Brust, J C
Two aphasic right-handed professional musicians with left hemispheric lesions had disturbed musical function, especially musical alexia and agraphia. In Case 1 aphasia was of transcortical sensory type, with severe agraphia and decreased comprehension of written words, although she could match them with pictures. Except for reading and writing, musical ability was normal; she could sing in five languages. Musical alexia and agraphia affected pitch symbols more than rhythm. Case 2 had conduction aphasia and severe expressive amusia, especially for rhythm. Although his language alexia and agraphia were milder than Case 1's, his musical alexia and agraphia were more severe, affecting rhythm as much as pitch. In neither patient were those aspects of musical notation either closest to verbal language or most dependent upon temporal (sequential) processing maximally impaired. These cases are consistent with the literature in suggesting that the presence or absence of aphasia or of right or left hemispheric damage fails to predict the presence, type, or severity of amusia, including musical alexia and agraphia. The popular notion that receptive amusia follows lesions of the language-dominant temporal lobe, whereas expressive amusia follows non-dominant frontal lobe damage, is an over-simplification, as is the view that increasing musical sophistication causes a shift of musical processing from the right hemisphere to the left.
Brandt, Anthony; Gebrian, Molly; Slevc, L. Robert
Language is typically viewed as fundamental to human intelligence. Music, while recognized as a human universal, is often treated as an ancillary ability – one dependent on or derivative of language. In contrast, we argue that it is more productive from a developmental perspective to describe spoken language as a special type of music. A review of existing studies presents a compelling case that musical hearing and ability is essential to language acquisition. In addition, we challenge the prevailing view that music cognition matures more slowly than language and is more difficult; instead, we argue that music learning matches the speed and effort of language acquisition. We conclude that music merits a central place in our understanding of human development. PMID:22973254
Full Text Available Wittgenstein has often explored language games that have to do with musical objects of different sizes (phrases, themes, formal sections or entire works. These games can refer to a technical language or to common parlance and correspond to different targets. One of these coincides with the intention to suggest a way of conceiving musical understanding. His model takes the form of the invitation to "hear (something as (something": typically, to hear a musical passage as an introduction or as a conclusion or in a certain tonality. However one may ask to what extent or in what terms (literal or metaphorical these procedures, and usually the intervention of language games, is requested by our common ways of understanding music. This article shows through the use of some examples that aspectual perception inherent to musical understanding does not require language games as a necessary condition (although in many cases the link between them seems very strong, in contradiction with the thesis of an essential linguistic character of music. At a basic level, it seems more appropriate to insist on the notion of a game: to understand music means to enter into the orbit of "music games" which show an autonomous functioning. Language games have, however, an important function when we develop this comprehension in the light of the criteria of judgment that substantiate the manner in which music is incorporated in and operates within specific forms of life.
Full Text Available In April 1973 David Bowie released 'Aladdin Sane'. The cover of 'Aladdin Sane' features an iconic image of David Bowie, a close-up shot of the artist with brightly colored orange hair and asymmetrical lightning bolt make-up on the right side of his face. This article argues that the cover image for 'Aladdin Sane' uses the Close-Up Eye Asymmetry (CUE-A pictorial device (i.e., close-up view of David Bowie, asymmetrical make-up around his eye and that CUE-A was adopted into Comic Book Visual Language by first providing evidence that CUE-A is used in comic book art. A link is then established between comic book art and music album art by showing that: (1 David Bowie was familiar with Comic Book Visual Language and could make a contribution to the language, and (2 comic book artists are influenced by music album art. I then make a case that the adoption of CUE-A into Comic Book Visual Language was specifically due to the cover image for 'Aladdin Sane' by analyzing: (1 the use of CUE-A by influential artists in the 1990s and (2 the different rates of adoption of CUE-A for the depiction of established versus newer comic book characters.
This article is an inquiry into the potential role of music in helping to address and to articulate complex emotional states such as the feelings patients might experience during the process of an illness or while undergoing bereavement. The article is centered on the role music played in structuring and articulating the cancer treatment experience of my infant nephew. What is woven around that central core is a synthesis and analysis of various philosophical perspectives, autobiographical vignettes, and empirical research. The writer postulates that music has an essential, inherent capacity to scaffold and contain emotions. Music is also considered a means to help facilitate the expression of difficult emotions such as lamentation, longing, and fear of the unknown that are often otherwise isolating, ineffable, or unbearable for patients. A major point of inquiry in this article is whether music can serve as a nurturing love object, or as a transitional object, for a patient during times of intense distress. What is also woven throughout this article is a subexploration of various philosophical perspectives on the cultural meanings and metaphors of illness.
Ettlinger, Marc; Margulis, Elizabeth H; Wong, Patrick C M
Research on music and language in recent decades has focused on their overlapping neurophysiological, perceptual, and cognitive underpinnings, ranging from the mechanism for encoding basic auditory cues to the mechanism for detecting violations in phrase structure. These overlaps have most often been identified in musicians with musical knowledge that was acquired explicitly, through formal training. In this paper, we review independent bodies of work in music and language that suggest an important role for implicitly acquired knowledge, implicit memory, and their associated neural structures in the acquisition of linguistic or musical grammar. These findings motivate potential new work that examines music and language comparatively in the context of the implicit memory system.
Carlos Henrique Silveira
Full Text Available James Buhler et David Neumeyer sont certainement les auteurs les plus importants à publier sur l’analyse de la musique de film depuis les années quatre-vingt-dix aux Etats-Unis. Entre autres contributions, ils ont édité ensemble (avec Caryl Flinn Music and Cinema, un livre consacré aux différentes perspectives de l’étude de la musique de film. Tous les deux sont professeurs de théorie musicale à l’école de musique de l’université du Texas à Austin (Neumeyer étant aussi professeur à Leslie Wa...
Marc eEttlinger; Elizabeth Hellmuth Margulis; Patrick C. M. Wong; Patrick C. M. Wong
Research on music and language in recent decades has focused on their overlapping neurophysiological, perceptual, and cognitive underpinnings, ranging from the mechanism for encoding basic auditory cues to the mechanism for detecting violations in phrase structure. These overlaps have most often been identified in musicians with musical knowledge that was acquired explicitly, through formal training. In this paper, we review independent bodies of work in music and language that suggest an imp...
Full Text Available In his most recent contribution to an important and well-framed series of papers on auditory grouping and the perception of polyphonic music, David Huron seeks further evidence for his working hypothesis that J.S. Bach controls the employment of perfect consonances by desynchronizing their onsets, thereby inhibiting the perceptual fusion of polyphonic voices. However the more novel contribution of the present study would seem to be its demonstration that Bach also regulates the employment of dissonant tones by consistently desynchronizing their onsets. This finding provides the first concrete evidence for Wright and Bregman’s otherwise untested hypothesis that the control and salience of dissonance in polyphonic music are closely related to principles of auditory stream segregation (Wright, 1986; Wright & Bregman, 1987.
Throughout time, healers, philosophers, scientists, and teachers have recognized the place of music for therapeutic and developmental functions (Bancroft,1985:3-7). Researchers over the last twenty years have made astounding advances in the the⁃ory of language acquisition. Many find the pedagogical conjoining of language and music compelling. The first part of this review focuses on the historical and developmental proofs of music’ s relationship with language learning. In part two, neurological the⁃ory on music and the mind are covered. Part three summarizes scholarly inquiry on the use of music for learning languages, espe⁃cially those studies that could prove most instructive both for language teachers and for music therapists in the development of curricula.
Chobert, Julie; Besson, Mireille
Increasing evidence suggests that musical expertise influences brain organization and brain functions. Moreover, results at the behavioral and neurophysiological levels reveal that musical expertise positively influences several aspects of speech processing, from auditory perception to speech production. In this review, we focus on the main results of the literature that led to the idea that musical expertise may benefit second language acquisition. We discuss several interpretations that may account for the influence of musical expertise on speech processing in native and foreign languages, and we propose new directions for future research.
Full Text Available Research on music and language in recent decades has focused on their overlapping neurophysiological, perceptual, and cognitive underpinnings, ranging from the mechanism for encoding basic auditory cues to the mechanism for detecting violations in phrase structure. These overlaps have most often been identified in musicians with musical knowledge that was acquired explicitly, through formal training. In this paper, we review independent bodies of work in music and language that suggest an important role for implicitly acquired knowledge, implicit memory, and their associated neural structures in the acquisition of linguistic or musical grammar. These findings motivate potential new work that examines music and language comparatively in the context of the implicit memory system.
Gosselin, Pei-Ying Lin
The purpose of this study was to investigate the effects of songs in different languages on English language learners' (ELLs) music preferences. The participants (N = 62) were Chinese graduate students from a state university in the Midwestern United States. The survey contained nine excerpts from popular songs in three languages: Chinese (the…
Pei, Zhengwei; Wu, Yidi; Xiang, Xiaocui; Qian, Huimin
This study investigates 128 Chinese college students to examine the effects of their musical aptitude and musical training on phonological production in four foreign languages. Results show that musically-trained students remarkably possessed stronger musical aptitude than those without musical training and performed better than their counterpart…
Smith, R N
In 1759 Johann David Michaelis won a prize from the Prussian Royal Academy for his essay Beantwortung der Frage von dem Einfluss der Meinungen in die Sprache, und der sprache in die Meinungen. The essay was published in the following year and translated into French in 1762, into English in 1769, and into Dutch in 1771. The work has two major themes--linguistic relativity and language change--with ancillary discussions of language in general and of homonymy. Its most significant contribution to the theory of language is its discussion of linguistic relativity, especially in its manifestations in the influence of language on thought. Given the intellectual milieu of the work where inquiry was centered on the origin of language and language universals, it stands as one of the few discussions of this topic and it is also one of the most fruitful discussions of linguistic relativity for any period of history.
Besson, Mireille; Schön, Daniele; Moreno, Sylvain; Santos, Andréia; Magne, Cyrille
We review a series of experiments aimed at studying pitch processing in music and speech. These studies were conducted with musician and non musician adults and children. We found that musical expertise improved pitch processing not only in music but also in speech. Demonstrating transfer of training between music and language has interesting applications for second language learning. We also addressed the issue of whether the positive effects of musical expertise are linked with specific predispositions for music or with extensive musical practice. Results of longitudinal studies argue for the later. Finally, we also examined pitch processing in dyslexic children and found that they had difficulties discriminating strong pitch changes that are easily discriminate by normal readers. These results argue for a strong link between basic auditory perception abilities and reading abilities. We used conjointly the behavioral method (Reaction Times and error rates) and the electrophysiological method (recording of the changes in brain electrical activity time-locked to stimulus presentation, Event-Related brain Potentials or ERPs). A set of common processes may be responsible for pitch processing in music and in speech and these processes are shaped by musical practice. These data add evidence in favor of brain plasticity and open interesting perspectives for the remediation of dyslexia using musical training.
Kraus, Nina; Slater, Jessica
Music and language provide an important context in which to understand the human auditory system. While they perform distinct and complementary communicative functions, music and language are both rooted in the human desire to connect with others. Since sensory function is ultimately shaped by what is biologically important to the organism, the human urge to communicate has been a powerful driving force in both the evolution of auditory function and the ways in which it can be changed by experience within an individual lifetime. This chapter emphasizes the highly interactive nature of the auditory system as well as the depth of its integration with other sensory and cognitive systems. From the origins of music and language to the effects of auditory expertise on the neural encoding of sound, we consider key themes in auditory processing, learning, and plasticity. We emphasize the unique role of the auditory system as the temporal processing "expert" in the brain, and explore relationships between communication and cognition. We demonstrate how experience with music and language can have a significant impact on underlying neural function, and that auditory expertise strengthens some of the very same aspects of sound encoding that are deficient in impaired populations. © 2015 Elsevier B.V. All rights reserved.
Full Text Available In David Tudor’s electronic music, home-brew modular devices were carefully connected together to form complex feedback networks wherein all components—including the composer/performer himself—could only partially ‘influence’ one another. Once activated, the very instability of mismatched connections between the components triggered a cascade of signals and signal modulations, so that the work “composed itself,” and took “a life of its own.” Due to this self-producing, perpetuating nature of his works, Tudor insisted on what he called “the view from inside,” focusing more on the internal observation of his devices and sound than in materials external to the immanence of performance. When Tudor passed away in 1996, it became apparent that the sheer lack of resources outside the work—scores, instructions, recordings, texts—had made many of his music impossible to perform in his absence. The works that took a life of their own could not survive their composer’s death partially because of his utter reliance on them to do their work. By connecting often mismatched resources obtained from extended research on Tudor, this paper presents modular observations that seem to offer certain perspectives on the issue of life and death surrounding Tudor’s music. A comparison with developments in systems theory, most notably autopoiesis, outlines a mechanism for the endless life of sounds that compose themselves. Moving out of this theoretical reflection, a fieldwork report of an ongoing attempt to ‘revive’ some of Tudors works is offered. This report demonstrates the observer shifting from one ‘inside’ to another—from an electronic circuitry inside a particular device, to a network composed of several devices, and further into the activation of a composite instrument. Meandering away from the archives, the composer’s “view from inside” of his electronic devices is set side by side with recent insights of object
József P. Vas
Full Text Available The author suggests that the origin of musicality is implied in an implicit musical language every human being possesses in uterus due to a resonance and attunement with prenatal environment, mainly the mother. It is emphasized that ego-development and evolving implicit musical language can be regarded as parallel processes. To support this idea a lot of examples of musical representations are demonstrated by the author. Music is viewed as a tone of ego-functioning involving the musical representations of bodily and visceral senses, cross-modal perception, unity of sense of self, individual fate of ego, and tripolar and bipolar musical coping codes. Finally, a special form of music therapy is shown to illustrate how can implicit musical language be transformed into explicit language by virtue of participants’ spontaneity, creativity, and playfulness.
Vas József, P
The author suggests that the origin of musicality is implied in an implicit musical language every human being possesses in uterus due to a resonance and attunement with prenatal environment, mainly the mother. It is emphasized that ego-development and evolving implicit musical language can be regarded as parallel processes. To support this idea a lot of examples of musical representations are demonstrated by the author. Music is viewed as a tone of ego-functioning involving the musical representations of bodily and visceral senses, cross-modal perception, unity of sense of self, individual fate of ego, and tripolar and bipolar musical coping codes. Finally, a special form of music therapy is shown to illustrate how can implicit musical language be transformed into explicit language by virtue of participants' spontaneity, creativity, and playfulness.
Vuust, Peter; Wallentin, Mikkel; Mouridsen, Kim; Ostergaard, Leif; Roepstorff, Andreas
Music is experienced and understood on the basis of foreground/background relationships and tension created between actual music and the underlying meter. Polyrhythms create tension between a counter meter and the main meter. Previously, we have shown that Brodmann area 47 (BA47), a brain area associated with processing of language, is activated bilaterally when musicians tap the main meter in a polymetric context emphasizing a counter meter, suggesting that processing of metric elements in music relies on brain areas also involved in language processing. In that study, the tension was created entirely by changes in the stimulus while participants were tapping the main meter. Here we find left-hemispheric BA47 activation in response to a self-produced counter meter on top of a main meter provided by an ecological music excerpt. This data indicates that the activation is linked to polyrhythmic tension, regardless of whether it arises from the stimulus or the task. Copyright © 2011 Elsevier Ireland Ltd. All rights reserved.
The authors of picture books who write especially melodic language are doing more than simply offering up work that is pleasing to the ear. They are accessing more of the whole child. In this article five picture books will be discussed for their musical attributes: "Now One Foot, Now the Other", by Tomie dePaola, "The Cat in the Hat", by Dr.…
Music can be described as sequences of events that are structured in pitch and time. Studying music processing provides insight into how complex event sequences are learned, perceived, and represented by the brain. Given the temporal nature of sound, expectations, structural integration, and cognitive sequencing are central in music perception (i.e., which sounds are most likely to come next and at what moment should they occur?). This paper focuses on similarities in music and language cognition research, showing that music cognition research provides insight into the understanding of not only music processing but also language processing and the processing of other structured stimuli. The hypothesis of shared resources between music and language processing and of domain-general dynamic attention has motivated the development of research to test music as a means to stimulate sensory, cognitive, and motor processes. Copyright © 2012 Cognitive Science Society, Inc.
Full Text Available Here, I examine to what extend music and speech share processing components by focusing on vocal production, that is, singing and speaking. In shaping my review, the modularity concept has been and continues to play a determinant role. Thus, I will first provide a brief background on the contemporary notion of modularity. Next, I will present evidence that musical abilities depend, in part, on modular processes. The evidence is coming mainly from neuropsychological dissociations. The relevance of findings of overlap in neuroimaging, of interference and domain-transfer effects between music and speech will also be addressed and discussed. Finally, I will contrast the modularity position with the resource-sharing framework proposed by Patel (2003, 2008a. This critical review should be viewed as an invitation to undertake future comparative research between music and language by focusing on the details of the functions that these mechanisms carry out, not only their specificity. Such comparative research is very important not only theoretically but also in practice because of their obvious clinical and educational implications.
Howarth, Lisa M.; Conti-Ramsden, Gina
Six language-impaired children, aged 4-7, were studied in two routinized contexts (a lesson without music and a singing session) and child-teacher talk was analyzed. Results showed that the addition of music to a routinized context has the potential to increase the language-impaired child's ability to interact non-verbally. (Author/JDD)
Composer David Claman is presently professor of music in the Department of Music of Lehman College of the City University of New York. Recent commissions include music for The Da Capo Chamber Players and the CYGNUS Ensemble. Claman studied composition at the University of Colorado at Boulder and at Princeton University.
Brown, Steven; Savage, Patrick E.; Ko, Albert Min-Shan; Stoneking, Mark; Ko, Ying-Chin; Loo, Jun-Hun; Trejaut, Jean A.
We present, to our knowledge, the first quantitative evidence that music and genes may have coevolved by demonstrating significant correlations between traditional group-level folk songs and mitochondrial DNA variation among nine indigenous populations of Taiwan. These correlations were of comparable magnitude to those between language and genes for the same populations, although music and language were not significantly correlated with one another. An examination of population structure for genetics showed stronger parallels to music than to language. Overall, the results suggest that music might have a sufficient time-depth to retrace ancient population movements and, additionally, that it might be capturing different aspects of population history than language. Music may therefore have the potential to serve as a novel marker of human migrations to complement genes, language and other markers. PMID:24225453
In 1981, Deutsch and Feroe proposed a formal language for representing melodic pitch structure that employed the powerful concept of hierarchically-related pitch alphabets. However, neither rhythmic structure nor pitch structure in polyphonic music can be adequately represented using this language....... A new language is proposed here that incorporates certain features of Deutsch and Feroe’s model but extends and generalises it to allow for the representation of both rhythm and pitch structure in polyphonic music. The new language adopts a geometric approach in which a passage of polyphonic music...
Jung, Harim; Sontag, Samuel; Park, YeBin S; Loui, Psyche
Music and language are human cognitive and neural functions that share many structural similarities. Past theories posit a sharing of neural resources between syntax processing in music and language (Patel, 2003), and a dynamic attention network that governs general temporal processing (Large and Jones, 1999). Both make predictions about music and language processing over time. Experiment 1 of this study investigates the relationship between rhythmic expectancy and musical and linguistic syntax in a reading time paradigm. Stimuli (adapted from Slevc et al., 2009) were sentences broken down into segments; each sentence segment was paired with a musical chord and presented at a fixed inter-onset interval. Linguistic syntax violations appeared in a garden-path design. During the critical region of the garden-path sentence, i.e., the particular segment in which the syntactic unexpectedness was processed, expectancy violations for language, music, and rhythm were each independently manipulated: musical expectation was manipulated by presenting out-of-key chords and rhythmic expectancy was manipulated by perturbing the fixed inter-onset interval such that the sentence segments and musical chords appeared either early or late. Reading times were recorded for each sentence segment and compared for linguistic, musical, and rhythmic expectancy. Results showed main effects of rhythmic expectancy and linguistic syntax expectancy on reading time. There was also an effect of rhythm on the interaction between musical and linguistic syntax: effects of violations in musical and linguistic syntax showed significant interaction only during rhythmically expected trials. To test the effects of our experimental design on rhythmic and linguistic expectancies, independently of musical syntax, Experiment 2 used the same experimental paradigm, but the musical factor was eliminated-linguistic stimuli were simply presented silently, and rhythmic expectancy was manipulated at the critical
Rohrmeier, Martin; Zuidema, Willem; Wiggins, Geraint A.; Scharff, Constance
Human language, music and a variety of animal vocalizations constitute ways of sonic communication that exhibit remarkable structural complexity. While the complexities of language and possible parallels in animal communication have been discussed intensively, reflections on the complexity of music and animal song, and their comparisons, are underrepresented. In some ways, music and animal songs are more comparable to each other than to language as propositional semantics cannot be used as indicator of communicative success or wellformedness, and notions of grammaticality are less easily defined. This review brings together accounts of the principles of structure building in music and animal song. It relates them to corresponding models in formal language theory, the extended Chomsky hierarchy (CH), and their probabilistic counterparts. We further discuss common misunderstandings and shortcomings concerning the CH and suggest ways to move beyond. We discuss language, music and animal song in the context of their function and motivation and further integrate problems and issues that are less commonly addressed in the context of language, including continuous event spaces, features of sound and timbre, representation of temporality and interactions of multiple parallel feature streams. We discuss these aspects in the light of recent theoretical, cognitive, neuroscientific and modelling research in the domains of music, language and animal song. PMID:25646520
Rohrmeier, Martin; Zuidema, Willem; Wiggins, Geraint A; Scharff, Constance
Human language, music and a variety of animal vocalizations constitute ways of sonic communication that exhibit remarkable structural complexity. While the complexities of language and possible parallels in animal communication have been discussed intensively, reflections on the complexity of music and animal song, and their comparisons, are underrepresented. In some ways, music and animal songs are more comparable to each other than to language as propositional semantics cannot be used as indicator of communicative success or wellformedness, and notions of grammaticality are less easily defined. This review brings together accounts of the principles of structure building in music and animal song. It relates them to corresponding models in formal language theory, the extended Chomsky hierarchy (CH), and their probabilistic counterparts. We further discuss common misunderstandings and shortcomings concerning the CH and suggest ways to move beyond. We discuss language, music and animal song in the context of their function and motivation and further integrate problems and issues that are less commonly addressed in the context of language, including continuous event spaces, features of sound and timbre, representation of temporality and interactions of multiple parallel feature streams. We discuss these aspects in the light of recent theoretical, cognitive, neuroscientific and modelling research in the domains of music, language and animal song. © 2015 The Author(s) Published by the Royal Society. All rights reserved.
Turker, Sabrina; Reiterer, Susanne M; Seither-Preisler, Annemarie; Schneider, Peter
Recent research has shown that the morphology of certain brain regions may indeed correlate with a number of cognitive skills such as musicality or language ability. The main aim of the present study was to explore the extent to which foreign language aptitude, in particular phonetic coding ability, is influenced by the morphology of Heschl's gyrus (HG; auditory cortex), working memory capacity, and musical ability. In this study, the auditory cortices of German-speaking individuals ( N = 30; 13 males/17 females; aged 20-40 years) with high and low scores in a number of language aptitude tests were compared. The subjects' language aptitude was measured by three different tests, namely a Hindi speech imitation task (phonetic coding ability), an English pronunciation assessment, and the Modern Language Aptitude Test (MLAT). Furthermore, working memory capacity and musical ability were assessed to reveal their relationship with foreign language aptitude. On the behavioral level, significant correlations were found between phonetic coding ability, English pronunciation skills, musical experience, and language aptitude as measured by the MLAT. Parts of all three tests measuring language aptitude correlated positively and significantly with each other, supporting their validity for measuring components of language aptitude. Remarkably, the number of instruments played by subjects showed significant correlations with all language aptitude measures and musicality, whereas, the number of foreign languages did not show any correlations. With regard to the neuroanatomy of auditory cortex, adults with very high scores in the Hindi testing and the musicality test (AMMA) demonstrated a clear predominance of complete posterior HG duplications in the right hemisphere. This may reignite the discussion of the importance of the right hemisphere for language processing, especially when linked or common resources are involved, such as the inter-dependency between phonetic and musical
Full Text Available Early language and reading abilities have been shown to correlate with a variety of musical skills and elements of music perception in children. It has also been shown that reading impaired children can show difficulties with music perception. However, it is still unclear to what extent different aspects of music perception are associated with language and reading abilities. Here we investigated the relationship between cognitive-linguistic abilities and a music discrimination task that preserves an ecologically valid musical experience. Forty-three Portuguese-speaking students from an elementary school in Brazil participated in this study. Children completed a comprehensive cognitive-linguistic battery of assessments. The music task was presented live in the music classroom, and children were asked to code sequences of four sounds on the guitar. Results show a strong relationship between performance on the music task and a number of linguistic variables. A Principle Component Analysis of the cognitive-linguistic battery revealed that the strongest component (Prin1 accounted for 33% of the variance and Prin1 was significantly related to the music task. Highest loadings on Prin1 were found for reading measures such as Reading Speed and Reading Accuracy. Interestingly, twenty-two children recorded responses for more than four sounds within a trial on the music task, which was classified as Superfluous Responses (SR. SR was negatively correlated with a variety of linguistic variables and showed a negative correlation with Prin1. When analyzing children with and without SR separately, only children with SR showed a significant correlation between Prin1 and the music task. Our results provide implications for the use of an ecologically valid music-based screening tool for the early identification of reading disabilities in a classroom setting.
Abstract The question how music influences the perception of sung language is rather complicated. There are indications that music enhances lyric perception, but also that it obstructs it. Sometimes we are deeply moved by lyrics, sometimes we don’t even hear them. The linguistic concept of
Full Text Available Vocal theories of the origin of language rarely make a case for the precursor functions that underlay the evolution of speech. The vocal expression of emotion is unquestionably the best candidate for such a precursor, although most evolutionary models of both language and speech ignore emotion and prosody altogether. I present here a model for a joint prosodic precursor of language and music in which ritualized group-level vocalizations served as the ancestral state. This precursor combined not only affective and intonational aspects of prosody, but also holistic and combinatorial mechanisms of phrase generation. From this common stage, there was a bifurcation to form language and music as separate, though homologous, specializations. This separation of language and music was accompanied by their (reunification in songs with words.
Yu, Mengxia; Xu, Miao; Li, Xueting; Chen, Zhencai; Song, Yiying; Liu, Jia
Human musical ability is proposed to play a key phylogenetical role in the evolution of language, and the similarity of hierarchical structure in music and language has led to considerable speculation about their shared mechanisms. While behavioral and electrophysioglocial studies have revealed associations between music and linguistic abilities, results from functional magnetic resonance imaging (fMRI) studies on their relations are contradictory, possibly because these studies usually treat music or language as single entities without breaking down to their components. Here, we examined the relations between different components of music (i.e., melodic and rhythmic analysis) and language (i.e., semantic and phonological processing) using both behavioral tests and resting-state fMRI. Behaviorally, we found that individuals with music training experiences were better at semantic processing, but not at phonological processing, than those without training. Further correlation analyses showed that semantic processing of language was related to melodic, but not rhythmic, analysis of music. Neurally, we found that performances in both semantic processing and melodic analysis were correlated with spontaneous brain activities in the bilateral precentral gyrus (PCG) and superior temporal plane at the regional level, and with the resting-state functional connectivity of the left PCG with the left supramarginal gyrus and left superior temporal gyrus at the network level. Together, our study revealed the shared spontaneous neural basis of music and language based on the behavioral link between melodic analysis and semantic processing, which possibly relied on a common mechanism of automatic auditory-motor integration. Copyright © 2017 IBRO. Published by Elsevier Ltd. All rights reserved.
Patel, Aniruddh D.; Morgan, Emily
The online processing of both music and language involves making predictions about upcoming material, but the relationship between prediction in these two domains is not well understood. Electrophysiological methods for studying individual differences in prediction in language processing have opened the door to new questions. Specifically, we ask…
Fonseca-Mora, M C; Jara-Jiménez, Pilar; Gómez-Domínguez, María
Based on previous studies showing that phonological awareness is related to reading abilities and that music training improves phonological processing, the aim of the present study was to test for the efficiency of a new method for teaching to read in a foreign language. Specifically, we tested the efficacy of a phonological training program, with and without musical support that aimed at improving early reading skills in 7-8-year-old Spanish children (n = 63) learning English as a foreign language. Of interest was also to explore the impact of this training program on working memory and decoding skills. To achieve these goals we tested three groups of children before and after training: a control group, an experimental group with phonological non-musical intervention (active control), and an experimental group with musical intervention. Results clearly point to the beneficial effects of the phonological teaching approach but the further impact of the music support was not demonstrated. Moreover, while children in the music group showed low musical aptitudes before training, they nevertheless performed better than the control group. Therefore, the phonological training program with and without music support seem to have significant effects on early reading skills.
Full Text Available Based on previous studies showing that phonological awareness is related to reading abilities and that music training improves phonological processing, the aim of the present study was to test for the efficiency of a new method for teaching to read in a foreign language. Specifically, we tested the efficacy of a phonological training program, with and without musical support that aimed at improving early reading skills in 7-8-year-old Spanish children (n=63 learning English as a foreign language. Of interest was also to explore the impact of this training program on working memory and decoding skills. To achieve these goals we tested three groups of children before and after training: a control group, an experimental group with phonological non-musical intervention (active control, and an experimental group with musical intervention. Results clearly point to the beneficial effects of the phonological teaching approach but the further impact of the music support was not demonstrated. Moreover, while children in the music group showed low musical aptitudes before training, they nevertheless performed better than the control group. Therefore, the phonological training program with and without music support seem to have significant effects on early reading skills.
Mari, Giorgia; Scorpecci, Alessandro; Reali, Laura; D'Alatri, Lucia
To date very few studies have investigated the musical skills of children with specific language impairment (SLI). There is growing evidence that SLI affects areas other than language, and it is therefore reasonable to hypothesize that children with this disorder may have difficulties in perceiving musical stimuli appropriately. To compare melody and song identification skills in a group of children with SLI and in a control group of children with typical language development (TD); and to study possible correlations between music identification skills and language abilities in the SLI group. This is a prospective case control study. Two groups of children were enrolled: one meeting DSM-IV-TR(®) diagnostic criteria for SLI and the other comprising an age-matched group of children with TD. All children received a melody and a song identification test, together with a test battery assessing receptive and productive language abilities. 30 children with SLI (mean age = 56 ± 9 months) and 23 with TD (mean age = 60 ± 10 months) were included. Melody and song identification scores among SLI children were significantly lower than those of TD children, and in both groups song identification scores were significantly higher than melody identification scores. Song identification skills bore a significant correlation to chronological age in both groups (TD: r = 0.529, p = 0.009; SLI: r = 0.506, p = 0.004). Whereas no other variables were found explaining the variability of melody or song identification scores in either group, the correlation between language comprehension and song identification in the SLI group approached significance (r = 0.166, p = 0.076). The poorer music perception skills of SLI children as compared with TD ones suggests that SLI may also affect music perception. Therefore, training programmes that simultaneously stimulate via language and music may prove useful in the rehabilitation of children affected by SLI. © 2015 Royal College of Speech and
Atherton, Ryan P; Chrobak, Quin M; Rauscher, Frances H; Karst, Aaron T; Hanson, Matt D; Steinert, Steven W; Bowe, Kyra L
The present study sought to explore whether musical information is processed by the phonological loop component of the working memory model of immediate memory. Original instantiations of this model primarily focused on the processing of linguistic information. However, the model was less clear about how acoustic information lacking phonological qualities is actively processed. Although previous research has generally supported shared processing of phonological and musical information, these studies were limited as a result of a number of methodological concerns (e.g., the use of simple tones as musical stimuli). In order to further investigate this issue, an auditory interference task was employed. Specifically, participants heard an initial stimulus (musical or linguistic) followed by an intervening stimulus (musical, linguistic, or silence) and were then asked to indicate whether a final test stimulus was the same as or different from the initial stimulus. Results indicated that mismatched interference conditions (i.e., musical - linguistic; linguistic - musical) resulted in greater interference than silence conditions, with matched interference conditions producing the greatest interference. Overall, these results suggest that processing of linguistic and musical information draws on at least some of the same cognitive resources.
Patel, Aniruddh D; Morgan, Emily
The online processing of both music and language involves making predictions about upcoming material, but the relationship between prediction in these two domains is not well understood. Electrophysiological methods for studying individual differences in prediction in language processing have opened the door to new questions. Specifically, we ask whether individuals with musical training predict upcoming linguistic material more strongly and/or more accurately than non-musicians. We propose two reasons why prediction in these two domains might be linked: (a) Musicians may have greater verbal short-term/working memory; (b) music may specifically reward predictions based on hierarchical structure. We provide suggestions as to how to expand upon recent work on individual differences in language processing to test these hypotheses. Copyright © 2016 Cognitive Science Society, Inc.
Fitch, W Tecumseh; Martins, Mauricio D
Sixty years ago, Karl Lashley suggested that complex action sequences, from simple motor acts to language and music, are a fundamental but neglected aspect of neural function. Lashley demonstrated the inadequacy of then-standard models of associative chaining, positing a more flexible and generalized "syntax of action" necessary to encompass key aspects of language and music. He suggested that hierarchy in language and music builds upon a more basic sequential action system, and provided several concrete hypotheses about the nature of this system. Here, we review a diverse set of modern data concerning musical, linguistic, and other action processing, finding them largely consistent with an updated neuroanatomical version of Lashley's hypotheses. In particular, the lateral premotor cortex, including Broca's area, plays important roles in hierarchical processing in language, music, and at least some action sequences. Although the precise computational function of the lateral prefrontal regions in action syntax remains debated, Lashley's notion-that this cortical region implements a working-memory buffer or stack scannable by posterior and subcortical brain regions-is consistent with considerable experimental data. © 2014 The Authors. Annals of the New York Academy of Sciences published by Wiley Periodicals Inc. on behalf of The New York Academy of Sciences.
Perrachione, Tyler K; Fedorenko, Evelina G; Vinke, Louis; Gibson, Edward; Dilley, Laura C
Language and music epitomize the complex representational and computational capacities of the human mind. Strikingly similar in their structural and expressive features, a longstanding question is whether the perceptual and cognitive mechanisms underlying these abilities are shared or distinct--either from each other or from other mental processes. One prominent feature shared between language and music is signal encoding using pitch, conveying pragmatics and semantics in language and melody in music. We investigated how pitch processing is shared between language and music by measuring consistency in individual differences in pitch perception across language, music, and three control conditions intended to assess basic sensory and domain-general cognitive processes. Individuals' pitch perception abilities in language and music were most strongly related, even after accounting for performance in all control conditions. These results provide behavioral evidence, based on patterns of individual differences, that is consistent with the hypothesis that cognitive mechanisms for pitch processing may be shared between language and music.
Bidelman, Gavin M; Hutka, Stefanie; Moreno, Sylvain
Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese) speakers on tasks of auditory pitch acuity, music perception, and general cognitive ability (e.g., fluid intelligence, working memory). While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking nonmusicians. These results provide evidence that tone-language background is associated with higher auditory perceptual performance for music listening. Musicians and Cantonese speakers also showed superior working memory capacity relative to nonmusician controls, suggesting that in addition to basic perceptual enhancements, tone-language background and music training might also be associated with enhanced general cognitive abilities. Our findings support the notion that tone language speakers and musically trained individuals have higher performance than English-speaking listeners for the perceptual-cognitive processing necessary for basic auditory as well as complex music perception. These results illustrate bidirectional influences between the domains of music and language.
Bidelman, Gavin M.; Hutka, Stefanie; Moreno, Sylvain
Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese) speakers on tasks of auditory pitch acuity, music perception, and general cognitive ability (e.g., fluid intelligence, working memory). While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking nonmusicians. These results provide evidence that tone-language background is associated with higher auditory perceptual performance for music listening. Musicians and Cantonese speakers also showed superior working memory capacity relative to nonmusician controls, suggesting that in addition to basic perceptual enhancements, tone-language background and music training might also be associated with enhanced general cognitive abilities. Our findings support the notion that tone language speakers and musically trained individuals have higher performance than English-speaking listeners for the perceptual-cognitive processing necessary for basic auditory as well as complex music perception. These results illustrate bidirectional influences between the domains of music and language. PMID:23565267
Gavin M Bidelman
Full Text Available Psychophysiological evidence suggests that music and language are intimately coupled such that experience/training in one domain can influence processing required in the other domain. While the influence of music on language processing is now well-documented, evidence of language-to-music effects have yet to be firmly established. Here, using a cross-sectional design, we compared the performance of musicians to that of tone-language (Cantonese speakers on tasks of auditory pitch acuity, music perception, and general cognitive ability (e.g., fluid intelligence, working memory. While musicians demonstrated superior performance on all auditory measures, comparable perceptual enhancements were observed for Cantonese participants, relative to English-speaking nonmusicians. These results provide evidence that tone-language background is associated with higher auditory perceptual performance for music listening. Musicians and Cantonese speakers also showed superior working memory capacity relative to nonmusician controls, suggesting that in addition to basic perceptual enhancements, tone-language background and music training might also be associated with enhanced general cognitive abilities. Our findings support the notion that tone language speakers and musically trained individuals have higher performance than English-speaking listeners for the perceptual-cognitive processing necessary for basic auditory as well as complex music perception. These results illustrate bidirectional influences between the domains of music and language.
Vaiouli, Potheini; Andreou, Georgia
Research demonstrates connections among children's music actions, their engagement abilities, and their language development. Although the link between music and the engagement abilities of young children with autism is well established, there is not enough evidence on the effectiveness of music strategies and music therapy interventions to…
A.J.C. van der Hoeven (Arno); M.S.S.E. Janssen (Susanne); S.M.R. Driessen (Simone)
markdownabstractOn the basis of interviews with music audiences, heritage practitioners, and cultural industry workers, this article explores how language use in Dutch popular music relates to local and historically situated taste patterns and music practices. Most popular music in the Netherlands
Christiansen, Steen Ledet
David Bowie's now-defunct rock-opera trilogy's first installment 1. Outside is filled with uncanny mediations of rock music's chameleon. The inner sleeve booklet is titled The Diary of Nathan Adler, or the Ritual Art-Murder of Baby Grace Blue: A non-linear Gothic Drama Hyper-Cycle. Behind this long...
de Groot, A.M.B.; Smedinga, H.E.
Participants learned foreign vocabulary by means of the paired-associates learning procedure in three conditions: (a) in silence, (b) with vocal music with lyrics in a familiar language playing in the background, or (c) with vocal music with lyrics in an unfamiliar language playing in the
Internationalization and globalization have created a global music education community which is not only linked by similar ideas, but also shares a common language. English functions as a global language and facilitates the international discourse in music education. While it is good to have a common language supporting international dialogue, it…
Elmer, Stefan; Klein, Carina; Kühnis, Jürg; Liem, Franziskus; Meyer, Martin; Jäncke, Lutz
In this study, we used high-density EEG to evaluate whether speech and music expertise has an influence on the categorization of expertise-related and unrelated sounds. With this purpose in mind, we compared the categorization of speech, music, and neutral sounds between professional musicians, simultaneous interpreters (SIs), and controls in response to morphed speech-noise, music-noise, and speech-music continua. Our hypothesis was that music and language expertise will strengthen the memory representations of prototypical sounds, which act as a perceptual magnet for morphed variants. This means that the prototype would "attract" variants. This so-called magnet effect should be manifested by an increased assignment of morphed items to the trained category, by a reduced maximal slope of the psychometric function, as well as by differential event-related brain responses reflecting memory comparison processes (i.e., N400 and P600 responses). As a main result, we provide first evidence for a domain-specific behavioral bias of musicians and SIs toward the trained categories, namely music and speech. In addition, SIs showed a bias toward musical items, indicating that interpreting training has a generic influence on the cognitive representation of spectrotemporal signals with similar acoustic properties to speech sounds. Notably, EEG measurements revealed clear distinct N400 and P600 responses to both prototypical and ambiguous items between the three groups at anterior, central, and posterior scalp sites. These differential N400 and P600 responses represent synchronous activity occurring across widely distributed brain networks, and indicate a dynamical recruitment of memory processes that vary as a function of training and expertise.
