Academic literature on the topic 'Musik, Melodik, Terz'
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Journal articles on the topic "Musik, Melodik, Terz"
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Cornelius, Nathan, and Jenine L. Brown. "The interaction of repetition and difficulty for working memory in melodic dictation tasks." Research Studies in Music Education 42, no. 3 (April 22, 2019): 368–82. http://dx.doi.org/10.1177/1321103x18821194.
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This research examines the effect of repetition on melodic dictation tasks in an undergraduate ear-training class. A pilot group of freshman music majors ( n = 17) were asked to notate four melodies, of which two were slightly more difficult since they contained more melodic leaps. Participants heard two melodies repeated three times and two other melodies six times. An analysis of variance (ANOVA) suggests that the number of repetitions had a significant effect on participants’ dictation accuracy, both for scores on pitch and on rhythm. In addition, dictation accuracy was significantly lower when the melodies contained more leaps (controlling for other factors). Overall, we found a statistical interaction between the number of repetitions and the number of leaps in the melody, both of which factors affect the working memory load in these dictation tasks. Given the similarity of the notated melodies, these findings suggest that ear-training pedagogues must carefully select melodic dictations appropriate for student ability and control the number of melodic leaps. Furthermore, we found evidence that the variance in working memory for music among this population is wider than Karpinski (2000) hypothesizes. These findings provide pedagogues with melodic characteristics well-suited for the average incoming freshman music major. Finally, this first empirical evidence of the dictation ability of incoming undergraduate music majors invites a long-term study on the extent to which working memory and/or chunking ability may increase during the multi-semester ear-training curriculum.
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Büdenbender, Niklas, and Gunter Kreutz. "Long-term representations of melodies in Western listeners: Influences of familiarity, musical expertise, tempo and structure." Psychology of Music 45, no. 5 (October 19, 2016): 665–81. http://dx.doi.org/10.1177/0305735616671408.
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We investigated the effects of familiarity, level of musical expertise, musical tempo, and structural boundaries on the identification of familiar and unfamiliar tunes. Healthy Western listeners ( N = 62; age range 14–64 years) judged their level of familiarity with a preselected set of melodies when the number of tones of a given melody was increased from trial to trial according to the so-called gating paradigm. The number of tones served as one dependent measure. The second dependent measure was the physical duration of the stimulus presentation until listeners identified a melody as familiar or unfamiliar. Results corroborate previous work, suggesting that listeners need less information to recognize familiar as compared to unfamiliar melodies. Both decreasing and increasing the original tempo by a factor of two delayed the identification of familiar melodies. Furthermore, listeners had more difficulty identifying unfamiliar melodies when tempo was increased. Finally, musical expertise significantly influenced identification of either melodic category, i.e., reducing the required number of tones. Taken together, the findings support theories which suggest that tempo information is coded in melody representation, and that musical expertise is associated with especially efficient strategies for accessing long-term representations of melodic materials.
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Cenkerová, Zuzana, and Richard Parncutt. "Style-Dependency of Melodic Expectation." Music Perception 33, no. 1 (September 1, 2015): 110–28. http://dx.doi.org/10.1525/mp.2015.33.1.110.
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In theories of auditory scene analysis and melodic implication/realization, melodic expectation results from an interaction between top-down processes (assumed to be learned and schema-based) and bottom-up processes (assumed innate, based on Gestalt principles). If principles of melodic expectation are partly acquired, it should be possible to manipulate them – to condition listeners' expectations. In this study, the resistance of three bottom-up expectation principles to learning was tested experimentally. In Experiment 1, expectations for stepwise motion (pitch proximity) were manipulated by conditioning listeners to large melodic leaps; preference for small intervals was reduced after a brief exposure. In Experiment 2, expectations for leaps to rise and steps to fall (step declination) were manipulated by exposing listeners to melodies comprising rising steps and falling leaps; this reduced preferences for descending seconds and thirds. Experiment 3 did not find and hence failed to alter the expectation for small intervals to be followed by an interval in the same direction (step inertia). The results support the theory that bottom-up principles of melodic perception are partly learned from exposure to pitch patterns in music. The long-term learning process could be reinforced by exposure to speech based on similar organization principles.
