implant users, and to gain perspective on the subject.

When Disney movies open with a murmur of classi cal music, crescendoing into powerful waves, they immediately transport us to animated lands of princes and princesses, talking animals and evil stepmothers. Or if you haven���t watched a Disney movie in a while, what about the recent allure of the sea shanty? When listening to the now-famil iar rhythm of the folk songs that traditionally accompanied labo rious tasks while at sea, we imagine ourselves on a 19th century ship, helping to raise the sail or hoist up the anchor. How do we create entire worlds for ourselves, whether familiar or from cen turies before, based on the music we hear? Human perception of music is influenced by pitch, key, tempo and other factors, which evoke emotion by activating the limbic and paralimbic systems [1, 2]. That said, the whole story behind music is still being sounded out, and some current theories are explored below.

O objetivo desse estudo é categorizar e enumerar os estudos encontrados na literatura sobre os temas de percepção musical e cognição no canto coral de idosos, para podermos ter um panorama nesse momento sobre o que tem sido discutido e publicado por outros pesquisadores.

Se presenta un estudio llevado a cabo con estudiantes de grado de maestro en Educación Infantil de la Universidad de Zaragoza, durante el periodo de practicum III. Los principales objetivos de este estudio son: analizar, describir, contrastar y poner en práctica las competencias adquiridas en referencia al desarrollo de la Expresión Musical y el Lenguaje, a través de la observación y análisis de la realidad escolar, en el aula de Educación Infantil. Se utiliza la tabla de observación como técnica de recogida de datos sobre el proceso de enseñanza aprendizaje. En los resultados obtenidos se constata la necesidad de incidir en aspectos relacionados con los parámetros sonoros, sobre percepción y discriminación auditiva y expresión vocal y canto. Los maestros trabajan la percepción y expresión musical de manera espontánea e instintiva en su aula y demandan una mayor formación en conocimientos, didáctica y pedagogía musical. A study by students of the Degree of Teacher Training in Childhood Education at the Universidad de Za-ragoza (Spain) during Practicum III, is presented. Our main study objective was to know, describe and analyse by direct observations the students of the Childhood Education degree, music and language prac-ticums in a real context. The students participated in this research by collecting data during their academic practicum period. The observation table was used as the technique to collect data about the teaching-lear-ning process. Eighty-eight Childhood and Primary Education centres from Zaragoza and its province were included in the sample, which involved 136 students from the Practicum III subject of the Degree of Teacher Training in Childhood Education. The students had the chance to observe teaching experiences linked with the music domain in relation to perception and auditory discrimination, vocal expression and singing. Tables were prepared ad hoc, and validated by experts, to make observations in Childhood Edu-cation classes. The obtained results indicated that teachers are aware of the importance of working music and language together. It was found that certain aspects could improve: e.g., motivation to develop and acquire musical and language phrasing. It is necessary to stress perception, auditory discrimination, vocal expression and singing via the sound parameters duration, pitch, intensity and timbre. We conclude that childhood Education teachers work musical perception and expression spontaneously and intuitively, and expect better training in knowledge, didactics and musical pedagogy.

A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Bachelor of Arts (Honours) in Psychology, University of Regina. 30 p. Music is an inherently emotional feat of human creativity. Previous studies of music perception have followed the path of speech perception research, in which subjects were asked to simultaneously attend to multiple signals in an effort to determine how much information one could consciously perceive. While these studies have led to the development of models that seek to explain the role of attention in music perception, they lack external validity. Many of these studies have required subjects to detect errors in simultaneously played melodies. While this presents certain demands on attention, it does not accurately portray the way that music is listened to. Music is born out of a burst of emotion and inspiration, and is designed to stir such feelings in those who listen to it. Therefore, the present study sought to study music perception in a more naturalistic setting. In Experiments 1 and 2, participants listened to pieces of music. Participants in Experiment 1 were asked to detect changes in musical arrangement, while participants in Experiment 2 were asked to rate their enjoyment of the music. The results of the present study revealed that participants struggled to identify changes in musical arrangement. Changes that were more noticeable received a significantly greater mean number of emotional responses than changes that were less noticeable, which suggests they had a stronger impact on emotional responses. Further research is needed to determine whether existing models of music perception can be applied to more naturalistic tasks like those used in the present study. Student no