Full Text Available Recent research has shown that the morphology of certain brain regions may indeed correlate with a number of cognitive skills such as musicality or language ability. The main aim of the present study was to explore the extent to which foreign language aptitude, in particular phonetic coding ability, is influenced by the morphology of Heschl’s gyrus (HG; auditory cortex, working memory capacity, and musical ability. In this study, the auditory cortices of German-speaking individuals (N = 30; 13 males/17 females; aged 20–40 years with high and low scores in a number of language aptitude tests were compared. The subjects’ language aptitude was measured by three different tests, namely a Hindi speech imitation task (phonetic coding ability, an English pronunciation assessment, and the Modern Language Aptitude Test (MLAT. Furthermore, working memory capacity and musical ability were assessed to reveal their relationship with foreign language aptitude. On the behavioral level, significant correlations were found between phonetic coding ability, English pronunciation skills, musical experience, and language aptitude as measured by the MLAT. Parts of all three tests measuring language aptitude correlated positively and significantly with each other, supporting their validity for measuring components of language aptitude. Remarkably, the number of instruments played by subjects showed significant correlations with all language aptitude measures and musicality, whereas, the number of foreign languages did not show any correlations. With regard to the neuroanatomy of auditory cortex, adults with very high scores in the Hindi testing and the musicality test (AMMA demonstrated a clear predominance of complete posterior HG duplications in the right hemisphere. This may reignite the discussion of the importance of the right hemisphere for language processing, especially when linked or common resources are involved, such as the inter-dependency between
Turker, Sabrina; Reiterer, Susanne M.; Seither-Preisler, Annemarie; Schneider, Peter
Recent research has shown that the morphology of certain brain regions may indeed correlate with a number of cognitive skills such as musicality or language ability. The main aim of the present study was to explore the extent to which foreign language aptitude, in particular phonetic coding ability, is influenced by the morphology of Heschl’s gyrus (HG; auditory cortex), working memory capacity, and musical ability. In this study, the auditory cortices of German-speaking individuals (N = 30; 13 males/17 females; aged 20–40 years) with high and low scores in a number of language aptitude tests were compared. The subjects’ language aptitude was measured by three different tests, namely a Hindi speech imitation task (phonetic coding ability), an English pronunciation assessment, and the Modern Language Aptitude Test (MLAT). Furthermore, working memory capacity and musical ability were assessed to reveal their relationship with foreign language aptitude. On the behavioral level, significant correlations were found between phonetic coding ability, English pronunciation skills, musical experience, and language aptitude as measured by the MLAT. Parts of all three tests measuring language aptitude correlated positively and significantly with each other, supporting their validity for measuring components of language aptitude. Remarkably, the number of instruments played by subjects showed significant correlations with all language aptitude measures and musicality, whereas, the number of foreign languages did not show any correlations. With regard to the neuroanatomy of auditory cortex, adults with very high scores in the Hindi testing and the musicality test (AMMA) demonstrated a clear predominance of complete posterior HG duplications in the right hemisphere. This may reignite the discussion of the importance of the right hemisphere for language processing, especially when linked or common resources are involved, such as the inter-dependency between phonetic and
Hackworth, Rhonda S.
The current study, a preliminary examination of whether music teachers are more susceptible to vocal problems than teachers of other subjects, asked for expert evaluation of audio recordings from licensed speech-language pathologists. Participants (N = 41) taught music (n = 23) or another subject (n = 18) in either elementary (n = 21), middle (n =…
Moreno, Sylvain; Lee, Yunjo; Janus, Monika; Bialystok, Ellen
Immediate and lasting effects of music or second-language training were examined in early childhood using event-related potentials. Event-related potentials were recorded for French vowels and musical notes in a passive oddball paradigm in thirty-six 4- to 6-year-old children who received either French or music training. Following training, both…
Full Text Available The effects of musical activities on non-musical domains have recently sparked much research. Whereas the benefits of music for native language abilities are well established, the effect on second language (L2 is not yet fully explored. This review discusses articles suggesting the transfer effect of music on L2 phonological and reading skills. Through the analysis of research literature, it examines; (1 the extent of transfer to specific L2 skills, the nature of necessary music training, the effect of native language on musicality and L2, and the role of working memory in the transfer effect. While the discussed papers provide promising insights into the music-L2 relationship, due to the little research done in this area it is difficult to generalize the results to overall L2 learning.
Creel, Sarah C.; Weng, Mengxing; Fu, Genyue; Heyman, Gail D.; Lee, Kang
Young children learn multiple cognitive skills concurrently (e.g., language and music). Evidence is limited as to whether and how learning in one domain affects that in another during early development. Here we assessed whether exposure to a tone language benefits musical pitch processing among 3-5-year-old children. More specifically, we compared…
Roncaglia-Denissen, M.P.; Bouwer, F.L.; Honing, H.
Despite differences in their function and domain-specific elements, syntactic processing in music and language is believed to share cognitive resources. This study aims to investigate whether the simultaneous processing of language and music share the use of a common syntactic processor or more
Full Text Available Instrumental music and language are both syntactic systems, employing complex, hierarchically-structured sequences built using implicit structural norms. This organization allows listeners to understand the role of individual words or tones in the context of an unfolding sentence or melody. Previous studies suggest that the brain mechanisms of syntactic processing may be partly shared between music and language. However, functional neuroimaging evidence for anatomical overlap of brain activity involved in linguistic and musical syntactic processing has been lacking. In the present study we used functional magnetic resonance imaging (fMRI in conjunction with an interference paradigm based on sung sentences. We show that the processing demands of musical syntax (harmony and language syntax interact in Broca's area in the left inferior frontal gyrus (without leading to music and language main effects. A language main effect in Broca's area only emerged in the complex music harmony condition, suggesting that (with our stimuli and tasks a language effect only becomes visible under conditions of increased demands on shared neural resources. In contrast to previous studies, our design allows us to rule out that the observed neural interaction is due to: (1 general attention mechanisms, as a psychoacoustic auditory anomaly behaved unlike the harmonic manipulation, (2 error processing, as the language and the music stimuli contained no structural errors. The current results thus suggest that two different cognitive domains-music and language-might draw on the same high level syntactic integration resources in Broca's area.
Hannon, Eric E.
Recent evidence suggests that the musical rhythm of a particular culture may parallel the speech rhythm of that culture's language (Patel, A. D., & Daniele, J. R. (2003). "An empirical comparison of rhythm in language and music." "Cognition, 87," B35-B45). The present experiments aimed to determine whether listeners actually perceive such rhythmic…
This research paper explores theories behind Total Physical Response (T.P.R) methods and psychology by associating them with music in order to examine the role of listening to music and dancing in language learning. This research utilises the five pillars of Zumba (music, dance, the power of now, enjoyment, and relaxing) that may create an environment for motivating language fluency learning and investigates whether these pillars have the potential for making Zumba, a global phenomenon in tea...
Roncaglia-Denissen, M P; Bouwer, Fleur L; Honing, Henkjan
Despite differences in their function and domain-specific elements, syntactic processing in music and language is believed to share cognitive resources. This study aims to investigate whether the simultaneous processing of language and music share the use of a common syntactic processor or more general attentional resources. To investigate this matter we tested musicians and non-musicians using visually presented sentences and aurally presented melodies containing syntactic local and long-distance dependencies. Accuracy rates and reaction times of participants' responses were collected. In both sentences and melodies, unexpected syntactic anomalies were introduced. This is the first study to address the processing of local and long-distance dependencies in language and music combined while reducing the effect of sensory memory. Participants were instructed to focus on language (language session), music (music session), or both (dual session). In the language session, musicians and non-musicians performed comparably in terms of accuracy rates and reaction times. As expected, groups' differences appeared in the music session, with musicians being more accurate in their responses than non-musicians and only the latter showing an interaction between the accuracy rates for music and language syntax. In the dual session musicians were overall more accurate than non-musicians. However, both groups showed comparable behavior, by displaying an interaction between the accuracy rates for language and music syntax responses. In our study, accuracy rates seem to better capture the interaction between language and music syntax; and this interaction seems to indicate the use of distinct, however, interacting mechanisms as part of decision making strategy. This interaction seems to be subject of an increase of attentional load and domain proficiency. Our study contributes to the long-lasting debate about the commonalities between language and music by providing evidence for their
M. P. Roncaglia-Denissen
Full Text Available Despite differences in their function and domain-specific elements, syntactic processing in music and language is believed to share cognitive resources. This study aims to investigate whether the simultaneous processing of language and music share the use of a common syntactic processor or more general attentional resources. To investigate this matter we tested musicians and non-musicians using visually presented sentences and aurally presented melodies containing syntactic local and long-distance dependencies. Accuracy rates and reaction times of participants’ responses were collected. In both sentences and melodies, unexpected syntactic anomalies were introduced. This is the first study to address the processing of local and long-distance dependencies in language and music combined while reducing the effect of sensory memory. Participants were instructed to focus on language (language session, music (music session, or both (dual session. In the language session, musicians and non-musicians performed comparably in terms of accuracy rates and reaction times. As expected, groups’ differences appeared in the music session, with musicians being more accurate in their responses than non-musicians and only the latter showing an interaction between the accuracy rates for music and language syntax. In the dual session musicians were overall more accurate than non-musicians. However, both groups showed comparable behavior, by displaying an interaction between the accuracy rates for language and music syntax responses. In our study, accuracy rates seem to better capture the interaction between language and music syntax; and this interaction seems to indicate the use of distinct, however, interacting mechanisms as part of decision making strategy. This interaction seems to be subject of an increase of attentional load and domain proficiency. Our study contributes to the long-lasting debate about the commonalities between language and music by
Chen, Ao; Peter, Varghese; Wijnen, Frank; Schnack, Hugo; Burnham, Denis
Language experience shapes musical and speech pitch processing. We investigated whether speaking a lexical tone language natively modulates neural processing of pitch in language and music as well as their correlation. We tested tone language (Mandarin Chinese), and non-tone language (Dutch) listeners in a passive oddball paradigm measuring mismatch negativity (MMN) for (i) Chinese lexical tones and (ii) three-note musical melodies with similar pitch contours. For lexical tones, Chinese listeners showed a later MMN peak than the non-tone language listeners, whereas for MMN amplitude there were no significant differences between groups. Dutch participants also showed a late discriminative negativity (LDN). In the music condition two MMNs, corresponding to the two notes that differed between the standard and the deviant were found for both groups, and an LDN were found for both the Dutch and the Chinese listeners. The music MMNs were significantly right lateralized. Importantly, significant correlations were found between the lexical tone and the music MMNs for the Dutch but not the Chinese participants. The results suggest that speaking a tone language natively does not necessarily enhance neural responses to pitch either in language or in music, but that it does change the nature of neural pitch processing: non-tone language speakers appear to perceive lexical tones as musical, whereas for tone language speakers, lexical tones and music may activate different neural networks. Neural resources seem to be assigned differently for the lexical tones and for musical melodies, presumably depending on the presence or absence of long-term phonological memory traces. Copyright © 2018 Elsevier Inc. All rights reserved.
Some of the issues raised include the definition of the term 'music', the status of music as some sort of communicative medium for the expression of emotion, musical meaning, musical universals and grammars, and the issue of empirical evidence from other disciplines. Journal of the Musical Arts in Africa Volume 6 2009, ...
Patel, Aniruddh D
This article argues that music can be used in cross-species research to study the evolution of cognitive mechanisms relevant to spoken language. This is because music and language share certain cognitive processing mechanisms and because music offers specific advantages for cross-species research. Music has relatively simple building blocks (tones without semantic properties), yet these building blocks are combined into rich hierarchical structures that engage complex cognitive processing. I illustrate this point with regard to the processing of musical harmonic structure. Because the processing of musical harmonic structure has been shown to interact with linguistic syntactic processing in humans, it is of interest to know if other species can acquire implicit knowledge of harmonic structure through extended exposure to music during development (vs. through explicit training). I suggest that domestic dogs would be a good species to study in addressing this question.
Music therapists have had an interest in bibliographic research for over 20 years, beginning with Jellison's 1973 analysis of the frequency and types of articles appearing in the existing music therapy literature. Since then, several other researchers have continued in this line of inquiry. The purpose of this study was to (a) identify historical trends in the types of articles that have been published in major music therapy periodicals in the English language, (b) identify historical trends for each type of article within each music therapy journal, (c) to compare percentages of article types within each music therapy journal and (d) to compare percentages of article types across journals. Specifically, how many quantitative, qualitative, historical, philosophical/theoretical, clinical and professional articles have been published throughout the history of the following journals: Journal of Music Therapy, Music Therapy: Journal of the American Association for Music Therapy, Music Therapy Perspectives, The Arts in Psychotherapy, Journal of the Association for Music & Imagery, The Australian Journal of Music Therapy, The Nordic Journal of Music Therapy, The British Journal of Music Therapy, and The New Zealand Society for Music Therapy Journal.
Hamm, Martin W
Today there are many approaches to music education reflecting many different beliefs about what is its goal. Most music educators would agree that their goal is to help students understand music and the practice of making music. The differences arise out of a confusion about what it means to understand music, and in what is significant about the practice of making music. The central problem impeding progress toward a universally applicable, yet logically derived,music curriculum is the lac...
Ana Mercedes Vernia Carrasco
Full Text Available Musical language organizes general musical training in conservatories and music schools, becoming an attractive, active and dynamic way of learning music, often including rhythmic, body and game activities, and didactic elements such as songs, dance and musical listening. In the case of adult learners, teaching musical language must adapt to psychosocial characteristics of this group. This paper aims to design, validate and apply an instrument shaped as a rubric to evaluate musical language performance in a sample of adult students, based on specific analysis of documents. Scale contains 21 activities that evaluate four skills. The results confirm that there are four main items that would explain most of the academic achievement in musical language in adults: to recognize melodic and harmonic intervals, internalizing tempo, musical dictation and vocal creation, with preparation. Likewise, the results allow to raise a teaching methodology that combines perceptive, corporal, symbolic and communicative aspects in this subject, updating and consolidating the present orientation that teaching has gradually taken.
Human song and music are part of what may be called a ritual stratum of human culture. As such, they involve special behaviors and neural mechanisms with an uneven but interesting distribution in nature. This may be turned to account not only for shedding light on the biological background of human song and music, but also for elucidating the nature of the cultural traditions within which these arts are practiced and elaborated. The purpose of this chapter is accordingly threefold: (1) to highlight the uniqueness of human culture compared to that of other primates by defining and contrasting two very different types of traditions that coexist within it: those of instrumental culture and those of ritual culture; (2) to outline the crucial role of the mechanism of vocal learning as an enabling device for ritual culture, specifically, by way of the well-studied behavioral biology of birdsong; and (3) to introduce the conformal motive as a so-far neglected, but essential, aspect of the neural mechanisms required for vocal learning. Taken together, these considerations will then be used to sketch some of the roles this postulated conformal motive appears to play in human culture, stratified into instrumental, ritual, and language traditions. Some of the implications of this perspective for our understanding of a number of issues related to the human facility for imitation, expressive mimesis, and deliberate teaching are also briefly touched upon.
Milovanov, Riia; Huotilainen, Minna; Välimäki, Vesa; Esquef, Paulo A A; Tervaniemi, Mari
The main focus of this study was to examine the relationship between musical aptitude and second language pronunciation skills. We investigated whether children with superior performance in foreign language production represent musical sound features more readily in the preattentive level of neural processing compared with children with less-advanced production skills. Sound processing accuracy was examined in elementary school children by means of event-related potential (ERP) recordings and behavioral measures. Children with good linguistic skills had better musical skills as measured by the Seashore musicality test than children with less accurate linguistic skills. The ERP data accompany the results of the behavioral tests: children with good linguistic skills showed more pronounced sound-change evoked activation with the music stimuli than children with less accurate linguistic skills. Taken together, the results imply that musical and linguistic skills could partly be based on shared neural mechanisms.
Sallat, Stephan; Jentschke, Sebastian
Language and music share many properties, with a particularly strong overlap for prosody. Prosodic cues are generally regarded as crucial for language acquisition. Previous research has indicated that children with SLI fail to make use of these cues. As processing of prosodic information involves similar skills to those required in music perception, we compared music perception skills (melodic and rhythmic-melodic perception and melody recognition) in a group of children with SLI (N = 29, five-year-olds) to two groups of controls, either of comparable age (N = 39, five-year-olds) or of age closer to the children with SLI in their language skills and about one year younger (N = 13, four-year-olds). Children with SLI performed in most tasks below their age level, closer matching the performance level of younger controls with similar language skills. These data strengthen the view of a strong relation between language acquisition and music processing. This might open a perspective for the possible use of musical material in early diagnosis of SLI and of music in SLI therapy. PMID:26508812
Sallat, Stephan; Jentschke, Sebastian
Language and music share many properties, with a particularly strong overlap for prosody. Prosodic cues are generally regarded as crucial for language acquisition. Previous research has indicated that children with SLI fail to make use of these cues. As processing of prosodic information involves similar skills to those required in music perception, we compared music perception skills (melodic and rhythmic-melodic perception and melody recognition) in a group of children with SLI (N = 29, five-year-olds) to two groups of controls, either of comparable age (N = 39, five-year-olds) or of age closer to the children with SLI in their language skills and about one year younger (N = 13, four-year-olds). Children with SLI performed in most tasks below their age level, closer matching the performance level of younger controls with similar language skills. These data strengthen the view of a strong relation between language acquisition and music processing. This might open a perspective for the possible use of musical material in early diagnosis of SLI and of music in SLI therapy.
Full Text Available Language and music share many properties, with a particularly strong overlap for prosody. Prosodic cues are generally regarded as crucial for language acquisition. Previous research has indicated that children with SLI fail to make use of these cues. As processing of prosodic information involves similar skills to those required in music perception, we compared music perception skills (melodic and rhythmic-melodic perception and melody recognition in a group of children with SLI (N=29, five-year-olds to two groups of controls, either of comparable age (N=39, five-year-olds or of age closer to the children with SLI in their language skills and about one year younger (N=13, four-year-olds. Children with SLI performed in most tasks below their age level, closer matching the performance level of younger controls with similar language skills. These data strengthen the view of a strong relation between language acquisition and music processing. This might open a perspective for the possible use of musical material in early diagnosis of SLI and of music in SLI therapy.
earned a bachelor's degree in Electrical Engineering at the age of 18. ... whose innovative thinking forms the technical underpinnings for the accoutrements of ... Gary Stix, Profile: David A Huffman, Scientific American, September 1991. ... At some point, Huffman is reported to have exchanged paper writing for paper folding.
Slevc, L Robert; Okada, Brooke M
The relationship between structural processing in music and language has received increasing interest in the past several years, spurred by the influential Shared Syntactic Integration Resource Hypothesis (SSIRH; Patel, Nature Neuroscience, 6, 674-681, 2003). According to this resource-sharing framework, music and language rely on separable syntactic representations but recruit shared cognitive resources to integrate these representations into evolving structures. The SSIRH is supported by findings of interactions between structural manipulations in music and language. However, other recent evidence suggests that such interactions also can arise with nonstructural manipulations, and some recent neuroimaging studies report largely nonoverlapping neural regions involved in processing musical and linguistic structure. These conflicting results raise the question of exactly what shared (and distinct) resources underlie musical and linguistic structural processing. This paper suggests that one shared resource is prefrontal cortical mechanisms of cognitive control, which are recruited to detect and resolve conflict that occurs when expectations are violated and interpretations must be revised. By this account, musical processing involves not just the incremental processing and integration of musical elements as they occur, but also the incremental generation of musical predictions and expectations, which must sometimes be overridden and revised in light of evolving musical input.
Colwell, Cynthia; Memmott, Jenny; Meeker-Miller, Anne
The purpose of this study was to determine the efficacy of using music and/or sign language to promote early communication in infants and toddlers (6-20 months) and to enhance parent-child interactions. Three groups used for this study were pairs of participants (care-giver(s) and child) assigned to each group: 1) Music Alone 2) Sign Language…
This paper provides a synthesis of research on the relationship between music and language, drawing on evidence from neuroscience, psychology, sociology and education. It sets out why it has become necessary to justify the role of music in the school curriculum and summarizes the different methodologies adopted by researchers in the field. It…
Zubeldia, Miren; Goñi, Eider; Díaz, Maravillas; Goñi, Alfredo
The aim of this study is to analyze the psychometric properties of the Musical Self-Concept Questionnaire (CAMU), an abbreviated and culturally adapted Spanish language version of the Music Self-Perception Inventory (MUSPI) developed by Vispoel. Participants comprised 1,126 students from professional and advanced conservatories located in…
Roncaglia-Denissen, M. P.; Bouwer, Fleur L.; Honing, Henkjan
Despite differences in their function and domain-specific elements, syntactic processing in music and language is believed to share cognitive resources. This study aims to investigate whether the simultaneous processing of language and music share the use of a common syntactic processor or more general attentional resources. To investigate this matter we tested musicians and non-musicians using visually presented sentences and aurally presented melodies containing syntactic local and long-dis...
Deutsch, Diana; Dooley, Kevin; Henthorn, Trevor; Head, Brian
Absolute pitch (AP), the ability to name a musical note in the absence of a reference note, is extremely rare in the U.S. and Europe, and its genesis is unclear. The prevalence of AP was examined among students in an American music conservatory as a function of age of onset of musical training, ethnicity, and fluency in speaking a tone language. Taking those of East Asian ethnicity, the performance level on a test of AP was significantly higher among those who spoke a tone language very fluently compared with those who spoke a tone language fairly fluently and also compared with those who were not fluent in speaking a tone language. The performance level of this last group did not differ significantly from that of Caucasian students who spoke only nontone language. Early onset of musical training was associated with enhanced performance, but this did not interact with the effect of language. Further analyses showed that the results could not be explained by country of early music education. The findings support the hypothesis that the acquisition of AP by tone language speakers involves the same process as occurs in the acquisition of a second tone language.
Hugo, Anna J.
Full Text Available Music activities can be used to develop and enhance young learners’ listening abilities. Listening is a language skill which is a prerequisite for the development of other language skills and especially for the development of a person’s speaking abilities. It is also a prerequisite for the development of a person’s language abilities in a second language. In a research project involving a group of 70 English first additional language learners, two Grade 1 classes were selected. One class was the experimental group and the other class was the comparison group. Over a period of six months the experimental group received planned music activities daily. When the two groups were retested after six months, significant differences in the means between the experimental and the control groups were found. The experimental group significantly improved their listening skills in English as a second language (ESL. This has implications for teaching ESL learners in the Foundation Phase.
Samaneh Sadat Dastgheib
Full Text Available Introduction: In recent years, music has been employed in many intervention and rehabilitation program to enhance cognitive abilities in patients. Numerous researches show that music therapy can help improving language skills in patients including hearing impaired. In this study, a new method of music training is introduced based on principles of neuroscience and capabilities of Persian language to optimize language development in deaf children after implantation. Materials and Methods: The candidate children are classified in three groups according to their hearing age and language development. The music training program is established and centered on four principles, as follows: hearing and listening to music (with special attention to boost hearing, singing, rhythmic movements with music and playing musical instruments. Results: Recently much research has demonstrated that even after cochlear implant operation, a child cannot acquire language to the same level of detail as a normal child. As a result of this study music could compensate this developmental delay .It is known that the greater the area of the brain that is activated, the more synaptic learning and plasticity changes occur in that specific area. According to the principles of neural plasticity, music could improve language skills by activating the same areas for language processing in the brain. Conclusion: In conclusion, the effects of music on the human brain seem to be very promising and therapeutic in various types of disorders and conditions, including cochlear implantation.
Stevens, Catherine J.; Keller, Peter E.; Tyler, Michael D.
An experiment investigated the effect of tonal language background on discrimination of pitch contour in short spoken and musical items. It was hypothesized that extensive exposure to a tonal language attunes perception of pitch contour. Accuracy and reaction times of adult participants from tonal (Thai) and non-tonal (Australian English) language…
Milovanov, Riia; Pietila, Paivi; Tervaniemi, Mari; Esquef, Paulo A. A.
The main aim of this study was to examine second language production and discrimination skills in the light of musical aptitude. Our study was conducted in university settings in south-western Finland. English was used as a model for the second language due to its popularity among young adults. There were three types of tests used in this study: a…
Kunert, R.; Willems, R.M.; Hagoort, P.
Many studies have revealed shared music–language processing resources by finding an influence of music harmony manipulations on concurrent language processing. However, the nature of the shared resources has remained ambiguous. They have been argued to be syntax specific and thus due to shared
de Groot, Annette M. B.
This study examined the effects of three stimulus variables and background music on paired-associate learning of foreign language (FL) vocabulary. The stimulus variables were the frequency and concreteness of the native language (L1) words and the (phonotactical) typicality of the FL words. Sixty-four L1-FL pairs were presented for learning six…
Mooij, Anne H; Huiskamp, Geertjan J M; Gosselaar, Peter H; Ferrier, Cyrille H
Electrocorticographic (ECoG) mapping of high gamma activity induced by language tasks has been proposed as a more patient friendly alternative for electrocortical stimulation mapping (ESM), the gold standard in pre-surgical language mapping of epilepsy patients. However, ECoG mapping often reveals more language areas than considered critical with ESM. We investigated if critical language areas can be identified with a listening task consisting of speech and music phrases. Nine patients with implanted subdural grid electrodes listened to an audio fragment in which music and speech alternated. We analysed ECoG power in the 65-95 Hz band and obtained task-related activity patterns in electrodes over language areas. We compared the spatial distribution of sites that discriminated between listening to speech and music to ESM results using sensitivity and specificity calculations. Our listening task of alternating speech and music phrases had a low sensitivity (0.32) but a high specificity (0.95). The high specificity indicates that this test does indeed point to areas that are critical to language processing. Our test cannot replace ESM, but this short and simple task can give a reliable indication where to find critical language areas, better than ECoG mapping using language tasks alone. Copyright © 2015 International Federation of Clinical Neurophysiology. Published by Elsevier Ireland Ltd. All rights reserved.
Full Text Available http://dx.doi.org/10.5007/2175-8026.2016v69n2p33 By displacing Aboriginal communities, interfering with their migratorial routes and sacred sites and forcing them into sedentary practices, European colonialism disrupted the closely-knit links between people, space and language that had characterised life in Australia for 40,000 years prior to the arrival of the British. In linguistic terms that meant the disappearance of hundreds of languages, the devitalising of traditions that had been based mainly on orality and, ultimately, the silencing of thousands of voices. In the short story “The Only Speaker of His Tongue”, David Malouf addresses the threat that the loss of a language poses to cultural diversity. The plot consists of a skilful incursion into the mind of a Nordic lexicographer as he meets the object of his curiosity: the last speaker of a certain Australian language. Although the encounter is fictitious and the story is extremely concise, it reaches much beyond its fictional status by, both directly and indirectly, raising issues related to the past and present treatment that Australia has dedicated to its Aboriginal peoples, to the complexities of the field of salvage linguistics and to the functions of language itself.
Ravignani, Andrea; Thompson, Bill; Filippi, Piera
Language and music share many commonalities, both as natural phenomena and as subjects of intellectual inquiry. Rather than exhaustively reviewing these connections, we focus on potential cross-pollination of methodological inquiries and attitudes. We highlight areas in which scholarship on the evolution of language may inform the evolution of music. We focus on the value of coupled empirical and formal methodologies, and on the futility of mysterianism , the declining view that the nature, origins and evolution of language cannot be addressed empirically. We identify key areas in which the evolution of language as a discipline has flourished historically, and suggest ways in which these advances can be integrated into the study of the evolution of music.
Full Text Available Language and music share many commonalities, both as natural phenomena and as subjects of intellectual inquiry. Rather than exhaustively reviewing these connections, we focus on potential cross-pollination of methodological inquiries and attitudes. We highlight areas in which scholarship on the evolution of language may inform the evolution of music. We focus on the value of coupled empirical and formal methodologies, and on the futility of mysterianism, the declining view that the nature, origins and evolution of language cannot be addressed empirically. We identify key areas in which the evolution of language as a discipline has flourished historically, and suggest ways in which these advances can be integrated into the study of the evolution of music.
Less than one year after becoming the chaiman of Coudert Brothers LLP,David Huebner made his second visit to Beijing in March to celebrate the firm's 25 years presence in China,Coudert began operations from an office in the Beijing Hotel in 1979,at the request of the Beijing Municipal Government to teach its officials foreign trade law.The one-man show has since evolved into a multicultural legal staff of 80 lawyers,with the landmark being the obtaining of the No.001 license from the Ministry of Justice of the People's Republic of China in 1992 to become the first foreign law firm to open an hourly billing rate of US$500 when practicing law,explains to CIB the significance of the 25 years' mark,and the future direction of his firm in China.
Bradley, Evan David
This dissertation investigates the ways in which experience with lexical tone influences the perception of musical melody, and how musical training influences the perception of lexical tone. The central theoretical basis for the study is a model of perceptual learning, Reverse Hierarchy Theory (Ahissar et al., 2009), in which cognitive processes…
Full Text Available Clayton’s paper provides a clear and accessible summary of the significance of entrainment for music making, and for human behaviour in general. He notes the central role of metrical structure in musical entrainment, the possible role of oscillatory neural activity, and the core notion of phase alignment. Here I show how these same factors are central to speech processing by the human brain. I argue that entrainment to metrical structure is core to linguistic as well as musical human behaviour. I illustrate this view using entrainment data from developmental dyslexia. The core role of entrainment in efficient speech processing suggests that language difficulties in childhood may benefit from music-based remediation that focuses on multi-modal rhythmic entrainment. Alignment of linguistic and musical metrical structure seems likely to be fundamental to successful remediation.
de Groot, Annette M. B.; Smedinga, Hilde E.
Participants learned foreign vocabulary by means of the paired-associates learning procedure in three conditions: (a) in silence, (b) with vocal music with lyrics in a familiar language playing in the background, or (c) with vocal music with lyrics in an unfamiliar language playing in the background. The vocabulary to learn varied in concreteness…
Hofman, S; Klein, C; Arlazoroff, A
Aphasia coupled with amusia is reported in a 73-year-old male musician who was a lawyer by profession. This condition followed an ischemic stroke in the lateral aspect of the parieto-occipital region of the left hemisphere. The patient's music production exhibits jargon amusia, similar to that in his verbal production. This case supports the thesis that language and music may share a common hemisphere.
Full Text Available Children with specific language impairments (SLIs show impaired perception and production of language, and also show impairments in perceiving auditory cues to rhythm (amplitude rise time [ART] and sound duration and in tapping to a rhythmic beat. Here we explore potential links between language development and rhythm perception in 45 children with SLI and 50 age-matched controls. We administered three rhythmic tasks, a musical beat detection task, a tapping-to-music task, and a novel music/speech task, which varied rhythm and pitch cues independently or together in both speech and music. Via low-pass filtering, the music sounded as though it was played from a low-quality radio and the speech sounded as though it was muffled (heard behind the door. We report data for all of the SLI children (N = 45, IQ varying, as well as for two independent subgroupings with intact IQ. One subgroup, Pure SLI, had intact phonology and reading (N=16, the other, SLI PPR (N=15, had impaired phonology and reading. When IQ varied (all SLI children, we found significant group differences in all the rhythmic tasks. For the Pure SLI group, there were rhythmic impairments in the tapping task only. For children with SLI and poor phonology (SLI PPR, group differences were found in all of the filtered speech/music AXB tasks. We conclude that difficulties with rhythmic cues in both speech and music are present in children with SLIs, but that some rhythmic measures are more sensitive than others. The data are interpreted within a ‘prosodic phrasing’ hypothesis, and we discuss the potential utility of rhythmic and musical interventions in remediating speech and language difficulties in children.
Bidelman, Gavin M.; Gandour, Jackson T.; Krishnan, Ananthanarayan
Behavioral and neurophysiological transfer effects from music experience to language processing are well-established but it is currently unclear whether or not linguistic expertise (e.g., speaking a tone language) benefits music-related processing and its perception. Here, we compare brainstem responses of English-speaking musicians/non-musicians…
M. V. ARHIPOVA
The article is written within the framework of the extended scientific research devoted to the music-semeiotic concept of developing students’ creative learning of foreign languages. The concept implies experimental study of psychological impact of music on the efficiency of the learning processes, on the development of general and specific abilities of students, in particular creative abilities to learn foreign languages. Solution of this task is based on the hypothesis of psychological inte...
Peretz, I; Belleville, S; Fontaine, S
We present the neuropsychological study of a patient, I.R., who sustained bilateral damage to the temporal lobes and to the right frontal lobe as a result of successive brain surgeries that occurred ten years earlier. The patient is 40 years old and right-handed; she had no special training in music or in language, representing, therefore, the large majority of listeners. Her performance is compared to that of four neurologically intact subjects who are closely matched in terms of education, sex and age. In the present study, we report I.R.'s performance on various tests aiming at assessing her general cognitive functioning with a particular focus on auditory aspects. The results show that, despite extensive damage to her auditory cortex, I.R.'s speech abilities are essentially intact (see Tables 1 and 2). The only impairments that are detected in the language domain are related to a short-term memory deficit, to some abnormal sensitivity to retroactive interference in long-term memory (see Table 3) and to articulation. These difficulties do not, however, affect linguistic communication, which is obviously undisturbed I.R. is not aphasic). Similarly, I.R. does not experience any difficulty in the recognition and memorization of familiar sounds such as animal cries, traffic noises and the like (see Tables 5 and 7). In contrast, I.R. is severely impaired in most musical abilities: She can no longer discriminate nor identify melodies that were once highly familiar to her; she can no longer discriminate nor memorize novel melodies (see Table 4). Her pattern of musical losses is compatible with a basic and severe perceptual deficit that compromises access to and registration in memory systems. The observation that the auditory impairment affects music and spares language and environmental sounds refers to a neuropsychological condition that is known as music agnosia. I.R. represents, to our knowledge, the fourth case of music agnosia available in the literature (Peretz
Emma E. Patterson
Full Text Available There are a number of misunderstandings about ancient oral transmission that negatively affect the way musicians view music history but also the process of how music was and currently is conceived, recorded, and shared. A common misconception is that oral transmission of music is an ancient practice that occurred before written notation of music was developed. However, I seek to prove that there is a false dichotomy between oral transmission and written notation and I focus on the changing definition and importance of oral tradition. Firstly, I discuss the misconceptions of ancient oral transmission. Secondly, I examine the continuing development of research and definitions of oral transmission—which is changing our concept of ancient as well contemporary oral traditions. Thirdly, I demonstrate how these traditions are still relevant in present, late modern times. Thoughout this discussion I examine and engage with the pivotal specialists and research that has developed our view of oral tradition through time. To better understand these scholars’ commentary as well as my own, it is important to note the combined concepts of oral and aural tradition. Oral culture refers to what is spoken and sung, and aural culture refers to what is heard and comprehended. Both are necessary for effective transmission to occur, and oral and aural methods are almost always simultaneously present in most societies. When aural culture is discussed here, it refers to the combination of both elements and is closely related to aural tradition. The most notable terms to differentiate are oral transmission and oral tradition. Typically oral transmission refers to the basic action of passing information, in this case music, through oral and aural means. Oral tradition, however, is the more general concept that synthesizes oral transmission, tradition, and culture. Despite misconceptions that music was primitive before composers started documenting it, oral
In this paper, I investigate a problem of finding most similar music tracks using, popular in Natural Language Processing, techniques like: TF-IDF and LDA. I de ned document as music track. Each music track is transformed to spectrogram, thanks that, I can use well known techniques to get words from images. I used SURF operation to detect characteristic points and novel approach for their description. The standard kmeans was used for clusterization. Clusterization is here identical with dictionary making, so after that I can transform spectrograms to text documents and perform TF-IDF and LDA. At the final, I can make a query in an obtained vector space. The research was done on 16 music tracks for training and 336 for testing, that are splitted in four categories: Hiphop, Jazz, Metal and Pop. Although used technique is completely unsupervised, results are satisfactory and encouraging to further research.
Salomi S Asaridou
Full Text Available We investigated music and language processing in a group of early bilinguals who spoke a tone language and a non-tone language (Cantonese and Dutch. We assessed online speech-music processing interactions, that is, interactions that occur when speech and music are processed simultaneously in songs, with a speeded classification task. In this task, participants judged sung pseudowords either musically (based on the direction of the musical interval or phonologically (based on the identity of the sung vowel. We also assessed longer-term effects of linguistic experience on musical ability, that is, the influence of extensive prior experience with language when processing music. These effects were assessed with a task in which participants had to learn to identify musical intervals and with four pitch-perception tasks. Our hypothesis was that due to their experience in two different languages using lexical versus intonational tone, the early Cantonese-Dutch bilinguals would outperform the Dutch control participants. In online processing, the Cantonese-Dutch bilinguals processed speech and music more holistically than controls. This effect seems to be driven by experience with a tone language, in which integration of segmental and pitch information is fundamental. Regarding longer-term effects of linguistic experience, we found no evidence for a bilingual advantage in either the music-interval learning task or the pitch-perception tasks. Together, these results suggest that being a Cantonese-Dutch bilingual does not have any measurable longer-term effects on pitch and music processing, but does have consequences for how speech and music are processed jointly.
Daikoku, Tatsuya; Yatomi, Yutaka; Yumoto, Masato
In our previous study (Daikoku, Yatomi, & Yumoto, 2014), we demonstrated that the N1m response could be a marker for the statistical learning process of pitch sequence, in which each tone was ordered by a Markov stochastic model. The aim of the present study was to investigate how the statistical learning of music- and language-like auditory sequences is reflected in the N1m responses based on the assumption that both language and music share domain generality. By using vowel sounds generated by a formant synthesizer, we devised music- and language-like auditory sequences in which higher-ordered transitional rules were embedded according to a Markov stochastic model by controlling fundamental (F0) and/or formant frequencies (F1-F2). In each sequence, F0 and/or F1-F2 were spectrally shifted in the last one-third of the tone sequence. Neuromagnetic responses to the tone sequences were recorded from 14 right-handed normal volunteers. In the music- and language-like sequences with pitch change, the N1m responses to the tones that appeared with higher transitional probability were significantly decreased compared with the responses to the tones that appeared with lower transitional probability within the first two-thirds of each sequence. Moreover, the amplitude difference was even retained within the last one-third of the sequence after the spectral shifts. However, in the language-like sequence without pitch change, no significant difference could be detected. The pitch change may facilitate the statistical learning in language and music. Statistically acquired knowledge may be appropriated to process altered auditory sequences with spectral shifts. The relative processing of spectral sequences may be a domain-general auditory mechanism that is innate to humans. Copyright © 2014 Elsevier Inc. All rights reserved.
Milovanov, Riia; Huotilainen, Minna; Esquef, Paulo A A; Alku, Paavo; Välimäki, Vesa; Tervaniemi, Mari
We examined 10-12-year old elementary school children's ability to preattentively process sound durations in music and speech stimuli. In total, 40 children had either advanced foreign language production skills and higher musical aptitude or less advanced results in both musicality and linguistic tests. Event-related potential (ERP) recordings of the mismatch negativity (MMN) show that the duration changes in musical sounds are more prominently and accurately processed than changes in speech sounds. Moreover, children with advanced pronunciation and musicality skills displayed enhanced MMNs to duration changes in both speech and musical sounds. Thus, our study provides further evidence for the claim that musical aptitude and linguistic skills are interconnected and the musical features of the stimuli could have a preponderant role in preattentive duration processing.
Levitin, Daniel J; Menon, Vinod
The neuroanatomical correlates of musical structure were investigated using functional magnetic neuroimaging (fMRI) and a unique stimulus manipulation involving scrambled music. The experiment compared brain responses while participants listened to classical music and scrambled versions of that same music. Specifically, the scrambled versions disrupted musical structure while holding low-level musical attributes constant, including the psychoacoustic features of the music such as pitch, loudness, and timbre. Comparing music to its scrambled counterpart, we found focal activation in the pars orbitalis region (Brodmann Area 47) of the left inferior frontal cortex, a region that has been previously closely associated with the processing of linguistic structure in spoken and signed language, and its right hemisphere homologue. We speculate that this particular region of inferior frontal cortex may be more generally responsible for processing fine-structured stimuli that evolve over time, not merely those that are linguistic.
Li, Xiangming; Brand, Manny
Using an experimental approach, this study examined the relative effectiveness of varying the use of songs (lyrics and music) on vocabulary acquisition, language usage, and meaning for adult ESL students in the People's Republic of China. While the use of songs is generally enthusiastically endorsed by ESL teachers, few empirical studies have…
Cardarelli, Aldo F.