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Suryati, Suryati, G. R. Lono L. Simatupang, and Victor Ganap. "Ornamentasi Seni Baca Al-Qur’an dalam Musabaqoh Tilawatil Qur’an sebagai Bentuk Ekspresi Estetis Seni Suara." Resital: Jurnal Seni Pertunjukan 17, no. 2 (October 30, 2018): 67–74. http://dx.doi.org/10.24821/resital.v17i2.2219.
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Ornamentasi atau hiasan merupakan suatu istilah musik yang memiliki arti penambahan beberapa nada atau notasi pada melodi, biasanya satu suku kata untuk beberapa nada yang disebut dengan istilah melisma. Ornamentasi atau hiasan nada sangat diperlukan dalam seni suara untuk memperindah suatu melodi. Ornamentasi melodi juga terdapat pada lantunan seni baca Al-Qur’an dengan gaya Qira’ah atau mujawwad. Seni baca Al-Qur’an tersebut melagukan secara penuh melismatis dengan hiasan-hiasan atau ornamentasi melodi agar lantunan menjadi indah. Seni baca Al-Qur’an termasuk seni suara yang sering dilombakan dalam Musabaqoh Tilawatil Qur’an (MTQ). Penelitian ini mengkaji ornamentasi melodi dan cara-cara melantunkan seni baca Al-Qur’an dalam Musabaqoh Tilawatil Qur’an (MTQ), melalui pendekatan musikologis dan antropologis perilaku pelantun Al-Qur’an. Hasil penelitian ini menunjukkan bahwa ornamentasi yang terjadi pada lantunan seni baca Al-Qur’an dengan gaya Qira’ah merupakan bentuk ekspresi estetis seni suara dari Pelantun Al-Qur’an (Qori/Qoriah) sesuai kemampuan dan kreativitas pelantun dalam berolah vokal. Ornamentation the Art of Qur’anic recitation in Musabaqoh Tilawatil Qur’an as a Form of Aesthetic Expression of the Art of Sound. Ornamentation is a musical term that means adding a few notes or notation on the melody, normally one word for several notes known as the melisma. Ornamentation or ornamented notes are needed in the art of sound to reshape a melody. There are also additional melodic chanting on the art of Qur’anic recitation in the style the Qira'ah the mujawwad. The art of Qur’anic recitation practice in full melismatic with decorations or additional melodic chant in order to be beautiful. The art of Qur’anic recitation includes the sound art that is often competed in the Musabaqoh Tilawatil Qur’an (MTQ). This research examines melodic ornamentation and the ways art of Qur’anic recitation practiced in the Musabaqoh Tilawatil Qur’an (MTQ), through musikological and anthropological approaches to the behavior of in reading. The results of this study suggest that ornamentation piece of art that happens to read the Qur'anic in style is a form of aesthetic expression the art of sound of Qira'ah of its Chanter (Qori/Qoriah) fits the ability and creativity of chanter in doing the vocals.
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Bailes, Freya, and Charles Delbé. "Long-term melodic expectation: The unexpected observation of distant priming effects." Musicae Scientiae 13, no. 2 (September 2009): 315–36. http://dx.doi.org/10.1177/102986490901300205.
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The report provides a brief account of an experiment whose control conditions produced interestingly counter-intuitive results. The method adapted priming techniques to explore whether imagining well-known melodies would facilitate perceptual discrimination of congruent compared to incongruent melodic continuations in a syllable identification task. This was shown to be the case, but in a subsequent control experiment, imagining an irrelevant lure melody also showed a priming effect. The persistent priming effect apparently related the target sequence to the aurally presented, nonadjacent opening notes, and not to the intervening mental image. A number of statistical analyses of the pitch relationships in match and mismatch targets were performed and a further experiment is reported in which participants explicitly selected between match and mismatch versions of the stimuli for fit within the prime context. It seems that the pitch proximity of the first target note to the final note of the sounded prime may be responsible for the priming effect. An outline of further research to explain the phenomenon is suggested, including experiments to test the strength of melodic priming governed by pitch proximity, by systematically varying the length of the period between prime and target.