İslâm Dîni, dünyanın çeşitli bölgelerinde kültür, mezhep, sosyal algı gibi nedenlerle birtakım farklılıklar arz ederek yaşanmaktadır. Fakat Güney Afrika’da yaşanan İslâm, sömürgeci-ayrımcı sistemin baskıcı uygulamaları dolayısıyla özgürce yaşanamamış ve bazı dînî ritüeller zorunlu olarak değiştirilerek, bir bakıma yumuşatılarak icrâ edilmiştir. Bu çalışma; Güney Afrika’da İslâm Dîni’ni kabul etmiş halkların; dînî ritüellerini, özellikle mevlid, tekbir gibi ezgi içerikli duâlarını ayrımcı hükümetin anlayışına göre nasıl bir uyumlaştırma sürecine soktuğunu incelemektedir. Çalışma; İslâmî müziğin Güney Afrika’daki gelişim ve değişim sürecini çeşitli yönleriyle tespit etmesi ve karşılaştırmaya imkân vermesi bakımından önemlidir. Çalışmanın evreni İslâm dünyasının dînî ritüelleri iken, Güney Afrika Müslümanları’nın dînî-ezgisel duâlarının biri olan Tekbir, çalışmanın örneklemini ifâde etmektedir. Çalışmada kullanılan yöntemler alan araştırması, kaynak tarama ve yarı yapılandırılmış kişisel görüşme gibi nitel yöntemlerdir. Islamic Religion is experienced in various parts of the world by offering some differences due to reasons such as culture, sect and social perception. However, Islam in South Africa could not be experienced freely due to the oppressive practices of the colonialist-discriminatory system, and some religious rituals were performed by changing and softening. This study examines that peoples who have accepted the Islamic religion in South Africa how harmonized their religious rituals and especially melodical prayer such as mevlid and tekbir, according to the understanding of the discriminatory government. The study is important in terms to allows comparison from various perspectives and determines the development and change process of Islamic music in South Africa. While the universe of the study was the religious rituals of the Islamic world, Tekbir, one of the religious-melodic prayer of South African Muslims, expresses the sample of the study. The methods used in the study are qualitative methods such as field research, resource search and semi-structured personal interview.

Giovanni Piana's phenomenology of music was directed against any conventionalist point of view about the musical experience. According to Piana, each compositional system depends on the phenomenological structure of sound that determines the musical perception. Tonal system is not prescribed by natural laws, however it is based on the essential difference between consonance and dissonance. So the perceptual meaning of a tonal piece is not founded on subjective (culturally acquired) habitudes, but on phenomenological data., Materiali di Estetica. Terza serie, No 6.2 (2019): Anime europee

A modified version of the child's Montreal Battery of Evaluation of Amusia (cMBEA) was used to assess music perception in children using bilateral cochlear implants. Our overall aim was to promote better performance by children with CIs on the cMBEA by modifying the complement of instruments used in the test and adding pieces transposed in frequency. The 10 test trials played by piano were removed and two high and two low frequency trials added to each of five subtests (20 additional). The modified cMBEA was completed by 14 children using bilateral cochlear implants and 23 peers with normal hearing. Results were compared with performance on the original version of the cMBEA previously reported in groups of similar aged children: 2 groups with normal hearing (n = 23: Hopyan et al., 2012; n = 16: Polonenko et al., 2017), 1 group using bilateral cochlear implants (CIs) (n = 26: Polonenko et al., 2017), 1 group using bimodal (hearing aid and CI) devices (n = 8: Polonenko et al., 2017), and 1 group using unilateral CI (n = 23: Hopyan et al., 2012). Children with normal hearing had high scores on the modified version of the cMBEA and there were no significant score differences from children with normal hearing who completed the original cMBEA. Children with CIs showed no significant improvement in scores on the modified cMBEA compared to peers with CIs who completed the original version of the test. The group with bilateral CIs who completed the modified cMBEA showed a trend toward better abilities to remember music compared to children listening through a unilateral CI but effects were smaller than in previous cohorts of children with bilateral CIs and bimodal devices who completed the original cMBEA. Results confirmed that musical perception changes with the type of instrument and is better for music transposed to higher rather than lower frequencies for children with normal hearing but not for children using bilateral CIs. Overall, the modified version of the cMBEA revealed that modifications to music do not overcome the limitations of the CI to improve music perception for children.