Twenty-one activities that integrate music and the language arts in order to capitalize on children's interests are described in this paper. Topics of the activities are as follows: alphabetical order, pantomime, vocabulary building from words of a favorite song, words that are "the most (whatever)" from songs, mood words, a configuration clue…
Carrus, Elisa; Koelsch, Stefan; Bhattacharya, Joydeep
Electrophysiological studies investigating similarities between music and language perception have relied exclusively on the signal averaging technique, which does not adequately represent oscillatory aspects of electrical brain activity that are relevant for higher cognition. The current study investigated the patterns of brain oscillations…
Ghaffarvand Mokari, Payam; Werner, Stefan
The present study attempts to extend the research on the effects of phonetic training on the production and perception of second-language (L2) vowels. We also examined whether success in learning L2 vowels through high-variability intensive phonetic training is related to the learners' general musical abilities. Forty Azerbaijani learners of…
Brittin, Ruth V.
Listeners ("N" = 543) in grades 4, 5, and 6 rated their preference for 10 instrumental and vocal selections from various styles, including four popular music selections with versions performed in English, Spanish, or an Asian language. Participants estimated their identification with Spanish/Hispanic/Latino and Asian cultures, the number…
Roč. 11, č. 2 (2014), s. 147-163 ISSN 1572-3429 R&D Projects: GA ČR(CZ) GA13-20785S Institutional support: RVO:67985955 Keywords : pragmatism * Brandom * philosophy of music * emotions Subject RIV: AA - Philosophy ; Religion http://booksandjournals.brillonline.com/content/journals/10.1163/18758185-90000295
The musical ending [of Goethe's Novelle] recalls the fascination with "music as metaphor", "the power of music", among recent and contemporary poets from Pope and Dryden and Collins to E.T.A. Hoffmann and Kleist and, of course to Goethe himself. Music saves Faust's life on Easter morning at the end of a dreadful night, and we'll encounter a similar role of music in his Trilogie der Leidenschaft which we'll read in this context.
Xie, Xin; Myers, Emily
Listeners can use pitch changes in speech to identify talkers. Individuals exhibit large variability in sensitivity to pitch and in accuracy perceiving talker identity. In particular, people who have musical training or long-term tone language use are found to have enhanced pitch perception. In the present study, the influence of pitch experience on talker identification was investigated as listeners identified talkers in native language as well as non-native languages. Experiment 1 was designed to explore the influence of pitch experience on talker identification in two groups of individuals with potential advantages for pitch processing: musicians and tone language speakers. Experiment 2 further investigated individual differences in pitch processing and the contribution to talker identification by testing a mediation model. Cumulatively, the results suggested that (a) musical training confers an advantage for talker identification, supporting a shared resources hypothesis regarding music and language and (b) linguistic use of lexical tones also increases accuracy in hearing talker identity. Importantly, these two types of hearing experience enhance talker identification by sharpening pitch perception skills in a domain-general manner.
Tiago Hermano Breunig
Full Text Available When inquiring the sign “?”, Flusser postulates that meaning is “one of the main problems of the present times thought.” From the sign above, Flusser differentiates meaning and sense, which defines as “what means”. Thus, the problem of meaning converges with the problem of thought itself, since, according to Flusser, all thoughts come from a tautology, i.e., what “means nothing”. If the understanding of meaning implies the musical aspects of the language, as the sign “?”, according to Flusser, music falls “in the same abyss of tautology” as it overcomes the language limit. Flusser believes that the discussion of language limits contributes to the problem of the meaning of music and confesses that among all the existential signs the “?” is the one that articulates better the situation in which we are. It is in this sense, in this “Stimmung”, as Flusser says about the meaning of the sign “?”, that this paper aims to reflect, from the problem of meaning, on the relationship between music and poetry contemporary to Flusser.
Full Text Available This work is the result of an interdisciplinary collaboration between scientists from the fields of audio signal processing, phonetics and cognitive neuroscience aiming at studying the perception of modifications in meter, rhythm, semantics and harmony in language and music. A special time-stretching algorithm was developed to work with natural speech. In the language part, French sentences ending with tri-syllabic congruous or incongruous words, metrically modified or not, were made. In the music part, short melodies made of triplets, rhythmically and/or harmonically modified, were built. These stimuli were presented to a group of listeners that were asked to focus their attention either on meter/rhythm or semantics/harmony and to judge whether or not the sentences/melodies were acceptable. Language ERP analyses indicate that semantically incongruous words are processed independently of the subject's attention thus arguing for automatic semantic processing. In addition, metric incongruities seem to influence semantic processing. Music ERP analyses show that rhythmic incongruities are processed independently of attention, revealing automatic processing of rhythm in music.
Full Text Available This work is the result of an interdisciplinary collaboration between scientists from the fields of audio signal processing, phonetics and cognitive neuroscience aiming at studying the perception of modifications in meter, rhythm, semantics and harmony in language and music. A special time-stretching algorithm was developed to work with natural speech. In the language part, French sentences ending with tri-syllabic congruous or incongruous words, metrically modified or not, were made. In the music part, short melodies made of triplets, rhythmically and/or harmonically modified, were built. These stimuli were presented to a group of listeners that were asked to focus their attention either on meter/rhythm or semantics/harmony and to judge whether or not the sentences/melodies were acceptable. Language ERP analyses indicate that semantically incongruous words are processed independently of the subject's attention thus arguing for automatic semantic processing. In addition, metric incongruities seem to influence semantic processing. Music ERP analyses show that rhythmic incongruities are processed independently of attention, revealing automatic processing of rhythm in music.
Van Puyvelde, Martine; Franco, Fabia; HRI Online Publications,
This article presents a hypothetical model on the missing link between music, language and the ontogenesis of human communication. Based on a selected review of specific studies into musical aspects of early vocal communication and their potential links with forms of social-affective, physiological and cognitive co-regulation, we want to sketch a potential function of music and language for human development.
Lim, Chen Kim; Tan, Kian Lam; Yusran, Hazwanni; Suppramaniam, Vicknesh
Visual language or visual representation has been used in the past few years in order to express the knowledge in graphic. One of the important graphical elements is fractal and L-Systems is a mathematic-based grammatical model for modelling cell development and plant topology. From the plant model, L-Systems can be interpreted as music sound and score. In this paper, LSound which is a Visual Language Programming (VLP) framework has been developed to model plant to music sound and generate music score and vice versa. The objectives of this research has three folds: (i) To expand the grammar dictionary of L-Systems music based on visual programming, (ii) To design and produce a user-friendly and icon based visual language framework typically for L-Systems musical score generation which helps the basic learners in musical field and (iii) To generate music score from plant models and vice versa using L-Systems method. This research undergoes a four phases methodology where the plant is first modelled, then the music is interpreted, followed by the output of music sound through MIDI and finally score is generated. LSound is technically compared to other existing applications in the aspects of the capability of modelling the plant, rendering the music and generating the sound. It has been found that LSound is a flexible framework in which the plant can be easily altered through arrow-based programming and the music score can be altered through the music symbols and notes. This work encourages non-experts to understand L-Systems and music hand-in-hand.
Isaacs, Talia; Trofimovich, Pavel
This study examines how listener judgments of second language speech relate to individual differences in listeners' phonological memory, attention control, and musical ability. Sixty native English listeners (30 music majors, 30 nonmusic majors) rated 40 nonnative speech samples for accentedness, comprehensibility, and fluency. The listeners were…
Akhmadullina, Rimma M.; Abdrafikova, Albina R.; Vanyukhina, Nadezhda V.
The relevance of the topic is specified by the necessity of improving the quality of students' training in foreign languages for their mobility in terms of Russia`s entry into the Bologna process. This article is intended to support the effective use of instructional techniques of music and musical information with the aim of formation of…
Cook, Perry R.
This chapter covers algorithms, technologies, computer languages, and systems for computer music. Computer music involves the application of computers and other digital/electronic technologies to music composition, performance, theory, history, and the study of perception. The field combines digital signal processing, computational algorithms, computer languages, hardware and software systems, acoustics, psychoacoustics (low-level perception of sounds from the raw acoustic signal), and music cognition (higher-level perception of musical style, form, emotion, etc.).
Language,as well as music,is ubiquity across cultures.The evolutionary origins of language and music have been studied since Charles Darwin's day.According to Darwin,human bodies and brains have been shaped by natural selection for language and music,and musical abilities must be ranked among the most mysterious with which endowed.However,whether language and music are targets of natural selection still remains uncertain.If language and music are unique to human society,exploring the evolutionary origins of language and music would be helpful to shed light on human evolution.From an evolutionary perspective,Patel argues that adaptationist theory of music should meet criteria:human-specificity,innateness,and domain-specificity.Analogously,the theory of "natural selection for language" should satisfy these three criteria.Based on these,we reviewed the existing psychological literature on language and music to clarify the evolutionary origins of language and music.The uniqueness of speech to humans is indisputable,but the question of how it came to be in humans and no other animal remains a source of contention.The development of simple speech and sign language provides basis for the origins of human speech.There are three distinct properties between human and other animal's communication system.Human speech is a system of symbols,and the communication among people is completed by joint attention and sharing intentions.Human Language bears grammatical structures and there are diverse language systems with distinct grammatical rules all over the world.From the perspectives of language acquisition and development,researchers proposed two theoretical frameworks to interpret the acquisition of human speech:Theory of Generative Grammar and Theory of Cognitive Functional Linguistics.Behavioral genetics study found that a gene Forkhead box P2 is related to a specific language deficits,reflecting that the innateness of human language.Study in cognitive neuroscience of
Lech, Marcel Lysgaard
Old Comedy was a musical experience of great variety. Accompanied by the piper, both choruses and actors sang frequently during the performance. Music in Old comedy reflects to some extend the importance of music in Athenian everyday life, but as Greek Comedy evolved and detached it self more...... and more from the everyday topics, music similarly lost part of its importance within the plays themselves....
Kraus, Nina; Hornickel, Jane; Strait, Dana L; Slater, Jessica; Thompson, Elaine
Children from disadvantaged backgrounds often face impoverished auditory environments, such as greater exposure to ambient noise and fewer opportunities to participate in complex language interactions during development. These circumstances increase their risk for academic failure and dropout. Given the academic and neural benefits associated with musicianship, music training may be one method for providing auditory enrichment to children from disadvantaged backgrounds. We followed a group of primary-school students from gang reduction zones in Los Angeles, CA, USA for 2 years as they participated in Harmony Project. By providing free community music instruction for disadvantaged children, Harmony Project promotes the healthy development of children as learners, the development of children as ambassadors of peace and understanding, and the development of stronger communities. Children who were more engaged in the music program-as defined by better attendance and classroom participation-developed stronger brain encoding of speech after 2 years than their less-engaged peers in the program. Additionally, children who were more engaged in the program showed increases in reading scores, while those less engaged did not show improvements. The neural gains accompanying music engagement were seen in the very measures of neural speech processing that are weaker in children from disadvantaged backgrounds. Our results suggest that community music programs such as Harmony Project provide a form of auditory enrichment that counteracts some of the biological adversities of growing up in poverty, and can further support community-based interventions aimed at improving child health and wellness.
Full Text Available Children from disadvantaged backgrounds often face impoverished auditory environments, such as greater exposure to ambient noise and fewer opportunities to participate in complex language interactions during development. These circumstances increase their risk for academic failure and dropout. Given the academic and neural benefits associated with musicianship, music training may be one method for providing auditory enrichment to children from disadvantaged backgrounds. We followed a group of disadvantaged primary-school students from gang reduction zones in Los Angeles, CA for two years as they participated in the Harmony Project. By providing free community music instruction for disadvantaged children, the Harmony Project promotes the healthy development of children as learners, the development of children as ambassadors of peace and understanding, and the development of stronger communities. Children who were more engaged in the music program—as defined by better attendance and classroom participation—developed stronger brain encoding of speech after two years than their less-engaged peers in the program. Additionally, children who were more engaged in the program showed increases in reading scores, while those less engaged did not show improvements. The neural gains accompanying music engagement were seen in the very measures of neural speech processing that are weaker in children from disadvantaged backgrounds. Our results suggest that community music programs such as Harmony Project provide a form of auditory enrichment that counteracts some of the biological adversities of growing up in poverty, and can further support for community-based interventions aimed at improving child health and wellness.
Cohrdes, Caroline; Grolig, Lorenz; Schroeder, Sascha
Children in transition from kindergarten to school develop fundamental skills important for the acquisition of reading and writing. Previous research pointed toward substantial correlations between specific language- and music-related competencies as well as positive transfer effects from music on pre-literacy skills. However, until now the relationship between diverse music and language competencies remains unclear. In the present study, we used a comprehensive approach to clarify the relationships between a broad variety of language and music skills on different levels, not only between but also within domains. In order to do so, we selected representative language- and music-related competencies and systematically compared the performance of N = 44 5- to 7-year-old children with a control group of N = 20 young adults aged from 20 to 30. Competencies were organized in distinct levels according to varying units of vowels/sounds, words or syllables/short melodic or rhythmic phrases, syntax/harmony and context of a whole story/song to test for their interrelatedness within each domain. Following this, we conducted systematic correlation analyses between the competencies of both domains. Overall, selected competencies appeared to be appropriate for the measurement of language and music skills in young children with reference to comprehension, difficulty and a developmental perspective. In line with a hierarchical model of skill acquisition, performance on lower levels was predictive for the performance on higher levels within domains. Moreover, correlations between domains were stronger for competencies reflecting a similar level of cognitive processing, as expected. In conclusion, a systematic comparison of various competencies on distinct levels according to varying units turned out to be appropriate regarding comparability and interrelatedness. Results are discussed with regard to similarities and differences in the development of language and music skills as well
Full Text Available Children in transition from kindergarten to school develop fundamental skills important for the acquisition of reading and writing. Previous research pointed towards substantial correlations between specific language- and music-related competencies as well as positive transfer effects from music on pre-literacy skills. However, until now the relationship between diverse music and language competencies remains unclear. In the present study we used a comprehensive approach to clarify the relationships between a broad variety of language and music skills on different levels, not only between but also within domains. In order to do so, we selected representative language- and music-related competencies and systematically compared the performance of N = 44 5- to 7-year-old children with a control group of N = 20 young adults aged from 20 to 30. Competencies were organized in distinct levels according to varying units of vowels/sounds, words or syllables/short melodic or rhythmic phrases, syntax/harmony and context of a whole story/song to test for their interrelatedness within each domain. Following this, we conducted systematic correlation analyses between the competencies of both domains. Overall, selected competencies appeared to be appropriate for the measurement of language and music skills in young children with reference to comprehension, difficulty and a developmental perspective. In line with a hierarchical model of skill acquisition, performance on lower levels was predictive for the performance on higher levels within domains. Moreover, correlations between domains were stronger for competencies reflecting a similar level of cognitive processing, as expected. In conclusion, a systematic comparison of various competencies on distinct levels according to varying units turned out to be appropriate regarding comparability and interrelatedness. Results are discussed with regard to similarities and differences in the development of language and
David Brandner David Brandner Research Technician III-Chemical Engineering David.Brandner@nrel.gov chemical reaction engineering and transport phenomena Analytical analysis of complex bio-derived samples and Lignin Areas of Expertise Analytical analysis of complex samples Chemical reaction engineering and
Lakshmanan, Usha; Graham, Robert E
Christiansen & Chater (C&C) offer the Chunk-and-Pass strategy as a language processing approach allowing humans to make sense of incoming language in the face of cognitive and perceptual constraints. We propose that the Chunk-and-Pass strategy is not adequate to extend universally across languages (accounting for typologically diverse languages), nor is it sufficient to generalize to other auditory modalities such as music.
Fiveash, Anna; Thompson, William Forde; Badcock, Nicholas A; McArthur, Genevieve
Music and language both rely on the processing of spectral (pitch, timbre) and temporal (rhythm) information to create structure and meaning from incoming auditory streams. Behavioral results have shown that interrupting a melodic stream with unexpected changes in timbre leads to reduced syntactic processing. Such findings suggest that syntactic processing is conditional on successful streaming of incoming sequential information. The current study used event-related potentials (ERPs) to investigate whether (1) the effect of alternating timbres on syntactic processing is reflected in a reduced brain response to syntactic violations, and (2) the phenomenon is similar for music and language. Participants listened to melodies and sentences with either one timbre (piano or one voice) or three timbres (piano, guitar, and vibraphone, or three different voices). Half the stimuli contained syntactic violations: an out-of-key note in the melodies, and a phrase-structure violation in the sentences. We found smaller ERPs to syntactic violations in music in the three-timbre compared to the one-timbre condition, reflected in a reduced early right anterior negativity (ERAN). A similar but non-significant pattern was observed for language stimuli in both the early left anterior negativity (ELAN) and the left anterior negativity (LAN) ERPs. The results suggest that disruptions to auditory streaming may interfere with syntactic processing, especially for melodic sequences. Copyright © 2018 Elsevier B.V. All rights reserved.
Bhatara, Anjali; Boll-Avetisyan, Natalie; Agus, Trevor; Höhle, Barbara; Nazzi, Thierry
Language experience clearly affects the perception of speech, but little is known about whether these differences in perception extend to non-speech sounds. In this study, we investigated rhythmic perception of non-linguistic sounds in speakers of French and German using a grouping task, in which complexity (variability in sounds, presence of…
E. Glenn Schellenberg
Full Text Available Tierney, Bergeson-Dana, and Pisoni (2008 conclude that their results “provide additional converging evidence that early musical experience and activity-dependent learning may selectively affect verbal rehearsal processes and the allocation of attention in sequence memory tasks”. Closer inspection of their methods and results, the methods and results of previous studies that reported similar findings and the literature as a whole makes it clear that these conclusions are unfounded.
Bedoin, Nathalie; Brisseau, Lucie; Molinier, Pauline; Roch, Didier; Tillmann, Barbara
Children with developmental language disorders have been shown to be also impaired in rhythm and meter perception. Temporal processing and its link to language processing can be understood within the dynamic attending theory. An external stimulus can stimulate internal oscillators, which orient attention over time and drive speech signal segmentation to provide benefits for syntax processing, which is impaired in various patient populations. For children with Specific Language Impairment (SLI) and dyslexia, previous research has shown the influence of an external rhythmic stimulation on subsequent language processing by comparing the influence of a temporally regular musical prime to that of a temporally irregular prime. Here we tested whether the observed rhythmic stimulation effect is indeed due to a benefit provided by the regular musical prime (rather than a cost subsequent to the temporally irregular prime). Sixteen children with SLI and 16 age-matched controls listened to either a regular musical prime sequence or an environmental sound scene (without temporal regularities in event occurrence; i.e., referred to as "baseline condition") followed by grammatically correct and incorrect sentences. They were required to perform grammaticality judgments for each auditorily presented sentence. Results revealed that performance for the grammaticality judgments was better after the regular prime sequences than after the baseline sequences. Our findings are interpreted in the theoretical framework of the dynamic attending theory (Jones, 1976) and the temporal sampling (oscillatory) framework for developmental language disorders (Goswami, 2011). Furthermore, they encourage the use of rhythmic structures (even in non-verbal materials) to boost linguistic structure processing and outline perspectives for rehabilitation.
Elena Berrón Ruiz
Full Text Available Students embark upon their studies at the conservatory motivated to learn how to play a musical instrument. Nevertheless, they must attend Music Language classes from the first year, a subject that they usually find it unattractive and it makes them feel with anxiety.In this article we discuss a research carried out in a Professional Conservatory of Music with students in their first two years of elementary training. The goals in this research are to identify which aspects are a source of anxiety in these students and to analyse the usefulness of our educational proposals in order to reduce it. We have applied a qualitative research methodology which combines the characteristics of case study methods and classroom-based research.This research enables us to state that the implementation of flexible, dynamic and positive pedagogy, the improvement of study habits in our students, the family involvement, the care of relationships, the recognition of mistakes, accepting them as natural feature of the whole learning process, and the performing musical exhibitions in public on a regular basis reduce anxiety.
Full Text Available Video games are potential sources of second language input; however, the medium’s fundamental characteristic, interactivity, has not been thoroughly examined in terms of its effect on learning outcomes. This experimental study investigated to what degree, if at all, video game interactivity would help or hinder the noticing and recall of second language vocabulary. Eighty randomly-selected Japanese university undergraduates were paired based on similar English language and game proficiencies. One subject played an English-language music video game for 20 minutes while the paired subject watched the game simultaneously on another monitor. Following gameplay, a vocabulary recall test, a cognitive load measure, an experience questionnaire, and a two-week delayed vocabulary recall test were administered. Results were analyzed using paired samples t-tests and various analyses of variance. Both the players and the watchers of the video game recalled vocabulary from the game, but the players recalled significantly less vocabulary than the watchers. This seems to be a result of the extraneous cognitive load induced by the interactivity of the game; the players perceived the game and its language to be significantly more difficult than the watchers did. Players also reported difficulty simultaneously attending to gameplay and vocabulary. Both players and watchers forgot significant amounts of vocabulary over the course of the study. We relate these findings to theories and studies of vocabulary acquisition and video game-based language learning, and then suggest implications for language teaching and learning with interactive multimedia.
Autori kohtumisest silmapaistva ameerika ajakirjaniku ja kirjaniku David Shipleriga Kohtla-Järvel 1978. aastal, ameerika matemaatiku Benoit Mandelbroti fraktaalse geomeetria teooriast, Lea Livshitsi maalidest
This paper discusses the use of pop, rock, and folk music in foreign language teaching. Modern music represents an idiom familiar to a broad span of young people, and has an important place in the life of students ranging in age from ten to thirty-five years of age. It also tends to follow and comment on the important trends of modern society.…
Goble, J. Scott
Philosophers of music education presently find themselves suspended between modernism's universalist convictions and post-modernism's cultural relativist insights. In "Music Matters: A New Philosophy of Music Education" (1995), David Elliott challenged longstanding conceptions of "music education as aesthetic education" to…
Geist, Kamile; McCarthy, John; Rodgers-Smith, Amy; Porter, Jessica
Documenting how music therapy can be integrated with speech-language therapy services for children with communication delay is not evident in the literature. In this article, a collaborative model with procedures, experiences, and communication outcomes of integrating music therapy with the existing speech-language services is given. Using…
Dehaene-Lambertz, G.; Montavont, A.; Jobert, A.; Allirol, L.; Dubois, J.; Hertz-Pannier, L.; Dehaene, S.
Understanding how language emerged in our species calls for a detailed investigation of the initial specialization of the human brain for speech processing. Our earlier research demonstrated that an adult-like left-lateralized network of perisylvian areas is already active when infants listen to sentences in their native language, but did not…
Janus, Monika; Lee, Yunjo; Moreno, Sylvain; Bialystok, Ellen
Separate lines of research have identified enhanced performance on nonverbal executive control (EC) tasks for bilinguals and those with music training, but little is known about the relation between them in terms of the specificity of the effects of each experience or the degree of exposure necessary to induce these changes. Using an intervention design, the current study pseudorandomly assigned 57 4- to 6-year-old children (matched on age, maternal education, and cognitive scores) to a 20-day training program offering instruction in either music or conversational French. The test battery consisted of verbal and nonverbal tasks requiring EC. All children improved on these tasks following training with some training-specific differences. No changes were observed on background or working memory measures after either training, ruling out simple practice effects. Children in both groups had better scores on the most challenging condition of a grammaticality sentence judgment task in which it was necessary to ignore conflict introduced through misleading semantic content. Children in both training groups also showed better accuracy on the easier condition of a nonverbal visual search task at post-test, but children in the French training group also showed significant improvement on the more challenging condition of this task. These results are discussed in terms of emergent EC benefits of language and music training. Copyright © 2015 Elsevier Inc. All rights reserved.
Janus, Monika; Lee, Yunjo; Moreno, Sylvain; Bialystok, Ellen
Separate lines of research have identified enhanced performance on non-verbal executive control (EC) tasks for bilinguals (Bialystok, Craik, Green, & Gollan, 2009) and those with music training (Moreno et al., 2011), but little is known about the relation between them in terms of the specificity of the effects of each experience or the degree of exposure necessary to induce these changes. Using an intervention design, the present study pseudo-randomly assigned 57 4- to 6-year-old children (matched on age, maternal education, and cognitive scores) to a 20-day training program offering instruction in either music or conversational French. The test battery consisted of verbal and non-verbal tasks requiring EC. All children improved on these tasks following training with some training-specific differences. No changes were observed on background or working memory measures after either training, ruling out simple practice effects. Children in both groups had better scores on the most challenging condition of a grammaticality sentence judgment task in which it was necessary to ignore conflict introduced through misleading semantic content. Children in both training groups also showed better accuracy on the easier condition of a non-verbal visual search task at post-test, but children in the French training group also showed significant improvement on the more challenging condition of this task. These results are discussed in terms of emergent EC benefits of language and music training. PMID:26709746
音楽教育の本質と意義を明らかにすることを目的とする音楽教育哲学は,それが基づく音楽観によってその様相を大きく異にする。一つには,音楽とは作品,すなわち美的要素から成る一個の自律的構成体だと見なす立場がある。一方,音楽とはまずもって行為,すなわち演奏をはじめとする人間の振舞いにほかならぬとする立場がある。前者の音楽観に基づく音楽教育哲学の代表が美的教育論である。これに対し,後者の立場からそれに論争を挑んだ論者がデイヴィッド・J・エリオットであった。エリオットはその著Music Matters(1995)において美的教育論に対する批判を通じ,自己の哲学を構築する。彼は本書の中で美的教育論を,近代美学において成立した作品中心の音楽概念に基づく「作品本位主義」として厳しく批判,演奏を中心に理論を構築することこそ,「新たな」音楽教育哲学としての可能性を拓くものであるという説を唱える。しかし,「作品本位主義」対「演奏中心主義」として語られがちなこの対立図式をいまここで冷静に見極める必要がある。そこで本研究は,Music Mattersの構想を吟味するために,その訳と解題を試みることを目的とし...
音乐微格教学是一种利用现代化教学技术手段来培训音乐教师的教学技能的一种教学方法。音乐教学语言技能是音乐教师完成音乐教学任务的重要工具。本文就音乐微格教学中音乐教学语言技能的教学功能和构成要素进行了初步的分析。%Music microteaching is a teaching method training mu-sic teachers' teaching skills by utilizing modern teaching technol-ogy. Music teaching language skill is an important tool for music teachers to complete music teaching tasks. This paper prelimi-narily analyzes the teaching functions and components of music teaching language skills in music microteaching.
Lim, Hayoung A
The study compared the effect of music training, speech training and no-training on the verbal production of children with Autism Spectrum Disorders (ASD). Participants were 50 children with ASD, age range 3 to 5 years, who had previously been evaluated on standard tests of language and level of functioning. They were randomly assigned to one of three 3-day conditions. Participants in music training (n = 18) watched a music video containing 6 songs and pictures of the 36 target words; those in speech training (n = 18) watched a speech video containing 6 stories and pictures, and those in the control condition (n = 14) received no treatment. Participants' verbal production including semantics, phonology, pragmatics, and prosody was measured by an experimenter designed verbal production evaluation scale. Results showed that participants in both music and speech training significantly increased their pre to posttest verbal production. Results also indicated that both high and low functioning participants improved their speech production after receiving either music or speech training; however, low functioning participants showed a greater improvement after the music training than the speech training. Children with ASD perceive important linguistic information embedded in music stimuli organized by principles of pattern perception, and produce the functional speech.
Featherstone, Cara R; Waterman, Mitch G; Morrison, Catriona M
Research into similarities between music and language processing is currently experiencing a strong renewed interest. Recent methodological advances have led to neuroimaging studies presenting striking similarities between neural patterns associated with the processing of music and language--notably, in the study of participants' responses to elements that are incongruous with their musical or linguistic context. Responding to a call for greater systematicity by leading researchers in the field of music and language psychology, this article describes the creation, selection, and validation of a set of auditory stimuli in which both congruence and resolution were manipulated in equivalent ways across harmony, rhythm, semantics, and syntax. Three conditions were created by changing the contexts preceding and following musical and linguistic incongruities originally used for effect by authors and composers: Stimuli in the incongruous-resolved condition reproduced the original incongruity and resolution into the same context; stimuli in the incongruous-unresolved condition reproduced the incongruity but continued postincongruity with a new context dictated by the incongruity; and stimuli in the congruous condition presented the same element of interest, but the entire context was adapted to match it so that it was no longer incongruous. The manipulations described in this article rendered unrecognizable the original incongruities from which the stimuli were adapted, while maintaining ecological validity. The norming procedure and validation study resulted in a significant increase in perceived oddity from congruous to incongruous-resolved and from incongruous-resolved to incongruous-unresolved in all four components of music and language, making this set of stimuli a theoretically grounded and empirically validated resource for this growing area of research.
Hutka, Stefanie; Bidelman, Gavin M; Moreno, Sylvain
There is convincing empirical evidence for bidirectional transfer between music and language, such that experience in either domain can improve mental processes required by the other. This music-language relationship has been studied using linear models (e.g., comparing mean neural activity) that conceptualize brain activity as a static entity. The linear approach limits how we can understand the brain's processing of music and language because the brain is a nonlinear system. Furthermore, there is evidence that the networks supporting music and language processing interact in a nonlinear manner. We therefore posit that the neural processing and transfer between the domains of language and music are best viewed through the lens of a nonlinear framework. Nonlinear analysis of neurophysiological activity may yield new insight into the commonalities, differences, and bidirectionality between these two cognitive domains not measurable in the local output of a cortical patch. We thus propose a novel application of brain signal variability (BSV) analysis, based on mutual information and signal entropy, to better understand the bidirectionality of music-to-language transfer in the context of a nonlinear framework. This approach will extend current methods by offering a nuanced, network-level understanding of the brain complexity involved in music-language transfer.
Stefanie Andrea Hutka
Full Text Available There is convincing empirical evidence for bidirectional transfer between music and language, such that experience in either domain can improve mental processes required by the other. This music-language relationship has been studied using linear models (e.g., comparing mean neural activity that conceptualize brain activity as a static entity. The linear approach limits how we can understand the brain’s processing of music and language because the brain is a nonlinear system. Furthermore, there is evidence that the networks supporting music and language processing interact in a nonlinear manner. We therefore posit that the neural processing and transfer between the domains of language and music are best viewed through the lens of a nonlinear framework. Nonlinear analysis of neurophysiological activity may yield new insight into the commonalities, differences, and bidirectionality between these two cognitive domains not measurable in the local output of a cortical patch. We thus propose a novel application of brain signal variability (BSV analysis, based on mutual information and signal entropy, to better understand the bidirectionality of music-to-language transfer in the context of a nonlinear framework. This approach will extend current methods by offering a nuanced, network-level understanding of the brain complexity involved in music-language transfer.
Ngo, Mary Kim; Vu, Kim-Phuong L; Strybel, Thomas Z
We examined the interaction between music and tone language experience as related to relative pitch processing by having participants judge the direction and magnitude of pitch changes in a relative pitch task. Participants' performance on this relative pitch task was assessed using the Cochran-Weiss-Shanteau (CWS) index of expertise, based on a ratio of discrimination over consistency in participants' relative pitch judgments. Testing took place in 2 separate sessions on different days to assess the effects of practice on participants' performance. Participants also completed the Montreal Battery of Evaluation of Amusia (MBEA), an existing measure comprising subtests aimed at evaluating relative pitch processing abilities. Musicians outperformed nonmusicians on both the relative pitch task, as measured by the CWS index, and the MBEA, but tonal language speakers outperformed non-tonal language speakers only on the MBEA. A closer look at the discrimination and consistency component scores of the CWS index revealed that musicians were better at discriminating different pitches and more consistent in their assessments of the direction and magnitude of relative pitch change.
Zhi-Min Shi; Gui-Hong Lin; Qing Xie
Objective: To investigate the effects of music therapy on mood, language, behavior, and social skills in children with autism. Methods: A literature search was conducted using the following Chinese databases:the China National Knowledge Infrastructure (CNKI), Wanfang Data, the Chinese Biomedical Literature (CBM) Database, and the VIP Chinese Science and Technology Periodicals Database. The search terms were“autistic children”or“children with autism”and“music therapy”or“music treatment.”Studies of randomized controlled trials (RCTs) were included, and each publication included was assessed for quality. A meta-analysis was conducted using RevMan 5.1. Results: Publications were selected based on the inclusion and exclusion criteria. Six research articles describing RCTs were included; the total sample size was 300 patients. The results of meta-analysis showed that music therapy improved mood [Risk ratio (RR) ¼ 3.02, 95% confidence interval (CI) ¼ 1.93e4.11, Z ¼ 5.45, P Conclusions: Music therapy can improve mood, language, sensory perception, behavior, and social skills in children with autism.
Full Text Available This paper examines the correlation between musical aptitude and pronunciation proficiency in an experiment with 29 university students of Spanish as a foreign language. The 29 participants took a test in Spanish pronunciation and prosody as well as in musicality. The pronunciation and prosody test consisted of two parts. The first part was a receptive phonemic discrimination test and the second part was a productive test in which they had to repeat words and sentences chosen for their prosodic characteristics. The musical aptitude test also consisted of a receptive part on musicality in general, as well as a productive part, which included the reproduction of tones, tone intervals, rhythms and the singing of a melody. The statistical analysis with Pearson’s correlation-coefficients revealed a positive correlation (although not for all aspects between the musical and foreign language pronunciation proficiency aptitudes. The results are commented on in the discussion. Relevant teaching implications are included in the conclusion.
Barraza, Paulo; Chavez, Mario; Rodríguez, Eugenio
Similar to linguistic stimuli, music can also prime the meaning of a subsequent word. However, it is so far unknown what is the brain dynamics underlying the semantic priming effect induced by music, and its relation to language. To elucidate these issues, we compare the brain oscillatory response to visual words that have been semantically primed either by a musical excerpt or by an auditory sentence. We found that semantic violation between music-word pairs triggers a classical ERP N400, and induces a sustained increase of long-distance theta phase synchrony, along with a transient increase of local gamma activity. Similar results were observed after linguistic semantic violation except for gamma activity, which increased after semantic congruence between sentence-word pairs. Our findings indicate that local gamma activity is a neural marker that signals different ways of semantic processing between music and language, revealing the dynamic and self-organized nature of the semantic processing. Copyright © 2015 Elsevier Inc. All rights reserved.
Full Text Available This paper proposes a note-based music language model (MLM for improving note-level polyphonic piano transcription. The MLM is based on the recurrent structure, which could model the temporal correlations between notes in music sequences. To combine the outputs of the note-based MLM and acoustic model directly, an integrated architecture is adopted in this paper. We also propose an inference algorithm, in which the note-based MLM is used to predict notes at the blank onsets in the thresholding transcription results. The experimental results show that the proposed inference algorithm improves the performance of note-level transcription. We also observe that the combination of the restricted Boltzmann machine (RBM and recurrent structure outperforms a single recurrent neural network (RNN or long short-term memory network (LSTM in modeling the high-dimensional note sequences. Among all the MLMs, LSTM-RBM helps the system yield the best results on all evaluation metrics regardless of the performance of acoustic models.
There are few scientists of the twentieth century whose life's work has created more excitement and controversy than that of physicist David Bohm (1917-1992). For the first time in a single volume, The Essential David Bohm offers a comprehensive overview of Bohm's original works from a non-technical perspective. Including three chapters of previously unpublished material, and a forward by the Dalai Lama, each reading has been selected to highlight some aspect of the implicate order process, and to provide an introduction to one of the most provocative thinkers of our time.
Petersen, Bjørn; Weed, Ethan; Hansen, Mads
Brain responses to language-relevant musical features in adolescent cochlear implant users before and after an intensive music training program Petersen B.1,2, Weed E.1,3, Hansen M.1,4, Sørensen S.D.3 , Sandmann P.5 , Vuust P.1,2 1Center of Functionally Integrative Neuroscience, Aarhus University......, rhythm and intensity). Difference waves for the rhythm deviant were analyzed in the time window between 300 and 320 ms. Separate mixed-model ANOVAs were performed for left and right fronto-central electrodes. Paired t-tests were used to analyze the behavioral data. Here we present preliminary analyses...... of ERP responses to the rhythm deviant stimuli and results from a behavioral rhythm discrimination test. For both left and right electrode sites we found a main effect of group, driven by higher mean amplitude in the NH group. There was no main effect of training. Left hemisphere sites showed...
Rossman, Allan; Dietz, E. Jacquelin; Moor, David
David Moore is Professor Emeritus of Statistics at Purdue University. He served as the first President of the International Association for Statistical Education (IASE) from 1993-1995 and as President of the American Statistical Association (ASA) in 1998. He is a Fellow of the ASA and of the IMS and was awarded the ASA's Founders Award in…
Howgate, S.; Stern Shapiro, B.
David Hockney is one of the most significant artists exploring and pushing the boundaries of figurative art today. He has been engaged with portraiture since his teenage years, when he painted Portrait of My Father (1955), and portraits of family, lovers, friends and well-known subjects represent an
Dobbs, David; Murray-Rust, Peter; Hatcher, Jordan; Pollock, Rufus
David Dobbs writes on science, medicine and culture. He has contributed to a diversity of publications, including Scientific American, Slate magazine, Wired, Audubon, Atlantic Monthly, and the New York Times magazine. He has also authored a number of books. Other participants in this discussion were Peter Murray-Rust, Jordan Hatcher, and Rufus Pollock.
Union Public Service Commission, New Delhi. David R. Syiemlieh, formally a historian, joined as a Professor in the Department of History, NEHU, Shillong, in 1979. Concurrent with this position, he held at different times, Dean of Students' Welfare, Proctor, Director, College Development Council, and Head, Department of ...
Home; Fellowship. Fellow Profile. Elected: 1982 Section: Medicine. David, Dr Joy Caesarina M.B.B.S., M.S. (Madras). Date of birth: 3 May 1927. Date of death: 20 April 2004. Specialization: Neuropharmacology Last known address: 292, 4th Main, 1st Block, Koramangala, Bengaluru 560 034. YouTube; Twitter; Facebook ...
Frew, Andrew W.
Integrating literature and mathematics can be meaningful using David Macaulay's "Pyramid." This article provides an annotated bibliography of picture books, fiction, folk tales, nonfiction, videotapes, audio books, and CD-ROMs for grades 1-12 to support a unit on Egypt. Describes related math activities; and highlights a catalog of…
. David leads the NREL arm of the Consortium for Computational Physics and Chemistry, which utilizes -advantaged fuels Affiliated Research Programs Consortium for Computational Physics and Chemistry (CCPC) Co -Optimization of Fuels & Engines Education Ph.D., Chemistry, California Institute of Technology, 2007 B.S
Liu, Fang; Jiang, Cunmei; Pfordresher, Peter Q; Mantell, James T; Xu, Yi; Yang, Yufang; Stewart, Lauren
In this study, we investigated the impact of congenital amusia, a disorder of musical processing, on speech and song imitation in speakers of a tone language, Mandarin. A group of 13 Mandarin-speaking individuals with congenital amusia and 13 matched controls were recorded while imitating a set of speech and two sets of song stimuli with varying pitch and rhythm patterns. The results indicated that individuals with congenital amusia were worse than controls in both speech and song imitation, in terms of both pitch matching (absolute and relative) and rhythm matching (relative time and number of time errors). Like the controls, individuals with congenital amusia achieved better absolute and relative pitch matching and made fewer pitch interval and contour errors in song than in speech imitation. These findings point toward domain-general pitch (and time) production deficits in congenital amusia, suggesting the presence of shared pitch production mechanisms but distinct requirements for pitch-matching accuracy in language and music processing.
Full Text Available The article analyzes the Concert Waltz by Oleg Negruta written for piano duet. This work is considered in terms of form and content. Special attention is given to identifying the specificity of the musical language and texture. As a result, the conclusion is that the originality of the composer’s style is manifested in bright melody, relying on the classic-romantic harmony, enriched by jazz elements.
It is with great sadness that we learned that our friend and former colleague, David Warner, passed away on Christmas Eve. The funeral was held the following Monday. David was a "linac man". His career centred around linacs, but with a multitude of different subjects. He began at CERN by building the 3 MeV linac in the extension of the South Hall. He did pioneering work on this machine, which paved the way towards the design of the Alvarez cavities for the CERN Linac 2, for which he was responsible. After this challenge was successfully finished, David was the first member of the small but growing team, that was in charge of building the LEP Injector Linacs (LIL). After having been recognised as a proton linac expert, he quickly converted to electron linacs where he soon became the respected key expert for the design, parameters and ultimate performance of LIL. His predilection for precise and detailed documentation, and his vision that the know-how acquired with LIL should be preserved a...
