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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.

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 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...

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.

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.

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.

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.

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.

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.

The article by Ukrainian ethnomusicologist Anastasiia Mazurenko (Анастасія Мазуренко) is devoted to the problems of definition and classification of micro-interval pitch phenomena in ethnomusicological system analysis. Experimental methods of acoustic analysis of pitch are included: measurement, estimation and statistical processing. Variants of the formation of the scales of the folk tradition with their pitch micro-fluctuations are demonstrated on the example of the Ukrainian song tradition. Key words: acoustical analysis, pitch zone, transcription, musical perception. DOI: http://dx.doi.org/10.15181/td.v13i0.1699

We provide an overview of foreign and Russian psychophysiological research on the problem of musical abilities of newborns. We discuss aspects of formation of the musical ear (pitch, harmonic, timbre, dynamic) and rhythm. As a result, we identified the following auditory abilities of infants: 1. The ability to detect and decay of sound; 2. The ability to automatically detect repetitive sound sequences; 3. The categorization of surrounding sound; and 4. The semantic aspects of musical perception that receive intensive development in the first months of life. The state-of-the-art diagnostic methods, such as optical tomography and magnetoencephalography, allow direct approach to solving the problem of how the musical abilities are formed in early ontogeny.

In this study the relationship between skills to distinguish musical variables and phonological awareness was studied in children between six and eight years of age. Previous studies in English report a connection between these skills; however, no studies of this kind have been done in Spanish. The results of this study indicate that this relationship does not exist in Spanish. This difference relates to the orthographic characteristics of these languages (opaque vs. transparent), and the implications of these results for reading learning are discussed.

In this study, it was intended to focus on the success levels of “B. Musical Perception and Acquainting” learning field and of “C. Musical Creativity” learning field based on the teaching program of 2006 primary education music classes of sixth grade level and relationship between these two learning fields was evaluated. In this study the basic stages, the vision, the basic approach, and the structure of the teaching program of 2006 primary education music classes and the general aims, basic skills and valuation, teaching methods and techniques and learning-teaching period were examined. Source scanning related to these subjects was done. Outcomes and activities related to “B. Muziksel Algi ve Bilgilenme” and “C. Muziksel Yaraticilik” learning fields in this study were analyzed by using observation method. Sample group of this study consisted of 6-A, 6-C, 6-E, 6-G classes in IMKB Inonu Primary School in Erzurum depended on Ministry of National Education. To analyze all data based on observation, frequency (f) percent (%) analysis method was used. Findings and comments part of the study included data that was acquired as a result of outcomes of two basic learning fields and in this part data were interpreted according to the findings. After collecting all data and evaluating the relationship between “B. Musical Perception and Acquainting” learning field and “C. Musical Creativity” learning field, to the results, it was acquired that these two learning fields had supportive and complementary to each other. According to the results of the study, when music class practices are structured considering the relationship between two basic learning fields, learning becomes easier and more comprehensible and by this way, learning continuity will be provided. Ozet Bu arastirmada, 2006 Ilkogretim muzik dersi 6.sinif ogretim programinda yer alan “B. Muziksel Algi ve Bilgilenme” ile “C. Muziksel Yaraticilik” ogrenme alanlarinin basari duzeyleri ve bu iki ogrenme alanlari arasindaki iliskisel durum degerlendirilmistir. Arastirmada, 2006 Ilkogretim muzik dersi ogretim programin asamalari, programin vizyonu, programin temel yaklasimi, programin temel yapisi, genel amaclar, temel beceriler ve degerler, ogretim yontem ve teknikleri, ogrenme-ogretme sureci incelenmis ve konuya iliskin olarak kaynak taramasi yapilmistir. Arastirma icerisinde yer alan “B. Muziksel Algi ve Bilgilenme” ile “C. Muziksel Yaraticilik” ogrenme alanlarina ait kazanimlar ve etkinlikler gozlem yontemi ile incelenmistir. Arastirmanin orneklemini; Erzurum IMKB Inonu ilkogretim okulunda bulunan 6-A, 6-C, 6-E, 6-G siniflari olusturmus olup, gozlem yontemi kullanilarak elde edilen veriler frekans(f) yuzde (%) analizine gore cozumlenmistir. Arastirmanin bulgular ve yorumlar kisminda, iki temel ogrenme alanlarina ait kazanimlardan elde edilen bulgulara yer verilmis ve bulgular isiginda veriler yorumlanmistir. Arastirma sonucunda; “B. Muziksel Algi ve Bilgilenme” ile “C. Muziksel Yaraticilik” ogrenme alanlarinin arasindaki iliskisel durum degerlendirilerek birbirlerini destekleyici ve tamamlayici yonlerinin oldugu sonucuna varilmistir. Arastirmanin sonuclarindan yola cikilarak; muzik dersi uygulamalari, iki temel ogrenme alanlari arasindaki iliskisel durum goz onunde bulundurularak yapilandirildiginda, ogrenme daha kolay ve daha anlasilir bir sekilde gerceklesecek, ogrenmenin surekliligi de saglanmis olacaktir.