The topic approached in this paper aims to identify the structural similarities between the verbal and the musical language and to highlight the process of decoding the musical message through the structural analogy between them. The process of musical perception and musical decoding involves physiological, psychological and aesthetic phenomena. Besides receiving the sound waves, it implies complex cognitive processes being activated, whose aim is to decode the musical material at cerebral level. Starting from the research methods in cognitive psychology, music researchers redefine the process of musical perception in a series of papers in musical cognitive psychology. In the case of the analogy between language and music, deciphering the musical structure and its perception are due, according to researchers, to several common structural configurations. A significant model for the description of the musical structure is Noam Chomsky’s generative-transformational model. This claimed that, at a deep level, all languages have the same syntactic structure, on account of innate anatomical and physiological structures which became specialized as a consequence of the universal nature of certain mechanisms of the human intellect. Chomsky’s studies supported by sophisticated experimental devices, computerised analyses and algorithmic models have identified the syntax of the musical message, as well as the rules and principles that underlie the processing of sound-related information by the listener; this syntax, principles and rules show surprising similarities with the verbal language. The musicologist Heinrich Schenker, 20 years ahead of Chomsky, considers that there is a parallel between the analysis of natural language and that of the musical structure, and has developed his own theory on the structure of music. Schenker’s structural analysis is based on the idea that tonal music is organized hierarchically, in a layering of structural levels. Thus, spoken language and music are governed by common rules: phonology, syntax and semantics. Fred Lerdahl and Ray Jackendoff develop a musical grammar where a set of generating rules are defined to explain the hierarchical structure of tonal music. The authors of the generative theory propose the hypothesis of a musical grammar based on two types of rules, which take into account the conscious and unconscious principles that govern the organization of the musical perception. The structural analogy between verbal and musical language consists of several common elements. Among those is the hierarchical organization of both fields, a governance by the same rules – phonology, syntax, semantics – and as a consequence of the universal nature of certain mechanisms of the human intellect, decoding the transmitted message is accomplished thanks to some universal innate structures, biologically inherited. Also, according to Chomsky's linguistics model a musical grammar is configured, one governed by wellformed rules and preference rules. Thus, a musical piece is not perceived as a stream of disordered sounds, but it is deconstructed, developed and assimilated at cerebral level by means of cognitive pre-existing schemes.

In our study we examine the development of musical perception at first grade of the primary school. Our aim is to compare two different measuring surface, the paper pencil (PP) based and the computer based (CB) testing, we adapted our previous paper-pencil based test to an online, computer-based surface. As a paper pencil test 130 students, as a computer based test 155 students were measured. Based on our results, the reliabilities of both measurement devices are good. The difference between the reliability values of the full tests was not significant. In the case of the two tests the factor structures can be compared, we can distinguish a pitch-perception and a temporal processing factor. Between the two tests which were measured in a different surface we found significant differences between the developmental level of music perception, the data show a 8%p bigger general development in the case of paper-pencil test (PP= 58%p; CB= 50%p). We think about our research as a first step, and based on our results, further research is necessary involved a bigger sample and higher classes.