Cardany, Audrey Berger
In this article, I review two books that address the power of music for the individual and group. Both books address the benefits of making, learning, and listening to music during times of conflict. The first brief review is David McPhail's picture book "Mole Music." The second is "Children of the Stone: The Power of Music in a…
Larner, A J
In April 1852 in Cape Town, South Africa, Dr David Livingstone, then 39 years of age and yet to commence the explorations of Africa which would bring him to public attention, underwent the surgical procedure of uvulectomy. This article reviews the history of Livingstone's uvulectomy and its indications and outcome, as documented by his own writings. The practice of uvulectomy in indigenous African societies and some contemporary ideas about uvulectomy are also considered in order to try to ascertain why Livingstone elected to undergo this procedure.
Music is vital to the development of language and listening skills. Both music and language arts consist of symbols and ideas; when the two content areas are used in combination, abstract concepts become more concrete. This article provides information that shows the role of music in helping children meet early learning standards, including those…
Bash, Frank N.
distances. This relation between angular diameters and a V-R color index is called the Barnes-Evans Relation. Tom Barnes gives most of the credit to Evans, but said that David insisted that the authors be listed in alphabetical order. This work was greeted with initial skepticism but it stimulated an enormous amount of interest and has been used to measure distances to 100 Cepheid variable stars in our galaxy. The method gives a distance to one of them, Delta Cephei, that agrees closely with recently measured parallaxes using HST. The Barnes-Evans method yields distances which are accurate to a few percent and is applicable to Cepheids in nearby galaxies. Before coming to Texas, David Evans had never given a large lecture course at a university, and his efforts met with mixed success especially in introductory classes for freshmen facing a "science requirement." David had considerably more success supervising PhD dissertations. He was supervisor for four. He was promoted to the position of Jack S. Josey Centennial Professor of Astronomy in 1984, which is the position he held until his retirement in 1986. He was awarded the Gill Medal of the Astronomical Society of South Africa in 1988. David Evans had a remarkable facility for language, especially English. He was an author of eight books including a 1966 edition of "Teach Yourself Astronomy", which was an introduction to astronomy and an inspiration to a number of currently active astronomers. He also loved history, especially of Southern Hemisphere astronomy but also of the McDonald Observatory. In fact, David continued to be very active after retirement and when he died he had completed a book (with Karen Winget) on the eclipse expedition to Mauritania, which is not yet printed.
This paper proposes a theory to explain the remarkable emotional power of our response to abstract music. It reviews and rejects metaphysical arguments derived from notions of a divine spiritual realm and from absolute forms of human reason. Its conclusion is that musical experience is always essentially inter-subjective and potentially…
Hurkmans, Joost; de Bruijn, Madeleen; Boonstra, Anne M.; Jonkers, Roel; Bastiaanse, Roelien; Arendzen, Hans; Reinders-Messelink, Heleen A.
Background: Acquired brain injury resulting from a stroke can result in impairments in, among other things, communication. Music therapy has been used in rehabilitation to stimulate brain functions involved in speech. The use of elements of music is well known and more often used in the treatment of
. Entretanto los mayas en el altiplano seguían cargando sus k’ojomes a cuevas y hondonadas para protegerlos de los militares. Por ello, la diversidad anárquica y rebelde de la tonalidad del k’ojom sigue siendo el lenguaje vernáculo y secreto de los grupos e individuos que no pertenecen al mundo nacional de la marimba cromática.
language: EN-GB;">The author reflects the construction of national music while the arise of the nation State in Guatemala. This development begins formally while the first decades of the nineteenth century and has not finished yet. For the myth of the Nation state and those who use it for their project of domination it is crucial that national music can be distinguished externally from musics generated by other nations while it can be applied internally for the aim of national homogenisation. Since the middle of the nineteenth century the music is used in Guatemala for the dissemination of ideologies that help to construct this myth. The vernacular music of the Maya people does not follow this logic. Hence it is considered inferior or «incorrect». For the myth of the nation State only the totality of «the people» as an abstract concept can understand and appreciate the national music, but not the concrete or individual group. Assuming this the music is converted into an important tool of a repressive mechanism and deculturation.
language: EN-GB;">The marimba thus is the
Grupo de estudio y trabajo “Construyendo nuestro corpus teórico”
Full Text Available Este escrito es la primera parte del estudio sobre los pedagogos musicales del siglo XX que está realizando el grupo. Se va a centrar exclusivamente en: Carl Orff y Émile Jacques Dalcroze, quienes se fundamentan en los principios de la Escuela Activa y se anticipan a las corrientes constructivistas que se originan en las primeras décadas del siglo XX. La escuela activa avanza sobre los enfoques tradicionales del siglo XIX, dado que, al involucrar la emoción, sus presupuestos no solo se basan en la razón, sino además, en la creatividad y la experiencia, esto es, entienden al individuo de manera integral, como ser fisiológico, sensible, intelectual y social; que en lo musical se va a expresar en la importancia que le dan al cuerpo, en relación con el ritmo y la voz, y cómo a partir de vivencias integrales se llega a la interiorización y adquisición del conocimiento musical.
Full Text Available The interrelations between the liturgical and paraliturgical genres of sacred music in both live practice and in historiography are explored. Parallels are found between eighteenth-century Russian and modern Hebrew religious music. The author's theory of the vernacular in music is applied to explain the stylistic openness in paraliturgical music (as a parallel to onto-vernacular folklore.
California Ülikooli (Berkeley) professor David Tisch teadmistepõhistest väärtustest ja nende mõjust konkurentsivõimele, konkurentsist innovatsiooniturul, Silicon Valley edu põhjustest, väikeste ja keskmiste ettevõtete osast innovatsioonis. Lisa: David Tisch
V. V. Guzikova
Full Text Available Introduction. In modern education, against the backdrop of rapidly increasing processes of informatization and globalization as well as the requirements of specialists’ mobility, one of the priorities is vocational-oriented education in foreign languages. It ensures the formation of students’ ability to communicate in foreign languages in specific professional, business, scientific spheres and situations, taking into account the peculiarities of their future profession. The aims of this article are the following: to reveal the peculiarities of the organization of teaching foreign languages in the master’s degree of a non-linguistic high school; to present effective methods, approaches, and techniques of working with master students of the direction of “Musical Education”. Methodology and research methods. In the process of the research, such theoretical scientific methods as analysis, synthesis, specification, and generalization were used. The experimental design of the present study was based on the concept of Lifelong Learning. The methods of interview, observation and testing were applied. Results and scientific novelty. The authors have developed a set of exercises for mastering the skills of conducting a scientific discussion by the master students of the direction “Music Education”. The proposed technique has a cross-disciplinary character. It is designed to teach the students how to effectively communicate with colleagues in a foreign (English language when performing professional tasks, including scientific and research activities. The samples of particular tasks are given. Practical significance. The research materials may be of interest to methodologists, educators, and teachers of the system of continuous professional education.
Full Text Available The article is an attempt to reconstruct the fundamental elements of Kazimierz Serocki’s musical language on the basis of his own statements concerning his music. Those statements come first and foremost from his lectures prepared for the Meisterkurs für Komposition at the Musik-Akademie in Basel (1976, whose manuscripts are now held in the Polish Composers’ Archive of the University of Warsaw Library. The lecture texts (Notations- und Realisationsprobleme, Klangfarben als Kompositionsmaterial, Chance der offenen Form present a whole set of problems which Serocki considered as the most important for his method of composition. The central place among these problems is occupied by the idea of “composing with sound colour” (“mit Klangfarben komponieren”. Sound colour plays a decisive role in the creative process, as it constitutes self-sufficient material for composition. Sound colour has a form-shaping role in the musical work, since it can build sequences of sound structures in various configurations, which perform various functions in the piece. The idea of composing with sound colour is presented by the composer in the context of an adequate way of notating sound phenomena and the possibility of performing music from such notation. This idea was also related in the lectures to the principles of constructing polyvalent open forms (mehrdeutige Form out of small- and large-scale components. Pitch organisation, on the other hand, remains of secondary interest in the composer’s commentaries. Serocki’s self-reflection provides us with original and innovative answers to the most important problems that contemporary composers have had to face in their work. It also provides significant and hitherto frequently little-known insights into the components of the unique style of the author of Pianophonie, and these insights can be effectively utilised in the course of future research on Serocki’s work.
Language is a uniquely human trait. All animals have ways to communicate, but these systems do not bear the same complexity as human language. However, this does not mean that all aspects of human language are specifically human. By studying the language perception abilities of other species, we can
An account is given of the life, scientific contributions, and passing of Laurance David Hall (1938-2009), including his early history and education at the University of Bristol, UK, and the synthesis and NMR spectroscopy of carbohydrates and other natural products during ∼20 years of research and teaching at the University of British Columbia in Vancouver, Canada. Lists of graduate students, post-doctoral fellows, and sabbatical visitors are provided for this period. Following a generous endowment by Dr. Herchel Smith, Professor Hall built a new Department of Medicinal Chemistry at Cambridge University, UK, and greatly expanded his researches into the technology and applications of magnetic resonance imaging (MRI) and zero quantum NMR. MRI technology was applied both to medical problems such as the characterization of cartilage degeneration in knee joints, the measurement of ventricular function, lipid localization in animal models of atherosclerosis, paramagnetic metal complexes of polysaccharides as contrast agents, and studies of many other anatomical features, but also to several aspects of materials analysis, including food analyses, process control, and the elucidation of such physical phenomena as the flow of liquids through porous media, defects in concrete, and the visualization of fungal damage to wood. Professor Hall's many publications, patents, lectures, and honors and awards are described, and also his successful effort to keep the Asilomar facility in Pacific Grove, California as the alternating venue for the annual Experimental NMR Conference. Two memorial services for Professor Hall are remembered. Copyright © 2011 Elsevier Inc. All rights reserved.
Maria da Conceição Costa
Full Text Available It´s about the music and its utilization in the initial years in the place it occupies deployment in class. By means of classroom observations with teachers of 2nd and 3th grade classes from a state public school in Pau dos Ferros city, RN and its respective plans, notes that in the lesson plans, the occupied place by music is focused on acquisition of contents approached in the subject taught on initial years. Both the lesson plans and the teaching practice have gaps in the clearly defined objectives, on coherence between what is placed in the plan into its items and the didactic transposition. Such finding contributes to an emptying of a work with the musical art while individual and collective professional that enable creative learner´s conduct relegating the educational role at school.
Van de Cavey, Joris; Hartsuiker, Robert J
Cognitive processing in many domains (e.g., sentence comprehension, music listening, and math solving) requires sequential information to be organized into an integrational structure. There appears to be some overlap in integrational processing across domains, as shown by cross-domain interference effects when for example linguistic and musical stimuli are jointly presented (Koelsch, Gunter, Wittfoth, & Sammler, 2005; Slevc, Rosenberg, & Patel, 2009). These findings support theories of overlapping resources for integrational processing across domains (cfr. SSIRH Patel, 2003; SWM, Kljajevic, 2010). However, there are some limitations to the studies mentioned above, such as the frequent use of unnaturalistic integrational difficulties. In recent years, the idea has risen that evidence for domain-generality in structural processing might also be yielded though priming paradigms (cfr. Scheepers, 2003). The rationale behind this is that integrational processing across domains regularly requires the processing of dependencies across short or long distances in the sequence, involving respectively less or more syntactic working memory resources (cfr. SWM, Kljajevic, 2010), and such processing decisions might persist over time. However, whereas recent studies have shown suggestive priming of integrational structure between language and arithmetics (though often dependent on arithmetic performance, cfr. Scheepers et al., 2011; Scheepers & Sturt, 2014), it remains to be investigated to what extent we can also find evidence for priming in other domains, such as music and action (cfr. SWM, Kljajevic, 2010). Experiment 1a showed structural priming from the processing of musical sequences onto the position in the sentence structure (early or late) to which a relative clause was attached in subsequent sentence completion. Importantly, Experiment 1b showed that a similar structural manipulation based on non-hierarchically ordered color sequences did not yield any priming effect
It was with great sadness that we learned that David Asbury passed away in his sleep last week. David joined CERN in 1984 after having worked for some years at RAL in the UK. He was a skilled programmer and systems engineer, and much appreciated by both users and colleagues at CERN. His contributions to IT services include the IBM mainframe workhorse CERN VM, the backup tape service and in recent years the version control services, until his well-deserved retirement at the end of March this year. We will all remember David for his friendly and helpful manners, and as a warm person who was always caring for others, particularly newcomers. David was also a passionate musician and active tennis player. He will be greatly missed by his colleagues. A memorial service took place at 11 a.m. on Monday, 14 December 2015 at the Auditoire Calvin next to the Cathedral in Geneva. His colleagues and friends
Interviewed on 12 April 1983 by Jack Goody and Alan Macfarlane and filmed and edited by Sarah Harrison. Made on old and low quality equipment. An interview of the historian and naturalist David Elliston Allen
Music schools are specific educational institutions which teach children to understand musical language, the rules of musical writing and how to play an instrument. It is assumed that children who enroll in music school have a certain level of "musicality," i.e. possess musical ability. Starting from this premise, in this paper we wanted…
M Hoseinzadeh Yazdi
Full Text Available Subjectivism is viewed as one of the most fundamental underpinnings of modern philosophy. In modern philosophy, subject takes up a new position in human knowledge. The formation of the concept of subject is a decisive turn with which the modern philosophy starts. Considering the centrality of subjectivism in modern philosophy, this article attempts to explain subject in Tractatus according to David Pears. A review of Wittgensteinâs earlier teachings reveals that he considers a fundamental limitation for language. The subject serves as a point of view from which the language can be understood. The subject is the presupposition of understanding. Another way of putting this would be to say that any experience is understood from a point of view which is not represented in that experience. Regarding this, it seems that earlier Wittgenstein is somehow subjectivist. This specific form of subjectivism is different from Kantian subjectivism.
Control Improvisation with Application to Music Alexandre Donze Sophie Libkind Sanjit A. Seshia David Wessel Electrical Engineering and Computer...to Music 5a. CONTRACT NUMBER 5b. GRANT NUMBER 5c. PROGRAM ELEMENT NUMBER 6. AUTHOR(S) 5d. PROJECT NUMBER 5e. TASK NUMBER 5f. WORK UNIT NUMBER 7...domain of music . More speci cally, we consider the scenario of generating a monophonic Jazz melody (solo) on a given song harmonization. The music is
This is a study of David, a senior enrolled in a high school precalculus course. David's understandings of functions and periodicity was explored, through clinical interviews and contextualized through classroom observations. Although David's precalculus class was traditional his understanding of periodic functions was unconventional David engaged…
Full Text Available Andrzej Panufnik’s (1914-1991 key objective as a composer was to achieve a balance between emotion and intellect. The composer very often emphasised the role of the relation between these two elements in his works. This topic is the leitmotiv of texts about his own music left behind by the composer. From those texts, it is clearly evident that symmetry (and in later years also geometry played a central role in the composer’s formal concepts. The impulse for the study of the possibility of using geometric shapes for the construction of musical forms came from his 1972 composition for the BBC television entitled Triangles - for three flutes and three cellos.
Volchenkov, Dima; Dawin, Jean René
A system for using dice to compose music randomly is known as the musical dice game. The discrete time MIDI models of 804 pieces of classical music written by 29 composers have been encoded into the transition matrices and studied by Markov chains. Contrary to human languages, entropy dominates over redundancy, in the musical dice games based on the compositions of classical music. The maximum complexity is achieved on the blocks consisting of just a few notes (8 notes, for the musical dice games generated over Bach's compositions). First passage times to notes can be used to resolve tonality and feature a composer.
Estrella Gomez Herrera; Bertin Martens
The EU seeks to create a seamless online Digital Single Market for media products such as digital music and film. The territoriality of the copyright regime is often perceived as an obstacle that induces geographical segmentation. This paper provides empirical evidence on the extent of market segmentation in the EU on the supply and demand side and measures the contribution of several drivers of this market segmentation. We use data from the Apple iTunes country stores in 27 EU Member States ...
Janus, Monika; Lee, Yunjo; Moreno, Sylvain; Bialystok, Ellen
Separate lines of research have identified enhanced performance on non-verbal executive control (EC) tasks for bilinguals (Bialystok, Craik, Green, & Gollan, 2009) and those with music training (Moreno et al., 2011), but little is known about the relation between them in terms of the specificity of the effects of each experience or the degree of exposure necessary to induce these changes. Using an intervention design, the present study pseudo-randomly assigned 57 4- to 6-year-old children (ma...
Full Text Available The commentary begins with by briefly reviewing UNESCO’s activities in the documentation, preservation, and dissemination of cultural traditions worldwide, and particularly in sub-Saharan Africa. Suggestions are then made regarding how the observations reported by Bodomo & Mora (2007 might be augmented by various theoretical, musical, and ethnolinguistic perspectives. The commentary also addresses challenges of designing and conducting research regarding integrative performance events and the construction, communication, and interpretation of cultural meaning.
Baratè, Adriano; Ludovico, Luca Andrea; Mangione, Giuseppina Rita; Rosa, Alessia
In this work we will introduce the concept of "music coding," namely a new discipline that employs basic music activities and simplified languages to teach the computational way of thinking to musically-untrained children who attend the primary school. In this context, music represents both a mean and a goal: in fact, from one side…
Raglio, Alfredo; Oasi, Osmano; Gianotti, Marta; Rossi, Agnese; Goulene, Karine; Stramba-Badiale, Marco
The aim of this research is to evaluate the effects of active music therapy (MT) based on free-improvisation (relational approach) in addition to speech language therapy (SLT) compared with SLT alone (communicative-pragmatic approach: Promoting Aphasic's Communicative Effectiveness) in stroke patients with chronic aphasia. The experimental group (n = 10) was randomized to 30 MT individual sessions over 15 weeks in addition to 30 SLT individual sessions while the control group (n = 10) was randomized to only 30 SLT sessions during the same period. Psychological and speech language assessment were made before (T0) and after (T1) the treatments. The study shows a significant improvement in spontaneous speech in the experimental group (Aachener Aphasie subtest: p = 0.020; Cohen's d = 0.35); the 50% of the experimental group showed also an improvement in vitality scores of Short Form Health Survey (chi-square test = 4.114; p = 0.043). The current trial highlights the possibility that the combined use of MT and SLT can lead to a better result in the rehabilitation of patients with aphasia than SLT alone.
Henry David Thoreau was wholeheartedly in love with nature and he devoted almost all his life time to observation, appreciation and study of nature. Thus he formed a deep understanding of nature. In 1845, Thoreau began a two-year and two-month residence at Walden Pond. His life was lonely but full of fragrance. He wanted to live meaningfully, confront the essential facts of life and live a simple life. Based on the review of the literature related to this topic, this paper aims to study Henry David Thoreau’s spiritual world, especially reflected in his famous book-Walden.
Moos, Walter H
"A gentleman and a scholar" is how many would characterize David Triggle. His insightful, thoughtful approaches to professional pursuits, both personal research and collaborative relationships, stand out by any measure. He has shaped students, colleagues, and whole fields, calcium ion channels and ligands being most representative of the latter. In recent years, he has expanded his contributions to important commentaries on politics and social challenges in the sciences. David is the rare intellect able to do all this and more, as outlined herein. Copyright © 2015 Elsevier Inc. All rights reserved.
Full Text Available The article scientifically proves the importance of choral genres in the works by Arthur Lourie. The features of composition and the musical language of the symphonic cantata «In the Temple of Golden Dreams» by Arthur Lourie are identified. It is proved that the trends of symbolism and avant-garde affected the formation of the logic of intonation development , composite and harmonic solutions of the cantata. It is justified that the composer’s experiments in the fields of harmonic language, metroritm, texture, timbre brilliance largely anticipate the trends of the world music development. On the basis of the «In the Temple of Golden Dreams» symphonic cantata for mixed chorus a cappella A. Lurie, innovative methods of convergence of expressive possibilities of symphonic and choral scores, aimed at strengthening the capabilities of color and expressive choral sound are identified.
Replying to Robert H. Anderson's article in the same "Principal" issue, David Elkind defends his article against classroom rotation. Elkind strongly favors multiage grouping and team teaching, but views the real issue as departmentalization and rotation versus self-contained classrooms. Although multiage grouping and team teaching are…
Turkish migrants are the largest national group in Germany. Nevertheless, neither in music psychology research nor in intercultural research can empirical data on the music preferences of Turkish-German primary schoolchildren in the migrational context be found. This study thus examined the music preference responses of children with Turkish…
Silverman, Marissa; Davis, Susan A.; Elliott, David J.
Since its publication in 1995, a significant literature has developed around David J. Elliott's praxial philosophy of music education, as explained in "Music Matters: A New Philosophy of Music Education." This literature includes a range of commentaries in journals, books, edited books, and dissertations. Although Elliott has…
In this article, David Forrest probes Ahmad Sarmast (Founder and Director of the Afghanistan National Institute of Music, Ministry of Education, Afghanistan) about the development of the Institute, its sponsorship, the range of local musicians and music educators that work there, and the student population.
Music is a universal human trait. The healing power of music has been acknowledged in almost all traditions of music. Music therapy is moving from a social-science model focusing on overall health and well-being towards a neuroscience model focusing on specific elements of music and its effect on sensorimotor, language and cognitive functions. The handful of evidence-based music therapy studies on psychiatric conditions have shown promising results. Traditional music, such as Indian classical...
Katia Maria Paim Pozzer
Full Text Available The sources about music in ancient Mesopotamia are numerous, there are hundreds of cuneiform tablets in Sumerian and Akkadian language, and also iconic representations of material culture have been rescued by archeology. The texts of varied nature show myths, staves and musical theories, displaying speci?c vocabulary about the act of musical performance, on musicians and musical instruments. In these documents, the rich iconography of war among the Assyrians is also revealing of musical practice, including in military contexts. There is evidence of foreign musicians within the Assyrian royal courts in the cuneiform tablets, in the stone
Elected: 1998 Honorary. King, Prof. Sir David Anthony Sc.D., FRS. Date of birth: 12 August 1939. Address: Chief Scientific Adivser & Head, Office of Science and Innovation, London SW1H 0ET, U.K.. Contact: Office: (+44-020) 7215 3821. Fax: (+44-020) 7215 0314. Email: firstname.lastname@example.org, email@example.com.
Cardany, Audrey Berger
Language and music literacy share a similar process of understanding that progresses from sensory experience to symbolic representation. The author identifies Bruner’s modes of understanding as they relate to using narrative in the music classroom to enhance music reading at iconic and symbolic levels. Two sound stories are included for…
Through simple and pleasurable movement experiences a very young child can be led to an understanding of the intricate craft of music and the signs and symbols of the music "language", while developing at the same time an increasing appreciation and perception of music as an artistic expression. (Author)
Ridder, Hanne Mette Ochsner
http://www.njmt.no/bookreview_2006071.html "The music effect is not about a particular composer, musical style, geographic location, language, or performance group. It is, at once, about all of these" (p. 249). This book is written by two people with very different educational backgrounds. Dr...... into music physiology. We have already seen them working together in 2001 in Berger’s book Music Therapy, Sensory Integration and the Autistic Child published by Jessica Kingsley, and this time their collaboration results in a book that is about the attributes of scientific reality (physics) as embedded....... Schneck is a fellow of the American Institute for Medical and Biological Engineering and Dorita S. Berger, MA, is a Board Certified music therapist. They have in common that both play music and perform professionally, and together they integrate various theories from scientific reality and music aesthetic...
Lumaca, Massimo; Baggio, Giosuè
In their commentary on our work, Ravignani and Verhoef (2018) raise concerns about two methodological aspects of our experimental paradigm (the signaling game): (1) the use of melodic signals of fixed length and duration, and (2) the fact that signals are endowed with meaning. They argue that music is hardly a semantic system and that our methodological choices may limit the capacity of our paradigm to shed light on the emergence and evolution of a number of putative musical universals. We reply that musical systems are semantic systems and that the aim of our research is not to study musical universals as such, but to compare more closely the kinds of principles that organize meaning and structure in linguistic and musical systems.
Yasui, Takuya; Kaga, Kimitaka; Sakai, Kuniyoshi L
Using magnetoencephalography (MEG), we report here the hemispheric dominance of the auditory cortex that is selectively modulated by unexpected errors in the lyrics and melody of songs (lyrics and melody deviants), thereby elucidating under which conditions the lateralization of auditory processing changes. In experiment 1 using familiar songs, we found that the dipole strength of responses to the lyrics deviants was left-dominant at 140 ms (M140), whereas that of responses to the melody deviants was right-dominant at 130 ms (M130). In experiment 2 using familiar songs with a constant syllable or pitch, the dipole strength of frequency mismatch negativity elicited by oddballs was left-dominant. There were significant main effects of experiment (1 and 2) for the peak latencies and for the coordinates of the dipoles, indicating that the M140 and M130 were not the frequency mismatch negativity. In experiment 3 using newly memorized songs, the right-dominant M130 was observed only when the presented note was unexpected one, independent of perceiving unnatural pitch transitions (i.e., perceptual saliency) and of selective attention to the melody of songs. The consistent right-dominance of the M130 between experiments 1 and 3 suggests that the M130 in experiment 1 is due to unexpected notes deviating from well-memorized songs. On the other hand, the left-dominant M140 was elicited by lyrics deviants, suggesting the influence of top-down linguistic information and the memory of the familiar songs. We thus conclude that the left- lateralized M140 and right-lateralized M130 reflect the expectation based on top-down information of language and music, respectively.
Lenhoff, Howard M.
Scientists admit that they do not understand yet how infants acquire their abilities and love of music. What they do know, however, is that much of the brain development in the first six years of a child's life is devoted to the learning and retaining of music and language. It appears that children have an open window, which allows them to…
Rife, Nora A.; Shnek, Zachary M.; Lauby, Jennifer L.; Lapidus, Leah Blumberg
Determines the language children use to express their feelings of satisfaction with private music lessons. Offers a list of statements from children about private music lessons to be used to assess those feelings. Discusses the effects of age, gender, and musical instruments on satisfaction for music educators. Includes references. (DAJ)
Croom, Adam M
Aesthetic non-cognitivists deny that aesthetic statements express genuinely aesthetic beliefs and instead hold that they work primarily to express something non-cognitive, such as attitudes of approval or disapproval, or desire. Non-cognitivists deny that aesthetic statements express aesthetic beliefs because they deny that there are aesthetic features in the world for aesthetic beliefs to represent. Their assumption, shared by scientists and theorists of mind alike, was that language-users possess cognitive mechanisms with which to objectively grasp abstract rules fixed independently of human responses, and that cognizers are thereby capable of grasping rules for the correct application of aesthetic concepts without relying on evaluation or enculturation. However, in this article I use Wittgenstein's rule-following considerations to argue that psychological theories grounded upon this so-called objective model of rule-following fail to adequately account for concept acquisition and mastery. I argue that this is because linguistic enculturation, and the perceptual learning that's often involved, influences and enables the mastery of aesthetic concepts. I argue that part of what's involved in speaking aesthetically is to belong to a cultural practice of making sense of things aesthetically, and that it's within a socio-linguistic community, and that community's practices, that such aesthetic sense can be made intelligible.
Music is a universal human trait. The healing power of music has been acknowledged in almost all traditions of music. Music therapy is moving from a social-science model focusing on overall health and well-being towards a neuroscience model focusing on specific elements of music and its effect on sensorimotor, language and cognitive functions. The handful of evidence-based music therapy studies on psychiatric conditions have shown promising results. Traditional music, such as Indian classical music, has only recently been evaluated in evidence-based research into music therapy. The need for systematic research in this area is underscored.
Many people, not only at CERN but also throughout the world, were saddened to learn that their friend and colleague David Williams had passed away in the early hours of Tuesday 24 October. His death came after a year of fighting cancer with all of his usual determination and optimism. Even days before the end he was still welcoming to visitors, and was alert and interested in all their news. Born in 1944, David came to CERN from the University of Cambridge in 1966, with a degree in Physics and Computer Science. Joining what at the time was called the Documents and Data (DD) Division, in the earlier part his career he worked first on software for analysis of bubble chamber photographs, subsequently leading the group that supported experiments with 'hybrids' of bubble chambers and electronic detectors and then the group supporting online computing in experiments. He thus witnessed all of the enormous changes that took place in particle physics as the era of bubble chambers came to an end and the availability ...
Jacobs, Barry E.
The Distributed Access View Integrated Database (DAVID) System, which was adopted by the Astrophysics Division for their Astrophysics Data System, is a solution to the system heterogeneity problem. The heterogeneous components of the Astrophysics problem is outlined. The Library and Library Consortium levels of the DAVID approach are described. The 'books' and 'kits' level is discussed. The Universal Object Typer Management System level is described. The relation of the DAVID project with the Small Business Innovative Research (SBIR) program is explained.
Paulo Sérgio Souza Junior
Full Text Available O presente artigo versa sobre uma síndrome em particular chamada Síndrome de Williams-Beuren. Esta síndrome possui uma relação específica com a música, relação esta que estará no fulcro de nossas preocupações durante as páginas que se seguem. Num primeiro momento faremos uma apresentação da síndrome e de suas singularidades; em seguida nos debruçaremos sobre a especificidade que aqui está em questão, ou seja, a relação da síndrome com o universo sonoro; por fim, traremos um caso com o qual tivemos contato envolvendo a educação musical em contexto da síndrome, e discutiremos a respeito dos elementos que esse contato nos trouxe para pensar essa curiosa e relevante relação entre arte-educação e o desenvolvimento neuropsicológico atípico. The present article is about a particular syndrome, called Williams-Beuren. This syndrome has a very specific relationship with music, which will be at the heart of our concerns over the following pages. Initially we will make a presentation of the syndrome and its singularities. Then we will focus on the uniqueness of the correlation between Williams-Beuren and the musical world. Finally, we will discuss a case which involves musical education in the context of this syndrome, and discuss about the elements, brought by that contact, that are useful to think about this curious and relevant relationship between art education and atypical neuropsychological development.
Theories of music origins and the role of musical emotions in the mind are reviewed. Most existing theories contradict each other, and cannot explain mechanisms or roles of musical emotions in workings of the mind, nor evolutionary reasons for music origins. Music seems to be an enigma. Nevertheless, a synthesis of cognitive science and mathematical models of the mind has been proposed describing a fundamental role of music in the functioning and evolution of the mind, consciousness, and cultures. The review considers ancient theories of music as well as contemporary theories advanced by leading authors in this field. It addresses one hypothesis that promises to unify the field and proposes a theory of musical origin based on a fundamental role of music in cognition and evolution of consciousness and culture. We consider a split in the vocalizations of proto-humans into two types: one less emotional and more concretely-semantic, evolving into language, and the other preserving emotional connections along with semantic ambiguity, evolving into music. The proposed hypothesis departs from other theories in considering specific mechanisms of the mind-brain, which required the evolution of music parallel with the evolution of cultures and languages. Arguments are reviewed that the evolution of language toward becoming the semantically powerful tool of today required emancipation from emotional encumbrances. The opposite, no less powerful mechanisms required a compensatory evolution of music toward more differentiated and refined emotionality. The need for refined music in the process of cultural evolution is grounded in fundamental mechanisms of the mind. This is why today's human mind and cultures cannot exist without today's music. The reviewed hypothesis gives a basis for future analysis of why different evolutionary paths of languages were paralleled by different evolutionary paths of music. Approaches toward experimental verification of this hypothesis in
Asserts that music videos, rooted in mass marketing culture, are reshaping the language of advertising, affecting the flow of information. Raises question about the society that creates and receives music videos. (MS)
Zendri, G.; Valdan, M.; Gratton, L. M.; Oss, S.
Wind musical instruments are affected in their intonation by temperature. We show how to account for these effects in a simple experiment, and provide results in languages accessible to both physics and music professionals.
Langkjær, Michael Alexander
Anmeldelse af en udstilling d. 23. marts - 28. juli 2013 om rockmusikeren David Bowie på Victoria and Albert Museet, London.......Anmeldelse af en udstilling d. 23. marts - 28. juli 2013 om rockmusikeren David Bowie på Victoria and Albert Museet, London....
Sanden, Guro Refsum
Purpose: – The purpose of this paper is to analyse the consequences of globalisation in the area of corporate communication, and investigate how language may be managed as a strategic resource. Design/methodology/approach: – A review of previous studies on the effects of globalisation on corporate...... communication and the implications of language management initiatives in international business. Findings: – Efficient language management can turn language into a strategic resource. Language needs analyses, i.e. linguistic auditing/language check-ups, can be used to determine the language situation...... of a company. Language policies and/or strategies can be used to regulate a company’s internal modes of communication. Language management tools can be deployed to address existing and expected language needs. Continuous feedback from the front line ensures strategic learning and reduces the risk of suboptimal...
Wollner, Clemens; Ginsborg, Jane; Williamon, Aaron
There is an increasing awareness of the importance of reflexivity across various disciplines, which encourages researchers to scrutinize their research perspectives. In order to contextualize and reflect upon research in music, this study explores the musical background, current level of musical engagement and the listening habits of music…
Hansen, David T.
Music and philosophy travel together through time in human culture, and in this article, David Hansen responds to Randall Allsup's recent book, "Remixing the Classroom: Toward an Open Philosophy of Music Education." Hansen says that a singular feature of Randall's new book is how marvelously he demonstrates the organic union between…
Into the Curriculum. Art: The Z Was Zapped [and] Art: Friendly Plastic [and] Music: American Composers [and] Reading/Language Arts: Chocolate Day [and] Science: Moose [and] Social Studies: Women's History Project.
Rossi, Marie; And Others
A group of six articles describes activities for art, music, reading/language arts, science, and social studies. Each article includes library media skills objectives, curriculum objectives, grade levels, resources, instructional roles, activity and procedures for completion, evaluation, and follow-up. (AEF)
Holck, Ulla; Jacobsen, Stine Lindahl
portrayal of the qualities of musical interplay that promotes well-being in group settings and, thus, the inclusion of vulnerable students. Therefore, we open the chapter with a focus on musicality and on the importance of applying a musical approach in relation to the children.......Music has a rare ability to affect us directly. Pulse and rhythms make us move, and notes and harmonies inspire and express our inner emotions in a direct and immediate way that goes beyond what words or even other art forms can rarely achieve (Panksepp & Trevarthen, 2009). Music creates...... a delightful build-up of tension or soothes us, and its narrative character gives rise to mental imagery or memories. Music brings people together and helps build communities across languages and common divides. And – not least – music captures children’s immediate attention, so when the music starts, so do...
Sobol, Elise S.
This research study was built upon findings in neuroscience of the brain's natural ability to physically change itself through cognitive modifiability by creating new pathways and neural connections. The purpose of the research was to investigate instructional music applications for improvement in basic math skills with students who are on the…
Alossa, Nicoletta; Castelli, Lorys
Music, as language, is a universal and specific trait to humans; it is a complex ability with characteristics that are unique compared to other cognitive abilities. Nevertheless, several issues are still open to debate, such as, for example, whether music is a faculty that is independent from the rest of the cognitive system, and whether musical skills are mediated by a single mechanism or by a combination of processes that are independent from one another. Moreover, the anatomical correlations of music have yet to be clarified. The goal of this review is to illustrate the current condition of the neuropsychology of music and to describe different approaches to the study of the musical functions. Hereby, we will describe the neuropsychological findings, suggesting that music is a special function carried out by different and dedicated processes that are probably subserved by different anatomical regions of the brain. Moreover, we will review the evidence obtained by working with brain-damaged patients suffering from music agnosia, a selective impairment in music recognition. Copyright 2009 S. Karger AG, Basel.
Full Text Available The recent death of David Bowie activated a memorial process which incites to retrace the cultural, social, aesthetic, of costume, fashion and art history of the last forty years. It’s impossible, therefore, not reflect on the mechanisms that led to the creation of he who in the collective imaginary is reductive to consider just a symbol of modern rock.Several books, prestigious magazines and important exhibitions devoted space to the infinite nuances of he who is defined not only icon but also idol, star, legend and myth. These terms have subtle interferences between them as Jean Jacques Wunenburger underlined and all refer to the concept of Mythology. Even if many authors stated the “disappearance of the myth” in the postmodern epoch (Jewett and Lawrence, the myth is one of those phenomena which involves the everyday life, also in the contemporary time.Certainly the ever closer relations between art, mass media and advertisement played a decisive role in restructuring the concept of myth, but didn’t essentially change its meaning. Actually, the mass reproducibility of images, instead of provoking the “fall of aura”, as stated by Walter Benjamin, seems to have increased the "sacred" magnetism of the images.The icon David Bowie is the result of a multifaceted and outstanding personality which involved and influenced every possible contemporary language - fashion, music, theatre, film, performance, video and more recently internet. As always the photographic gaze captured and crystallized over time the different visions making them eternal and “biting” in the meaning which Barthes clarified in his famous book.The intense collaboration with “the man who photographed the Seventies”, the English Mick Rock, produced images intended to write an important piece of the history of contemporary photography. Ziggy Stardust, the character masterfully interpreted and documented by Mick Rock, is the symbol of Bowie’s fascinating ability
Tierney, Adam; Krizman, Jennifer; Skoe, Erika; Johnston, Kathleen; Kraus, Nina
Should music be a priority in public education? One argument for teaching music in school is that private music instruction relates to enhanced language abilities and neural function. However, the directionality of this relationship is unclear and it is unknown whether school-based music training can produce these enhancements. Here we show that two years of group music classes in high school enhance the subcortical encoding of speech. To tease apart the relationships between music and neural...
Clarke, David; Clarke, Eric
If there is a topic on which the humanities might make a distinctive claim, it is that of consciousness--an essential aspect of human being. And within the humanities, music might make its own claims in relation to both consciousness and being human. To investigate this connection, David Clarke and Eric Clarke brought together a wide variety of…
Photo 01: Dr. David Syz (left) with Professor Roger Cashmore, Research Director for Collider Programmes.Photo 02: Dr. David Syz signing the VIP visitors' book, with Prof. Roger Cashmore.Photo 03: Dr. David Syz signing the VIP visitors' book.Photo 04: Handshake between Dr. David Syz (left) and Prof. Roger Cashmore.
Makoni, Sinfree; Makoni, Busi; Rosenberg, Aaron
Language-in-education policy in Africa is replete with debate regarding the use of standard African languages as part of mother-tongue education. An issue inadequately addressed within this debate is the role and function of urban vernaculars which have become "the" mother tongue of the greater part of Africa's population. Using data…
Leiva, Raquel Ojeda
This elementary and preschool music textbook is designed to reflect Latin America and Caribbean Island cultures and to be useful in both school classrooms and in teacher training courses. Short, easy to learn songs, illustrated pages, and 10 musical games are combined to teach musical forms, rhythm, auditory discrimination, language usage, motor…
Mualem, Orit; Lavidor, Michal
The current study is an interdisciplinary examination of the interplay among music, language, and emotions. It consisted of two experiments designed to investigate the relationship between musical abilities and vocal emotional recognition. In experiment 1 (N = 24), we compared the influence of two short-term intervention programs--music and…
Full Text Available The premise of musicality of Beckett’s short dramas contains more questions than answers. Is the musicality of text present only in the work of Samuel Beckett? Do only the (musical stage remarks in Beckett’s dramas suggest the idea of musicality? Can the absurdity of his output be expressed with music and through music? Some short musical compositions, especially by Alexandre Scriabine, can be in some way compared with Beckett’s "dramaticules", but only in form not in the meaning and musical language. The question of hidden influences remains to be developed.
DiEdwardo, MaryAnn Pasda
This article describes how music in the language classroom setting can be a catalyst for developing reading, writing, and understanding skills. Studies suggest that pairing music and linguistic intelligences in the college classroom improves students' grades and abilities to compose theses statements for research papers in courses that emphasize…
Discusses how music can be intergrated with regular lesson plans to teach German vocabulary, grammar, and history and to give insights into German culture. Also included are sources for basic background information, a list of recordings of the German music, and notes on selecting and presenting it in the language class. (SED)
The search for global peace and security began with music. Music is a symbolic language; it speaks and communicates directly to the mind. Music evokes emotions and feelings in our central nervous systems, which, in turn, control the mind. The inter-connection between music and human mind by nature is not in doubt, ...
Volchenkov, D.; Dawin, J. R.
A system for using dice to compose music randomly is known as the musical dice game. The discrete time MIDI models of 804 pieces of classical music written by 29 composers have been encoded into the transition matrices and studied by Markov chains. Contrary to human languages, entropy dominates over redundancy, in the musical dice games based on the compositions of classical music. The maximum complexity is achieved on the blocks consisting of just a few notes (8 notes, for the musical dice games generated over Bach's compositions). First passage times to notes can be used to resolve tonality and feature a composer.
