scholarly journals A figural approach to the role of melodic contour in melody recognition

1984 ◽  
Vol 35 (5) ◽  
pp. 477-488 ◽  
Author(s):  
Mary C. Dyson ◽  
Anthony J. Watkins
Keyword(s):  
Melody Recognition ◽  
Melodic Contour

The role of tone height, melodic contour, and tone chroma in melody recognition.

1980 ◽  
Vol 6 (1) ◽  
pp. 77-90 ◽  
Author(s):  
Dominic W. Massaro ◽  
Howard J. Kallman ◽  
Janet L. Kelly
Keyword(s):  
Melody Recognition ◽  
Melodic Contour

The Role of Diatonicism in the Abstraction and Representation of Contour and Interval Information

1999 ◽  
Vol 16 (3) ◽  
pp. 365-387 ◽  
Author(s):  
Eric G. Freedman
Keyword(s):  
Retention Interval ◽  
Past Research ◽  
Melody Recognition ◽  
Melodic Contour ◽  
Contour Information ◽  
Information Recognition ◽  
Diatonic Scale ◽  
Longterm Memory

Previous research on melody recognition indicates that listeners can recognize contour information when melodies are retained for brief intervals and can recognize interval information of melodies held in longterm memory. However, past research has failed to control for the diatonicism and familiarity of the melodies. In three experiments, the relative contributions of contour and interval information during the abstraction of novel diatonic and nondiatonic sequences are examined. Listeners recognize the melodic contours of melodies held over an extended retention interval. Additionally, listeners use the diatonic context to recognize both the contour and interval information. In nondiatonic contexts, listeners rely predominantly on the contour information. In addition, musically experienced listeners can recognize both the contour and interval information, whereas musically inexperienced listeners rely predominantly on the contour information. Recognition of melodic contour remained relatively accurate during a 24-hr retention interval. Thus, the results indicate that the diatonic scale mediates the abstraction of interval information. Listeners seem to acquire a musical schema for diatonic melodies.

scholarly journals The role of divided attention and expertise in melody recognition

2017 ◽  
Vol 23 (1) ◽  
pp. 69-86 ◽  
Author(s):  
Steffen A. Herff ◽  
Daniela Czernochowski
Keyword(s):  
Divided Attention ◽  
Recognition Performance ◽  
Recognition Task ◽  
Attentional Resource ◽  
Attention And Memory ◽  
Attention Condition ◽  
Monitoring Task ◽  
Melody Recognition ◽  
Musical Expertise

When attention is divided during memory encoding, performance tends to suffer. The nature of this performance decrement, however, is domain-dependent and often governed by domain-specific expertise. In this study, 111 participants with differing levels of musical expertise (professional musicians, amateur musicians, and non-musicians) were presented with novel melodies under full- or divided-attention conditions in a continuous melody-recognition task. As hypothesized, melody recognition was modulated by musical expertise, as greater expertise was associated with better performance. Recognition performance increased with every additional presentation of a target melody. The divided-attention condition required concurrently performing a non-music related digit-monitoring task while simultaneously listening to the melodies. Memory performance decreased universally in all groups in the divided-attention condition; however, intriguingly musicians also performed significantly better in the concurrent digit-monitoring task than non-musicians. Results provide insight into the role of expertise, attention, and memory in the musical domain, and are discussed in terms of attentional resource models. In light of resource models, an asymmetrical non-linear trade-off between two simultaneous tasks is proposed to explain the present findings.

Infants'Perception of Melodies: The Role of Melodic Contour

1984 ◽  
Vol 55 (3) ◽  
pp. 821-830
Author(s):  
Sandra E. Trehub ◽  
Dale Bull ◽  
Leigh A. Thorpe
Keyword(s):  
Melodic Contour

scholarly journals Young children pause on phrase boundaries in self-paced music listening: The role of harmonic cues

2017 ◽  
Author(s):  
Haley Elisabeth Kragness ◽  
Laurel Trainor
Keyword(s):  
Young Children ◽  
Dwell Time ◽  
Music Listening ◽  
Production Task ◽  
Phrase Boundary ◽  
Melodic Contour ◽  
Child Friendly ◽  
Musical Understanding ◽  
Contour Grouping