This doctoral thesis presents how the orchestration of timbre is investigated from a performer’s perspective as means to “unfold” improvisational processes. It is grounded in my practice as a pianist in the realm of improvised music, in which I often use preparations and objects as extensions of the instrument. As practice-based research, I explore multiple, combined, artistic, and analytical approaches to timbre, anchored in four of my own works. The process has also involved dialogues and experimental collaborations with other performers, engineers, an instrument builder and a choreographer. It opposes the notion of generalizable, reproducible, and transferrable techniques and instead offers detailed approaches to technique and material, describing object timbre, action timbre, and gesture timbre as active agents in sound-making processes. Whilst timbre is often understood as a purely sonic perceptual phenomenon, this view does not accord with contemporary site-specific improvisational practice; hence, the need to explore and renew the potentiality of timbre. I introduce and argue for an extended understanding of timbre in relation to material, space, and body that embraces timbre’s complexity and potential to contribute to an ethical engagement with the situated context. I understand material, spatial, and embodied relations to be non-hierarchical, inseparable, and in constant flux, requiring continuous re-configuration without being reduced or simplified. From a performer’s perspective, I define “orchestrating” timbre as the attentive re-organization of these active agents and the creation of musical structures on micro and macro levels through the sculpting and transitioning of timbre—spatially, temporally, physically, and mentally—within a variety of compositional frameworks. This requires recognizing the multiple and complex roles that memory plays in contemporary improvisational practice. I therefore introduce the term timbral memory as a strategic structural, reflective, and performative tool in the creation of performing and listening modes, as integrated parts of timbre orchestration. Reaching beyond the sonic, my research contributes to the field of critical improvisation studies. It addresses practitioners and audiences in music and sound art, attempting to also constitute a bridge from artistic research in music—often viewed as a self-contained discipline—into multiple artistic fields, to inspire discussions, creation and education.

In the second half of the 20th century, the emergence of the notion of texture created new perspectives in the field of composition and music understanding. Today, it is clear that this notion became a valuable and major tool to analyse music by exceeding classic elements such as note, interval, rhythm, melody, and so on. The first part will be dedicated to define exactly this notion, and to analyze its use in the contemporary repertory and to introduce some thougths on its status in musicology. The second part will approach the question of deaf children hearing perception based on behavioral studies. The evaluation of the perceptual skills of deaf children in the field of music suffering at present from a lack of tool, we shall study how the use of the texture can contribute to improve our current educational practices for chlidren, more particularly among deaf children with cochlear implant., Au cours de la deuxième moitié du XXe siècle, l’émergence de la notion de texture a ouvert de nouvelles perspectives en matière de composition et d'appréhension de la musique. Il apparaît aujourd'hui évident que cette notion est devenu un outil précieux et incontournable pour analyser la musique en dépassant les éléments classiques tels que la note, l'intervalle, le rythme, la mélodie, etc... La première partie sera consacrée à définir précisément cette notion, à analyser son usage dans le répertoire contemporain et à initier une réflexion sur son statut en musicologie. La deuxième partie abordera la question de la perception auditive chez les enfants sourds en s'appuyant sur des études comportementales. L'évaluation des habiletés perceptives des enfants sourds dans le domaine de la musique souffrant actuellement d'un manque d'outil, nous étudierons comment l'utilisation de la texture peut contribuer à enrichir nos pratiques pédagogiques actuelles chez les enfants, plus particulièrement chez les enfants sourds implantés.

In cognitive science, the psychological and biological foundations of music are often considered in the context of comparison with the functions of speech and language. The article describes some aspects of the similarities and differences between music and speech in the implementation of language functions, as well as a typological study of its features according to Buhler, Jakobson, Halliday and Kiklewicz classifications. A general comparison of structural organization and main perceptual characteristics of music and speech signals is carried out additionally, with separate consideration of neurophysiological foundations of the auditory analysis of timbre characteristics of speech sources (speaker's voice) and music (instrument sounds). Some aspects of the practical application of auditory and musical training in the context of training and rehabilitation measures for sensory-cognitive dysfunctions of various genesis are explained, with the prospects of further research aimed at studying the influence of the timbre on the indices of spatial selectivity of musical perception in comparison with the characteristics of the spatial selectivity of speech hearing in the perception of complex acoustic scenes.

This chapter explains new music theatre through the lens of theories of ‘embodied cognition’, according to which musical perception is governed by the ‘mimetic hypothesis’, namely that listening involves an actual or imaginary attempt to imitate the sound-producing actions. It discusses their relevance for an understanding of modernist and experimental opera and music theatre, closing with an analysis of two case studies, Mauricio Kagel’s String Quartet II and Luciano Berio’s Sequenza V. One of the distinguishing features of theories of embodied cognition is their basis in experimental findings in the neurosciences. An analytical method for the study of opera and other multimodal art forms involving music based on theories of embodied cognition would have to develop ways of describing and theorising levels and forms of congruence. An analysis of musical gesture in accordance with theories of embodied cognition is most usefully executed in experimental music theatre, more than in operatic forms.