This article examines how American perspectives about world music have evolved based on the controversial discussion of "music is the universal language." At earlier periods, scholars showed their interest in musics of other cultures from the ethnocentric standpoint. Gradually, scholars came to value the music differences of cultures,…
Dahlstedt, Palle; McBurney, Peter
The authors, a composer and a computer scientist, discuss their collaborative research on the use of multiagent systems and their applicability to music and musical composition. They describe the development of software and techniques for the composition of generative music.......The authors, a composer and a computer scientist, discuss their collaborative research on the use of multiagent systems and their applicability to music and musical composition. They describe the development of software and techniques for the composition of generative music....
Full Text Available Wallace Stevens’s “The Man with the Blue Guitar” (1937 is widely recognized as one of the most important and influential poems of the 20th century. Inspired by Picasso’s painting The Old Guitarist, the poem in turn inspired Michael Tippett’s sonata for solo guitar, “The Blue Guitar” (Tippett 1983 and David Hockney’s The Blue Guitar: Etchings by David Hockney who was inspired by Wallace Stevens who was inspired by Pablo Picasso (Hockney and Stevens 1977. Central to “The Man with the Blue Guitar,” the metaphor of the musical instrument as a transformational symbol of the imagination is common in Stevens’s poems. The structure of “The Man with the Blue Guitar,” according to J. Hillis Miller, is the structure of stream-of-consciousness. Stevens’s poem creates what has been called “the deconstructed moment in modern poetry,” “an attempt to project a spatialized time that can be viewed from the privileged position of a timeless, static moment capable of encompassing a life at a glance” (Jackson 1982. This consciousness, which Derrida refers to as the “trace,” Stevens calls “the evasive movement of language.” The trace is the perception of the absence of meaning after the word or perception has passed, the glimpse of a hidden meaning that immediately vanishes. Stevens’s poem influenced not only other poets, artists and composers; references to and echoes of his ideas and techniques can be seen in popular music and culture well into the 21st century.
Gregorio José Pereira de Queiroz
This article discusses the use of music in religious rites of Umbanda and the possible correlations among the role played by music in this rite and its role in music therapy process, especially in some of its approaches.
María Eugenia Rodríguez Guerrero
Full Text Available In the slang language of Lojanos, it is said that Loja is the musical capital of Ecuador. thesis or clich´e, which has led to write the present article to ﬁnd the theoretical empirical support and practices that support it, constituting it in research object and recommend to the future the innovations that need to be introduced in order to sustain and strengthen this place of Loja. This ﬁrst approach has as a problem What does Loja provides, that distinguish from the rest of the provinces of Ecuador in the musical ﬁeld, to be considered its capital? This ﬁrst delivery aims to build a framework of computer concepts that open up posterity to a ﬁeld of research on music and that translate into policies, plans and programs that empower it. They develop three concepts derived from the thesis: the power to construct music that refers to the generic and speciﬁc competences in different instruments and genres, the amount of music that is produced and the human talent in musical formation that is developed in Loja. Empirical evidence is collected to corroborate or reject the hypothesis: Loja is the musical capital of Ecuador. Data are collected on musical skills and compared at the global level, as well as music production and music training scenarios. At the end the hypothesis is checked. The task of the Lojanos is to innovate the capital. Keywords: Music, musical competitions, musical talent in training, amount of music, musicalperformance, musical instrument, songs.
American Music Therapy Association Home Contact News Help/FAQ Members Only Login About Music Therapy & AMTA What is Music Therapy? Definition and ... is Music Therapy? Print Email Share What is Music Therapy What is Music Therapy? Music Therapy is ...
Full Text Available The groundbreaking English language translation of Tirant lo Blanc by New York poet and academic David Rosenthal remains dominant three decades after its initial, and celebrated, release. Rosenthal’s controversially fluid and concise rendering of the Valencian classic survived a serious challenge 20 years ago by a more literal version from a well-meaning amateur translator and journeyman academic backed by a leading U.S.-based Catalan scholar. The article reviews the controversy and compares the two versions, adding comments from some of the key critics. La traducció capdavantera a l’anglés del Tirant lo Blanc, feta pel poeta i erudit de Nova York, David Rosenthal, continua mantenint la seua importància, tres dècades després de publicar-se. La polèmica versió dúctil i concisa de Rosenthal del clàssic valencià, ha sobreviscut el desafiament seriós, de fa vint anys, de la versió més literal d’un benintencionat traductor amateur i acadèmci oficial, recolzat per un destacat erudit català establert als Estats Units. L’article revisa la polèmica i compara les dues versions, tot afegint els comentaris d’alguns dels crítics més importants.
David joined IDRC in 2002 and has held the director post since 2010. His previous experience includes working in the financial sector at CIBC World Markets and field work on commercializing microfinance in Bolivia. He holds a master's in environmental studies from York University and a BA in political science from ...
The neurologic music therapy is a new scope of music therapy. Its techniques deal with dysfunctions resulting from diseases of the human nervous system. Music can be used as an alternative modality to access functions unavailable through non-musical stimulus. Processes in the brain activated by the influence of music can be generalized and transferred to non-musical functions. Therefore, in clinical practice, the translation of non-musical therapeutic exercises into analogous, isomorphic musical exercises is performed. They make use of the executive peculiarity of musical instruments and musical structures to prime, cue and coordinate movements. Among musical components, a repetitive rhythm plays a significant role. It regulates physiologic and behavioural functions through the mechanism of entrainment (synchronization of biological rhythms with musical rhythm based on acoustic resonance). It is especially relevant for patients with a deficient internal timing system in the brain. Additionally, regular rhythmic patterns facilitate memory encoding and decoding of non-musical information hence music is an efficient mnemonic tool. The music as a hierarchical, compound language of time, with its unique ability to access affective/motivational systems in the brain, provides time structures enhancing perception processes, mainly in the range of cognition, language and motor learning. It allows for emotional expression and improvement of the motivation for rehabilitation activities. The new technologies of rhythmic sensory stimulation (i.e. Binaural Beat Stimulation) or rhythmic music in combination with rhythmic light therapy appear. This multimodal forms of stimulation are used in the treatment of stroke, brain injury, dementia and other cognitive deficits. Clinical outcome studies provide evidence of the significant superiority of rehabilitation with music over the one without music.
Miller-Jones, Annette Marjorie
Research indicates the characteristics of Autism Spectrum Disorder include challenges with receptive and expressive language, which can negatively impact social-emotional development and physical regulation. The needs of children with autism are expected to greatly impact the current medical and educational resources, thus effective intervention…
Jun 4, 2015 ... Singing is linked to religious experience and expression. In both the Lutheran .... data were gathered in Sepedi, the home language of the interviewees ... training either in music education or music composition. It is noticeable ...
Handbook for people who wish to play or teach freely improvised music and improvisation pieces. With sections on how to start with different types of groups, training of musical awareness, parameters of the musical sound, the history of improvised music and some improvisational pieces....
Ivankovic, Patricia; Gilpatrick, Ingrid
A preschool/kindergarten program that serves 18 students with deafness/hearing impairments and 11 hearing children uses music activities to develop speech, audition, language, and movement and to further explore current classroom themes. A deaf teacher models body movements, signs, rhythm, and facial expressions while a hearing teacher models…
Full Text Available This paper focuses on the triangular links between a text in a given source language, its “translation” into music and an eventual retranslation into another language. As everybody knows, music is a language per se, with all the characteristics of an articulated language, its own syntax, grammar, even its own dialects and “regionalisms.” The bilateral link between a language and music is rather simple and can be summarized in the following principle: when a composer sets a text to music, it is always a one-way-only “translation”; this text cannot and should not eventually be retranslated into another language, there is no going back because music is the most constricting of all languages. Between two “normal” languages, like English or French for instance, solutions can always be found, even deficient ones if necessary, arrangements that are more or less satisfactory, one can compromise, adapt. It is not desirable to translate a text from Chinese into English and then from English into French but it can be done. However, once music has imposed its rules on a text, it becomes the main source language, with which it is impossible to cheat; everything must be literally respected: the musical words and sentences, the general form, the rhythm, the styles, the melodic, harmonic, tonal aspects… There are no possible arrangements or compromises, music comes first and dictates its rules, there are no choices other than to respect, literally, what the music says and hope that it will work or, if it does not, which is most often the case, abandon. And yet in some cases it is necessary to find a way to retranslate the same text. This is when translators are faced with real, at times unsolvable, problems because they are dealing with two source languages, one of which being Music that prevents any continuation to full triangulation. In this article, I will first analyze a few examples to show some of the main difficulties and then propose
Full Text Available Cognitive function of music, its origin, and evolution has been a mystery until recently. Here we discuss a theory of a fundamental function of music in cognition and culture. Music evolved in parallel with language. The evolution of language toward a semantically powerful tool required freeing from uncontrolled emotions. Knowledge evolved fast along with language. This created cognitive dissonances, contradictions among knowledge and instincts, which differentiated consciousness. To sustain evolution of language and culture, these contradictions had to be unified. Music was the mechanism of unification. Differentiated emotions are needed for resolving cognitive dissonances. As knowledge has been accumulated, contradictions multiplied and correspondingly more varied emotions had to evolve. While language differentiated psyche, music unified it. Thus the need for refined musical emotions in the process of cultural evolution is grounded in fundamental mechanisms of cognition. This is why today's human mind and cultures cannot exist without today's music.
Hachet , Martin; Kian , Arash; Berthaut , Florent; Franco , Jean-Sébastien; Desainte-Catherine , Myriam
International audience; While mixed reality has inspired the development of many new musical instruments, few approaches explore the potential of mobile setups. We present a new musical interaction concept, called "opportunistic music". It allows musicians to recreate a hardware musical controller using any objects of their immediate environment. This approach benefits from the physical properties of real objects for controlling music. Our prototype is based on a stereo-vision tracking system...
Peretz, Isabelle; Vuvan, Dominique; Lagrois, Marie-Élaine; Armony, Jorge L
Neural overlap in processing music and speech, as measured by the co-activation of brain regions in neuroimaging studies, may suggest that parts of the neural circuitries established for language may have been recycled during evolution for musicality, or vice versa that musicality served as a springboard for language emergence. Such a perspective has important implications for several topics of general interest besides evolutionary origins. For instance, neural overlap is an important premise for the possibility of music training to influence language acquisition and literacy. However, neural overlap in processing music and speech does not entail sharing neural circuitries. Neural separability between music and speech may occur in overlapping brain regions. In this paper, we review the evidence and outline the issues faced in interpreting such neural data, and argue that converging evidence from several methodologies is needed before neural overlap is taken as evidence of sharing. © 2015 The Author(s) Published by the Royal Society. All rights reserved.
Peretz, Isabelle; Vuvan, Dominique; Lagrois, Marie-Élaine; Armony, Jorge L.
Neural overlap in processing music and speech, as measured by the co-activation of brain regions in neuroimaging studies, may suggest that parts of the neural circuitries established for language may have been recycled during evolution for musicality, or vice versa that musicality served as a springboard for language emergence. Such a perspective has important implications for several topics of general interest besides evolutionary origins. For instance, neural overlap is an important premise for the possibility of music training to influence language acquisition and literacy. However, neural overlap in processing music and speech does not entail sharing neural circuitries. Neural separability between music and speech may occur in overlapping brain regions. In this paper, we review the evidence and outline the issues faced in interpreting such neural data, and argue that converging evidence from several methodologies is needed before neural overlap is taken as evidence of sharing. PMID:25646513
Fernholz, Isabel; Menzel, Juliane; Jabusch, Hans-Christian; Gembris, Heiner; Fischer, Felix; Kendel, Friederike; Kreutz, Gunter; Schmidt, Alexander; Willich, Stefan N; Weikert, Cornelia
There is only a limited number of studies on associations between musical activity and health issues. It seems that musical activity has physiological and psychological benefits, as well as effects on the mental capacity, but this has been studied only in a few clinical and epidemiological studies. One reason might be that no appropriate survey instrument assessing musical activity is available. Here we provide an overview of survey instruments that assess musicality and musical activity. One focus is the presentation of a newly developed German questionnaire (MusA), which assesses musical activity (active music making and music reception) and was specifically developed for the "German National Cohort", a German health study. Through literature research, questionnaires were identified that assess musicality and / or musical activity. A new German questionnaire was developed from a panel of experts and tested in a small study (n=121, women and men age 18-70 years). In the literature research, 3 questionnaires were identified which focus on musicality and musical activity with different aspects (Gold-MSI, MUSE, MEQ). All 3 instruments may be characterized as large psychometric scales, which especially assess aspects of musicality in the English language. The Gold-MSI is additionally available in German. None of the existing questionnaires covers musical activities in detail. A new short German questionnaire consisting of 9 questions with a maximum filling time of 3-5 min has been developed. There are few questionnaires available for assessing musicality and musical activity with different aspects. The newly developed MusA in the German language focuses on the assessment of musical activity and is intended to be used in larger, population-based as well as clinical studies, to examine music activities and listening to music as independent factors in connection with prevention and therapy of chronic diseases. © Georg Thieme Verlag KG Stuttgart · New York.
Christopher Cullen Heffner
Full Text Available What structural properties do language and music share? Although early speculation identified a wide variety of possibilities, the literature has largely focused on the parallels between musical structure and syntactic structure. Here, we argue that parallels between musical structure and prosodic structure deserve more attention. We review the evidence for a link between musical and prosodic structure and find it to be strong. In fact, certain elements of prosodic structure may provide a parsimonious comparison with musical structure without sacrificing empirical findings related to the parallels between language and music. We then develop several predictions related to such a hypothesis.
Full Text Available In a filmmaking career replete with extraordinary images and sounds, David Lynch's Mulholland Drive (2001 stands out for attention as a striking and seemingly inexhaustible resource for analysis. In this article, this film is used to examine the specific ways in which Lynch uses pre-existing pop songs to wrap the spectator within the filmic soundscape. Nowhere is the complexity and uncanniness of pop music made more explicit than in Rebekah Del Rio's stunning performance of “Llorando (Crying” in the Club Silencio scene. The split between the singer's powerful performance and her subsequent collapse with the sound of the voice left hanging in the air marks a pivotal point in the film. This scene, coupled with other examples of feminine jouissance, is contrasted with the deadening roar of the master's voice, which solely demands obedience but is deaf to any reply. At the core of this article is an analysis of the status of the voice (and the gaze as examples of the Lacanian object a and its relationship to Marx's concept of surplus value. Mulholland Drive provides a powerful demonstration of how these concepts can be seen, heard, and felt in relation to film, and how sound can reverberate into the spaces and silences beyond the screen.
Stanton, Caitlin R; Chu, Alexandria; Collin, Jeff; Glantz, Stanton A
Tobacco companies target young adults through marketing strategies that use bars and nightclubs to promote smoking. As restrictions increasingly limit promotions, music marketing has become an important vehicle for tobacco companies to shape brand image, generate brand recognition and promote tobacco. Analysis of previously secret tobacco industry documents from British American Tobacco, available at http://legacy.library.ucsf.edu. In 1995, British American Tobacco (BAT) initiated a partnership with London's Ministry of Sound (MOS) nightclub to promote Lucky Strike cigarettes to establish relevance and credibility among young adults in the UK. In 1997, BAT extended their MOS partnership to China and Taiwan to promote State Express 555. BAT sought to transfer values associated with the MOS lifestyle brand to its cigarettes. The BAT/MOS partnership illustrates the broad appeal of international brands across different regions of the world. Transnational tobacco companies like BAT are not only striving to stay contemporary with young adults through culturally relevant activities such as those provided by MOS but they are also looking to export their strategies to regions across the world. Partnerships like this BAT/MOS one skirt marketing restrictions recommended by the World Health Organization's Framework Convention on Tobacco Control. The global scope and success of the MOS program emphasizes the challenge for national regulations to restrict such promotions.
Stanton, Caitlin R.; Chu, Alexandria; Collin, Jeff
Background: Tobacco companies target young adults through marketing strategies that use bars and nightclubs to promote smoking. As restrictions increasingly limit promotions, music marketing has become an important vehicle for tobacco companies to shape brand image, generate brand recognition and promote tobacco. Methods: Analysis of previously secret tobacco industry documents from British American Tobacco, available at http://legacy.library.ucsf.edu. Results: In 1995, British American Tobacco (BAT) initiated a partnership with London’s Ministry of Sound (MOS) nightclub to promote Lucky Strike cigarettes to establish relevance and credibility among young adults in the UK. In 1997, BAT extended their MOS partnership to China and Taiwan to promote State Express 555. BAT sought to transfer values associated with the MOS lifestyle brand to its cigarettes. The BAT/MOS partnership illustrates the broad appeal of international brands across different regions of the world. Conclusion: Transnational tobacco companies like BAT are not only striving to stay contemporary with young adults through culturally relevant activities such as those provided by MOS but they are also looking to export their strategies to regions across the world. Partnerships like this BAT/MOS one skirt marketing restrictions recommended by the World Health Organization’s Framework Convention on Tobacco Control. The global scope and success of the MOS program emphasizes the challenge for national regulations to restrict such promotions. PMID:20159772
dropdown arrow Site Map A-Z Index Menu Synopsis H. David Politzer, Asymptotic Freedom, and Strong Interaction Resources with Additional Information H. David Politzer Photo Credit: California Institute of Technology H. David Politzer has won the 2004 Nobel Prize in Physics 'for the discovery of asymptotic freedom
The Reggio Emilia approach is based on the idea that every child has at least, "one hundred languages" available for expressing perspectives of the world, and one of those languages is music. While all of the arts (visual, music, dance, drama) are considered equally important in Reggio schools, the visual arts have been particularly…
David Miller's recent statement of the case for restrictive immigration policies can plausibly be construed as an application of a ‘liberal nationalist' position. The paper first addresses Miller's critique of distributive justice arguments for open borders, which relies on nationality as determi......David Miller's recent statement of the case for restrictive immigration policies can plausibly be construed as an application of a ‘liberal nationalist' position. The paper first addresses Miller's critique of distributive justice arguments for open borders, which relies on nationality...... as determinative of the scope of distributive justice and as giving rise to national collective responsibility. Three interpretations of his main positive reason for restricting immigration, which concerns the importance of a shared public culture, are then discussed: culture as having valuable social functions...... in relation to immigration policy....
Trondalen, Gro; Bonde, Lars Ole
music therapy orientations/models (Guided Imagery and Music, Nordoff-Robbins, Psychoanalytic, Cognitive-behavioral etc), their theoretical foundations and their practical approaches to health and wellbeing or ‘health musicking’. The relational context – the interplay of (expressive as well as receptive......Music therapy (MT) is most commonly defined as an intervention where “the therapist helps the client to promote health, using music experiences and the relationships developing through them” (Bruscia 1998). Also other definitions of MT agree that a therapeutic relationship is important for a music...... intervention to be considered MT. Other interventions that “use music for health-related goals, but in ways that do not qualify as music therapy” (Gold 2009), may be described as music medicine, or simply as music listening. In this text we elaborate on an overview chapter covering some of the different major...
Graziano, Amy B; Pech, Anja; Hou, Craig; Johnson, Julene K
Hermann Oppenheim was influential in many areas of neurology, but his ideas about music are relatively unknown. In 1888, he published a paper that outlined how the assessment of music skills in patients with aphasia could lead to a better understanding of aphasia and language. Oppenheim conducted the first comprehensive music assessment as part of a neurologic examination and presented the first case series of music in aphasia. His paper was widely cited and had significant influence over the next 30 years. Although largely unrecognized as such, Oppenheim was an important historical figure in the study of music and neurology.
Simões, Alberto; Almeida, J. J.
Current music publishing in the Internet is mainly concerned with sound publishing. We claim that music publishing is not only to make sound available but also to define relations between a set of music objects like music scores, guitar chords, lyrics and their meta-data. We want an easy way to publish music in the Internet, to make high quality paper booklets and even to create Audio CD's. In this document we present a workbench for music publishing based on open formats, using open-source t...
When searching for genetic markers inherited together with musical aptitude, genes affecting inner ear development and brain function were identified. The alpha-synuclein gene (SNCA), located in the most significant linkage region of musical aptitude, was overexpressed when listening and performing music. The GATA-binding protein 2 gene (GATA2) was located in the best associated region of musical aptitude and regulates SNCA in dopaminergic neurons, thus linking DNA- and RNA-based studies of music-related traits together. In addition to SNCA, several other genes were linked to dopamine metabolism. Mutations in SNCA predispose to Lewy-body dementia and cause Parkinson disease in humans and affect song production in songbirds. Several other birdsong genes were found in transcriptome analysis, suggesting a common evolutionary background of sound perception and production in humans and songbirds. Regions of positive selection with musical aptitude contained genes affecting auditory perception, cognitive performance, memory, human language development, and song perception and production of songbirds. The data support the role of dopaminergic pathway and their link to the reward mechanism as a molecular determinant in positive selection of music. Integration of gene-level data from the literature across multiple species prioritized activity-dependent immediate early genes as candidate genes in musical aptitude and listening to and performing music. © 2018 New York Academy of Sciences.
Vasić Aleksandar N.
Full Text Available The writers whose real vocation was not music left significant traces in the history of Serbian music critics and essayism of the late 19th century and the first half of the 20th century. Numerous authors, literary historians theoreticians and critics, jurists and theatre historians, wrote successfully on music in Serbian daily newspapers, literary and other magazines, until the Second World War. This study is devoted to Gustav Michel (1868 - 1926, one of the music amateurs who ought to be remembered in the history of Serbian music critics. Gustav Michel was a pharmacist by vocation. He ran a private pharmacy in Belgrade all his life. But he was a musician as well. He played the viola in the second (in chronological order of foundation Serbian String Quartet. The ensemble mostly consisted of amateurs, and it performed standard pieces of chamber music (W. A. Mozart L. v. Beethoven, F. Schubert, F. Mendelsohn-Bartholdy, A. Dvořžak. These musicians had performed public concerts in Belgrade since 1900 up until Michel’s death. Belgrade music critics prised the performances of this string ensemble highly. Gustav Michel was also a music critic. Until now only seven articles, published by this author between 1894 and 1903, in Order (Red, Folk Newspaper (Narodne novine and Serbian Literary Magazine (Srpski književni glasnik have been found. Michel’s preserved articles unambiguously prove that their author had a solid knowledge of music theory and history, the knowledge that exceeded amateurism. Nevertheless, Michel did not burden his first critics with expert language of musicology. Later on, in Serbian Literary Magazine, the magazine which left enough room for music, Michel penetrated more into musical terminology, thus educating slowly forming Serbian concert-going public. The analysis of Michel’s texts showed that he was not, in contrast to the majority of professional music critics, an opponent of virtuosity. Gentle and liberal, he did not
Pearce, Marcus T; Wiggins, Geraint A
Following in a psychological and musicological tradition beginning with Leonard Meyer, and continuing through David Huron, we present a functional, cognitive account of the phenomenon of expectation in music, grounded in computational, probabilistic modeling. We summarize a range of evidence for this approach, from psychology, neuroscience, musicology, linguistics, and creativity studies, and argue that simulating expectation is an important part of understanding a broad range of human faculties, in music and beyond. Copyright © 2012 Cognitive Science Society, Inc.
Morrison, Steven J; Demorest, Steven M
Research suggests that music, like language, is both a biological predisposition and a cultural universal. While humans naturally attend to and process many of the psychophysical cues present in musical information, there is a great - and often culture-specific - diversity of musical practices differentiated in part by form, timbre, pitch, rhythm, and other structural elements. Musical interactions situated within a given cultural context begin to influence human responses to music as early as one year of age. Despite the world's diversity of musical cultures, the majority of research in cognitive psychology and the cognitive neuroscience of music has been conducted on subjects and stimuli from Western music cultures. From the standpoint of cognitive neuroscience, identification of fundamental cognitive and neurological processes associated with music requires ascertaining that such processes are demonstrated by listeners from a broad range of cultural backgrounds and in relation to various musics across cultural traditions. This chapter will review current research regarding the role of enculturation in music perception and cognition and the degree to which cultural influences are reflected in brain function. Exploring music cognition from the standpoint of culture will lead to a better understanding of the core processes underlying perception and how those processes give rise to the world's diversity of music forms and expressions.
Perrone-Capano, Carla; Volpicelli, Floriana; di Porzio, Umberto
Music is a universal language, present in all human societies. It pervades the lives of most human beings and can recall memories and feelings of the past, can exert positive effects on our mood, can be strongly evocative and ignite intense emotions, and can establish or strengthen social bonds. In this review, we summarize the research and recent progress on the origins and neural substrates of human musicality as well as the changes in brain plasticity elicited by listening or performing music. Indeed, music improves performance in a number of cognitive tasks and may have beneficial effects on diseased brains. The emerging picture begins to unravel how and why particular brain circuits are affected by music. Numerous studies show that music affects emotions and mood, as it is strongly associated with the brain's reward system. We can therefore assume that an in-depth study of the relationship between music and the brain may help to shed light on how the mind works and how the emotions arise and may improve the methods of music-based rehabilitation for people with neurological disorders. However, many facets of the mind-music connection still remain to be explored and enlightened.
Music Information Seeking Behaviour Poses Unique Challenges for the Design of Information Retrieval Systems. A Review of: Lee, J. H. (2010. Analysis of user needs and information features in natural language queries seeking music information. Journal of the American Society for information Science and Technology, 61, 1025-1045.
Full Text Available Objective – To better understand music information seeking behaviour in a real life situation and to create a taxonomy relating to this behaviour to facilitate better comparison of music information retrieval studies in the future.Design – Content analysis of natural language queries.Setting – Google Answers, a fee based online service.Subjects – 1,705 queries and their related answers and comments posted in the music category of the Google Answers website before April 27, 2005.Methods – A total of 2,208 queries were retrieved from the music category on the Google Answers service. Google Answers was a fee based service in which users posted questions and indicated what they were willing to pay to have them answered. The queries selected for this study were posted prior to April 27, 2005, over a year before the service was discontinued completely. Of the 2208 queries taken from the site, only 1,705 were classified as relevant to the question of music information seeking by the researcher. The off-topic queries were not included in the study. Each of the 1,705 queries was coded according to the needs expressed by the user and the information provided to assist researchers in answering the question. The initial coding framework used by the researcher was informed by previous studies of music information retrieval to facilitate comparison, but was expanded and revised to reflect the evidence itself. Only the questions themselves were subjected to this iterative coding process. The answers provided by the Google Answer researchers and online comments posted by other users were examined by the author, but not coded for inclusion in the study.User needs in the questions were coded for their form and topic. Each question was assigned at least one form and one topic. Form refers to the type of question being asked and consisted of the following 10 categories: identification, location, verification, recommendation, evaluation, ready reference
Why does music pervade our lives and those of all known human beings living today and in the recent past? Why do we feel compelled to engage in musical activity, or at least simply enjoy listening to music even if we choose not to actively participate? I argue that this is because musicality--communication using variations in pitch, rhythm, dynamics and timbre, by a combination of the voice, body (as in dance), and material culture--was essential to the lives of our pre-linguistic hominin ancestors. As a consequence we have inherited a desire to engage with music, even if this has no adaptive benefit for us today as a species whose communication system is dominated by spoken language. In this article I provide a summary of the arguments to support this view.
Mansikka, Jan-Erik; Westvall, Maria; Heimonen, Marja
This article addresses the role of general music education within the framework of cultural diversity. The empirical part of the article focuses on teachers in Swedish-speaking minority schools in Finland and their perceptions of the relationship between music and multicultural perspectives. The results showed that in some instances it took some…
Deliege, Francois; Pedersen, Torben Bach
Music Information Retrieval has received increasing attention from both the industrial and the research communities in recent years. Many audio extraction techniques providing content-based music information have been developed, sparking the need for intelligent storage and retrieval facilities. ...
In recent years, music and musicality have been the focus of an increasing amount of research effort. This has led to a growing role and visibility of the contribution of (bio)musicology to the field of neuroscience and cognitive sciences at large. While it has been widely acknowledged that there are commonalities between speech, language, and musicality, several researchers explain this by considering musicality as an epiphenomenon of language. However, an alternative hypothesis is that musicality is an innate and widely shared capacity for music that can be seen as a natural, spontaneously developing set of traits based on and constrained by our cognitive abilities and their underlying biology. A comparative study of musicality in humans and well-known animal models (monkeys, birds, pinnipeds) will further our insights on which features of musicality are exclusive to humans and which are shared between humans and nonhuman animals, contribute to an understanding of the musical phenotype, and further constrain existing evolutionary theories of music and musicality. © 2018 The Authors. Annals of the New York Academy of Sciences published by Wiley Periodicals, Inc. on behalf of New York Academy of Sciences.
Garrido, Gemma; Camps, Laia; Herrera, Isabel Herrera; Guillamat, Roser; Vallés, Vicenç; Sanz, Maite; Martínez, Joan
Introduction: Scientific literature suggests that music may serve as therapeutic function among populations with different illnesses or disorders. Functional neuroimaging studies that incorporate music activity or music method shown an increase activation in several brain areas, with widespread bilateral hemodynamic responses in occipital lobe, bilateral cerebellum, temporal lobe, in the right lateral prefrontal cortex as well hemodynamic responses in the left middle frontal gyrus.Music activ...
Investigates music teachers' everyday conceptions of musicality through (1) a pilot study involving music teachers in higher education and (2) interviews with teachers in music teacher education and in compulsory school. Finds in the pilot the categories of musical achievement, musical experience, and musical communication, while the interviews…
The goal of music analysis is to find the most satisfying explanations for musical works. It is proposed that this can best be achieved by attempting to write computer programs that are as short as possible and that generate representations that are as detailed as possible of the music...... that the program represents. If such an effective measure of analysis quality can be found, it could be used in a system that automatically finds the optimal analysis for any passage of music. Measuring program length in terms of number of source-code characters is shown to be problematic and an expression...... is proposed that overcomes some but not all of these problems. It is suggested that the solutions to the remaining problems may lie either in the field of concrete Kolmogorov complexity or in the design of languages specialized for expressing musical structure....
Describes subjects existing at Aalborg University since the middle eighties. "Intuitive Music" trains free improvisation through exercises including group-dynamic exercises, awareness exercises and parameter exercises. Students also create open compositions. "Graphic notation"concerns aural scores....... Students' works are quoted. The writer discusses the theoretical context and advocates for giving more attention to music as the medium in which music therapy takes place, referring to language theory and Jakobson. NB: the description of the two subjects are, at the present moment (2011) no longer up...... to date. Intuitive music stresses less making compositions and more using the main instrument intuitively. Graphic notation has been integrated into a larger subject (also taught by the present author) which also comprises other methods of description and interpretation of music....
publication of a novel, and his untimely death . 1 DAVID GALULA: HIS LIFE AND INTELLECTUAL CONTEXT INTRODUCTION It is a safe bet that if the United States had...and translated for the first time into French, nearly 40 years after his death —he remains almost unknown to the nation whose uniform he wore for most...lycées. 23 Galula was a bad student who preferred to play hooky, going horseback riding or swimming. (Galula would be a passionate horseman
Lazar, J Wayne
This chapter has two emphases, one is about the men who influenced the visual representations that David Ferrier (1843-1928) used to illustrate his work on localization of brain functions during the years 1873-1875, namely, Alexander Ecker, John C. Galton, and Ernest Waterlow, and the other is about the nature of medical representations and of Ferrier's illustrations in particular. Medical illustrations are characterized either as pictures, line drawings, or brain maps. Ferrier's illustrations will be shown to be increasingly sophisticated brain maps that contrast with early nineteenth-century standards of medical illustrations, as exemplified by John Bell (1763-1829). © 2013 Elsevier B.V. All rights reserved.
Describes subjects existing at Aalborg University since the middle eighties. "Intuitive Music" trains free improvisation through exercises including group-dynamic exercises, awareness exercises and parameter exercises. Students also create open compositions. "Graphic notation"concerns aural scores. Students' works are quoted. The writer discusses the theoretical context and advocates for giving more attention to music as the medium in which music therapy takes place, referring to language the...
Degé, Franziska; Kubicek, Claudia; Schwarzer, Gudrun
The association between music and language, in particular, the overlap in their processing results in the possibility to use one domain for the enhancement of the other. Especially in the preschool years music may be a valuable tool to train language abilities (e.g., precursors of reading). Therefore, detailed knowledge about associations between musical abilities and precursors of reading can be of great use for designing future music intervention studies that target language-related abiliti...
Levitin, Daniel J; Tirovolas, Anna K
The study of music perception and cognition is one of the oldest topics in experimental psychology. The last 20 years have seen an increased interest in understanding the functional neuroanatomy of music processing in humans, using a variety of technologies including fMRI, PET, ERP, MEG, and lesion studies. We review current findings in the context of a rich intellectual history of research, organized by the cognitive systems underlying different aspects of human musical behavior. We pay special attention to the perception of components of musical processing, musical structure, laterality effects, cultural issues, links between music and movement, emotional processing, expertise, and the amusias. Current trends are noted, such as the increased interest in evolutionary origins of music and comparisons of music and language. The review serves to demonstrate the important role that music can play in informing broad theories of higher order cognitive processes such as music in humans.
Like melody, language and rhythm, pitch and tonality are major indicators of African identity in music. In traditional African musical forms, these elements are obvious, but in contemporary African musical expressions which are influenced by several external factors, it is necessary to know the extent to which the elements ...
The voice provides an entrance to discuss gender and related fundamental issues in electroacoustic music that are relevant as well in other musical genres and outside of music per se: the role of the female voice; the use of language versus non-verbal vocal sounds; the relation of voice, embodiment
The place of Stephen Foster and the music of American minstrelsy should be reconsidered for the music classroom. Some of this repertoire can be offensive because of its historical context and racially insensitive language. Critical theory can provide a framework for choosing repertoire that creates dialogue about racial structures in music. The…
Cardany, Audrey Berger
Language sometimes creates confusion when teaching music concepts to children. Incorporating children's literature may further enhance children's comprehension of music vocabulary when preceded by listening and moving experiences, as well as singing and playing instruments. "The Quiet Book," and its companion, "The Loud Book!" both authored by…
Cardany, Audrey Berger
Word sorts are standard practice for aiding children in acquiring skills in English language arts. When included in the general music classroom, word sorts may aid students in acquiring a working knowledge of music vocabulary. The author shares a word sort activity drawn from vocabulary in John Lithgow's children's book "Never Play…
Alan R. Harvey
Full Text Available Over tens of thousands of years of human genetic and cultural evolution, many types and varieties of music and language have emerged; however, the fundamental components of each of these modes of communication seem to be common to all human cultures and social groups. In this brief review, rather than focusing on the development of different musical techniques and practices over time, the main issues addressed here concern: (i when, and speculations as to why, modern Homo sapiens evolved musical behaviors, (ii the evolutionary relationship between music and language, and (iii why humans, perhaps unique among all living species, universally continue to possess two complementary but distinct communication streams. Did music exist before language, or vice versa, or was there a common precursor that in some way separated into two distinct yet still overlapping systems when cognitively modern H. sapiens evolved? A number of theories put forward to explain the origin and persistent universality of music are considered, but emphasis is given, supported by recent neuroimaging, physiological, and psychological findings, to the role that music can play in promoting trust, altruistic behavior, social bonding, and cooperation within groups of culturally compatible but not necessarily genetically related humans. It is argued that, early in our history, the unique socializing and harmonizing power of music acted as an essential counterweight to the new and evolving sense of self, to an emerging sense of individuality and mortality that was linked to the development of an advanced cognitive capacity and articulate language capability.
Harvey, Alan R
Over tens of thousands of years of human genetic and cultural evolution, many types and varieties of music and language have emerged; however, the fundamental components of each of these modes of communication seem to be common to all human cultures and social groups. In this brief review, rather than focusing on the development of different musical techniques and practices over time, the main issues addressed here concern: (i) when, and speculations as to why, modern Homo sapiens evolved musical behaviors, (ii) the evolutionary relationship between music and language, and (iii) why humans, perhaps unique among all living species, universally continue to possess two complementary but distinct communication streams. Did music exist before language, or vice versa, or was there a common precursor that in some way separated into two distinct yet still overlapping systems when cognitively modern H. sapiens evolved? A number of theories put forward to explain the origin and persistent universality of music are considered, but emphasis is given, supported by recent neuroimaging, physiological, and psychological findings, to the role that music can play in promoting trust, altruistic behavior, social bonding, and cooperation within groups of culturally compatible but not necessarily genetically related humans. It is argued that, early in our history, the unique socializing and harmonizing power of music acted as an essential counterweight to the new and evolving sense of self, to an emerging sense of individuality and mortality that was linked to the development of an advanced cognitive capacity and articulate language capability.
Expert kommentar til rapportudkast fra David Cambell (tidligere forskningsassistent for Robert Putman) i OECD projektet SOL (Social Outcomes of Learning). Publiceres senere som Discussionpaper af OECD...
About Music Therapy & Music Therapy Training M usic therapy is a healthcare profession that uses music to help individuals of all ages improve physical, cognitive, emotional, and social functioning. Music therapists work with children and adults with developmental ...
Tierney, Adam; Kraus, Nina
The beneficial effects of musical training are not limited to enhancement of musical skills, but extend to language skills. Here, we review evidence that musical training can enhance reading ability. First, we discuss five subskills underlying reading acquisition-phonological awareness, speech-in-noise perception, rhythm perception, auditory working memory, and the ability to learn sound patterns-and show that each is linked to music experience. We link these five subskills through a unifying biological framework, positing that they share a reliance on auditory neural synchrony. After laying this theoretical groundwork for why musical training might be expected to enhance reading skills, we review the results of longitudinal studies providing evidence for a role for musical training in enhancing language abilities. Taken as a whole, these findings suggest that musical training can provide an effective developmental educational strategy for all children, including those with language learning impairments. © 2013 Elsevier B.V. All rights reserved.
Hill, Kent A.
Responds to an earlier article that illustrated how metaphorically applying chaos and complexity theory to language teaching, second language acquisition, and the observed lesson can alter perspectives about how these things are viewed. Suggests that chaos and complexity theory could also help see the following areas in a new light: syllabus…
Luis Sérgio Krausz
Full Text Available Na Bíblia Hebraica, a guerra é um assunto diretamente vinculado à esfera do sagrado. A proteção de Deus ao povo de Israel em suas batalhas é, assim, um dos fundamentos da teologia bíblica. No romance, A mulher foge, de David Grossman, como em Homero, a realidade da guerra contrapõe-se à realidade das pessoas comuns e, assim, separa, em um vasto abismo, as experiências deste e daquele lado. Ao contrário do que acontece na Bíblia, e também na Ilíada, não há, nas guerras do romance, qualquer tipo de crença divina, seja ela de molde pagão, seja ela de caráter retributivo, conforme a teologia bíblica.
David Lukens Reasoner, former head of NASA's Ionospheric Physics branch, died on April 21, 1992. Reasoner was born July 1, 1941. He worked tirelessly to expand NASA's Space Physics Division, bringing his deep experience and personal expertise to bear on the challenges of growth.During the magical period of the late 1950s and early 1960s when America turned its eyes toward space and the Moon, David Lukens Reasoner journeyed north from the nearby Texas town of Dickinson to Rice University with an idea of getting involved in exploring the frontiers of space. He pursued a course of study in electrical engineering and received a bachelor's degree in 1963 and a master's degree in 1964. In the early 1960s, the Space Science Department at Rice was formed, and President John Kennedy visited to say that America chose to go to space not because it is easy but because it is hard and because it would require the very best talents of our nation to succeed. Dave Reasoner was one of those talented people. His excellence in electrical engineering and physics, combined with his natural abilities in the laboratory, suited him ideally for building the machines of space. As a student, he built sounding rocket payloads and multiple instruments for satellites and experiment packages that were placed on the Moon by the Apollo astronauts. He completed his doctoral degree in space science in 1968. It was in these early thrilling days of space exploration that I first met Dave, beginning a friendship and collegial relationship that was to last 27 years.
