Residue pitch and beats as heard in a musical context

1986 ◽  
Vol 80 (S1) ◽  
pp. S86-S86
Author(s):  
John R. Pierce
Keyword(s):  
Residue Pitch ◽  
Musical Context

Adolescent Musicians' Perceptions of Conductors Within Musical Context

2009 ◽  
Vol 57 (1) ◽  
pp. 16-25 ◽  
Author(s):  
Clifford K. Madsen ◽  
John M. Geringer ◽  
Katia Madsen
Keyword(s):  
College Students ◽  
Summer Camp ◽  
The Individual ◽  
Almost All ◽  
Audio Video ◽  
Musical Context

Attention to subtle changes in music, whether inadvertent or purposeful, occupies a great deal of practice and rehearsal time for the performer. Regardless of the extremely subtle acoustic changes that have been found to be perceptible within almost all studies, it is the total overall effect that most occupies the individual listener. This study investigated perception of digitally edited performances of Johann Strauss's Blue Danube Waltz, all performed by the Vienna Philharmonic Orchestra with various conductors across an 18-year period. Two groups of string musicians in grades 7 through 12 participated ( N = 104). One group was an intact class; the second was a group of summer camp students. All participants listened to two conditions: (a) audio only and (b) audio-video combination. Results indicated that there were no significant differences between groups and that no one was able to identify correctly that there were five different conductors in the audio-only condition. Results were much the same as earlier research with college students. In addition, many students indicated that there were differences in the audio portions of the two conditions when in fact there were not.

A Amazônia entre barcos e Bajaras: o contexto musical na aldeia Tawanã/ The Amazon between boats and Bajaras: the musical context in Tawanã village

2021 ◽  
Vol 7 (7) ◽  
pp. 74239-74252
Author(s):  
Natália Fernandes da Paixão ◽  
Jefferson José Oliveira Chagas de Souza ◽  
Vanessa da Silva Araújo
Keyword(s):  
Musical Context

Absolute Pitch and Relative Pitch in Music Students in the East and the West

2018 ◽  
Vol 36 (2) ◽  
pp. 135-155 ◽  
Author(s):  
Ken'ichi Miyazaki ◽  
Andrzej Rakowski ◽  
Sylwia Makomaska ◽  
Cong Jiang ◽  
Minoru Tsuzaki ◽  
...  
Keyword(s):  
Music Education ◽  
East Asian ◽  
Absolute Pitch ◽  
Music Students ◽  
Asian Countries ◽  
Japanese Students ◽  
Relative Pitch ◽  
Cultural Conditions ◽  
The Usa ◽  
Musical Context

Absolute pitch (AP)—an ability to identify an isolated pitch without musical context—is commonly believed to be a valuable ability for musicians. However, relative pitch (RP)—an ability to perceive pitch relations—is more important in most musical contexts. In this study, music students in East Asian and Western countries (Japan, China, Poland, Germany, and USA) were tested on AP and RP abilities. In the AP test, 60 single tones were presented in a quasirandom order over a five-octave range. In the RP test, ascending musical intervals from 1 to 11 semitones were presented in four different keys. Participants wrote down note names in the AP test and scale-degree names or musical interval names in the RP test. The conservatory-level Japanese students showed the highest AP performance and more than half of them were classified as accurate AP possessors, but only 10% were classified as accurate RP possessors. In contrast, only a small percentage of participants from Poland, Germany, and the USA were identified as accurate AP possessors, whereas many more were accurate RP possessors. Participants from China were typically intermediate on both measures. These noticeable contrasts between AP and RP performance in different countries suggest influences of the underlying socio-cultural conditions, presumably relating to music education. Given the importance of RP in music, the results suggest that more emphasis should be place on RP training, particularly in East Asian countries.

scholarly journals Exposure impacts the pleasantness of consonance/dissonance but not its perceived tension

2019 ◽  
Author(s):  
Imre Lahdelma ◽  
Tuomas Eerola
Keyword(s):  
Empirical Studies ◽  
Pronounced Effect ◽  
Musical Expertise ◽  
Musical Context ◽  
Vital Factor ◽  
Consonance And Dissonance

The contrast between consonance and dissonance is a vital factor in making music emotionally meaningful. Consonance typically denotes perceived agreeableness and stability, while dissonance in turn disagreeableness and a need of resolution. The current research addresses the perception of consonance/dissonance in intervals and chords isolated from musical context. Experiment 1 explored the correlations between the seven most used concepts denoting consonance/dissonance across all the available (60) empirical studies published since 1883. The stimuli consisted of a representative continuum of consonance/dissonance. The results show that the concepts exhibit high correlations, albeit these are somewhat lower for non-musicians compared to musicians. In Experiment 2 the stimuli's cultural familiarity was divided into three levels, and the correlations between the pivotal concepts of Consonance, Tension, Harmoniousness, Pleasantness, and Preference were further examined. Familiarity affected the correlations drastically across both musicians and non-musicians, but in different ways. Tension maintained relatively high correlations with Consonance across musical expertise and familiarity levels. On the basis of the results a rigorous control for familiarity and musical expertise is recommended for all studies investigating the perception of consonance/dissonance. The findings help pinpoint how familiarity affects the perception of consonance/dissonance and demonstrates the pronounced effect of musical expertise on this.