Musicality is the concept that refers to a person’s ability to perceive and reproduce music. Due to its complexity, it can be best defined by different aspects of music like pitch, harmony, etc. Scientists believe that musicality is not an inherent trait possessed only by musicians but something anyone can nurture and train in themselves. In this paper we present a new game, named Musicality, that aims at measuring and improving the musicality of any person with some interest in music. Our application offers users a fun, quick, interactive way to accomplish this goal at their own pace. Specifically, our game focuses on three of the most basic aspects of musicality: instrument recognition, tempo and tone. For each aspect we created different mini-games in order to make training a varied and attractive activity.

There is a growing body of literature that recognises how music perception affects first-language learning, but much less is known about its influence on foreign-language reading skills. The purpose of this paper is to examine the effect of music perception abilities on the acquisition of some foreign early reading skills based on their transference from first language. Data for this study were collected from 63 Spanish-speaking English-language learners studying second grade of primary school. We used a music perception test and the Early Grade Reading Assessment battery, which measures early reading skills in both languages. A mediation analysis using structural equation modelling was performed, integrating music perception and letter-sound knowledge, initial sound identification, and familiar word and pseudoword reading in Spanish and English. This research provides new insights into how music perception affects early reading skills in both languages. These findings indicate a transfer of music perception abilities to first-language alphabetic principle, phonemic awareness and word recognition skills that affect foreign language early reading abilities., The authors disclosed receipt of the following financial support for the research, authorship, and/or publication of this article: This research was funded by the Spanish Ministry of Science and Innovation (no. FFI2010-15738 (subprogram FILO), Music perception and reading skills in foreign language learning project).

Objectives: The aim of this study was to develop a Turkish musical perception test that provide the opportunity to measure music performance of people with hearing loss. Subjects and Methods: In the study, the Music Perception Test (MPT), which was translated and adapted into Turkish, was applied randomly to 100 individuals aged between 18-40 years. The test was applied with computers and professional head phones to 20 individuals chosen as a pilot study. Data obtained after the pilot study were evaluated and the application to the other 80 participants were completed. In order to obtain validity and credibility data, 20 randomly chosen participants were retested. Results: The average total score of the MPT of the participants was 97.5 ± 12.2 (Min: 69, Max: 120). As the total score of the MPT has been examined, low value for ± 1SD was 85.3/top value was 109.7; low value for ± 2SS was 73.1/top value was 121.9; low value for ± 3SS was 60.9/top value was 134.1. In our study, the value of internal consistency of the Turkish MPT was 0.898. This value indicates that the test was reliable. In a similar manner, considering the correlation of test-retest parameters, both subtests and total score results showed the results were reliable. With the examination of the results there were no relation between the total scores of the MPT and age (r:0.176, p: 0.080) but the interest in music (r: 0.641, P < 0.001) and the frequency of listening to music (r:0.479, P < 0.001) had an important effect on the total scores of musical perception. The difference in the total scores of the MPT between feMale and Male participants were found to be statistically significant (p < 0.001). Conclusions: Results of this study show that the Turkish MPT is a valid and reliable musical perception test for the Turkish people who have normal hearing and hearing loss.