Ross, Lee; Kavanagh, David
Presents an obituary for David L. Rosenhan (1929-2012). A distinguished psychologist and professor emeritus at Stanford University, Rosenhan died February 6, 2012, at the age of 82, after a long illness. Born in Jersey City, New Jersey, on November 22, 1929, he received a bachelor's degree in mathematics (1951) from Yeshiva College and a master's degree in economics (1953) and a doctorate in psychology (1958) from Columbia University. A professor of law and of psychology at Stanford University from 1971 until his retirement in 1998, Rosenhan was a pioneer in applying psychological methods to the practice of law, including the examination of expert witnesses, jury selection, and jury deliberation. A former president of the American Psychology-Law Society and of the American Board of Forensic Psychology, Rosenhan was a fellow of the American Association for the Advancement of Science, of the American Psychological Association, and of the American Psychological Society. Before joining the Stanford Law School faculty, he was a member of the faculties of Swarthmore College, Princeton University, Haverford College, and the University of Pennsylvania. He also served as a research psychologist at the Educational Testing Service. As generations of Stanford students can attest, David Rosenhan was a spellbinding lecturer who managed to convey the sense that he was speaking to each individual, no matter how large the group. To his graduate students, he was consistently encouraging and optimistic, always ready to share a joke or story, and gently encouraging of their creativity and progressive independence as researchers. The lessons he cared most about offering, in the classroom as in his research, were about human dignity and the need to confront abuse of power and human frailties. © 2013 APA, all rights reserved.
Pedersen, Inge Nygaard
This response to Keynote by Prof. Even Ruud (N)"Music Education and Music Therapy seeks to define these two areas with specific focus on tools and methods for analysis of music as these methods are developed in music therapy. This includes that the music therapist, the music and the client create...
This study evaluated the role of music in acquiring foreign language vocabulary using suggestopedia techniques with 40 technically gifted students. The study found that the effectiveness of different types of music depended on student characteristics including gender, musical ability, foreign language learning ability, and feeling states. (DB)
Brattico, Elvira; Bogert, Brigitte; Jacobsen, Thomas
Music is often studied as a cognitive domain alongside language. The emotional aspects of music have also been shown to be important, but views on their nature diverge. For instance, the specific emotions that music induces and how they relate to emotional expression are still under debate. Here we propose a mental and neural chronometry of the aesthetic experience of music initiated and mediated by external and internal contexts such as intentionality, background mood, attention, and experti...
Cepeda, M S; Carr, D B; Lau, J; Alvarez, H
The efficacy of music for the treatment of pain has not been established. To evaluate the effect of music on acute, chronic or cancer pain intensity, pain relief, and analgesic requirements. We searched The Cochrane Library, MEDLINE, EMBASE, PsycINFO, LILACS and the references in retrieved manuscripts. There was no language restriction. We included randomized controlled trials that evaluated the effect of music on any type of pain in children or adults. We excluded trials that reported results of concurrent non-pharmacological therapies. Data was extracted by two independent review authors. We calculated the mean difference in pain intensity levels, percentage of patients with at least 50% pain relief, and opioid requirements. We converted opioid consumption to morphine equivalents. To explore heterogeneity, studies that evaluated adults, children, acute, chronic, malignant, labor, procedural, or experimental pain were evaluated separately, as well as those studies in which patients chose the type of music. Fifty-one studies involving 1867 subjects exposed to music and 1796 controls met inclusion criteria. In the 31 studies evaluating mean pain intensity there was a considerable variation in the effect of music, indicating statistical heterogeneity ( I(2) = 85.3%). After grouping the studies according to the pain model, this heterogeneity remained, with the exception of the studies that evaluated acute postoperative pain. In this last group, patients exposed to music had pain intensity that was 0.5 units lower on a zero to ten scale than unexposed subjects (95% CI: -0.9 to -0.2). Studies that permitted patients to select the music did not reveal a benefit from music; the decline in pain intensity was 0.2 units, 95% CI (-0.7 to 0.2). Four studies reported the proportion of subjects with at least 50% pain relief; subjects exposed to music had a 70% higher likelihood of having pain relief than unexposed subjects (95% CI: 1.21 to 2.37). NNT = 5 (95% CI: 4 to 13). Three
Liu, L.; Kager, R.W.J.
This study explores the influence of bilingualism on the cognitive processing of language and music. Specifically, we investigate how infants learning a non-tone language perceive linguistic and musical pitch and how bilingualism affects cross-domain pitch perception. Dutch monolingual and bilingual
Sadakata, M.; Desain, P.W.M.; Honing, H.J.; Patel, A.D.; Iversen, J.R.
Recently, there has been evidence that the rhythm in English and French non-vocal musical themes are significantly different in their contrastiveness of successive durations in the same manner as those of spoken language, suggesting that acomposer's native language exerts an influence on the music
Søderberg, Ene Alicia; Odgaard, Rasmus Emil; Bitsch, Sarah
This paper explores the possibility of breaking the barrier between deaf and hearing people when it comes to the subject of making music. Suggestions on how deaf and hearing people can collaborate in creating music together, are presented. The conducted research will focus on deaf people...... with a general interest in music as well as hearing musicians as target groups. Through reviewing different related research areas, it is found that visualization of sound along with a haptic feedback can help deaf people interpret and interact with music. With this in mind, three variations of a collaborative...
Vseviov, David, 1949-
Rmt.: Sergejev, Vladimir ; Vseviov, David. Venemaa - lähedane ja kauge : aegade algusest kuni Vassili III-ni. Tallinn : Valgus, 2002 ; Sergejev, Vladimir ; Vseviov, David. Venemaa - lähedane ja kauge : vürstiriigist tsaaririigiks. Ivan IV. Tallinn : Valgus, 2007.
... DEPARTMENT OF ENERGY Federal Energy Regulatory Commission [Docket No. ID-3716-001] Ellsworth, David C.; Notice of Filing February 25, 2010. Take notice that on February 12, 2010, David C. Ellsworth filed an informational report for authority to hold interlocking positions, pursuant to section 45.9 of...
Koelsch, Stefan; Rohrmeier, Martin; Torrecuso, Renzo; Jentschke, Sebastian
Hierarchical structure with nested nonlocal dependencies is a key feature of human language and can be identified theoretically in most pieces of tonal music. However, previous studies have argued against the perception of such structures in music. Here, we show processing of nonlocal dependencies in music. We presented chorales by J. S. Bach and modified versions in which the hierarchical structure was rendered irregular whereas the local structure was kept intact. Brain electric responses differed between regular and irregular hierarchical structures, in both musicians and nonmusicians. This finding indicates that, when listening to music, humans apply cognitive processes that are capable of dealing with long-distance dependencies resulting from hierarchically organized syntactic structures. Our results reveal that a brain mechanism fundamental for syntactic processing is engaged during the perception of music, indicating that processing of hierarchical structure with nested nonlocal dependencies is not just a key component of human language, but a multidomain capacity of human cognition.
Petersen, Bjørn; Hardgrove Hansen, Roberta; Beyer, Karen
was measured objectively at the beginning and end of the intervention period. For a musical performance reference, test data were collected from a group of normally hearing peers. Results: The children in the music group outperformed the controls in all tests. Their musical discrimination abilities improved......Prelingually deaf children who receive cochlear implants (CI) early can successfully develop age-appropriate language skills provided sufficient intervention measures are initiated. However, little is known about the music perception and enjoyment of these children, though the enhanced development...... in the central auditory system in early-implanted children may benefit music processing. We hypothesized that early-implanted, prelingually deaf children with CI’s, who were exposed to group-oriented music learning activities, would increase their music discrimination skills and — as a potential near transfer...
Ding, Nai; Patel, Aniruddh D; Chen, Lin; Butler, Henry; Luo, Cheng; Poeppel, David
Speech and music have structured rhythms. Here we discuss a major acoustic correlate of spoken and musical rhythms, the slow (0.25-32Hz) temporal modulations in sound intensity and compare the modulation properties of speech and music. We analyze these modulations using over 25h of speech and over 39h of recordings of Western music. We show that the speech modulation spectrum is highly consistent across 9 languages (including languages with typologically different rhythmic characteristics). A different, but similarly consistent modulation spectrum is observed for music, including classical music played by single instruments of different types, symphonic, jazz, and rock. The temporal modulations of speech and music show broad but well-separated peaks around 5 and 2Hz, respectively. These acoustically dominant time scales may be intrinsic features of speech and music, a possibility which should be investigated using more culturally diverse samples in each domain. Distinct modulation timescales for speech and music could facilitate their perceptual analysis and its neural processing. Copyright © 2017 Elsevier Ltd. All rights reserved.
Into the Curriculum. Reading/Language Arts: Hans Christian Andersen [and] Science: Bat Research [and] Science: The Library Media Center Rocks! An Introduction to Rocks, Minerals, and Gemstones [and] Social Studies: Ticket to the Olympics: Exploring Sydney and the 2000 Summer Games [and] Social Studies/Music: Sounds of the Election: Presidential Campaign Songs.
Germain, Claudia; Mayo, Jeanne B.; Hart, Lisa
Provides five fully developed library media activities that are designed for use with specific curriculum units in reading and language arts, science, social studies, and music. Library media skills, curriculum objectives, grade levels, resources, instructional roles, procedures, evaluation, and follow-up are described for each activity. (LRW)
Into the Curriculum. Interdisciplinary: Celebrating Our Animal Friends: An Across-the-Curriculum Unit for Middle Level Students [and] Music: Program Notes [and] Reading-Language Arts: Letters: Written, Licked, and Stamped [and] Science: Plants in Families [and] Science: Physics and Holiday Toys (Gravity) [and] Social Studies: Learning about Geography through Children's Literature.
Gillen, Rose; And Others
Presents six curriculum guides for elementary and secondary education. Subjects include interdisciplinary instruction, music, reading/language arts, science, and social studies. Each guide provides library media skills objectives, curriculum objectives, grade levels, resources, instructional roles, activity and procedures for completion, a…
Carpentier, Sarah M; Moreno, Sylvain; McIntosh, Anthony R
Musical training is frequently associated with benefits to linguistic abilities, and recent focus has been placed on possible benefits of bilingualism to lifelong executive functions; however, the neural mechanisms for such effects are unclear. The aim of this study was to gain better understanding of the whole-brain functional effects of music and second-language training that could support such previously observed cognitive transfer effects. We conducted a 28-day longitudinal study of monolingual English-speaking 4- to 6-year-old children randomly selected to receive daily music or French language training, excluding weekends. Children completed passive EEG music note and French vowel auditory oddball detection tasks before and after training. Brain signal complexity was measured on source waveforms at multiple temporal scales as an index of neural information processing and network communication load. Comparing pretraining with posttraining, musical training was associated with increased EEG complexity at coarse temporal scales during the music and French vowel tasks in widely distributed cortical regions. Conversely, very minimal decreases in complexity at fine scales and trends toward coarse-scale increases were displayed after French training during the tasks. Spectral analysis failed to distinguish between training types and found overall theta (3.5-7.5 Hz) power increases after all training forms, with spatially fewer decreases in power at higher frequencies (>10 Hz). These findings demonstrate that musical training increased diversity of brain network states to support domain-specific music skill acquisition and music-to-language transfer effects.
Geolocative AR concert for Arts Festival of North Norway (Festspillene i Nord-Norge), Harstad, Norge. In cooperation with The Norwegian Academy of Music, Oslo.......Geolocative AR concert for Arts Festival of North Norway (Festspillene i Nord-Norge), Harstad, Norge. In cooperation with The Norwegian Academy of Music, Oslo....
The Caribbean is a rich breeding ground for African-derived music. A synopsis is given of the music of the following countries and styles: (1) Jamaica; (2) Trinidad and Tobago; (3) Calypso; (4) steel pan; (5) Haiti; (6) Dominican Republic; (7) Cuba; (8) Puerto Rico; and (9) other islands. (SLD)
Music has always been an important aspect of teenage life, but with the portability of the newest technological devices, it is harder and harder to separate students from their musical influences. In this article, the author describes a lesson wherein she incorporated their love of song into an engaging art project. In this lesson, she had…
Atkinson, Peter James
In this article I apply the concept of the urban soundscape as developed by Long and Collins (2012) in an analysis of the impact musicians from Hull had on the evolution of David Bowie’s seminal 1972 work The Rise and Fall of Ziggy Stardust and the Spiders from Mars. I argue that the performance of Ziggy Stardust, both on record and on stage, is doubly coded in relation to place and space. The 'concept' of The Rise and Fall of Ziggy Stardust as a musical, a fictional story with songs performe...
The language used in describing autobiographical memories prompted by life period visually presented verbal cues, event-specific visually presented verbal cues and short musical clips of popular music.
Zator, Krysten; Katz, Albert N
Here, we examined linguistic differences in the reports of memories produced by three cueing methods. Two groups of young adults were cued visually either by words representing events or popular cultural phenomena that took place when they were 5, 10, or 16 years of age, or by words referencing a general lifetime period word cue directing them to that period in their life. A third group heard 30-second long musical clips of songs popular during the same three time periods. In each condition, participants typed a specific event memory evoked by the cue and these typed memories were subjected to analysis by the Linguistic Inquiry and Word Count (LIWC) program. Differences in the reports produced indicated that listening to music evoked memories embodied in motor-perceptual systems more so than memories evoked by our word-cueing conditions. Additionally, relative to music cues, lifetime period word cues produced memories with reliably more uses of personal pronouns, past tense terms, and negative emotions. The findings provide evidence for the embodiment of autobiographical memories, and how those differ when the cues emphasise different aspects of the encoded events.
Maxim V. Chaposhnikov
Full Text Available The essay presents the author’s observations about the ingression of Tuvan music into the World Music – a niche of world musical culture covering ethnical music traditions. The author has witnessed the rise of interest to traditional musical culture of Tuva and Russia as well as globalization of Tuvan music. He is endeavoring to interpret these changes and reveal their affect on traditional music and xöömei. In the late Soviet period, traditional music in Tuva, like in many republics of the Union, has been as if put on hold. During the Perestroika and national revival processes, traditionalism became of high demand. Symposia and festivals started off in Tuva where amateur participants took the same stage with professionals. Special honor was paid to old masters of xöömei. Scholars started engaging in discussions about the origins and a role of xöömei and its genres. Хöömei attracted a good deal of market interest from outside Russia. In the late 1980s American scientist and producer T. Levin made first field records of xöömei to be released on a disk. Ethnographic ensemble “Tuva” was established. Later, members of “Tuva” started their own musical bands. Musical programs were compiled as an ethnographic variety show – a principle that the public has been seeking for both in Tuva and abroad. Disks were realeased and artists started active touring in foreign countries. Boosting interest in World Music was marked with hallmark attention to the phenomenon of throat-singing and overtone music, and further evolution of Tuvan music has since been tightly linked to Western musical market. The author traces the peculiarities of such bands as “Huun Huur Tu”, “Yat-Kha”, etc. and remarks that the value of Tuvan music is not only in star performers shining on the Western skies, but in the rise of a stable community of people inspired by Tuvan music and culture, and seeking new ways of aesthetic and spiritual perception of
Medina, Maria del Consuelo
Pre-school listening to music is the principal way that leads to the appreciation of music that later facilitates knowledge and pleasure in the history of music. At the prescholastic age it is a very important aspect of education, and reasons and suggestions will be given. The activities must be brief, the teachers of music can at the most develop the activity every five minutes, leaving time for rest or expansion. Another suitable way to bring the child to music is through stories, which please all children; let them go to an unreal and fantastic world and listen to a story or an exciting adventure. The story then, should be brief, simple, with action, with familiar characters, but with some mystery; some repetitive element; and an ending both surprising and happy. It is preferable to include small folkloric tales from the universal repertoire, with works of simple and clear structure.
may cause detrimental long-term effects. Three studies have examined the effect of music therapy procedural support (MTPS) under needle procedures. Consequently, this study aims at examining the effects of MTPS in an RCT. Moreover, the study addresses clinical aspects of the applied MT intervention...... and provides research-based clinical tools. Methods 41 children (1 to 10 years) were enrolled and underwent a single PIVA procedure. The children were randomly assigned to either an MT or a comparable control group receiving PIVA. In addition, the music therapy (MT) group received individualised MTPS (i.......e. music alternate engagement) before, during, and after PIVA. The intervention was performed by a trained music therapist and comprised preferred songs, improvised songs/music, and instrument playing. The study was carried out in accordance with the rules in force regarding research ethics and clinical MT...
Bigand, Emmanuel; Delbé, Charles; Poulin-Charronnat, Bénédicte; Leman, Marc; Tillmann, Barbara
During the last decade, it has been argued that (1) music processing involves syntactic representations similar to those observed in language, and (2) that music and language share similar syntactic-like processes and neural resources. This claim is important for understanding the origin of music and language abilities and, furthermore, it has clinical implications. The Western musical system, however, is rooted in psychoacoustic properties of sound, and this is not the case for linguistic sy...
Daltrozzo, Jérôme; Schön, Daniele
The cognitive processing of concepts, that is, abstract general ideas, has been mostly studied with language. However, other domains, such as music, can also convey concepts. Koelsch et al. [Koelsch, S., Kasper, E., Sammler, D., Schulze, K., Gunter, T., & Friederici, A. D. Music, language and meaning: Brain signatures of semantic processing. Nature Neuroscience, 7, 302-307, 2004] showed that 10 sec of music can influence the semantic processing of words. However, the length of the musical excerpts did not allow the authors to study the effect of words on musical targets. In this study, we decided to replicate Koelsch et al. findings using 1-sec musical excerpts (Experiment 1). This allowed us to study the reverse influence, namely, of a linguistic context on conceptual processing of musical excerpts (Experiment 2). In both experiments, we recorded behavioral and electrophysiological responses while participants were presented 50 related and 50 unrelated pairs (context/target). Experiments 1 and 2 showed a larger N400 component of the event-related brain potentials to targets following a conceptually unrelated compared to a related context. The presence of an N400 effect with musical targets suggests that music may convey concepts. The relevance of these results for the comprehension of music as a structured set of conceptual units and for the domain specificity of the mechanisms underlying N400 effects are discussed.
Full Text Available This article discusses the representation of animals and nature in selected lyrics from the oeuvre of singer, songwriter and producer David Kramer and considers his engagement with historical and contemporary discourses about human-animal and human-nature interaction in relation to ecological awareness within a South African context. I trace the socio-political commentary voiced through his depiction of animals in the folksongs he wrote during apartheid, especially in lyrics from the album “Baboondogs” (Kramer, 1986. Kramer also employs intertextual references to traditional South African folksongs and tales in his music. Furthermore, the social and environmental significance of Kramer’s representations of nature in a selection of his postapartheid lyrics is investigated. I argue that the pedagogical value of Kramer’s cultural commentary can contribute significantly to the challenge of teaching animal studies and ecocriticism in South African context.
Full Text Available This is a reading of David Mulholland Drive through psychoanalytic approach of Lacan from the perspective of formation of fantasy and shifting identities. Lynch constructs his films consciously choosing his themes from the sub(versive/conscious side of human mind. Previous attempts to read Lynch's films are fixed around the idea that Lynch is using film genres to create postmodern pastiches. Mulholland Drive has been analyzed several times from different approaches ranging from gender (Love, 2004, narratology (Lentzner, 2005; McGowan, 2004; Cook, 2011. Elements of film noir, musical, caper films can be identified in Lynch’s films. This detailed textual analysis intends to rationalize Lynch’s narrative structure through Lacanian terms in reference to Zizekian terminology.
SAMUS: South African Music Studies is accredited with the South African ... Only one submission at a time per author will be considered. 2. Articles ... The Editor reserves the right to make language and punctuation changes and other ... We may require a subvention (page fees) from authors of articles to cover printing costs.
Johanna Rodríguez Ahumada
Full Text Available En la sociedad actual, la relación entre el cuerpo y la tecnología ha planteado una de las fisuras más importantes en la concepción de la subjetividad. La enigmática y fascinante relación entre el humano y la máquina, explorada tanto por el cine como por otros (viejos y nuevos medios en el ámbito de la ciencia ficción, ha planteado la figura del cyborg u organismo cibernético como una criatura híbrida, ambigua, que rompe con la dicotomía naturaleza-artificialidad. ¿Cómo leer los nuevos productos culturales que surgen a raíz de la revolución tecnológica? El objeto de este estudio es Crash (David Cronenberg ,1995, que parte de una interpretación audiovisual de la novela de J.G. Ballard y aborda las fantasías de hibridación del yo con el otro, de lo orgánico con lo inorgánico; en últimas, de cuerpos en tránsito.
Peretz, Isabelle; Hyde, Krista L.
Musical abilities are generally regarded as an evolutionary by-product of more important functions, such as those involved in language. However, there is increasing evidence that humans are born with musical predispositions that develop spontaneously into sophisticated knowledge bases and procedures that are unique to music. Recent findings also suggest that the brain is equipped with music-specific neural networks and that these can be selectively compromised by a congenital anomaly. This results in a disorder, congenital amusia, that appears to be limited to the processing of music. Recent evidence points to fine-grained perception of pitch as the root of musical handicap. Hence, musical abilities appear to depend crucially on the fine-tuning of pitch, in much the same way that language abilities rely on fine time resolution.
Full Text Available The functioning brain behaves like one highly-structured, coherent, informational field. It can be popularly described as a “coherent ball of energy”, making the idea of a local highly-structured quantum field that carries the consciousness very appealing. If that is so, the structure of the experience of music might be a quite unique window into a hidden quantum reality of the brain, and even of life itself. The structure of music is then a mirror of a much more complex, but similar, structure of the energetic field of the working brain. This paper discusses how the perception of music is organized in the human brain with respect to the known tone scales of major and minor. The patterns used by the brain seem to be similar to the overtones of vibrating matter, giving a positive experience of harmonies in major. However, we also like the minor scale, which can explain brain patterns as fractal-like, giving a symmetric “downward reflection” of the major scale into the minor scale. We analyze the implication of beautiful and ugly tones and harmonies for the model. We conclude that when it comes to simple perception of harmonies, the most simple is the most beautiful and the most complex is the most ugly, but in music, even the most disharmonic harmony can be beautiful, if experienced as a part of a dynamic release of musical tension. This can be taken as a general metaphor of painful, yet meaningful, and developing experiences in human life.
Pond, R.C.; Clark, W.A.T.; King, A.H.; Williams, D.B.
Just over a year ago David Smith died. Then the loss of a distinguished scientist and dedicated teacher was mourned. Now it is time to celebrate his accomplishments both as a scientist and teacher and this book serves as a reminder of his many contributions to the field of boundaries and interfaces. Researchers from ten countries contributed their work to the symposium, many of whom were former students of David from his years in Oxford. This emphasizes David's tremendous effect on the career of many established scientists through his role as both a teacher and an advisor. Separate abstracts were prepared for 38 papers in this book
Dr. David Syz, State Secretary for Economic Affairs, Switzerland, toured the assembly hall of the ATLAS experiment on a recent visit to CERN.Photos 01, 02: Dr. Peter Jenni, spokesperson for the ATLAS experiment (second from left), explains to Dr. David Syz (fourth from left) and accompanying visitors the process of integration of a 26-metre-long coil of the barrel toroid magnet system into its coil casing.Photo 03: Dr. Peter Jenni (extreme right) with Dr. David Syz (front row, fourth from right) behind a stack of 26-metre-long 'racetrack' coils awaiting integration into their coil casings.
Full Text Available David Barker is the man who “anticipated" the existence of babies by focusing attention on the importance of the fetus and what takes place during intrauterine life. Barker was one of the physicians who in the last decades brought about the greatest changes in medicine, changes so important as to represent a veritable revolution in medical thought. According to Barker's studies, the embryo obviously has a genetic complement coming from the mother and father, but from the very first stages of development it begins to undergo the influence of the outside environment, just as occurs for adults whose biological, psychological and pathological aspects are influenced by the environment to a not well-established percentage between genetic complement and epigenetics. Much of our future lives as adults is decided in our mothers' wombs. If Barker's discovery was revolutionary from the cultural standpoint, it was even more so from the strictly medical one. Barker's research method was rigid from the methodological standpoint, but innovative and speculative in its working hypotheses, with a humanistic slant. Barker's idea has another practical corollary: it is evident that the role of obstetricians, perinatologists and neonatologists is more and more relevant in medicine and future prevention. Unquestionably, besides the enormous merits of his clinical research, among the benefits that Barker has contributed there is that of having helped us to see things from new points of view. Not only is the neonate (and even more so the fetus not an adult of reduced proportions, but perhaps the neonate is the "father" of the adult person.
Full Text Available Music schools are specific educational institutions which teach children to understand musical language, the rules of musical writing and how to play an instrument. It is assumed that children who enroll in music school have a certain level of “musicality”, i.e. possess musical ability. Starting from this premise, in this paper we wanted to identify the number of musically gifted children, from the total number of children enrolled in the first year of lower music school. The research was conducted on 125 learners who enrolled the first year of Music school Josif Marinkovic in 2014/2015. The paper was organized as a linear study which followed the achievement of learners during the aforementioned school year. The study was conducted by solfeggio and musical instrument teachers. The identification of musical giftedness was followed through the following criteria: recognition and reproduction of tones and intervals, reproduction of rhythmic models and reproduction of short music units. Solfeggio teachers monitored the first two criteria (recognition and reproduction of tones and intervals and reproduction of rhythmic models while musical instrument teachers monitored the other two (reproduction of melody phrases and reproduction of short music units. Achievements were assessed four times during the school year and a comparison of results gathered by solfeggio and musical instrument teacher was conducted. At the end of the school year a result analysis was conducted; the results of which showed that 13 learners who were monitored by solfeggio teachers and 9 learners who were monitored by music instrument teachers successfully completed the criteria. Methods for evaluating the proposed criteria and analysis of the gathered results will be presented in this paper.
Yang, Hua; Ma, Weiyi; Gong, Diankun; Hu, Jiehui; Yao, Dezhong
This study examined the relation between long-term music training and child development based on 250 Chinese elementary school students' academic development of first language (L1), second language (L2), and mathematics. We found that musician children outperformed non-musician children only on musical achievement and second language development. Additionally, although music training appeared to be correlated with children's final academic development of L1, L2, and mathematics, it did not independently contribute to the development of L1 or mathematical skills. Our findings suggest caution in interpreting the positive findings on the non-musical cognitive benefits of music learning. PMID:25068398
Kruse, Adam J.
This article offers considerations for music teachers interested in including hip-hop music in their classrooms but who might feel concerned with or overwhelmed by issues of appropriateness. Two concerns related to hip-hop music are examined: language and negative social themes. Commercial interests in hip-hop music have created a simulacrum (or…
Roederer, Juan G
This book, a classic in its field, deals with the physical systems and physiological processes that intervene in music. It analyzes what objective, physical properties of sound are associated with what subjective psychological sensations of music, and it describes how these sound patterns are actually generated in musical instruments, how they propagate through the environment, and how they are detected by the ear and interpreted in the brain. Using the precise language of science, but without complicated mathematics, the author weaves a close mesh of the physics, psychophysics and neurobiology relevant to music. A prior knowledge of physics, mathematics, neurobiology or psychology is not required to understand most of the book; it is, however, assumed that the reader is familiar with music - in particular, with musical notation, musical scales and intervals, and some of the basics of musical instruments. This new edition presents substantially updated coverage of psychoacoustics, including: • New results f...
National Oceanic and Atmospheric Administration, Department of Commerce — NOAA Ship David Starr Jordan Underway Meteorological Data (delayed ~10 days for quality control) are from the Shipboard Automated Meteorological and Oceanographic...
Maureen Diana Sasso
Full Text Available News AnnouncementDavid A. Nolfi, MLS, AHIP, Health Sciences Librarian & Library Assessment Coordinator at Duquesne University’s Gumberg Library, received the 2013 NAHRS Award for Professional Excellence at the One Health Conference in Boston, MA.
Ülevaade 26. augustil 2003 ajakirja Eurovision peatoimetaja David Hathaway poolt Tallinnas peetud loengust, teemaks Euroopa Liidu negatiivsed mõjud Suurbritannia majanduslikule arengule ja enesemääramisõigusele
Peterson, David J.
USA telekanali HBO telesarjas "Troonide mäng" (mis on George R. R. Martini "Jää ja tule laulu" sarja esimese raamatu "Troonide mäng" teleekraniseering) tegeles dothraki keele loomisega keeleteadlane David J. Peterson
(please choose Danish language to see a German summary) The music therapy education at Aalborg University, Denmark, takes five years of full-time study to accomplish and contains many special disciplines. One of these is called intuitive music. It deals with improvisation training and with the cr......(please choose Danish language to see a German summary) The music therapy education at Aalborg University, Denmark, takes five years of full-time study to accomplish and contains many special disciplines. One of these is called intuitive music. It deals with improvisation training...
Music Engineering is a hands-on guide to the practical aspects of electric and electronic music. It is both a compelling read and an essential reference guide for anyone using, choosing, designing or studying the technology of modern music. The technology and underpinning science are introduced through the real life demands of playing and recording, and illustrated with references to well known classic recordings to show how a particular effect is obtained thanks to the ingenuity of the engineer as well as the musician. In addition, an accompanying companion website containing over 50 specially chosen tracks for download, provides practical demonstrations of the effects and techniques described in the book. Written by a music enthusiast and electronic engineer, this book covers the electronics and physics of the subject as well as the more subjective aspects. The second edition includes an updated Digital section including MPEG3 and fact sheets at the end of each chapter to summarise the key electronics and s...
Ridder, Hanne Mette Ochsner
alternate with clear and lucid mental states. These states are important as it is here that it is possible to meet the person’s psychosocial needs. Ketil Normann’s conceps of periods of lucidity are presented and connected to clinical music therapy practice and how it is possible to use music in order...... as a consequence of person-centred care. Umeå University Medical Dissertations. New Series. Ridder, H.M. (2005). Music therapy as a way to enhance lucidity in persons with dementia in advanced stages. In: Esch, A.; Frohne-Hagemann, I.; Laqua, M.; Schirmer, H.; Seitz, E. (Eds.) Jahrbuch Musicktherapie. Forschung...... und Entwicklung Music Therapy Annual. Research and Development. 2005 (1), pp. 25-40. Reichert Verlag Wiesbaden....
This work outlines the result from the European research project DAVID working with optical packet switch solutions for both WAN and MAN. The project started July 2000 and has been completed successfully by the end of 2003.......This work outlines the result from the European research project DAVID working with optical packet switch solutions for both WAN and MAN. The project started July 2000 and has been completed successfully by the end of 2003....
Tallinnas esitles oma raamatut "Meeletuste ajastu. Nõukogude Liidu allakäik ja langus" Finacial Times'i endine Moskva korrespondent David Satter, tegemist on NL-i viimase viieteistkümne aasta koondkroonikaga. Intervjuus meenutab David Satter oma tööaastaid Moskvas 1976-1982. a., kus ta keskendus põhiliselt ühiskondlik-poliitilistele teemadele, kaasa arvatud dissidentlik liikumine. Suhted võimudega, KGB provokatsioonid
Cross, Ian Ralph
There is a general consensus that music is both universal and communicative, and musical dialogue is a key element in much music-therapeutic practice. However, the idea that music is a communicative medium has, to date, received little attention within the cognitive sciences, and the limited amount of research that addresses how and what music communicates has resulted in findings that appear to be of limited relevance to music therapy. This paper will draw on ethnomusicological evidence and ...
Full Text Available Cognitive neuroscience typically develops hypotheses to explain phenomena that are localized in space and time. Determining functions of brain regions in spatial and temporal isolation is generally regarded as the first step toward understanding the conjoint operation of the whole brain. In other words, if the task of cognitive neuroscience is to interpret the neural code, then the first step has been semantic, searching for the meanings (functions of localized elements, prior to exploring neural syntax, the mutual constraints among elements synchronically and diachronically. Researchers generally assume that neural semantics is a precondition for determining neural syntax. Furthermore, it is often assumed that the syntax of the brain is too complex for our present technology and understanding. A corollary of this view holds that functional MRI lacks the spatial and temporal resolution needed to identify the dynamic syntax of neural computation. This paper examines these assumptions with a novel analysis of fMRI image series, resting on the conjecture that any computational code will exhibit aggregate features that can be detected even if the meaning of the code is unknown. Specifically, computational codes will be sparse or dense in different degrees. A sparse code is one that uses only a few of the many possible patterns of activity (in the brain or symbols (in a human-made code. Considering sparseness at different scales and as measured by different techniques, this approach clearly distinguishes two conventional coding systems, namely, language and music. Considering 99 subjects in three different fMRI protocols, in comparison with 194 musical examples and 700 language passages, it is observed that fMRI activity is more similar to music than it is to language, as measured over single symbols, as well as symbol combinations in pairs and triples. Tools from cognitive musicology may therefore be useful in characterizing the brain as a dynamical
David Mamet's play "Oleanna" may be infamous for reasons that do not do justice to the play's real accomplishments. One reason for the controversy is the author's apparent focus on sexual harassment. The play is not about sexual harassment. It is about power. And in particular the power of language to shape relationships…
Jensenius, Alexander Refsum; Skogstad, Ståle Andreas van Dorp; Nymoen, Kristian
Editors: Alexander Refsum Jensenius, Anders Tveit, Rolf Inge Godøy, Dan Overholt Table of Contents -Tellef Kvifte: Keynote Lecture 1: Musical Instrument User Interfaces: the Digital Background of the Analog Revolution - page 1 -David Rokeby: Keynote Lecture 2: Adventures in Phy-gital Space - page 2 -Sergi Jordà: Keynote Lecture 3: Digital Lutherie and Multithreaded Musical Performance: Artistic, Scientific and Commercial Perspectives - page 3 Paper session A — Monday 30 May ...
Ko, Chia-Hui; Chen, Yi-Yu; Wu, Kuan-Ta; Wang, Shu-Chi; Yang, Jeng-Fu; Lin, Yu-Yin; Lin, Chia-I; Kuo, Hsiang-Ju; Dai, Chia-Yen; Hsieh, Meng-Hsuan
Listening to music can be a noninvasive method for reducing the anxiety level without any adverse effects. The aim of this study was to explore whether music can reduce anxiety and to compare two different styles of music, informal classical music and light music, to ascertain the more effective style of music in reducing anxiety in patients undergoing colonoscopy without sedation. This study enrolled 138 patients who underwent colonoscopy without sedation during a general health examination from February 2009 to January 2015. The patients were randomly assigned to a group that did not listen to music, a group that listened to music by David Tolley, or a group that listened to music by Kevin Kern. The State-Trait Anxiety Inventory was used to evaluate the status of anxiety. A trend test for mild anxiety was performed on the patients in the three groups, and a significant trend was noted (p=0.017 for all patients; p=0.014 for analysis by sex). Multivariate analysis for mild anxiety on the patients in each group was also performed in this study, and music by Kevin Kern was found to have the lowest odds ratio (Odds ratio=0.34, p=0.045). Listening to music, especially music by Kevin Kern, reduced the level of anxiety in patients undergoing colonoscopy examination without sedation. Copyright © 2016. Published by Elsevier Taiwan LLC.
Rolvsjord, Randi; Stige, Brynjulf
In contemporary music therapy as well as in related interdisciplinary fields, the importance of context in relation to theory, research, and practice has been emphasized. However, the word context seems to be used in several different ways and conceptualizations of contextual approaches vary too. The objective of this theoretical article is to clarify traditions of language use in relation to context in music therapy. In reviewing and discussing the literature, we focus on the field of mental health care. When discussing issues related to context, this literature partly focuses on the surroundings of music therapy practice, partly on the ecology of reciprocal influences within and between situations or systems. On this basis, three types of context awareness in music therapy are identified: music therapy in context; music therapy as context; and music therapy as interacting contexts. The identified types of context awareness are exemplified through references to music therapy literature and then discussed in relation to two very different metaphors, namely context as frame and context as link. Implications for practice, research, and theory development in music therapy are suggested.
Rolvsjord, Randi; Stige, Brynjulf
In contemporary music therapy as well as in related interdisciplinary fields, the importance of context in relation to theory, research, and practice has been emphasized. However, the word context seems to be used in several different ways and conceptualizations of contextual approaches vary too. The objective of this theoretical article is to clarify traditions of language use in relation to context in music therapy. In reviewing and discussing the literature, we focus on the field of mental health care. When discussing issues related to context, this literature partly focuses on the surroundings of music therapy practice, partly on the ecology of reciprocal influences within and between situations or systems. On this basis, three types of context awareness in music therapy are identified: music therapy in context; music therapy as context; and music therapy as interacting contexts. The identified types of context awareness are exemplified through references to music therapy literature and then discussed in relation to two very different metaphors, namely context as frame and context as link. Implications for practice, research, and theory development in music therapy are suggested. PMID:26157199
Full Text Available Is there something special about the way music communicates feelings? Theorists since Meyer (1956 have attempted to explain how music could stimulate varied and subtle affective experiences by violating learned expectancies, or by mimicking other forms of social interaction. Our proposal is that music speaks to the brain in its own language; it need not imitate any other form of communication. We review recent theoretical and empirical literature, which suggests that all conscious processes consist of dynamic neural events, produced by spatially dispersed processes in the physical brain. Intentional thought and affective experience arise as dynamical aspects of neural events taking place in multiple brain areas simultaneously. At any given moment, this content comprises a unified scene that is integrated into a dynamic core through synchrony of neuronal oscillations. We propose that 1 neurodynamic synchrony with musical stimuli gives rise to musical qualia including tonal and temporal expectancies, and that 2 music-synchronous responses couple into core neurodynamics, enabling music to directly modulate core affect. Expressive music performance, for example, may recruit rhythm-synchronous neural responses to support affective communication. We suggest that the dynamic relationship between musical expression and the experience of affect presents a unique opportunity for the study of emotional experience. This may help elucidate the neural mechanisms underlying arousal and valence, and offer a new approach to exploring the complex dynamics of the how and why of emotional experience.
McMillin, Larry Max
David Q. Wark, a research meteorologist at the National Environmental Satellite, Data, and Information Service of the National Oceanic and Atmospheric Administration (NOAA/NESDIS) and its predecessor organizations for 55 years, died of cancer 30 July 2002. He will be long remembered for his seminal contributions to the weather satellite program. A pioneer in the use of satellite sensors to provide observations of the Earth's environment for application to weather forecasting and atmospheric science, Dr. Wark was noted for his brilliant insights, dedication, and exceptional scientific achievements. He developed many of the theoretical and experimental techniques on which NOAA's current multi- billion-dollar meteorological satellite program is based. In the 1960's and early 1970's, he and his NOAA colleague Donald Hilleary were the motivating force and principal investigators for the first satellite instruments dedicated to sounding the atmosphere for temperature and water-vapor. These instruments included the Satellite Infra-Red Spectrometer (SIRS)-A and -B and the Vertical Temperature Profile Radiometer (VTPR), which were flown on NASA's Nimbus satellites and NOAA's ITOS-D satellites, respectively. With colleague Henry Fleming, he formulated the radiative transfer equation that quantifies the spectral radiances of the Earth and its atmosphere (measured at satellite altitude) and inverted that equation mathematically to infer the atmospheric temperature profile from satellite-based measurements of those radiances. A difficulty they had to overcome was that the mathematical problem is ill-posed, i.e., it admits of an infinite number of solutions. They arrived at a unique solution via an innovative application of a-priori information on the atmospheric state. This work was described in the landmark 1965 Wark and Fleming paper in the American Meteorological Society's Monthly Weather Review. From that early period until just weeks before his death, Dr. Wark continued
Music therapy can meet the basic needs of children with special needs, such as behavioral problems, attention skills, social skills, emotional needs and intersubjective skills. In addition cognitive skills can be strengthened if the basic needs are fulfilled. The lecture gives an overview...... by Malloch & Trevarthen (2009) as inborn ‘communicative musicality’. Communicative musicality provides the ground for early interplay and attachment, cognitive development and language, and characterizes human interplay throughout the life. For children who cannot join into a normal development music can...... of the current music therapy research in the field, i.e. the results of effect studies as well as research focusing on how music therapy works or why we can see this effect. The developmental psychology, informed by the infant research and neuro-affective psychology, gives a ground to understand what development...
Miller, Sylvia L.