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Habibi, Assal, Vinthia Wirantana, and Arnold Starr. "Cortical Activity During Perception of Musical Pitch." Music Perception 30, no. 5 (December 2012): 463–79. http://dx.doi.org/10.1525/mp.2013.30.5.463.
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This study investigates the effects of music training on brain activity to violations of melodic expectancies. We recorded behavioral and event-related brain potential (ERP) responses of musicians and nonmusicians to discrepancies of pitch between pairs of unfamiliar melodies based on Western classical rules. Musicians detected pitch deviations significantly better than nonmusicians. In musicians compared to nonmusicians, auditory cortical potentials to notes but not unrelated warning tones exhibited enhanced P200 amplitude generally, and in response to pitch deviations enhanced amplitude for N150 and P300 (P3a) but not N100 was observed. P3a latency was shorter in musicians compared to nonmusicians. Both the behavioral and cortical activity differences observed between musicians and nonmusicians in response to deviant notes were significant with stimulation of the right but not the left ear, suggesting that left-sided brain activity differentiated musicians from nonmusicians. The enhanced amplitude of N150 among musicians with right ear stimulation was positively correlated with earlier age onset of music training. Our data support the notion that long-term music training in musicians leads to functional reorganization of auditory brain systems, and that these effects are potentiated by early age onset of training.
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Meeùs, Nicolas. "Inhalt (‘content’) as a technical term in musical semiotics." Rasprave Instituta za hrvatski jezik i jezikoslovlje 44, no. 2 (2018): 539–49. http://dx.doi.org/10.31724/rihjj.44.2.14.
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Inhalt (‘content’) is so common that it could hardly pass as a technical term. The purpose of this article is to show that from the 18th to the 20th century it was nevertheless used particularly to denote the specifically musical meaning arising from what music ‘contains’ of notes, rhythms, melodic cells, etc. Hegel, Marx, Hauptmann, Hanslick, Schenker, Schoenberg and probably others shared the same view that music has a content of its own, one that cannot be translated in verbal language.
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Christiner, Markus, Christine Gross, Annemarie Seither-Preisler, and Peter Schneider. "The Melody of Speech: What the Melodic Perception of Speech Reveals about Language Performance and Musical Abilities." Languages 6, no. 3 (August 2, 2021): 132. http://dx.doi.org/10.3390/languages6030132.
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Research has shown that melody not only plays a crucial role in music but also in language acquisition processes. Evidence has been provided that melody helps in retrieving, remembering, and memorizing new language material, while relatively little is known about whether individuals who perceive speech as more melodic than others also benefit in the acquisition of oral languages. In this investigation, we wanted to show which impact the subjective melodic perception of speech has on the pronunciation of unfamiliar foreign languages. We tested 86 participants for how melodic they perceived five unfamiliar languages, for their ability to repeat and pronounce the respective five languages, for their musical abilities, and for their short-term memory (STM). The results revealed that 59 percent of the variance in the language pronunciation tasks could be explained by five predictors: the number of foreign languages spoken, short-term memory capacity, tonal aptitude, melodic singing ability, and how melodic the languages appeared to the participants. Group comparisons showed that individuals who perceived languages as more melodic performed significantly better in all language tasks than those who did not. However, even though we expected musical measures to be related to the melodic perception of foreign languages, we could only detect some correlations to rhythmical and tonal musical aptitude. Overall, the findings of this investigation add a new dimension to language research, which shows that individuals who perceive natural languages to be more melodic than others also retrieve and pronounce utterances more accurately.