scholarly journals Prediction Under Uncertainty: Dissociating Sensory from Cognitive Expectations in Highly Uncertain Musical Contexts

2021 ◽  
Author(s):  
Iris Mencke ◽  
David Ricardo Quiroga-Martinez ◽  
Diana Omigie ◽  
Franz Schwarzacher ◽  
Niels T Haumann ◽  
...  
Keyword(s):  
Predictive Models ◽  
Musical Training ◽  
Real Life ◽  
Behavioral Experiment ◽  
Music Listening ◽  
Tonal Music ◽  
And Behavior ◽  
Predictive Processes ◽  
Musical Context ◽  
High Uncertainty

Predictive models in the brain rely on the continuous extraction of regularities from the environment. These models are thought to be updated by novel information, as reflected in prediction error responses such as the mismatch negativity (MMN). However, although in real life individuals often face situations in which uncertainty prevails, it remains unclear whether and how predictive models emerge in high-uncertainty contexts. Recent research suggests that uncertainty affects the magnitude of MMN responses in the context of music listening. However, musical predictions are typically studied with MMN stimulation paradigms based on Western tonal music, which are characterized by relatively high predictability. Hence, we developed an MMN paradigm to investigate how the high uncertainty of atonal music modulates predictive processes as indexed by the MMN and behavior. Using MEG in a group of 20 subjects without musical training, we demonstrate that the magnetic MMN in response to pitch, intensity, timbre, and location deviants is evoked in both tonal and atonal melodies, with no significant differences between conditions. In contrast, in a separate behavioral experiment involving 39 non-musicians, participants detected pitch deviants more accurately and rated confidence higher in the tonal than in the atonal musical context. These results indicate that contextual tonal uncertainty modulates processing stages in which conscious awareness is involved, although deviants robustly elicit low-level pre-attentive responses such as the MMN. The achievement of robust MMN responses, despite high tonal uncertainty, is relevant for future studies comparing groups of listeners' MMN responses to increasingly ecological music stimuli.

scholarly journals “Hooked on Celebri[ɾ]y”

2020 ◽  
Vol 6 (2) ◽  
pp. 22-31
Author(s):  
Brandon Papineau
Keyword(s):  
Folk Songs ◽  
Linguistic Variable ◽  
Economic Class ◽  
Situational Characteristics ◽  
Musical Context

T-glottaling in Scotland has been studied as a salient linguistic variable, which has been found to index (in)formality, socio-economic class, and region, among other speaker and situational characteristics. Realisations of /t/ have also been studied in a musical context, where they have been found to be linked to genre and identity. This study examines Scottish singer-songwriter Nina Nesbitt, and her realisations of the intervocalic /t/ variable in both speech and song. She shows high rates of t-glottaling in speech, but within song, her realisations vary; the only significant predictor of /t/ realisations is song genre, where pop and pop folk songs favour [ɾ] realisations and acoustic songs favour the [t] realisation. T-glottaling is uncommon in all genres of her music. I argue that this variability is a strategy employed to create coherent musical identities that situate Nesbitt within the musical marketplaces in which she performs.

CONTRIBUTIONS OF THE RIGHT AND LEFT MESIAL TEMPORAL LOBES TO MUSIC MEMORY: EVIDENCE FROM MELODIC LEARNING DIFFICULTIES

2008 ◽  
Vol 25 (4) ◽  
pp. 303-314 ◽  
Author(s):  
SARAH J. WILSON ◽  
MICHAEL M. SALING
Keyword(s):  
Learning Difficulties ◽  
Learning Task ◽  
Learning Curves ◽  
Memory Impairments ◽  
Temporal Lobes ◽  
Patient Groups ◽  
Left And Right ◽  
Mesial Temporal Lobe ◽  
The Right ◽  
Musical Context

THE AIM OF THIS STUDY WAS TO ASSESS the effects of left- and right-sided MTL damage on melodic memory using a newly developed arbitrary relational learning task. Participants included patients with MTL damage, patient controls,musicians, and musician controls. The learning curves of these groups showed striking differences, with right MTL patients failing to learn tonal (easy) melody pairs. Both patient groups had difficulty learning nontonal (hard) pairs. Performance was greatest for the musicians, particularly for the nontonal melody pairs. These differences were not primarily attributable to pitch discrimination or pitch working memory impairments. The findings point to differential contributions of the left and right mesial temporal lobes to melodic memory, with specificity of the right mesial temporal lobe emerging for melodic learning within a tonal musical context.

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