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.

A detailed analysis of the spectra and frequencies of tones produced on metallophones in a Balinese orchestra clarifies a number of issues that arise in studying timbre and tuning. Among these are the relative importance of accuracy and completeness of measurements, the relevance of acoustical description to musical perception and style, the appropriateness of statistical generalizations and numerical formulations to musical practice and theory, and the possibility of bi-musical responses to divergent tuning systems. Byproducts of the investigation include a proposed basis for inter-cultural ear training and a novel formulation of the unison, octave, and other intervals (including wide and narrow variants), as well as traditional scales and interval collections that have existed side-by-side in widely varying forms within individual cultures.

Фурдак Т. Д. Сутність та особливості музичного сприймання учнів на уроках музики. У статті ґрунтовно розкрито сутність та особливості музичного сприймання учнів на уроках музики. На основі теоретичного аналізу досліджень науковців, багаторічного особистого спостереження, досвіду викладачів вищих навчальних закладів та вчителів музики загальноосвітніх шкіл пропонуються етапи організації умов процесу вміння усвідомлено сприймати музичний твір учнями. Ключові слова: музичне сприймання, емоційно-свідоме сприймання, пізнання, пізнавальний інтерес. Фурдак Т. Д. Сущность и особенности музыкального восприятия учеников на уроках музыки. В статье расскрыта сущность и особенности музикального восприятия учеников на уроках музыки. На основании теоретического анализа исследований учених, личных многолетних наблюдений, опыта педагогов высших учебных заведений, а также учителей общеобразовательных школ предлагаются этапы организации условий процесса умения сознательно воспринимать музыкальное произведение учениками. Ключевые слова: музыкальное восприятие, эмоционально-сознательное восприятие, познание, познавательный интерес. Furdak T. D. Essence and features musical perception of pupils in music. The article thoroughly essence and features musical perception by pupils for music lessons. Based on the theoretical analysis of the investigations, experience university professors and teachers of music schools offer stages of the process ability to consciously perceive music students. Key words: musical perception, emotional and conscious perception, cognition, cognitive interest.

This research professionals in various conservatories in Turkey in the field of music education students, with musical perception levels and some variables were studied to reveal the differences that occur in this dimension. 50 students from Mimar Sinan University State Conservatory, 39 students from Istanbul University State Conservatory and 38 students from Karadeniz Technique University State Conservatory so totally 127 Conservatory students, who are the students of the 2 nd , 3 rd and 4th class in 2014-2015 academic year, have been participated in this survey which is a field research done by survey method. In this survey, two basic data collection tools were used. First data collection tool is “Student Information Form” which is aimed to obtain individual knowledge, second data collection tool is “Musical Perception Inventory” developed by G.Otacioglu and Aslan in 2007 to measure musical perception skills of students. Statistical analysis techniques were used to demonstrate the differences between the variables in the study. As a result of the study, there were statistically significant differences between demographic variables and the scores of musical perception

The purpose of this study was to investigate the tonal perception and restoration of thirds within power chords with the instruments and sounds idiosyncratic to the Western rock/pop genre. Four separate chord sequences were performed on electric guitar in four versions; as full chord and power chord versions as well as under both clean-tone and distortion effect versions. Undergraduate music majors ( N = 50) listened to all 16 chord progressions and rated their perception of the tonality (‘majorness’ or ‘minorness’) in the terminal chord for each sequence, utilizing a 7-point semantic differential scale ranging from minor (1) to major (7) with a neutral indicator located in the middle (4). Participants had completed a mean 3.82 ( SD = 0.66) semesters of ear training and 28 indicated they played the guitar. A three-way repeated measures ANOVA revealed significant differences between responses for chord sequences (1–4), as well as a significant interaction between chord sequences, distortion (clean versus distortion), and type of chords in the progression (whole chords versus power chords). Further analysis of data indicated that participants tended to perceive terminal power chords as major, especially when progressions were comprised of power chords and contained distortion.