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Cuddy, Lola L., Jacalyn M. Duffin, Sudeep S. Gill, Cassandra L. Brown, Ritu Sikka, and Ashley D. Vanstone. "Memory for Melodies and Lyrics in Alzheimer's Disease." Music Perception 29, no. 5 (June 1, 2012): 479–91. http://dx.doi.org/10.1525/mp.2012.29.5.479.
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this research addressed the question: is musical memory preserved in dementia, specifically, dementia of the Alzheimer type (AD)? Six tests involving different aspects of melody and language processing were administered to each of five groups of participants: 50 younger adults, 100 older adults, and 50 AD older adults classified into three levels of AD severity—mild, moderate and severe. No test was immune to, but not all tests were equally sensitive to, the presence of dementia. Long-term familiarity for melody was preserved across levels of AD, even at the severe stage for a few individuals. Detecting pitch distortions in melodies was possible for mild and some of the moderate AD participants. The ability to sing a melody when prompted by its lyrics was retained at the mild stage and was retained by a few individuals through the severe stages of AD. Long-term familiarity with the lyrics of familiar melodies was also found across levels of AD. In contrast, detection of grammatical distortions in the lyrics of familiar melodies and the ability to complete familiar proverbs were affected even at the mild stage of AD. We conclude that musical semantic memory may be spared through the mild and moderate stages of AD and may be preserved even in some individuals at the severe stage.
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Dowling, W. Jay. "Context Effects on Melody Recognition: Scale-Step versus Interval Representations." Music Perception 3, no. 3 (1986): 281–96. http://dx.doi.org/10.2307/40285338.
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A basic question in cognitive psychology concerns ways in which sensory information is represented in memory. Listeners performed a long-term transposition recognition task in which brief melodies were presented with a chordal context that defined their scale-step interpretations. Context either remained constant or changed at test. In two experiments listeners with moderate amounts of musical experience performed well with constant context but at chance with shifting context. Inexperienced listeners (as well as professionals in one of the studies) performed equally well regardless of context. This result suggests that inexperienced listeners represented melodies as sequences of pitch intervals that remained invariant across context shifts. In contrast, moderately experienced listeners appear to have represented melodies as scale-step sequences that were affected by context. Professionals, while capable of scale-step representation, were able to use a flexible memory-retrieval system to avoid errors with changed context. A third experiment showed that moderately experienced listeners were able to base long-term recognition on either contour or scale-step information, depending on instructions. These results suggest that the scale-step representation used by moderately experienced listeners involved both contour and scale information.
Dissertations / Theses on the topic "Musik, Melodik, Terz"
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Brown, Jack M. III. "Sing to Me: the Effects of Sung Vocals and Melody on Memory." Scholarship @ Claremont, 2017. http://scholarship.claremont.edu/cmc_theses/1476.
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Have you ever heard a song that hasn’t played in years, and immediately recognize it? What cognitive processes determine this, and why does it seemingly happen to everyone? Using the Expectancy Theory of Music (Meyer, 1965) a working explanation for the possibility of why such strange phenomena exists is proposed. Based on expectancy, words and melody are processed together, and sung words are treated as part of the expected whole. In three experiments, memory was tested using same- different task. Each experiments investigates a different level of memory. Taking into account systematic uncertainty and the violation of expectancy when an unexpected appears, these experiments were able to be analyzed and studied in regards to their effects on memory. College students from the Claremont Colleges are to be randomly selected for this experiment. Findings should show a consistent interaction between melody and vocal sequences throughout each experiment.
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Benassi-Werke, Mariana Elisa [UNIFESP]. "Familiaridade, supressão articulatória e comprimento do estímulo: influências na memória de curto prazo e memória operacional para tons e melodias." Universidade Federal de São Paulo (UNIFESP), 2012. http://repositorio.unifesp.br/handle/11600/22086.