David Fulmer Bender died in San Diego, California, on 13 September 2004, at the age of 91. His heart stopped suddenly while he was dancing. His pioneering work in establishing comprehensive, computer-accessible ephemerides of asteroids and comets found many applications, including the first-ever visit to an asteroid, Gaspra, by an interplanetary spacecraft. Dave was born in Reno, Nevada, on 10 February 1913, to Homer Charles Bender and Susan Bowers Bender. The family moved to Spokane, Washington, while Dave was very young. His father was a civil engineer and a graduate of MIT, who helped design bridges and dams throughout the Northwest, including the Grand Coolie Dam. Dave had a brother, Phillip (now deceased), who was one year younger. Advancing rapidly in the Spokane school system, Dave finished high school when he was 15 years old. At 16 he moved to Pasadena, California, and began his studies at the California Institute of Technology (Caltech). In addition to pursuing his course work, he was active in track and football, a tendency toward physical exercise that stayed with him for the rest of his life. It was probably during these years that Dave heard a lecture by Albert Einstein, as mentioned to colleagues many years later. Dave received a BS degree in physics in 1933, an MS in 1934, and a PhD in 1937, all from Caltech. His dissertation was entitled, "The Index of Refraction of Air in the Photographic Infrared." During his sophomore year he found his way to Pomona College in Claremont, California, where he met his future wife, Elizabeth Boyden at a social gathering. They were married in 1935. Dave's academic career spanned the years from 1937 to 1970, initially at Louisiana State University, Vanderbilt University, and then Fisk. As a life-long pacifist and conscientious objector, Dave served alternate duty during World War II. In 1946 he joined the faculty of the physics department at Whittier College in California, where he became the department chair and
Because emotions enhance memory processes and music evokes strong emotions, music could be involved in forming memories, either about pieces of music or about episodes and information associated with particular music. A recent study in BMC Neuroscience has given new insights into the role of emotion in musical memory. Music has a prominent role in the everyday life of many people. Whether it is for recreation, distraction or mood enhancement, a lot of people listen to music from early in t...
Dannenberg, Roger B.
Human Computer Music Performance (HCMP) is the study of music performance by live human performers and real-time computer-based performers. One goal of HCMP is to create a highly autonomous artificial performer that can fill the role of a human, especially in a popular music setting. This will require advances in automated music listening and understanding, new representations for music, techniques for music synchronization, real-time human-computer communication, music generation, sound synt...
Rolvsjord, Randi; Stige, Brynjulf
In contemporary music therapy as well as in related interdisciplinary fields, the importance of context in relation to theory, research, and practice has been emphasized. However, the word context seems to be used in several different ways and conceptualizations of contextual approaches vary too. The objective of this theoretical article is to clarify traditions of language use in relation to context in music therapy. In reviewing and discussing the literature, we focus on t...
Collective Review: Sandor S. Feldman (1959). Mannerisms of Speech and Gestures in Everyday Life / David McNeill (Ed.) (2000). Language and Gesture / Jan Bremmer & Herman Rooddenburg (Eds.) (1991). A Cultural History of Gesture. From Antiquity to the Present Day / Jean-Claude Schmitt (1992). Die Logik der Gesten im europäischen Mittelalter
Michael B. Buchholz
Language and gestures are traditionally viewed. New approaches try to combine them and see language and gesture as produced by interacting, and embodied minds challenge our understanding of what language is. I try to remind readers of the work by Sandor S. FELDMAN who as a psychoanalyst began to observe gestural manierisms of his patients and considered them a "window to the mind". This formulation than is used by psycholinguist McNEILL, editor of a volume focusing on this theme half a centur...
Gfeller, Kate; Driscoll, Virginia; Kenworthy, Maura; Van Voorst, Tanya
This paper provides research and clinical information relevant to music therapy for preschool children who use cochlear implants (CI). It consolidates information from various disciplinary sources regarding (a) cochlear implantation of young prelingually-deaf children (~age 2-5), (b) patterns of auditory and speech-language development, and (c) research regarding music perception of children with CIs. This information serves as a foundation for the final portion of the article, which describes typical music therapy goals and examples of interventions suitable for preschool children. PMID:23904691
Vuust, Peter; Roepstorff, Andreas
The relationship between music and language is fiercely debated in the modern literature of neuroscience and music. Here, we argue that a musicological study of online communication between jazz musicians in combination with brain imaging studies offers a unique setting for evalu- ating...... communicational aspects of music practices that rarely enter the present discourse on the subject. We employ Miles Davis’ quintet of the 1960s and its use of polyrhythmic structures as a general example of a jazz group focusing on communication. First, we consider jazz in the light of Roman Jakobson’s model...
Full Text Available It is not widely known that Dimitri Mitropoulos first public appearances in Greece were as a composer. His early works (ca. 1912-1924, distinguished by the blend of elements of the late-romantic style with intensely impressionistic references, reflect the search for a personal, 'advanced' harmonic musical language. In his works written after 1924, Mitropoulos abandons tonality and adopts more modern idioms of composition (atonality and 12-tone method. He is the first Greek composer to follow the modern musical tendencies of Europe, when music by Manolis Kalomiris and the other composers of the Greek National School was dominant in Greece.
MUSIC ON THE LAWN 2011 As part of the Fete de la Musique 2011, the CERN MusiClub is organizing Music on the Lawn, an informal concert for Club musicians/bands. The event will take place from 14h00 to 20h00 on Saturday 25th June on the terrace of restaurant no 1. This year 8 MusiClub bands will be performing… WOT Home Cookin’ Picture Flame DANGLERZ The Nearlies RISE A Drop of Red The Groovy Gang So put the date in your diaries and spend a sunny afternoon listening to some great live music (and unlike Paleo and Montreux it’s FREE!!!!) For more information on the CERN MusiClub see http://muzipod.free.fr/
Goldbart, Paul M.
How deeply honoured I am to have the opportunity to express my thoughts at this delightful celebration of David's achievements, so far, in his remarkable career. I have been asked to center my remarks on David's contributions to the mentoring and professional development of scientists early in their careers. This is a topic that I am more than happy to reflect on, because it gives me the opportunity to recall the exciting period I spent as one of David's postgraduate students at Imperial College in the early 1980s. It also gives me the chance to publicly express my gratitude to David for the opportunities he created for me at that time, as well as for the interest and care he has shown in my career and well-being ever since, as we have met up and exchanged news and ideas around the world: in New Mexico and Colorado, in Cancun, Paris and Trieste, at numerous March Meetings of the American Physical Society and, of course in London, Oxford, and my home town, Champaign-Urbana, location of the University of Illinois. I have been a member of David's circle for 25 years now, and I would like to tell you a little about how this came to be. Not because of what this says about me, but, rather, because of what it tells you about David and the rich generosity of his spirit and effort when it comes to supporting the underdog. I was indeed one such underdog—and that's putting it charitably—when I first met David in September of 1982, not long before the academic year was to begin. I had heard about the exciting circle of physical and mathematical ideas swirling around the spin glass question during the previous year, which I had spent at the University of California's Los Angeles campus, through an opportunity kindly arranged, as it happens, by Sam Edwards. But I was eager to return to the UK for postgraduate studies and to work on spin glasses, so I simply showed up at David's Imperial College office, unannounced (if I remember correctly). And with his characteristic
Patrick C M Wong
Full Text Available The strong association between music and speech has been supported by recent research focusing on musicians' superior abilities in second language learning and neural encoding of foreign speech sounds. However, evidence for a double association--the influence of linguistic background on music pitch processing and disorders--remains elusive. Because languages differ in their usage of elements (e.g., pitch that are also essential for music, a unique opportunity for examining such language-to-music associations comes from a cross-cultural (linguistic comparison of congenital amusia, a neurogenetic disorder affecting the music (pitch and rhythm processing of about 5% of the Western population. In the present study, two populations (Hong Kong and Canada were compared. One spoke a tone language in which differences in voice pitch correspond to differences in word meaning (in Hong Kong Cantonese, /si/ means 'teacher' and 'to try' when spoken in a high and mid pitch pattern, respectively. Using the On-line Identification Test of Congenital Amusia, we found Cantonese speakers as a group tend to show enhanced pitch perception ability compared to speakers of Canadian French and English (non-tone languages. This enhanced ability occurs in the absence of differences in rhythmic perception and persists even after relevant factors such as musical background and age were controlled. Following a common definition of amusia (5% of the population, we found Hong Kong pitch amusics also show enhanced pitch abilities relative to their Canadian counterparts. These findings not only provide critical evidence for a double association of music and speech, but also argue for the reconceptualization of communicative disorders within a cultural framework. Along with recent studies documenting cultural differences in visual perception, our auditory evidence challenges the common assumption of universality of basic mental processes and speaks to the domain generality of
Wong, Patrick C. M.; Ciocca, Valter; Chan, Alice H. D.; Ha, Louisa Y. Y.; Tan, Li-Hai; Peretz, Isabelle
The strong association between music and speech has been supported by recent research focusing on musicians' superior abilities in second language learning and neural encoding of foreign speech sounds. However, evidence for a double association—the influence of linguistic background on music pitch processing and disorders—remains elusive. Because languages differ in their usage of elements (e.g., pitch) that are also essential for music, a unique opportunity for examining such language-to-music associations comes from a cross-cultural (linguistic) comparison of congenital amusia, a neurogenetic disorder affecting the music (pitch and rhythm) processing of about 5% of the Western population. In the present study, two populations (Hong Kong and Canada) were compared. One spoke a tone language in which differences in voice pitch correspond to differences in word meaning (in Hong Kong Cantonese, /si/ means ‘teacher’ and ‘to try’ when spoken in a high and mid pitch pattern, respectively). Using the On-line Identification Test of Congenital Amusia, we found Cantonese speakers as a group tend to show enhanced pitch perception ability compared to speakers of Canadian French and English (non-tone languages). This enhanced ability occurs in the absence of differences in rhythmic perception and persists even after relevant factors such as musical background and age were controlled. Following a common definition of amusia (5% of the population), we found Hong Kong pitch amusics also show enhanced pitch abilities relative to their Canadian counterparts. These findings not only provide critical evidence for a double association of music and speech, but also argue for the reconceptualization of communicative disorders within a cultural framework. Along with recent studies documenting cultural differences in visual perception, our auditory evidence challenges the common assumption of universality of basic mental processes and speaks to the domain generality of culture
Wong, Patrick C M; Ciocca, Valter; Chan, Alice H D; Ha, Louisa Y Y; Tan, Li-Hai; Peretz, Isabelle
The strong association between music and speech has been supported by recent research focusing on musicians' superior abilities in second language learning and neural encoding of foreign speech sounds. However, evidence for a double association--the influence of linguistic background on music pitch processing and disorders--remains elusive. Because languages differ in their usage of elements (e.g., pitch) that are also essential for music, a unique opportunity for examining such language-to-music associations comes from a cross-cultural (linguistic) comparison of congenital amusia, a neurogenetic disorder affecting the music (pitch and rhythm) processing of about 5% of the Western population. In the present study, two populations (Hong Kong and Canada) were compared. One spoke a tone language in which differences in voice pitch correspond to differences in word meaning (in Hong Kong Cantonese, /si/ means 'teacher' and 'to try' when spoken in a high and mid pitch pattern, respectively). Using the On-line Identification Test of Congenital Amusia, we found Cantonese speakers as a group tend to show enhanced pitch perception ability compared to speakers of Canadian French and English (non-tone languages). This enhanced ability occurs in the absence of differences in rhythmic perception and persists even after relevant factors such as musical background and age were controlled. Following a common definition of amusia (5% of the population), we found Hong Kong pitch amusics also show enhanced pitch abilities relative to their Canadian counterparts. These findings not only provide critical evidence for a double association of music and speech, but also argue for the reconceptualization of communicative disorders within a cultural framework. Along with recent studies documenting cultural differences in visual perception, our auditory evidence challenges the common assumption of universality of basic mental processes and speaks to the domain generality of culture
Kaelen, Mendel; Giribaldi, Bruna; Raine, Jordan; Evans, Lisa; Timmermann, Christopher; Rodriguez, Natalie; Roseman, Leor; Feilding, Amanda; Nutt, David; Carhart-Harris, Robin
The article The hidden therapist: evidence for a central role of music in psychedelic therapy, written by Mendel Kaelen, Bruna Giribaldi, Jordan Raine, Lisa Evans, Christopher Timmerman, Natalie Rodriguez, Leor Roseman, Amanda Feilding, David Nutt, Robin Carhart-Harris, was originally published electronically on the publisher's internet portal.
Petersen, Bjørn; Sørensen, Stine Derdau; Pedersen, Ellen Raben
The purpose of this study was to examine 1) the potential effects of an intensive musical ear training program on the perception of music and speech in prelingually hearing impaired adolescent cochlear implant (CI) users and 2) these adolescents’ music engagement. Eleven adolescent CI users parti...... and repetitive focus on language, articulation, rhythm and rhyme and might even represent a possible form of artistic expression for some of the young CI users....
Frost, Darrel R.; McDiarmid, Roy W.; Mendelson, Joseph R.
The Point of View by Gregory Pauly, David Hillis, and David Cannatella misrepresents the motives and activities of the anuran subcommittee of the Scientific and Standard English Names Committee, contains a number of misleading statements, omits evidence and references to critical literature that have already rejected or superseded their positions, and cloaks the limitations of their nomenclatural approach in ambiguous language. Their Point of View is not about promoting transparency in the process of constructing the English Names list, assuring that its taxonomy is adequately reviewed, or promoting nomenclatural stability in any global sense. Rather, their Point of View focuses in large part on a single publication, The Amphibian Tree of Life, which is formally unrelated to the Standard English Names List, and promotes an approach to nomenclature mistakenly asserted by them to be compatible with both the International Code of Zoological Nomenclature and one of its competitors, the PhyloCode.
Dannenberg, Roger B.
Because music is not objectively descriptive or representational, the subjective qualities of music seem to be most important. Style is one of the most salient qualities of music, and in fact most descriptions of music refer to some aspect of musical style. Style in music can refer to historical periods, composers, performers, sonic texture, emotion, and genre. In recent years, many aspects of music style have been studied from the standpoint of automation: How can musical style be recognized and synthesized? An introduction to musical style describes ways in which style is characterized by composers and music theorists. Examples are then given where musical style is the focal point for computer models of music analysis and music generation.
Leist, Christine Pollard
Kirsten Fink-Jensen offers music educators new insights on lesson planning and engagement with students through careful observation and reflective interpretation of active student involvement in music. She suggests that the phenomenon of musical attunement, including facial expressions, gestures, language, and movements that are articulated…
Soley, Gaye; Hannon, Erin E.
Infants prefer native structures such as familiar faces and languages. Music is a universal human activity containing structures that vary cross-culturally. For example, Western music has temporally regular metric structures, whereas music of the Balkans (e.g., Bulgaria, Macedonia, Turkey) can have both regular and irregular structures. We…
Foran, Lucille M.
Early education teachers are familiar with using music and rhythm as tools for learning language and building memory. However, the potential of music to help across all special education settings is largely unexplored. Work with music has been widely judged helpful in cases of psychological trauma, yet people do not know why it is helpful. The…
Pannese, Alessia; Rappaz, Marc-André; Grandjean, Didier
Music is often described in terms of emotion. This notion is supported by empirical evidence showing that engaging with music is associated with subjective feelings, and with objectively measurable responses at the behavioural, physiological, and neural level. Some accounts, however, reject the idea that music may directly induce emotions. For example, the 'paradox of negative emotion', whereby music described in negative terms is experienced as enjoyable, suggests that music might move the listener through indirect mechanisms in which the emotional experience elicited by music does not always coincide with the emotional label attributed to it. Here we discuss the role of metaphor as a potential mediator in these mechanisms. Drawing on musicological, philosophical, and neuroscientific literature, we suggest that metaphor acts at key stages along and between physical, biological, cognitive, and contextual processes, and propose a model of music experience in which metaphor mediates between language, emotion, and aesthetic response. Copyright © 2016 Elsevier Inc. All rights reserved.
Reschke-Hernández, Alaine E
The purpose of this paper is to provide a systematic review of the history of music therapy research and treatment of children with autism. Understanding such history is important in order to improve clinical efficacy and inform future research. This paper includes a history of autism diagnosis, reviews strengths and limitations of music therapy practice with children with autism from 1940-2009, and suggests direction for future music therapy research and clinical practice with this population. Literature was limited to the English language and obtained with the following search terms: autism, autistic, (early) infantile autism, child, therapeutic music, musical therapy, and music therapy. Table of contents from music therapy journals were searched, and reference lists from obtained articles were perused for additional articles. This historical review focused primarily on journal articles, however, books and book chapters that appeared to hold particular historical significance were also included.
Molnar-Szakacs, Istvan; Overy, Katie
The ability to create and enjoy music is a universal human trait and plays an important role in the daily life of most cultures. Music has a unique ability to trigger memories, awaken emotions and to intensify our social experiences. We do not need to be trained in music performance or appreciation to be able to reap its benefits-already as infants, we relate to it spontaneously and effortlessly. There has been a recent surge in neuroimaging investigations of the neural basis of musical experience, but the way in which the abstract shapes and patterns of musical sound can have such profound meaning to us remains elusive. Here we review recent neuroimaging evidence and suggest that music, like language, involves an intimate coupling between the perception and production of hierarchically organized sequential information, the structure of which has the ability to communicate meaning and emotion. We propose that these aspects of musical experience may be mediated by the human mirror neuron system.
Dawson, Caitlin; Aalto, Daniel; Šimko, Juraj; Vainio, Martti; Tervaniemi, Mari
Musical experiences and native language are both known to affect auditory processing. The present work aims to disentangle the influences of native language phonology and musicality on behavioral and subcortical sound feature processing in a population of musically diverse Finnish speakers as well as to investigate the specificity of enhancement from musical training. Finnish speakers are highly sensitive to duration cues since in Finnish, vowel and consonant duration determine word meaning. Using a correlational approach with a set of behavioral sound feature discrimination tasks, brainstem recordings, and a musical sophistication questionnaire, we find no evidence for an association between musical sophistication and more precise duration processing in Finnish speakers either in the auditory brainstem response or in behavioral tasks, but they do show an enhanced pitch discrimination compared to Finnish speakers with less musical experience and show greater duration modulation in a complex task. These results are consistent with a ceiling effect set for certain sound features which corresponds to the phonology of the native language, leaving an opportunity for music experience-based enhancement of sound features not explicitly encoded in the language (such as pitch, which is not explicitly encoded in Finnish). Finally, the pattern of duration modulation in more musically sophisticated Finnish speakers suggests integrated feature processing for greater efficiency in a real world musical situation. These results have implications for research into the specificity of plasticity in the auditory system as well as to the effects of interaction of specific language features with musical experiences. PMID:28450829
Dawson, Caitlin; Aalto, Daniel; Šimko, Juraj; Vainio, Martti; Tervaniemi, Mari
Musical experiences and native language are both known to affect auditory processing. The present work aims to disentangle the influences of native language phonology and musicality on behavioral and subcortical sound feature processing in a population of musically diverse Finnish speakers as well as to investigate the specificity of enhancement from musical training. Finnish speakers are highly sensitive to duration cues since in Finnish, vowel and consonant duration determine word meaning. Using a correlational approach with a set of behavioral sound feature discrimination tasks, brainstem recordings, and a musical sophistication questionnaire, we find no evidence for an association between musical sophistication and more precise duration processing in Finnish speakers either in the auditory brainstem response or in behavioral tasks, but they do show an enhanced pitch discrimination compared to Finnish speakers with less musical experience and show greater duration modulation in a complex task. These results are consistent with a ceiling effect set for certain sound features which corresponds to the phonology of the native language, leaving an opportunity for music experience-based enhancement of sound features not explicitly encoded in the language (such as pitch, which is not explicitly encoded in Finnish). Finally, the pattern of duration modulation in more musically sophisticated Finnish speakers suggests integrated feature processing for greater efficiency in a real world musical situation. These results have implications for research into the specificity of plasticity in the auditory system as well as to the effects of interaction of specific language features with musical experiences.
Because emotions enhance memory processes and music evokes strong emotions, music could be involved in forming memories, either about pieces of music or about episodes and information associated with particular music. A recent study in BMC Neuroscience has given new insights into the role of emotion in musical memory. PMID:18710596
Welch, Graham F.
The challenge for music education is to nurture and develop each individual's basic musicality. Assuming normal neurological functioning and development, we are all musical. Our musical development begins pre-birth, with musical behaviours in one form or another being evident across the lifespan. Nevertheless, early enculturation can both foster…
Because emotions enhance memory processes and music evokes strong emotions, music could be involved in forming memories, either about pieces of music or about episodes and information associated with particular music. A recent study in BMC Neuroscience has given new insights into the role of emotion in musical memory.
Adams, Mark C.
To better serve students' evolving needs in music, music educators must connect classroom learning with how students use and interact with music in their daily lives. One way to accomplish this is by approaching classrooms with the music user in mind, which can open new possibilities for meaningful music making and remove students from the…
Kaper, H. G.; Tipei, S.
In this article we have outlined a formal framework for an abstract approach to music and music composition. The model is formulated in terms of objects that have attributes, obey relationships, and are subject to certain well-defined operations. The motivation for this approach uses traditional terms and concepts of music theory, but the approach itself is formal and uses the language of mathematics. The universal object is an audio wave; partials, sounds, and compositions are special objects, which are placed in a hierarchical order based on time scales. The objects have both static and dynamic attributes. When we realize a composition, we assign values to each of its attributes: a (scalar) value to a static attribute, an envelope and a size to a dynamic attribute. A composition is then a trajectory in the space of aural events, and the complex audio wave is its formal representation. Sounds are fibers in the space of aural events, from which the composer weaves the trajectory of a composition. Each sound object in turn is made up of partials, which are the elementary building blocks of any music composition. The partials evolve on the fastest time scale in the hierarchy of partials, sounds, and compositions. The ideas outlined in this article are being implemented in a digital instrument for additive sound synthesis and in software for music composition. A demonstration of some preliminary results has been submitted by the authors for presentation at the conference.
Full Text Available Numerous arguments in the recent neuroscientific literature support the use of musical training as a therapeutic tool among the arsenal already available to therapists and educators for treating children with dyslexia. In the present study, we tested the efficacy of a specially-designed Cognitivo-Musical Training (CMT protocol based upon three principles : 1- music-language analogies : training dyslexics with music could contribute to improve brain circuits which are common to music and language processes; 2 – the temporal and rhythmic features of music, which could exert a positive effect on the multiple dimensions of the temporal deficit characteristic of dyslexia; and 3- cross-modal integration, based on converging evidence of impaired connectivity in dyslexia and related disorders. Accordingly, we developed a series of musical exercises involving jointly and simultaneously sensory (visual, auditory, somatosensory and motor systems, with special emphasis on rhythmic perception and production in addition to intensive training of various features of the musical auditory signal. Two separate studies were carried out, one in which dyslexic children received intensive musical exercises concentrated over 18 hours during three consecutive days, and the other in which the 18 hours of musical training were spread over six weeks. Both studies showed significant improvements in some untrained, linguistic and non-linguistic variables. The first one yielded significant improvement in categorial perception and auditory perception of temporal components of speech. The second study revealed additional improvements in auditory attention, phonological awareness (syllable fusion, reading abilities and repetition of pseudo-words. Importantly, most improvements persisted after an untrained period of 6 weeks. These results provide new additional arguments for using music as part of systematic therapeutic and instructional practice for dyslexic children.
Full Text Available Whether music and language evolved independently of each other or whether both evolved from a common precursor remains a hotly debated topic. We here emphasize the role of vowels in the language-music relationship, arguing for a shared heritage of music and speech. Vowels play a decisive role in generating the sound or sonority of syllables, the main vehicles for transporting prosodic information in speech and singing. Timbre is, beyond question, the primary parameter that allows us to discriminate between different vowels, but vowels also have intrinsic pitch, intensity, and duration. There are striking correspondences between the number of vowels and the number of pitches in musical scales across cultures: an upper limit of roughly 12 elements, a lower limit of 2, and a frequency peak at 5–7 elements. Moreover, there is evidence for correspondences between vowels and scales even in specific cultures, e.g., cultures with three vowels tend to have tritonic scales. We report a match between vowel pitch and musical pitch in meaningless syllables of Alpine yodelers, and highlight the relevance of vocal timbre in the music of many non-Western cultures, in which vocal timbre/vowel timbre and musical melody are often intertwined. Studies showing the pivotal role of vowels and their musical qualities in the ontogeny of language and in infant directed speech, will be used as further arguments supporting the hypothesis that music and speech evolved from a common prosodic precursor, where the vowels exhibited both pitch and timbre variations.
García-Casares, N; Berthier Torres, M L; Froudist Walsh, S; González-Santos, P
The study of the neural networks involved in music processing has received less attention than work researching the brain's language networks. For the last two decades there has been a growing interest in discovering the functional mechanisms of the musical brain and understanding those disorders in which brain regions linked with perception and production of music are damaged. Congenital and acquired musical deficits in their various forms (perception, execution, music-memory) are grouped together under the generic term amusia. In this selective review we present the "cutting edge" studies on the cognitive and neural processes implicated in music and the various forms of amusia. Musical processing requires a large cortico-subcortical network which is distributed throughout both cerebral hemispheres and the cerebellum. The analysis of healthy subjects using functional neuroimaging and examination of selective deficits (e.g., tone, rhythm, timbre, melodic contours) in patients will improve our knowledge of the mechanisms involved in musical processing and the latter's relationship with other cognitive processes. Copyright © 2011 Sociedad Española de Neurología. Published by Elsevier Espana. All rights reserved.
Liu, Liquan; Kager, René
This study explores the influence of bilingualism on the cognitive processing of language and music. Specifically, we investigate how infants learning a non-tone language perceive linguistic and musical pitch and how bilingualism affects cross-domain pitch perception. Dutch monolingual and bilingual infants of 8-9 months participated in the study. All infants had Dutch as one of the first languages. The other first languages, varying among bilingual families, were not tone or pitch accent languages. In two experiments, infants were tested on the discrimination of a lexical (N = 42) or a violin (N = 48) pitch contrast via a visual habituation paradigm. The two contrasts shared identical pitch contours but differed in timbre. Non-tone language learning infants did not discriminate the lexical contrast regardless of their ambient language environment. When perceiving the violin contrast, bilingual but not monolingual infants demonstrated robust discrimination. We attribute bilingual infants' heightened sensitivity in the musical domain to the enhanced acoustic sensitivity stemming from a bilingual environment. The distinct perceptual patterns between language and music and the influence of acoustic salience on perception suggest processing diversion and association in the first year of life. Results indicate that the perception of music may entail both shared neural network with language processing, and unique neural network that is distinct from other cognitive functions.
Australia is forged by ongoing migration, welcoming a range of cultures, languages and ethnicities, celebrating a diverse range of the Arts. In this multicultural society, music and dance may serve as a positive medium to transmit and promote social cohesion. I argue that the inclusion of innovative and immersive practice of African music in…
Nordquist, Alice L.
The natural musicality so often present in children's singing can begin to fade as the focus of a lesson shifts to the process of reading and writing conventional notation symbols. Approaching the study of music from a linguistic perspective preserves the pace and flow that is inherent in spoken language and song. SongWorks teaching practices…
Popular music in Chinese languages both reflects and influences how its audiences perceive themselves and their position in the world around them. This book analyses the role of popular music in identity formation through detailed comparisons of the pop star Faye Wong, the rock band Second Hand Rose
Sadakata, M.; Zanden, L.D.T. van der; Sekiyama, K.
The current study reports specific cases in which a positive transfer of perceptual ability from the music domain to the language domain occurs. We tested whether musical training enhances discrimination and identification performance of L2 speech sounds (timing features, nasal consonants and
Rubin, Daniel Ian
It is essential that language arts teachers attempt to incorporate nonprint materials in their classrooms, such as music, film, and art, to involve, engage, and motivate a new generation of students. Using music in the classroom has shown to be effective from the elementary school level all the way to the university level. Using various forms of…
Discusses the development of DW3 (Duke World Wide Web) Classical Music Resources, a vertical portal that comprises the most comprehensive collection of classical music resources on the Web with links to more than 2800 non-commercial pages/sites in over a dozen languages. Describes the hierarchical organization of subject headings and considers…
Mark, Um; Kihwan, Kim
The 2012 Nobel prize in physics was awarded to David Wineland, together with Serge Haroche. David Wineland received the prize for ground-breaking experimental methods that enabled the measurement and manipulation of individual quantum systems, especially systems with trapped ions. He improved a trapped ion system and opened a new quantum world leading to quantum computation. He also realized optical atomic ion clocks with unprecedented precision through his experimental research. This article briefly reviews the history of trapped ion systems, the development of trapped-ion based quantum computation, and the development of the atomic ion clock, which are closely related to Wineland's achievements. (authors)
Cheng, Xiaoting; Liu, Yangwenyi; Shu, Yilai; Tao, Duo-Duo; Wang, Bing; Yuan, Yasheng; Galvin, John J; Fu, Qian-Jie; Chen, Bing
Due to limited spectral resolution, cochlear implants (CIs) do not convey pitch information very well. Pitch cues are important for perception of music and tonal language; it is possible that music training may improve performance in both listening tasks. In this study, we investigated music training outcomes in terms of perception of music, lexical tones, and sentences in 22 young (4.8 to 9.3 years old), prelingually deaf Mandarin-speaking CI users. Music perception was measured using a melodic contour identification (MCI) task. Speech perception was measured for lexical tones and sentences presented in quiet. Subjects received 8 weeks of MCI training using pitch ranges not used for testing. Music and speech perception were measured at 2, 4, and 8 weeks after training was begun; follow-up measures were made 4 weeks after training was stopped. Mean baseline performance was 33.2%, 76.9%, and 45.8% correct for MCI, lexical tone recognition, and sentence recognition, respectively. After 8 weeks of MCI training, mean performance significantly improved by 22.9, 14.4, and 14.5 percentage points for MCI, lexical tone recognition, and sentence recognition, respectively ( p music and speech performance. The results suggest that music training can significantly improve pediatric Mandarin-speaking CI users' music and speech perception.
van der Schyff, Dylan
The enactive approach to cognition is developed in the context of music and music education. I discuss how this embodied point of view affords a relational and bio-cultural perspective on music that decentres the Western focus on language, symbol and representation as the fundamental arbiters of meaning. I then explore how this 'life-based' approach to cognition and meaning-making offers a welcome alternative to standard Western academic approaches to music education. More specifically, I consider how the enactive perspective may aid in developing deeper ecological understandings of the transformative, extended and interpenetrative nature of the embodied musical mind; and thus help (re)connect students and teachers to the lived experience of their own learning and teaching. Following this, I examine related concepts associated with Buddhist psychology in order to develop possibilities for a contemplative music pedagogy. To conclude, I consider how an enactive-contemplative perspective may help students and teachers awaken to the possibilities of music education as 'ontological education.' That is, through a deeper understanding of 'music as a manifestation of life' rediscover their primordial nature as autopoietic and world-making creatures and thus engage more deeply with musicality as a means of forming richer and more compassionate relationships with their peers, their communities and the 'natural' and cultural worlds they inhabit.
In recent years, the internationalization of music education has become an important topic. Scholars of various research traditions try to find the best solutions for problems in music education theory and practice by taking a look at what other countries do. English as common language seems to facilitate this recent development. However, in spite…
Jacira de Freitas
Full Text Available As análises de Rousseau indicam que o ingresso no universo simbólico traz consigo a possibilidade da perda da unidade do indivíduo e com ela a possibilidade de ruptura do vínculo social. Partindo da demonstração que a mediação dos signos representativos dá-se em três instâncias distintas, procurou-se detectar se a mesma lógica que comanda o sistema como um todo subjaz às suas teorias musicais. A idéia de que uma seqüência hierarquizada de valores, que vão do mínimo ao máximo de inserção de signos representativos, também se exprime nas concepções musicais de Rousseau é aqui demonstrada, de modo que estas se integram perfeitamente ao conjunto da obra do autor por estarem em conformidade com os princípios que fundamentam suas doutrinas.Rousseau's analysis indicates that the entrance in the symbolic universe brings the possibility of loosing individual's unity, what may induce the rupture of social bond. Considering the demonstration that the representative signs mediation takes place in three different instances, we tried to detect if the same logic that commands Rousseau's system as a whole is also verified in his musical theories. Here we demonstrate that Rousseau's musical conceptions, expressed through a hierarchical sequence of values going from minimum to maximum insertion of representative signs, are perfectly integrated in the author's work, agreeing with the principles on which his doctrines are based.
Caldwell-Harris, Catherine L.; Lancaster, Alia; Ladd, D. Robert; Dediu, Dan; Christiansen, Morten H.
This study examined whether musical training, ethnicity, and experience with a natural tone language influenced sensitivity to tone while listening to an artificial tone language. The language was designed with three tones, modeled after level-tone African languages. Participants listened to a 15-min random concatenation of six 3-syllable words.…
Pasinski, Amanda C; Hannon, Erin E; Snyder, Joel S
Numerous studies have shown that formal musical training is associated with sensory, motor, and cognitive advantages in individuals of various ages. However, the nature of the observed differences between musicians and nonmusicians is poorly understood, and little is known about the listening skills of individuals who engage in alternative types of everyday musical activities. Here, we show that people who have frequently played music video games outperform nonmusicians controls on a battery of music perception tests. These findings reveal that enhanced musical aptitude can be found among individuals who play music video games, raising the possibility that music video games could potentially enhance music perception skills in individuals across a broad spectrum of society who are otherwise unable to invest the time and/or money required to learn a musical instrument.
American Music Therapy Association Home Contact News Help/FAQ Members Only Login Quick Links Facts About Music Therapy Qualifications ... with AMTA Sponsor AMTA Events Social Networking Support Music Therapy When you shop at AmazonSmile, Amazon will ...
Hansen, Niels Chr.; Sadakata, Makiko; Pearce, Marcus
It is a long-held belief in historical musicology that the prosody of composers’ native languages is reflected in the rhythmic and melodic properties of their music. Applying the normalised Pairwise Variability Index (nPVI) to speech alongside musical scores, research has established quantitative...... music up until the mid-19th century, after which French music diverged into an Austro-German school and a French nationalist school. In sum, using musical nPVI analysis, we provide quantitative support for music-historical descriptions of an Italian-dominated Baroque (composer birth years: 1600...
Dr. David Sawyer (left), Superintendent of the Brevard County School District, Mickey Mouse, and Dr. David Brown, a NASA astronaut, attend a tribute to NASA astronaut Ronald McNair held in the gymnasium of Ronald McNair Magnet School in Cocoa, Fla. During the tribute, Walt Disney World presented a portrait of McNair to the school, which had previously been renamed for the fallen astronaut. McNair was one of a crew of seven who lost their lives during an accident following launch of the Space Shuttle Challenger in January 1986.
This work deals with the subject of music therapy in a special kindergarten for the children with combined disabilities. In the theoretical part it clarifies the concept and principle of music therapy and characterizes the types of disabilities that occur at researched clients. As a research method were used observation and interviews with three music therapists from the institution. KEYWORDS Music therapy, preschool education, special pedagogy, group music therapy,individual music therapy, p...
Herrero, O F, E-mail: firstname.lastname@example.org [Conservatorio Superior de Musica ' Eduardo Martinez Torner' Corrada del Obispo s/n 33003 - Oviedo - Asturias (Spain)
Music and Physics are very close because of the symmetry that appears in music. A periodic wave is what music really is, and there is a field of Physics devoted to waves researching. The different musical scales are the base of all kind of music. This article tries to show how this musical scales are made, how the consonance is the base of many of them and how symmetric they are.
Herrero, O F
Music and Physics are very close because of the symmetry that appears in music. A periodic wave is what music really is, and there is a field of Physics devoted to waves researching. The different musical scales are the base of all kind of music. This article tries to show how this musical scales are made, how the consonance is the base of many of them and how symmetric they are.
Posedel, James; Emery, Lisa; Souza, Benjamin; Fountain, Catherine
Previous research has suggested that training on a musical instrument is associated with improvements in working memory and musical pitch perception ability. Good working memory and musical pitch perception ability, in turn, have been linked to certain aspects of language production. The current study examines whether working memory and/or pitch…
Elvira eBrattico; Elvira eBrattico; Brigitte eBogert; Thomas eJacobsen
Music is often studied as a cognitive domain alongside language. The emotional aspects of music have also been shown to be important, but views on their nature diverge. For instance, the specific emotions that music induces and how they relate to emotional expression are still under debate. Here we propose a mental and neural chronometry of the aesthetic experience of music initiated and mediated by external and internal contexts such as intentionality, background mood, attention, and experti...
Ferreri, Laura; Aucouturier, Jean-Julien; Muthalib, Makii; Bigand, Emmanuel; Bugaiska, Aurelia
Listening to music engages the whole brain, thus stimulating cognitive performance in a range of non-purely musical activities such as language and memory tasks. This article addresses an ongoing debate on the link between music and memory for words. While evidence on healthy and clinical populations suggests that music listening can improve verbal memory in a variety of situations, it is still unclear what specific memory process is affected and how. This study was designed to explore the hy...
Jan 25, 2011 ... ... been met with praise in the two worlds that he has known best—diplomacy and research. ... Malone addressed this internal criticism while serving a six-year term as .... “And David probably did as well as anybody ever has.”.
Smith, David R.
Tehisstruktuuriga metamaterjalid võivad põhjapanevalt muuta telekommunikatsiooni, andmekandjaid ja isegi päikeseenergeetikat, kinnitab Dukeѫi ülikooli töörühma juht David R. Smith. Artikkel üldpealkirja all: 10 tulevikutehnoloogiat 2007
15 avr. 2016 ... Dr David Butler-Jones, professor in the Faculty of Medicine at the University of Manitoba and former Chief Medical Health Officer of Canada, delivered a lecture on lessons learned from the 2009 flu pandemic in Canada. He also commented on India's draft National Health Policy 2015 at the India ...
Featherstone, Helen; Featherstone, Joseph
Discusses the life of David Hawkins, one of the most influential educators involved in school reform in the 1960s. Focuses on the aesthetic as the center of Hawkins' vision of schooling. Compares Hawkins' perspective to Dewey's in terms of the aesthetic. (KHR)
2012-2013 Expense report for David Malone. Download PDF of Expense Report 2012-2013 · What we do · Funding · Resources · About IDRC. Knowledge. Innovation. Solutions. Careers · Contact Us · Site map. Sign up now for IDRC news and views sent directly to your inbox each month. Subscribe · Copyright · Open ...
2010-2011 Expense report for David Malone. Download PDF of Expense Report 2010-2011 · What we do · Funding · Resources · About IDRC. Knowledge. Innovation. Solutions. Careers · Contact Us · Site map. Sign up now for IDRC news and views sent directly to your inbox each month. Subscribe · Copyright · Open ...
2011-2012 Expense report for David Malone. Download PDF of Expense Report 2011-2012 · What we do · Funding · Resources · About IDRC. Knowledge. Innovation. Solutions. Careers · Contact Us · Site map. Sign up now for IDRC news and views sent directly to your inbox each month. Subscribe · Copyright · Open ...
The new Diagnostic and Statistical Manual of Mental Disorders (DSM-5) is on its way and will most likely be published in 2013. The chair of the task force of this significant project, Dr David Kupfer, was in the Netherlands at a national psychiatry conference to give an update on its progress.
This article presents an interview with David C. Berliner, a Regents' Professor in the College of Education at Arizona State University. His books include "Educational Psychology," "The Manufactured Crisis," and "The Handbook of Educational Psychology." He has served as president of the American Educational Research Association and of the…
David C. Geary's thesis has the potential to alter our understanding of those aspects of human cognition relevant to instruction. His distinction between biologically primary knowledge that we have evolved to acquire and biologically secondary knowledge that is culturally important, taught in educational institutions and which we have not evolved…
Dr. Jeffery Koplan, Director of the Emory Global Health Institute at Emory University, reflects on the career of Dr. David Sencer. Created: 12/15/2011 by National Center for Emerging and Zoonotic Infectious Diseases (NCEZID). Date Released: 12/19/2011.
Stewart, Susan Louise
The debates that have arisen regarding Darwin's theories of evolution and Christian views of creation and their place in education in the United States have frequently been extremely heated, resulting in trials, hearings, and laws. This article provides an overview of some of the disagreements and illustrates how David Almond's British novel,…
Jensen, Mikkel Bo Brendstrup
This article makes a case for the academic soundness of reading together several television shows by the same showrunner. Zeroing in on the case of David Simon, the essay traces the difficulties that one faces if one aims to view together The Corner, The Wire, Generation Kill, Treme, Show Me a Hero...
Hasselbalch, Trine Bjørnung
Interpretations of the narratives about David in the Books of Samuel can be divided roughly into works that understand them one way or the other as products of history, and works that tend to disregard questions about their historical conditions. But neither strategy – studying the meaning...
Smith, Brenda D.; Vandiver, Vikki L.