This work presents the help of music education to musical hearing, the sensing of hearing at the end of education, and the affection of hearing levels of young people. In this study, neural network is used for classification of students using musical hearing and sensing. We demonstrate that machine learning can be used to predict the students musical perception, who entered to the Education Faculty, using neural networks. The pure tone audiometric measurements were realized for the evaluation of hearing at the frequencies 250, 500, 1000, 2000, and 8000 Hz. The evaluation of musical hearing for the students was achieved as: single tone-vertical hearing, poly tone-horizontal hearing and melody and rhythm hearing. The testing of musical hearing and sensing of students were compared with the test after two-year education. It was observed that the tests after two-year education offered good performances at all frequency level and this is meaningful in statistically, While musical hearing sensitivity is significantly high in horizontal and rhythm hearing tests, it is not changed in vertical hearing tests. Our results show that by using musical hearing and sensing our neural network classifies students whether they are at musical Education Department or other educational department of Education Faculty at a success rate of 92% and 88%, respectively. (C) 2011 Elsevier Ltd. All rights reserved.

Although Forster repeatedly considered the question of music in his writings, Howards End (1910) is his first sustained attempt to explore the issue of musical perception and the status of music. Significantly, Beethoven's Fifth Symphony is the site of contention. Through a disagreement between the Schlegel sisters over how one should listen to Beethoven's symphony, Forster dramatizes the musicological debate around aesthetic perception and the status of instrumental music. The novel, this article will argue, is no less a part of that cultural debate than professional musicology. Indeed, Forster's writing bears the influence of music critics before him and has inspired musicologists after him. Moreover, by giving voice to various aesthetic positions through his characters, Forster also explores the overlaps, ambiguities and uncertainties that are elided by the seemingly dispassionate and authoritative discourse of nineteenth-century musicology. At the same time, Forster reveals a human consequence that musicological debate neglects: the exclusion of Leonard Bast, and those like him, from aesthetic experiences.

This study was designed to determine what acoustic elements are associated with musical perception ability in cochlear implant (CI) users and to understand how acoustic elements, which are important to good speech perception, contribute to music perception in CI users. It was hypothesized that the variability in the performance of music and speech perception may be related to differences in the sensitivity to specific acoustic features such as spectral changes or temporal modulations, or both.A battery of hearing tasks was administered to 42 CI listeners. The Clinical Assessment of Music Perception was used, which evaluates complex-tone pitch-direction discrimination, melody recognition, and timbre recognition. To investigate spectral and temporal processing, spectral-ripple discrimination and Schroeder-phase discrimination abilities were evaluated. Speech perception ability in quiet and noise was also evaluated. Relationships between Clinical Assessment of Music Perception subtest scores, spectral-ripple discrimination thresholds, Schroeder-phase discrimination scores, and speech recognition scores were assessed.Spectral-ripple discrimination was shown to correlate with all three aspects of music perception studied. Schroeder-phase discrimination was generally not predictive of music perception outcomes. Music perception ability was significantly correlated with speech perception ability. Nearly half of the variance in melody and timbre recognition was predicted jointly by spectral-ripple and pitch-direction discrimination thresholds. Similar results were observed on speech recognition as well.This study suggests that spectral-ripple discrimination is significantly associated with music perception in CI users. A previous report showed that spectral-ripple discrimination is significantly correlated with speech recognition in quiet and in noise. This study also showed that speech recognition and music perception are also related to one another. Spectral-ripple discrimination ability seems to reflect a wide range of hearing abilities in CI users. The results suggest that materially improving spectral resolution could provide significant benefits in music and speech perception outcomes in CI users.

Improvements in speech perception with cochlear implants can be demonstrated over more than a quarter of a century; from little more than an aid to lip-reading to supporting open set speech understanding in highly challenging listening situations. Both demographical and technological factors have contributed to this change. Sound processor generations show continuous improvement over a ten year time period when demographical change was much less pronounced. Changes to the quality of the electronics, the electrode array and arguably most importantly, the sound coding strategy have all contributed to the improvement. Within-subject comparisons of algorithms also shows significant speech perception improvement. Beyond speech, interest is being shown in music appreciation. Questionnaire results relating to lyrics, instruments and scene show the Fidelity 120 current steering strategy to be significantly better than conventional processing strategies and not significantly poorer than results from normal...