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Made available in DSpace on 2015-12-06T23:45:23Z (GMT). No. of bitstreams: 0
Previous issue date: 2012Associação Fundo de Incentivo à Psicofarmacologia (AFIP)
Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq)
Fundação de Amparo à Pesquisa do Estado de São Paulo (FAPESP)
Este trabalho pretendeu verificar se a recordação ativa de sequências melódicas também é influenciada por fatores que sabidamente influenciam a memória de curto prazo verbal: familiaridade, supressão articulatória e comprimento do estímulo. Para cada um dos fatores foi desenhado um experimento. No Experimento 1, os participantes foram submetidos a testes de amplitude de tons na ordem direta e inversa (Benassi-Werke et al., 2011) elaborados com estrutura diatônica (mais familiar) e estrutura cromática (menos familiar), ambos variando também na estrutura de intervalos entre uma nota e outra das sequências. Posteriormente foram aplicados testes de amplitude de dígitos pareados aos testes de tons. Observamos que a familiaridade contribuiu para o aumento da amplitude na ordem direta. O resultado semelhante encontrado nas amplitudes numéricas levanta a possibilidade de apenas o número de elementos ser responsável por esse efeito. Além disso, verificamos que a recordação relativa na ordem inversa das sequências melódicas é muito menor do que a recordação relativa na ordem inversa de se-quências verbais, sugerindo que a manipulação de tons na memória operacional é mais difícil do que a manipulação de itens puramente verbais, com ou sem significado. No Experimento 2, foram aplicados dois dos testes de amplitude melódica utilizados no Experimento 1, porém houve uma condição de supressão articulatória e uma condição livre da supressão. Observamos que a supressão articulatória afetou a recordação melódica e verbal da mesma forma. No Experimen-to 3, a duração das notas do teste de amplitude melódica foi aumentada, além de ter sido cria-do um teste de amplitude de tríades. Estes foram pareados a testes de amplitude de pseudopalavras. Foi observado que o efeito de comprimento do estímulo se comporta de forma diferente para material melódico em comparação ao material verbal. Analisando as medidas da ordem inversa (índices), e aliando esses resultados aos resultados do Experimento 3, sugerimos que os mecanismos envolvidos no processamento da informação verbal e melódica na memória de curto prazo e operacional, embora possam ter aspectos em comum, provavelmente não são exatamente os mesmos, levando em conta que um mecanismo semelhante operaria de forma semelhante para os dois tipos de material.
CNPQ: 142248/2008-8
FAPESP: 2008/04962-3
BV UNIFESP: Teses e dissertações
Books on the topic "Musik, Melodik, Terz"
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Gabrielsson, Alf. The relationship between musical structure and perceived expression. Edited by Susan Hallam, Ian Cross, and Michael Thaut. Oxford University Press, 2012. http://dx.doi.org/10.1093/oxfordhb/9780199298457.013.0013.
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This article discusses the relationship between musical structure and perceived expression. Musical structure is an umbrella term for a host of factors, such as tempo, loudness, pitch, intervals, mode, melody, rhythm, harmony, and various formal aspects (e.g. repetition, variation, transposition). The discussion focuses on perceived expression rather than expression somehow inherent in the music. The listener may apprehend music as ‘pure’ music (absolutism) or as expression of emotions, characters, events, or whatever, and may very well alternate, consciously or unconsciously, between different approaches during the course of a piece. The focus will be on referential meaning.
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Berg, Christopher. The Classical Guitar Companion. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190051105.001.0001.