Doktora Tezi, Müziksel işitme, müzik eğitiminin yapı taşlarından birisidir. Sadece mesleki müzik eğitimi veren kurumlara yönelik bir alan olarak düşünülse de herkesin hayatında bilinçli ya da bilinçsiz bir şekilde yer almaktadır. Müzikte yetenekli bireylerin seçilmesi veya belirlenmesi konusu ağırlıklı olarak yetenek sınavlarında karşımıza çıkmaktadır. Gelişen teknolojiyle birlikte zamanı ve enerjiyi daha iyi kullanmak için geleneksel yöntemlere alternatif olması açısından geliştirilmiş olan müziksel işitme testleri büyük önem taşımaktadır. Bu araştırmada Edwin Gordon tarafından geliştirilmiş olan Başlangıç Seviyesi ve Orta Seviye Müzik İşitme Testlerinin Türkçe uyarlamasının yapılması ve geçerlik ve güvenirliğinin yapılmasının ardından Türkiye'de kullanılabilirliğinin tespiti amaçlanmıştır. Böylece Türkiye'de müziksel işitme becerisi veya müzik yeteneğini ölçmede kullanılan testlere alternatif oluşturması amaçlanmıştır. Bu amaç doğrultusunda uygulamalar Azmi Ertuğrul İlkokulu ve Turgut Özal Ortaokulu olmak üzere iki ayrı okul ve kademede gerçekleştirilmiştir. Uygulamalar testin orijinaline bağlı kalarak ve bir ders saati içerisinde yapılmıştır. Her test tonal ve ritim olmak üzere iki alt teste ayrılmakta ve her alt test 40 soru içermektedir. Sonuç olarak, yurt dışında da uyarlama örnekleri bulunan bu testlerin geçerlik, ölçüt geçerliği, betimsel analizler, madde analizi, madde ayırt ediciliği, puanlar arası ilişki ve KR-20 güvenirlik katsayılarının hesaplarının ardından Başlangıç Seviyesi Müzik İşitme Testinin 6-10 yaş grubunda, Orta Seviye Müzik İşitme Testinin 11-14 yaş grubunda müzik yeteneği olan ve olmayan öğrencileri ayırt etmede başarılı bulunduğu ve ülkemizde kullanılabilirliği tespit edilmiştir., Musical perception is a fundamental of music teaching. Even if it's considered as a field concerning institutions providing vocational musical education, it takes a part in every person's life even consciously or unconsciously. Issue of choosing or determining individuals who has the talent on music is mostly faced at aptitude tests. Musical perception tests which has been developed with the developed technology as an alternative to conventional methods in order to use the time and energy efficiently has a great value. This research aims the applicability of the Primary Measures of Music Audiation and Intermadiate Measures of Music Audiation tests in Turkey, which was developed by Edwin Gordon, after performing the validity and reliability. Thus, it aims to be an alternative to the tests used in Turkey for measuring the musical perception or musical talent. In line with this objective, applications were performed in two separate school and level which were Azmi Ertuğrul Primary School and Turgut Özal Intermediate School. Applications were done in accordance with the original test and within a class hour. Each test is divided into two subtests such as tonal and rythm test, including 40 items. As a result, applicability of these tests in Turkey, after calculating KR-20 reliability coefficient, relationship against scores, material distinctiveness, material analysis, descriptive analysis, criterion validity and validity of these tests which have application examples in abroad, Primary Music Audition Test for 6-10 age group, Intermediate Music Audition Test for 11-14 age group were found to be successful in recognition of students who are talented or not and also the applicability of such in Turkey.

Online diagnostic measurement of musical abilities in a school environment is a new way to enhance pedagogic effectiveness. In our study we developed a technology-based musical perception test which examines basic musical hearing abilities among 1st to 11th graders in Hungarian schools ( N = 2961). The instrument was composed of tasks measuring the discrimination of rhythm, tempo, melody, pitch, harmony, timbre and dynamics, and we also tested the connection between auditory and visual modality. The results indicated an increasing developmental tendency during the period under examination. Students who attend classes with a special music curriculum achieved better results, except in the first years of school. A weak relationship was found between socio-economic background variables and test achievement; however, parents’ educational attainment and students’ school marks have a stronger relationship. Similarly to previous research findings, no significant gender differences were found.

Artistic satire constitutes an extensive part of musical iconography. Good-humored and ironical pictures of musicians captured the essential elements of their creative image, as well as represented fights between the music bands. Providing information on prominent performers and composers they shaped public opinion, imprinted aesthetic senses of epochs and exposed the peculiarities of public musical perception. Musical satirical iconography has never been the subject of an independent research. This articles deals with the Italian and English caricatures of the XVIII — beginning of the XIX centuries that refer to the evolution of satirical musical iconography.