One of the most studied effects of verbal working memory (WM) is the influence of the length of the words that compose the list to be remembered. This work aims to investigate the nature of musical WM by replicating the word length effect in the musical domain. Length and rate of presentation were manipulated in a recognition task of tone sequences. Results showed significant effects for both factors (length and presentation rate) as well as their interaction, suggesting the existence of different strategies (e.g., chunking and rehearsal) for the immediate memory of musical information, depending upon the length of the sequences.

Este trabalho objetivou verificar o desempenho de homens e mulheres em uma tarefa de discriminação perceptiva de sons e o efeito de aprendizagem anterior sobre esta discriminação. O experimento foi realizado com 17 homens e 17 mulheres, submetidos individualmente a uma sessão de coleta de dados composta de questionário padronizado e de teste de discriminação com vinte tentativas gravadas em um CD-ROM. A análise estatística dos dados indicou diferenças de desempenho entre pessoas com e sem experiência musical prévia [F(1,33)=14,69, p

We understand from experience that musical contexts are formed when chords are combined according to the rules of harmony. In this study, the N1 component of the auditory-evoked potential was measured using comparable three-chord sequences; these sequences were constructed as a consecutive task (cf. C-C-C vs. Cm-Cm-Cm; control) and a cadence task (cf. C-G-C vs. C-G-Cm). In the cadence task, compared with cadences ending with a major chord (anticipated chord), those ending with a minor chord (unanticipated chord) showed a significantly larger amplitude of N1 waves. These components of auditory-evoked potentials reflect the effect of chord progression in musical perception and suggest that the musical context is recognized at least 100 ms after a chord is played.

We explored a range of higher-level percepts in music. Participants were asked to make two-alternative forced-choice judgments of extracts of instrumental music on various dipole categories, such as happy/sad or male/female. The consistency with which each stimulus was judged on a response category across listeners provides an indication of the extent to which the musical percept can be mapped reliably onto that dimension. High consistency would suggest that the response category is related to one of the natural perceptual dimensions for music. We found very high consistency (90% +) for various response categories normally used as descriptions of people (such as male/female and happy/sad). Other types of response category gave much lower consistency. Perhaps our participants are experts in making fine distinctions in person-related categories for almost any stimulus. We tested this with a control experiment where foodstuffs replaced the musical stimuli. We did not find high agreement for person-related categories. The differences between responses to music and food were statistically highly significant.

Music is one of the windows into investigate human cognition. Long-term training will change the musical perception, due to plasticity of the human brain. On the other hand, mental or neural disorders may affect musical perception. The aim of this study is to propose a musical perception experiment and the corresponding auditory evoked potentials (AEP) analysis strategy to distinguish musicians with long-term training, healthy controls and patients with psychiatric disorders. AEPs from 12 schizophrenia patients (defect), 12 musicians (enhancement) and 12 healthy people (regular) invoked by musical intervals and chords were recorded. AEP analysis results show that schizophrenia patients have reduced N1 and P2 amplitudes comparing with the other two groups. Musicians have enhanced N1, P2 and N1-P2 amplitudes. Basing on these observations, a two-layer hierarchical AEP classification method based on the linear discriminate analysis (LDA) is proposed to distinguish these different subject groups. Layer-1 classifies schizophrenia patients with others based on AEP elicited by musical intervals. Layer-2 distinguishes musicians and normal people based on stimuli of consonant intervals and chord. Accuracy of the proposed two-layer method can reach 91.63% through leave-one-out cross validation. Experimental results demonstrate the feasibility of scaling musical perception by analyzing brain AEPs elicited by musical stimuli with different complexity and consonance. These results can be applied to the development of musical training evaluation and psychiatric disorders diagnosis systems in the future.

Here I develop a theory of the studio lesson, departing from John Dewey’s celebrated theory of aesthetic experience. The prototype for aesthetic experience, according to Dewey, is a non-artistic experience to which one applies a refined and reflective sensibility. I propose that, in this manner, one can make the lesson into an aesthetic experience. In particular, the aesthetic teacher detects in seemingly myriad occurrences, obstacles, and skills to be mastered an innate potential for unity and form, which she thus need not manufacture or impose but rather gently guide into existence. Mistakes in this approach are less problems to summarily eradicate than sources by which to develop a unified experience. In addition to unity and form, I enumerate various other music-aesthetic properties or qualities that I believe the lesson, like any aesthetic experience, can embody. In this approach, the utilitarian benefits of instruction arise from valuing the aesthetic integrity of the lesson in and for itself. Indeed, in this approach, the lesson-experience itself embodies music-aesthetic properties and is thus analogous to music and music-making.