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The Classical Guitar Companion is an anthology of exercises, études, and pieces organized according to technique or musical texture. Students are encouraged to work in multiple chapters, simultaneously depending on advice from a teacher or their own assessment of what they need. The author’s dual perspective, as an active performing artist and as a teacher who has trained hundreds of guitarists, results in a combination of pedagogical thoroughness and artistic insight. The book opens with a large section devoted to establishing a thorough knowledge of the guitar fingerboard through a systematic and rigorous study of scales and fingerboard harmony, which will lead to ease and fluency in sight-reading and reduce the time needed to learn a repertoire piece. The chapters cover scales exercises and studies, repeated notes, slurs, harmony, arpeggios, melody with accompaniment, counterpoint, and florid/virtuoso studies. Each section contains text and examples that connect material to fingering practices of composers and practice strategies to open a path to interpretive freedom in performance. Exploring advice found in the standard pedagogical literature for guitar that effectively places constraints on a student’s long-term development, the book offers information designed to help students recognize and overcome these constraints. When the book presents the simple version of a technique, it does so through consideration of the technique’s advanced version. Many guitar composers are represented but there are also transcriptions of relevant lute music that expand the scope of the book. The book is designed to serve as a companion for years of guitar study.
Book chapters on the topic "Musik, Melodik, Terz"
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Stone, Alison. "Rhythm and Popular Music." In The Philosophy of Rhythm, 141–55. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199347773.003.0010.
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Chapter 9 explores how rhythm functions and affects us in popular music, restricting that term to the post-1950s period, and arguing that in such music, measured time becomes a resource for creating fields of energy that empower us as embodied human agents. One typical layer of sound in popular music is what the chapter identifies as “explicit” rhythm: a constant (metrical) layer of percussion that has no precise pitch. In relation to this layer, the rhythmic qualities of all the other layers of sound—vocal/melodic, harmonic, bass-lines, etc.—are heightened, as they emphasize beats that fit in with or pull against the (metric) level emphasized by the percussion. This gives the music a pronounced rhythmic character that appeals to our bodies by providing opportunities to move creatively with the emphases sounded by the different layers of the music. The account is illustrated with the example of Michael Jackson’s “Billie Jean.”
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Baroni, Mario, Rossana Dalmonte, and Roberto Caterina. "Salience of melodic tones in short-term memory: dependence on phrasing, metre, duration, register, and tonal hierarchy." In Music and the Mind, 139–60. Oxford University Press, 2011. http://dx.doi.org/10.1093/acprof:osobl/9780199581566.003.0008.
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Terol, Raúl. "Audiobranding and Its Importance to Your Personal Brand." In Brand Culture and Identity, 661–73. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7116-2.ch036.
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In this chapter we will try to discover the importance of audio and voice as key elements in building a personal brand. Podcast, audioblogs and web tools that reference the sound will be analyzed based on their degree of influence on personal branding. By using the voice we can differentiate ourselves from our competitors, so the audio branding, or sonic branding as it is also known, shows a verbal identity of his own personality. The sound has always been known for being a great tool to convey memorable messages to consumers, in fact we are able to consume the sound since we are in the womb. Having an audio brand is one way to ensure that no other company uses a similar audio and make our brand is consistent. The radio language, consisting of voice, music, silence and the special effects are responsible for generating emotions in the receiving public. The audio conveys information, entertains consumers and in the long term, helps build a positive image that reinforces the brand values. The design of an audio brand goes beyond creating a catchy jingle or a piece of melody.
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Terol, Raúl. "Audiobranding and Its Importance to Your Personal Brand." In Advances in Educational Marketing, Administration, and Leadership, 186–98. IGI Global, 2017. http://dx.doi.org/10.4018/978-1-5225-0917-2.ch012.
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In this chapter we will try to discover the importance of audio and voice as key elements in building a personal brand. Podcast, audioblogs and web tools that reference the sound will be analyzed based on their degree of influence on personal branding. By using the voice we can differentiate ourselves from our competitors, so the audio branding, or sonic branding as it is also known, shows a verbal identity of his own personality. The sound has always been known for being a great tool to convey memorable messages to consumers, in fact we are able to consume the sound since we are in the womb. Having an audio brand is one way to ensure that no other company uses a similar audio and make our brand is consistent. The radio language, consisting of voice, music, silence and the special effects are responsible for generating emotions in the receiving public. The audio conveys information, entertains consumers and in the long term, helps build a positive image that reinforces the brand values. The design of an audio brand goes beyond creating a catchy jingle or a piece of melody.