In this response to David Stoesz' critique, "The Child Welfare Cartel," the authors agree that child welfare research and training must be improved. The authors disagree, however, with Stoesz' critique of social work education, his assessment of the most-needed forms of child welfare research, and his depiction of the goals and…
In "Skellig," "Kit's Wilderness," and "Clay", David Almond employs various types of intertextuality to enrich his narratives. Through the use of allusion, adaptation, collage, and mise-en-abyme, he encourages his adolescent readers to seek out precursor texts and to consider the interrelationships between these texts and his own. By so doing, he…
Background: Gamelan music is one of folk music for Javanese people. Several research studies testing the effects of music were conducted in Western countries. The music studies for therapeutic purposes used classical music commonly. Even in Indonesia, some researchers may use that music for therapeutic purposes. This concern article explains the perspective music and music intervention as therapeutic purposes, view with Javanese classical music.Objectives: To explore the evidence of music and...
Savage, Patrick E; Brown, Steven; Sakai, Emi; Currie, Thomas E
Music has been called "the universal language of mankind." Although contemporary theories of music evolution often invoke various musical universals, the existence of such universals has been disputed for decades and has never been empirically demonstrated. Here we combine a music-classification scheme with statistical analyses, including phylogenetic comparative methods, to examine a well-sampled global set of 304 music recordings. Our analyses reveal no absolute universals but strong support for many statistical universals that are consistent across all nine geographic regions sampled. These universals include 18 musical features that are common individually as well as a network of 10 features that are commonly associated with one another. They span not only features related to pitch and rhythm that are often cited as putative universals but also rarely cited domains including performance style and social context. These cross-cultural structural regularities of human music may relate to roles in facilitating group coordination and cohesion, as exemplified by the universal tendency to sing, play percussion instruments, and dance to simple, repetitive music in groups. Our findings highlight the need for scientists studying music evolution to expand the range of musical cultures and musical features under consideration. The statistical universals we identified represent important candidates for future investigation.
Full Text Available Research on 18th-century music has been one of the key areas of interest for musicologists ever since the beginnings of musicological studies in Poland. It initially developed along two distinct lines: general music history (with publications mostly in foreign languages and local history (mostly in Polish. In the last three decades the dominant tendency among Polish researchers has been, however, to relate problems of 18th-century Polish musical culture to the political history of the Polish-Lithuanian Commonwealth and more generally – to the political history of Central Europe at large. The most important subjects taken up in research on 18th-century music include: the musical cultures of the royal court in 18th-century Warsaw (primarily in the works of Alina Żórawska-Witkowska as well as Polish aristocratic residences (e.g. studies by Szymon Paczkowski and Irena Bieńkowska, the ecclesiastical and monastic circles (publications by Alina Mądry, Paweł Podejko, Remigiusz Pośpiech and Tomasz Jeż; problems of musical style (texts by Szymon Paczkowski; research on sources containing music by European composers (e.g. by Johann Adolf Hasse; the musical culture of cities (of Gdańsk, first and foremost; studies concerning the transfer of music and music-related materials, the musical centres and peripheries, etc.
Full Text Available While there is broad consensus about the structural similarities between language and music, comparably less attention has been devoted to semantic correspondences between these two ubiquitous manifestations of human culture. We have investigated the relations between music and a narrow and bounded domain of semantics: the words and concepts referring to taste sensations. In a recent work, we found that taste words were consistently mapped to musical parameters. Bitter is associated with low-pitched and continuous music (legato, salty is characterized by silences between notes (staccato, sour is high pitched, dissonant and fast and sweet is consonant, slow and soft (Mesz2011. Here we extended these ideas, in a synergistic dialog between music and science, investigating whether music can be algorithmically generated from taste-words. We developed and implemented an algorithm that exploits a large corpus of classic and popular songs. New musical pieces were produced by choosing fragments from the corpus and modifying them to minimize their distance to the region in musical space that characterizes each taste. In order to test the capability of the produced music to elicit significant associations with the different tastes, musical pieces were produced and judged by a group of non musicians. Results showed that participants could decode well above chance the taste-word of the composition. We also discuss how our findings can be expressed in a performance bridging music and cognitive science.
Full Text Available The perception of music can be impaired after a stroke. This dysfunction is called amusia and amusia patients often also show deficits in visual abilities, language, memory, learning, and attention. The current study investigated whether deficits in music perception are selective for musical input or generalize to other perceptual abilities. Additionally, we tested the hypothesis that deficits in working memory or attention account for impairments in music perception. Twenty stroke patients with small infarctions in the supply area of the middle cerebral artery were investigated with tests for music and visual perception, categorization, neglect, working memory and attention. Two amusia patients with selective deficits in music perception and pronounced lesions were identified. Working memory and attention deficits were highly correlated across the patient group but no correlation with musical abilities was obtained. Lesion analysis revealed that lesions in small areas of the putamen and globus pallidus were connected to a rhythm perception deficit. We conclude that neither a general perceptual deficit nor a minor domain general deficit can account for impairments in the music perception task. But we find support for the modular organization of the music perception network with brain areas specialized for musical functions as musical deficits were not correlated to any other impairment.
Rosemann, Stephanie; Brunner, Freimuth; Kastrup, Andreas; Fahle, Manfred
The perception of music can be impaired after a stroke. This dysfunction is called amusia and amusia patients often also show deficits in visual abilities, language, memory, learning, and attention. The current study investigated whether deficits in music perception are selective for musical input or generalize to other perceptual abilities. Additionally, we tested the hypothesis that deficits in working memory or attention account for impairments in music perception. Twenty stroke patients with small infarctions in the supply area of the middle cerebral artery were investigated with tests for music and visual perception, categorization, neglect, working memory and attention. Two amusia patients with selective deficits in music perception and pronounced lesions were identified. Working memory and attention deficits were highly correlated across the patient group but no correlation with musical abilities was obtained. Lesion analysis revealed that lesions in small areas of the putamen and globus pallidus were connected to a rhythm perception deficit. We conclude that neither a general perceptual deficit nor a minor domain general deficit can account for impairments in the music perception task. But we find support for the modular organization of the music perception network with brain areas specialized for musical functions as musical deficits were not correlated to any other impairment.
Ullal-Gupta, Sangeeta; Vanden Bosch der Nederlanden, Christina M; Tichko, Parker; Lahav, Amir; Hannon, Erin E
The musical brain is built over time through experience with a multitude of sounds in the auditory environment. However, learning the melodies, timbres, and rhythms unique to the music and language of one's culture begins already within the mother's womb during the third trimester of human development. We review evidence that the intrauterine auditory environment plays a key role in shaping later auditory development and musical preferences. We describe evidence that externally and internally generated sounds influence the developing fetus, and argue that such prenatal auditory experience may set the trajectory for the development of the musical mind.
Payton, David Bruce
Uus-Meremaa suursaadik Eestis David Bruce Payton talupidaja toetamise loobumisest Uus-Meremaal, Uus-Meremaa põllumajandussektorist, veinidest, ekspordist, Eesti saamisest EL-i ja NATO liikmeks, Uus-Meremaa rahvastikust, elatustasemest, Iraagi võimalikust ründamisest, Põhja-Koreast
Eisenman, Russell; And Others
Investigated attitudes of 211 college students in Mississippi before and after viewing film "Who Is David Duke?" which provided evidence of Duke's current racism, anti-Semitism, and pro-Nazi leanings. Previous study with students in Louisiana, majority did not change attitudes after viewing film. In present study, students' attitudes…
university, Stephen Malloch listened to tapes of mothers and their babies ‘chatting’ with each other, recorded by Trevarthen in the 70’s. One of the first tapes was the vocal interaction of Laura and her mother. “As I listened, intrigued by the fluid give and take of the communication, and the lilting speech...... of the mother as she chatted with her baby, I began to tap my foot. I am, by training, a musician, so I was very used to automatically feeling the beat as I listened to musical sounds.… I replaced the tape, and again, I could sense a distinct rhythmicity and melodious give and take to the gentle prompting...... therapy as purely protomusic. But with Malloch & Trevarthen’s focus on musicality as the innate human abilities that make music production and appreciation possible, this discussion can easily move on. These and many other essential discussions await us – thanks to this comprehensive – and demanding...
Vanden Bosch der Nederlanden, Christina M; Hannon, Erin E; Snyder, Joel S
Few studies comparing music and language processing have adequately controlled for low-level acoustical differences, making it unclear whether differences in music and language processing arise from domain-specific knowledge, acoustic characteristics, or both. We controlled acoustic characteristics by using the speech-to-song illusion, which often results in a perceptual transformation to song after several repetitions of an utterance. Participants performed a same-different pitch discrimination task for the initial repetition (heard as speech) and the final repetition (heard as song). Better detection was observed for pitch changes that violated rather than conformed to Western musical scale structure, but only when utterances transformed to song, indicating that music-specific pitch representations were activated and influenced perception. This shows that music-specific processes can be activated when an utterance is heard as song, suggesting that the high-level status of a stimulus as either language or music can be behaviorally dissociated from low-level acoustic factors. Copyright © 2015 Elsevier B.V. All rights reserved.
Kopec, Gary E.; Chou, Philip A.; Maltz, David A.
This paper describes a Markov source model for a simple subset of printed music notation. The model is based on the Adobe Sonata music symbol set and a message language of our own design. Chord imaging is the most complex part of the model. Much of the complexity follows from a rule of music typography that requires the noteheads for adjacent pitches to be placed on opposite sides of the chord stem. This rule leads to a proliferation of cases for other typographic details such as dot placement. We describe the language of message strings accepted by the model and discuss some of the imaging issues associated with various aspects of the message language. We also point out some aspects of music notation that appear problematic for a finite-state representation. Development of the model was greatly facilitated by the duality between image synthesis and image decoding. Although our ultimate objective was a music image model for use in decoding, most of the development proceeded by using the evolving model for image synthesis, since it is computationally far less costly to image a message than to decode an image.
Paul, Rebecca K.
Describes the production of a dramatic musical, Chimera: A Journey to Redoubtia, at Chapman Elementary School in Anchor Point, Alaska. Student participation in the project, and students' rewards from participation, are detailed. Benefits of the integration of dramatics into the language arts curriculum are listed. (BB)
Full Text Available This commentary explores interpretations of concepts that lie at the focus of Richard Widdess's paper—"music", and "culture"—with the aim of specifying frameworks within which issues of musical meaning can fruitfully be addressed.
Maria Paula eRoncaglia-Denissen
Full Text Available As language rhythm relies partly on general acoustic properties, such as intensity and duration, mastering two languages with distinct rhythmic properties (i.e., stress position may enhance musical rhythm perception. We investigated whether second language (L2 competence affects musical rhythm aptitude in Turkish early (TELG and late learners (TLLG of German in comparison to German monolingual speakers (GMC. To account for inter-individual differences, we measured participants’ short-term and working memory capacity, melodic aptitude, and time they spent listening to music. Both L2 speaker groups perceived rhythmic variations significantly better than monolinguals. No differences were found between early and late learners’ performances. Our findings suggest that mastering two languages with different rhythmic properties enhances musical rhythm perception, providing further evidence of cognitive share between language and music.
The aim of his paper is to prove that film music can be understood as authentic narrative force: film music as word / discourse and its superlibretto status. Superlibretto is the status of music in a film which is constructing its own (aural) reality and is narrating, speaking its own text which creates a wholesome film meaning. The existence of superlibretto is substantiated by fundamental theoretic concepts of film music and practically proven by analyses...
Berman, I W
Amusia is a condition in which musical capacity is impaired by organic brain disease. Music is in a sense a language and closely resembles speech, both executively and receptively. For musical functioning, rhythmic sense and sense of sounds are essential. Musical ability resides largely in the right (non-dominant) hemisphere. Tests have been devised for the assessment of musical capabilities by Dorgeuille, Grison and Wertheim. Classification of amusia includes vocal amusia, instrumental amnesia, musical agraphia, musical amnesia, disorders of rhythm, and receptive amusia. Amusia like aphasia has clinical significance, and the two show remarkable similarities and often co-exist. Usually executive amusia occurs with executive aphasia and receptive amusia with receptive aphasia, but amusias can exist without aphasia. Severely executive aphasics can sometimes sing with text (words), and this ability is used in the treatment of aphasia. As with aphasia, there is correlation between type of amusia and site of lesion. Thus in executive amusia, the lesion generally occurs in the frontal lobe. In receptive amusia, the lesion is mainly in the temporal lobe. If aphasia is also present the lesion will be in the left (dominant) hemisphere.
This study explores the relationship between flow, transcendent music making experiences, transcendent religious experiences, and music education. As a teacher-researcher, I studied my graduate students' autobiographical accounts of their experiences making music. Across these narrative writings produced over the past four years, a pattern…
Full Text Available First generation cognitive science has always maintained that the mind/brain is a modular system. This has been especially apparent in linguistics, where the modularity thesis goes largely unquestioned by the linguistic mainstream. Cognitive linguists have long disputed the reality of modular architectures of grammar. Instead of conceiving syntax as a computational system of a relatively small set of formal principles and parameters, cognitive linguists take the notion of grammatical construction to be the basic unit of syntax: syntax is simply our repertoire of form-meaning pairings. On such a view, there is no a-priori reason to believe that semantics and phonology cannot affect syntax. In the present paper, we want to take things a step further and suggest, more generally, that language is not a module of cognition in any strict sense. We present preliminary results from research in progress concerning the effect of music on grammatical constructions. More specifically, our experiment compares reaction times between two grammatical constructions that differ in semantics and intonational curves but share lexical material. Our data so far suggests that subjects take less time reading the construction when the semantic bias and intonation match than in non-matching cases. This, we argue, suggests not only that semantics, phonology and syntax form an information bundle (i.e. a construction in the cognitive linguistic sense, but that perceived similarity of music can influence linguistic cognition.
Hallam, Susan; Papageorgi, Ioulia
Music can be understood in many ways. This has important implications for music education. The research reported here explored how groups of people conceptualise musical understanding and what they believe supports its acquisition. In this study 463 participants completed two statements: "Musical understanding is" and "You learn to…
Stephens, Shannon Sweny
Children of all ages love painting to music. Aside from discovering the natural correlation between music and art, the author's students learned about Mozart's life and work in music class. In this article, students discover the influence that music can have on their art. (Contains 1 online resource.)
Bonde, Lars Ole
Thematic analysis of 13 personal narratives on the meaning of music in the life of 13 contributing authors to the book "Musical Life Stories"......Thematic analysis of 13 personal narratives on the meaning of music in the life of 13 contributing authors to the book "Musical Life Stories"...
Active music listening is a creative activity in that the listener constructs a uniquely personal musical experience. Most approaches to teaching music listening emphasize a conceptual approach in which students learn to identify various characteristics of musical sound. Unfortunately, this type of listening is rarely done outside of schools. This…
Zaffini, Erin Dineen
While much discussion and research is focused on the importance of music teacher mentors for preservice teachers and novice in-service music educators, little discussion has been devoted to the topic of how we, as members of the music education profession, can support the role of music teacher mentors. This article explores some of the benefits…
Barnett, Elise Braun
Discusses principles of Montessori music education, examining the fundamental characteristics of childhood and the role that music plays in development. Explores the inner satisfaction that comes from experiencing movement with music through compositions and folk music. Emphasizes the Montessori practices of meeting sensorimotor needs of children…
Ridder, Hanne Mette Ochsner
Persons suffering from dementia progressively loose language skills, cognitive skills, memory function, perception, etc. Still they seem to respond to music and to interact in the music therapy setting. As part of a Ph.D.-research I have worked with 6 persons suffering from middle to last stages...... of dementia in individual music therapy. I have focused on the use of familiar songs in order to create a safe and secure setting and enhance communication and reminiscence. In the presentation I give examples of how the persons respond to the music, how the individual music therapy sessions are build up......, criteria for choosing the songs, and how a person emotionally can profit from the structured musical form....
Yugoslav idea. Its correspondents (more then 40 of them came from all parts of the Kingdom of Serbs, Croats and Slovenes, as well as from abroad (Poland. The music culture of the Serbs, Croats and Slovenes was treated with equal enthusiasm. The articles were published in both Cyrillic and Latin script, and in two languages (Serbo-Croatian and Slovenian. The editors of The Music Herald were also Slavophiles. They wrote about Czechoslovakian and Polish music, and also covered the works of Russian musicians who had emigrated to Yugoslavia after the October Revolution in 1917. The so-called 'national style' was fostered in The Music Herald, because it was believed by the editors to be the future of Serbian and Yugoslav music. Avant-garde music was treated with suspicion although on one occasion a defense of contemporary music by Stanislav Vinaver, a writer and a music critic, was published. On the other hand fostering the 'national style' did not mean that moderate means of expression sufficed for the positive evaluation of a certain music piece. That is why the compositions of Petar Stojanović were judged as 'drawing-room music'. Although it lasted for just one year, The Music Herald has an important place in the history of Serbian music periodicals. Its orientation towards music historiography is, in this respect, especially important. It blazed the trail for the Serbian musicology in its dealings with unknown music data in the past.
Schoux Casey, Christina
This article explores how language, sexuality, and affect are circuited in New Orleans bounce music. Bounce features lyrics that characterize the performers as queer, describe sex explicitly, celebrate sex between male-bodied people, and expose the hypocrisy of straight-acting men. Bounce lyrics...
The author discusses the importance of improvisation, suggesting that improvisation be introduced in the earliest stages of education and be taught through an approach that integrates ear training, sight-reading, instrumental and vocal techniques and theory into a unified and complete understanding of music as a language. (Author/KC)
I have based my bachelor Thesis on the presentation of a completely different musical world, compared with the western musical world, which is Persian Music. As a Persian, I started to study music as a Persian Setar player; then I followed my musical experience through western classical music by playing classical guitar. As an ambition I have always thought about how to express Persian music in an understandable way for that of non-Persians. In this thesis I began with a short history of Pers...
Finsterle, Lutz; Fischer, Stephan; Rimac, Ivica; Steinmetz, Ralf
In this paper we describe music retrieval in ICOR, a project of Darmstadt TU. It is the goal of ICOR to find new interfaces to support applications of music video and music CDs. Although the project consists of audio and video analysis we concentrate on a description of the audio algorithms in this paper. We describe our MPEG-7 like data structure to store meta information for music pieces and explain which algorithms we use to analyze the content of music pieces automatically. We currently use an applause detection to distinguish live music from studio recordings, a genre classifier to distinguish pieces with beats form classical music, and a singer recognition.
Music and speech consist of sound, acoustic undulation, and contain structural patterns of pitch, duration and magnitude. Processing both music and prosodic patterns take place in some joint neural areas, but there is also significant difference in the representation of speech and music in the brain. Music and language are markedly different in their form, function and use of syntactic structures. Complex structure and functioning of the brain enable music to expand its impact on other areas ...
First in this article the role of theories of musicology in music education research is considered. Second, the case in point is examined where the focus of music education research is brought bo bear directly on music education, to wit music. By concentrating on music in music education research, the focus remains firmly on musical experience as a basis of reflection in music education research. The author has chosen to focus in particular on a specific kind of musical experience - more p...
Full Text Available In this article, the technique of music therapy – music therapy improvisation is introduced. In this form of music therapy the improvising partners share meaning through the improvisation: the improvisation is not an end in itself: it portrays meaning that is personal, complex and can be shared with the partner. The therapeutic work, then, is meeting and matching the client's music in order to give the client an experience of "being known", being responded through sounds and being able to express things and communicate meaningfully. Rather than the client playing music, the therapy is about developing the engagement through sustained, joint improvisations. In music therapy, music and emotion share fundamental features: one may represent the other, i.e., we hear the music not as music but as dynamic emotional states. The concept of dynamic structure explains why music makes therapeutic sense.
Les idées de David Bohm, indépendamment du scepticisme de ses collègues les plus traditionalistes, ont profondément influencé la physique du siècle dernier et ouvert une porte à la physique du nouveau millénaire. Grâce aussi aux contacts qu'il sut nouer avec des chercheurs d'autres branches du savoir, ses idées ont été accueillies avec beaucoup d'enthousiasme par les neuroscientifiques, les philosophes, les théologiens, les psychologues, les sociologues, les poètes, les artistes et les éducateurs. David Bohm avait peut-être pressenti qu'il existe une "physique de l'âme" et avec elle il voulait tracer un nouveau chemin pour une humanité à la dérive.
To be effective, a perimeter intrusion detection system must comprise both sensor and rapid assessment components. The use of closed circuit television (CCTV) to provide the rapid assessment capability, makes possible the use of video motion detection (VMD) processing as a system sensor component. Despite it's conceptual appeal, video motion detection has not been widely used in outdoor perimeter systems because of an inability to discriminate between genuine intrusions and numerous environmental effects such as cloud shadows, wind motion, reflections, precipitation, etc. The result has been an unacceptably high false alarm rate and operator work-load. DAVID (Digital Automatic Video Intrusion Detector) utilizes new digital signal processing techniques to achieve a dramatic improvement in discrimination performance thereby making video motion detection practical for outdoor applications. This paper begins with a discussion of the key considerations in implementing an outdoor video intrusion detection system, followed by a description of the DAVID design in light of these considerations
Olson, Catherine Applefeld
Westerly, Rhode Island, is a long way from New Orleans. But the physical distance has not stopped David DeAngelis, choral director at Westerly High School, from providing his students with one heck of a lesson: The opportunity to truly connect with others through music. Under DeAngelis' direction, Westerly's various vocal ensembles have held…
Bradt, Joke; Dileo, Cheryl
Controlled Trials (1998 to March 2014), the National Research Register (2000 to September 2007), and NIH CRISP (all to March 2014). We handsearched music therapy journals and reference lists, and contacted relevant experts to identify unpublished manuscripts. There was no language restriction. The original search was performed in January 2010. We included all randomized and quasi-randomized controlled trials that compared music interventions and standard care with standard care alone for mechanically ventilated patients. Two review authors independently extracted the data and assessed the methodological quality of included studies. We contacted authors to obtain missing data where needed. Where possible, results for continuous outcomes were presented in meta-analyses using mean differences and standardized mean differences. Post-test scores were used. In cases of significant baseline difference, we used change scores. For dichotomous outcomes, we presented the results as risk ratios. We identified six new trials for this update. In total, the evidence for this review rests on 14 trials (805 participants). Music listening was the main intervention used, and 13 of the studies did not include a trained music therapist. Results indicated that music listening may be beneficial for anxiety reduction in mechanically ventilated patients. Specifically, music listening resulted, on average, in an anxiety reduction that was 1.11 standard deviation units greater (95% CI -1.75 to -0.47, P = 0.0006) than in the standard care group. This is considered a large and clinically significant effect. Findings indicated that listening to music consistently reduced respiratory rate and systolic blood pressure, suggesting a relaxation response. Furthermore, one large-scale study reported greater reductions in sedative and analgesic intake in the music listening group compared to the control group, and two other studies reported trends for reduction in sedative and analgesic intake for the music
régime fourrager supplémenté par la farine de poisson et/ou du maïs-grain durant le cycle de reproduction. N'Goran David Vincent KOUAKOU* et Yao Brice Savier BROU. Département de Formation et de Recherche Agriculture et Ressources animales, Institut National. Polytechnique Félix Houphouët-Boigny, B.P. 1313 ...
Dr. David Syz, State Secretary for Economic Affairs, Switzerland is seen here (seventh from right) visiting the assembly hall for the ATLAS experiment during his recent visit to CERN. To his right is Dr. Peter Jenni (blue shirt), spokesperson for the ATLAS Collaboration. The horizontal metal cylinder behind the group is one of the eight vacuum vessels for the superconducting coils of the ATLAS barrel toroid magnet system.
Rosângela Fachel de Medeiros
Full Text Available This paper presents and analyzes the intersemiotic translation process performed by filmmaker David Cronenberg of William Burroughs' novel Naked Lunch, and the intertextual bifurcations involved in this process. Investigating the similarities and differences between the creative worlds of both artists and how they reframe each other. For this, are used as the theoretical the idea of transcreation proposed by Haroldo de Campos, and the notion of the translator as a reader proposed by Jorge Luis Borges.
Barbarito Luca; Ardizzone Antonella
The Music Industry is a complex system in which many different actors interact. In this system there are suppliers of musical instruments, music schools, authors, singers, the phonographic industry, live events organizations and also the suppliers of those electronic devices necessary to listen to the music. This paper tries to analyze the size of those segments, their changes, and which are the key nodes in this system. Also the way we listen to music has changed a lot in this last 10 years,...
The music industry is a fast moving field with new technology and methodological advances combining to catalyse innovations all the time. 'Innovation in Music 2013' was an international conference exploring this topic, held in December 2013 in York, Uk. The event covered specific and cross-disciplinary aspects of the music industry including music creation, technology, production and business, sound engineering, mastering, post production and sound design, games music and cross-disciplinary t...
Tierney, Adam; Krizman, Jennifer; Skoe, Erika; Johnston, Kathleen; Kraus, Nina
Should music be a priority in public education? One argument for teaching music in school is that private music instruction relates to enhanced language abilities and neural function. However, the directionality of this relationship is unclear and it is unknown whether school-based music training can produce these enhancements. Here we show that 2 years of group music classes in high school enhance the neural encoding of speech. To tease apart the relationships between music and neural function, we tested high school students participating in either music or fitness-based training. These groups were matched at the onset of training on neural timing, reading ability, and IQ. Auditory brainstem responses were collected to a synthesized speech sound presented in background noise. After 2 years of training, the neural responses of the music training group were earlier than at pre-training, while the neural timing of students in the fitness training group was unchanged. These results represent the strongest evidence to date that in-school music education can cause enhanced speech encoding. The neural benefits of musical training are, therefore, not limited to expensive private instruction early in childhood but can be elicited by cost-effective group instruction during adolescence.
Full Text Available Should music be a priority in public education? One argument for teaching music in school is that private music instruction relates to enhanced language abilities and neural function. However, the directionality of this relationship is unclear and it is unknown whether school-based music training can produce these enhancements. Here we show that two years of group music classes in high school enhance the subcortical encoding of speech. To tease apart the relationships between music and neural function, we tested high school students participating in either music or fitness-based training. These groups were matched at the onset of training on neural timing, reading ability, and IQ. Auditory brainstem responses were collected to a synthesized speech sound presented in background noise. After 2 years of training, the subcortical responses of the music training group were earlier than at pretraining, while the neural timing of students in the fitness training group was unchanged. These results represent the strongest evidence to date that in-school music education can cause enhanced speech encoding. The neural benefits of musical training are, therefore, not limited to expensive private instruction early in childhood but can be elicited by cost-effective group instruction during adolescence.
Caroilyn S. Ticker
Full Text Available Music makes you smarter: or at least that is what the "experts" are saying. CDs are sold of Mozart's Sonatas for babies, and parents are urged to give their children music lessons in the belief that music does something to our brains which in turn makes us more intelligent. But is this really true? Does music really affect the brain in the powerful way that scientists are suggesting, or is it hearsay? In this paper I investigate the effects of music on our brain's plasticity and cognition by looking at several different experimental studies. Specifically I will address how music affects brain plasticity, emotion, physical health and linguistic processing, and how these effects in turn make music a beneficial tool for therapy, particularly in patients with Traumatic-Brain Injury (TBI and Autism-Spectrum Disorder.
Hurkmans, Joost; Jonkers, Roel; de Bruijn, Madeleen; Boonstra, Anne M.; Hartman, Paul P.; Arendzen, Hans; Reinders - Messelink, Heelen
Background: Several studies using musical elements in the treatment of neurological language and speech disorders have reported improvement of speech production. One such programme, Speech-Music Therapy for Aphasia (SMTA), integrates speech therapy and music therapy (MT) to treat the individual with
Bonde, Lars Ole
Chairman's introduction to plenary session on the relationship between music therapy and music pedagogics......Chairman's introduction to plenary session on the relationship between music therapy and music pedagogics...
Degé, Franziska; Kubicek, Claudia; Schwarzer, Gudrun
The association between music and language, in particular, the overlap in their processing results in the possibility to use one domain for the enhancement of the other. Especially in the preschool years music may be a valuable tool to train language abilities (e.g., precursors of reading). Therefore, detailed knowledge about associations between musical abilities and precursors of reading can be of great use for designing future music intervention studies that target language-related abilities. Hence, the present study investigated the association between music perception as well as music production and precursors of reading. Thereby, not only phonological awareness, the mostly studied precursor of reading, was investigated, but also other precursors were examined. We assessed musical abilities (production and perception) and precursors of reading (phonological awareness, working memory, and rapid retrieval from long-term memory) in 55 preschoolers (27 boys). Fluid intelligence was measured and controlled in the analyses. Results showed that phonological awareness, working memory, and rapid retrieval from long-term memory were related to music perception as well as to music production. Our data suggest that several precursors of reading were associated with music perception as well as music production.
Full Text Available The association between music and language, in particular, the overlap in their processing results in the possibility to use one domain for the enhancement of the other. Especially in the preschool years music may be a valuable tool to train language abilities (e.g., precursors of reading. Therefore, detailed knowledge about associations between musical abilities and precursors of reading can be of great use for designing future music intervention studies that target language-related abilities. Hence, the present study investigated the association between music perception as well as music production and precursors of reading. Thereby, not only phonological awareness, the mostly studied precursor of reading, was investigated, but also other precursors were examined. We assessed musical abilities (production and perception and precursors of reading (phonological awareness, working memory, and rapid retrieval from long-term memory in 55 preschoolers (27 boys. Fluid intelligence was measured and controlled in the analyses. Results showed that phonological awareness, working memory, and rapid retrieval from long-term memory were related to music perception as well as to music production. Our data suggest that several precursors of reading were associated with music perception as well as music production.
Chen, Shuai; Maeda, Yoichiro; Takahashi, Yasutake
In the research of interactive music generation, we propose a music generation method, that the computer generates the music, under the recognition of human music conductor's gestures.In this research, the generated music is tuned by the recognized gestures for the parameters of the network of chaotic elements in real time. The music conductor's hand motions are detected by Microsoft Kinect in this system. Music theories are embedded in the algorithm, as a result, the generated music will be ...
CHEN, Shuai; MAEDA, Yoichiro; TAKAHASHI, Yasutake
In the research of interactive music generation, we propose a music generation method, that the computer generates the music automatically, and then the music will be arranged under the human music conductor's gestures, before it outputs to us. In this research, the generated music is processed from chaotic sound, which is generated from the network of chaotic elements in realtime. The music conductor's hand motions are detected by Microsoft Kinect in this system. Music theories are embedded ...
Hornof, Anthony J.; Sato, Linda
Though musical performers routinely use eye movements to communicate with each other during musical performances, very few performers or composers have used eye tracking devices to direct musical compositions and performances. EyeMusic is a system that uses eye movements as an input to electronic music compositions. The eye movements can directly control the music, or the music can respond to the eyes moving around a visual scene. EyeMusic is implemented so that any composer using established...
FESTIVAL HARDRONIC The CERN MusiClub is proud to announce that the 21st edition of the famous CERN Hardronic Festival will take place on Friday 16th July from 17h30 and Saturday 17th July from 16h00 on the terrace beside restaurant N°3 on the CERN Prevessin site. The Festival will feature music by your favourite bands and artists from the Club. Food and drink will be on sale and there will be stuff for kids (organized by http://www.adventureart.org/) including face-painting and a bouncy castle. Entrance is free and the event is open to Club Members, CERN staff and Visitors, all those working on the CERN site, plus families and friends. For more information, either send an e-mail mailto:email@example.com or see http://musiclub.cern.ch/ The CERN MusiClub would like to thank the CERN Staff Association and the CERN Management for their continued support. Without this support this event could not take place.
López-González, Mónica; Limb, Charles J
On the spot, as great jazz performers expertly improvise solo passages, they make immediate decisions about which musical phrases to invent and to play. Researchers, like authors Mónica López-González and Dana Foundation grantee Charles J. Limb, are now using brain imaging to study the neural underpinnings of spontaneous artistic creativity, from jazz riffs to freestyle rap. So far, they have found that brain areas deactivated during improvisation are also at rest during dreaming and meditation, while activated areas include those controlling language and sensorimotor skills. Even with relatively few completed studies, researchers have concluded that musical creativity clearly cannot be tied to just one brain area or process.
Burton, Suzanne L., Ed.
Middle school general music may be a student's last encounter with school music. A practical book with accessible pedagogical resources on middle school general music is needed for methods courses and music practitioners' use. The book "Engaging Musical Practices: A Sourcebook for Middle School General Music" presents numerous ways to engage…
Falk, Simone; Rathcke, Tamara; Dalla Bella, Simone
Repetition can boost memory and perception. However, repeating the same stimulus several times in immediate succession also induces intriguing perceptual transformations and illusions. Here, we investigate the Speech to Song Transformation (S2ST), a massed repetition effect in the auditory modality, which crosses the boundaries between language and music. In the S2ST, a phrase repeated several times shifts to being heard as sung. To better understand this unique cross-domain transformation, we examined the perceptual determinants of the S2ST, in particular the role of acoustics. In 2 Experiments, the effects of 2 pitch properties and 3 rhythmic properties on the probability and speed of occurrence of the transformation were examined. Results showed that both pitch and rhythmic properties are key features fostering the transformation. However, some properties proved to be more conducive to the S2ST than others. Stable tonal targets that allowed for the perception of a musical melody led more often and quickly to the S2ST than scalar intervals. Recurring durational contrasts arising from segmental grouping favoring a metrical interpretation of the stimulus also facilitated the S2ST. This was, however, not the case for a regular beat structure within and across repetitions. In addition, individual perceptual abilities allowed to predict the likelihood of the S2ST. Overall, the study demonstrated that repetition enables listeners to reinterpret specific prosodic features of spoken utterances in terms of musical structures. The findings underline a tight link between language and music, but they also reveal important differences in communicative functions of prosodic structure in the 2 domains.
Cooper, Angela; Wang, Yue
Adult non-native speech perception is subject to influence from multiple factors, including linguistic and extralinguistic experience such as musical training. The present research examines how linguistic and musical factors influence non-native word identification and lexical tone perception. Groups of native tone language (Thai) and non-tone language listeners (English), each subdivided into musician and non-musician groups, engaged in Cantonese tone word training. Participants learned to identify words minimally distinguished by five Cantonese tones during training, also completing musical aptitude and phonemic tone identification tasks. First, the findings suggest that either musical experience or a tone language background leads to significantly better non-native word learning proficiency, as compared to those with neither musical training nor tone language experience. Moreover, the combination of tone language and musical experience did not provide an additional advantage for Thai musicians above and beyond either experience alone. Musicianship was found to be more advantageous than a tone language background for tone identification. Finally, tone identification and musical aptitude scores were significantly correlated with word learning success for English but not Thai listeners. These findings point to a dynamic influence of musical and linguistic experience, both at the tone dentification level and at the word learning stage.
Brown, Sally; Aplin, Karen; Jenkins, Katie; Mander, Sarah; Walsh, Claire; Williams, Paul
Previous studies of weather-inspired classical music showed that all forms of music (as well as visual arts and literature) reflect the significance of the environment in society. Here we quantify the extent to which weather has inspired popular musicians, and how weather is represented in English-language pop music. Our work is in press at Weather. Over 750 songs have been identified which were found to refer to meteorological phenomena, mainly in their lyrics, but also in the title of the song, name of the band or songwriter and occasionally in the song's music or sound effects. Over one third of the songs analysed referred to either sun or rain, out of a possible 20 weather categories. It was found that artists use weather to describe emotion, for example, to mirror the changes in a relationship. In this context, rain was broadly seen negatively, and might be used to signify the end of a relationship. Rain could also be perceived in a positive way, such as in songs from more agricultural communities. Wind was the next most common weather phenomenon, but did not represent emotions as much as sun or rain. However, it was the most frequently represented weather type in the music itself, such as in instrumental effects, or non-verbally in choruses. From the limited evidence available, we found that artists were often inspired by a single weather event in writing lyrics, whereas the outcomes were less clearly identifiable from longer periods of good or bad weather. Some artists were influenced more by their environment than others, but they were often inspired to write many songs about their surroundings as part of every-day life, rather than weather in particular. Popular singers and songwriters can therefore emotionally connect their listeners to the environment; this could be exploited to communicate environmental science to a broad audience.
Full Text Available This essay also gives an idea of recent research trends and topics in music education in Central Asia. It consists of five parts including teaching music history, teaching epics, teaching songs and instrumental music, teaching traditional instruments, and dictionaries and language resources. Because of the extraordinary increase in the number of books published recently, a careful selection has been made in order to keep the references section to an acceptable length. Hence, the bibliography does not embody all of the works of a single author on the topic. This essay covers books and textbooks dealing with the music of Kazakhstan and the Kyrgyz Republic—two neighboring countries with strong common historical roots and closely related musical traditions. In addition to reviewing textbooks published in Kazakhstan and the Kyrgyz Republic, this article includes some relevant works by Russian authors. However, the extensive body of works authored by Central Asian scholars abroad was excluded from this essay. It contains references only in Kazakh, Kyrgyz, and Russian languages.
Graziano, Amy B; Johnson, Julene K
This chapter examines connections between research in music, neurology, and psychology during the late-nineteenth century. Researchers in all three disciplines investigated how music is processed by the brain. Psychologists and comparative musicologists, such as Carl Stumpf, thought in terms of multiple levels of sensory processing and mental representation. Early thinking about music processing can be linked to the start of Gestalt psychology. Neurologists such as August Knoblauch also discussed multiple levels of music processing, basing speculation on ideas about language processing. Knoblauch and others attempted to localize music function in the brain. Other neurologists, such as John Hughlings Jackson, discussed a dissociation between music as an emotional system and language as an intellectual system. Richard Wallaschek seems to have been the only one from the late-nineteenth century to synthesize ideas from musicology, psychology, and neurology. He used ideas from psychology to explain music processing and audience reactions and also used case studies from neurology to support arguments about the nature of music. Understanding the history of this research sheds light on the development of all three disciplines-musicology, neurology, and psychology. © 2015 Elsevier B.V. All rights reserved.
Processing of meaning is critical for language perception, and therefore the majority of research on meaning processing has focused on the semantic, lexical, conceptual, and propositional processing of language. However, music is another a means of communication, and meaning also emerges from the interpretation of musical information. This article provides a framework for the investigation of the processing of musical meaning, and reviews neuroscience studies investigating this issue. These studies reveal two neural correlates of meaning processing, the N400 and the N5 (which are both components of the event-related electric brain potential). Here I argue that the N400 can be elicited by musical stimuli due to the processing of extra-musical meaning, whereas the N5 can be elicited due to the processing of intra-musical meaning. Notably, whereas the N400 can be elicited by both linguistic and musical stimuli, the N5 has so far only been observed for the processing of meaning in music. Thus, knowledge about both the N400 and the N5 can advance our understanding of how the human brain processes meaning information.
Focus and Scope. Nigerian Music Review is aimed at the scholarly review of the developments in various musical practices in Nigeria. It considers well researched articles in any of the following areas: Musicology, Ethnomusicology, African Music, Music Education, Performance, Composition, Music Technology, Music ...
Scirea, Marco; Nelson, Mark; Cheong, Yun-Gyung
This paper presents an empirical study that investigated if procedurally generated music based on a set of musical features can elicit a target mood in the music listener. Drawn from the two-dimensional affect model proposed by Russell, the musical features that we have chosen to express moods...... are intensity, timbre, rhythm, and dissonances. The eight types of mood investigated in this study are being bored, content, happy, miserable, tired, fearful, peaceful, and alarmed. We created 8 short music clips using PD (Pure Data) programming language, each of them represents a particular mood. We carried...
Full Text Available The target article illustrates deep cross-cultural gaps, involving not only the representation of musical shape but also the notion of a musical object itself. Yet, numerous empirical findings suggest that important cross-modal correspondences involving music and visual dimensions are inborn or learned at infancy, prior to the acquisition of language and most culture-specific behavior. Drawing on recent empirical work, the commentary attempts to reconcile this apparent disparity.
The use of verbal notation elements in Western music from the baroque period and onwards is outlined, with examples. Some important examples of Fluxus, Scratch Orchestra and subsequent works are characterised. Two Stockhausen works before the text collections are examined for their different uses...... of verbal elements. From this as well as from the analysis of Stockhausen's text collections (see the articles mentioned at the top of the article) it is concluded that verbal language since 1945 may describe both musical material (parameters) and processes – including game rules and if-then relations...
In secondary general music classes, music educators have the opportunity to bridge the gap between the music students' experiences in school and the music they engage with outside of school. According to Williams, nontraditional music students have musical lives outside of school but choose not to participate in traditional ensembles. In this…