Proper segmentation of auditory streams is essential for understanding music. Many cues, including meter, melodic contour, and harmony, influence adults’ perception of musical phrase boundaries. To date, no studies have examined young children’s musical grouping in a production task. We used a musical self-pacing method to investigate (1) whether dwell times index young children’s musical phrase grouping and, if so, (2) whether children dwell longer on phrase boundaries defined by harmonic cues specifically. In Experiment 1, we asked 3-year-old children to self-pace through chord progressions from Bach chorales (sequences in which metrical, harmonic, and melodic contour grouping cues aligned) by pressing a computer key to present each chord in the sequence. Participants dwelled longer on chords in the eighth position, which corresponded to phrase endings. In Experiment 2, we tested 3-, 4-, and 7-year-old children’s sensitivity to harmonic cues to phrase grouping when metrical regularity cues and melodic contour cues were misaligned with the harmonic phrase boundaries. In this case, 7- and 4-year-olds but not 3-year-olds dwelled longer on harmonic phrase boundaries, suggesting that the influence of harmonic cues on phrase boundary perception develops substantially between 3 and 4 years of age in Western children. Overall, we show that the musical dwell time method is child-friendly and can be used to investigate various aspects of young children’s musical understanding, including phrase grouping and harmonic knowledge.

scholarly journals The use of metaphorical musical terminology for verbal description of music

2018 ◽  
Vol 44 (2) ◽  
pp. 627-641
Author(s):  
Milena Petrović ◽  
Marija Golubović
Keyword(s):  
Music Education ◽  
Cognitive Processing ◽  
Verbal Description ◽  
Musical Experience ◽  
Melodic Contour ◽  
Associative Thinking ◽  
Music Experience ◽  
And Performance

The aim of this paper is to indicate the importance of the metaphorical terminology and verbal description of music in education and performance due to inevitable role of emotions and embodiment in music experience. Metaphorical music terminology should follow the interpretative maturity, such as for the term scherzo, which would be joke for younger, but forced joke or all but prank for older musicians. For music beginners we can use extramusical verbal symbols: the pulse is represented as the stickman; major with the symbol of sun and minor with the symbol of rain; sequencing is presented with the picture of stairs; the picture of butterfly implies image-schematicity in interpreting the wave melodic contour; children understood duple meter through the picture of a soldier, while triple meter appreciated through the picture of a ballerina; staccato is experienced as a movement, but also as a visual and auditory metaphor. Multimodality plays an important role in music education, because it implies the integration of movement, sound, picture and verbal metaphors. Therefore, the musical experience is described and performance interpreted by following the direction from the emotional sound experience to its cognitive processing. Mul- timodal approach would increase associative thinking and enlarge individual associations on musical terms, which gives a better understanding of music and widens perspective in music education.

Components of melodic processing

2012 ◽  
Author(s):  
Mark A. Schmuckler
Keyword(s):  
Music Cognition ◽  
Daily Basis ◽  
Pitch Contour ◽  
Musical Structure ◽  
Melodic Contour ◽  
Pitch Structure

Melody is the most ubiquitous form of musical structure, with which listeners come into contact on a daily basis. Mirroring the prevalence and importance of melody, research in music cognition has focused extensively on the processes involved in perceiving and remembering melodic structure. Despite these years of study, however, our understanding of pitch structure in melody can be described simply, with respect to the two components of tonality and pitch contour. Although the importance of these two components has been recognized over the years, it is only recently that workable models of these components have been proposed. This article describes such models of tonality and melodic contour, and discusses the role of these components in listeners' perceptions of and memory for melody.

Infants' Perception of Melodies: The Role of Melodic Contour

1984 ◽  
Vol 55 (3) ◽  
pp. 821 ◽  
Author(s):  
Sandra E. Trehub ◽  
Dale Bull ◽  
Leigh A. Thorpe
Keyword(s):  
Melodic Contour

Role of dactinomycin in the improved survival of children with Wilms' tumor

JAMA ◽  
1966 ◽  
Vol 195 (12) ◽  
pp. 1005-1009 ◽  
Author(s):  
D. J. Fernbach
Keyword(s):  
Wilms Tumor
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