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Artykuły w czasopismach na temat „Musical perception”

Autor: Grafiati

Data publikacji: 4 czerwca 2021

Data aktualizacji: 25 lipca 2025

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1

Miller, Benjamin O. "Time perception in musical meter perception." Psychomusicology: A Journal of Research in Music Cognition 12, no. 2 (1993): 124–53. http://dx.doi.org/10.1037/h0094111.

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Çağrı, Çalışır, and Onuray Eğilmez Hatice. "Investigation of the Relationship Between Self-Perceptions of Fine Arts High School Students Towards Their Instruments and Their Music Performance Anxiety." Education Quarterly Reviews 5, no. 4 (2022): 489–503. https://doi.org/10.31014/aior.1993.05.04.680.

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, In the study, it was aimed to examine Fine Arts High School (FAHS) students’ self-perceptions for their musical instruments and their music performance anxiety according to some variables. Also it was aimed to reveal the relationship between their self-perceptions for musical instrument and music performance anxiety. The sample of the research consisted of 273 music department students studying at Malatya Abdulkadir Eriş FAHS, Konya Çimento FAHS, Balıkesir T.C. Ziraat Bankası FAHS and Ayvalık Sebahat-Cihan Şişman FAHS. The data for the research were obtained by using the "S

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3

Burns, Edward M. "Perception of musical pitch." Journal of the Acoustical Society of America 101, no. 5 (1997): 3172. http://dx.doi.org/10.1121/1.419195.

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4

Girgin, Demet. "Pre-service Music Teachers’ Metaphoric Perception for the Musical Instrument Education." Journal of Qualitative Research in Education 7, no. 1 (2019): 1–15. http://dx.doi.org/10.14689/issn.2148-2624.1.7c1s.7m.

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5

Swain, Joseph P. "Music Perception and Musical Communities." Music Perception 11, no. 3 (1994): 307–20. http://dx.doi.org/10.2307/40285625.

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Should certain negative results cause music theory to abandon its dependence on perception studies for the corroboration of its key principles? Recent experiments in music perception that have failed to confirm certain important principles of music theory are reviewed from the perspective of musical communities. A musical community is defined to be those listeners for whom a given musical perception is real and useful. It is argued that (1) the significance of experimental results should be interpreted not only according to traditional criteria of statistical significance but also according to

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6

Tillmann, Barbara, and Emmanuel Bigand. "Does Formal Musical Structure Affect Perception of Musical Expressiveness?" Psychology of Music 24, no. 1 (1996): 3–17. http://dx.doi.org/10.1177/0305735696241002.

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7

Zatorre, Robert J. "Brain Imaging Studies of Musical Perception and Musical Imagery." Journal of New Music Research 28, no. 3 (1999): 229–36. http://dx.doi.org/10.1076/jnmr.28.3.229.3112.

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8

Trehub, Sandra E. "Infants’ perception of musical patterns." Perception & Psychophysics 41, no. 6 (1987): 635–41. http://dx.doi.org/10.3758/bf03210495.

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9

Best, Harold M. "Musical Perception and Music Education." Arts Education Policy Review 96, no. 4 (1995): 2–9. http://dx.doi.org/10.1080/10632913.1995.9934551.

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Miller, Johanna L. "Musical pitch perception starts early." Physics Today 67, no. 10 (2014): 18–19. http://dx.doi.org/10.1063/pt.3.2537.

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11

Ayari, Mondher. "Performance and Musical Perception Analysis." Intellectica. Revue de l'Association pour la Recherche Cognitive 48, no. 1 (2008): 51–80. http://dx.doi.org/10.3406/intel.2008.1240.

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12

Vaiedelich, Stéphane, and Claudia Fritz. "Perception of old musical instruments." Journal of Cultural Heritage 27 (October 2017): S2—S7. http://dx.doi.org/10.1016/j.culher.2017.02.014.

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13

KARAELMA, Barış, and Serkan DEMİREL. "SCALE DEVELOPMENT FOR CHILDREN'S MUSICAL HEARING PERCEPTION." Zeitschrift für die Welt der Türken / Journal of World of Turks 13, no. 1 (2021): 293–311. http://dx.doi.org/10.46291/zfwt/130115.

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The perception of musical hearing has been one of the most prominent elements within the framework of musical talent and many studies have been conducted on it. The main subject of this research is musical hearing perception which is important concept that musical ability tests have been trying to measure for many years. Musical hearing perception is a concept that can be developed with the necessary educational planning, especially in childhood. In this context, based on the constructivist approach, early detection is important according to the level of readiness of the person. The scale in t

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14

Rodsakan, Tepika. "Comparison of the Effects of Using Traditional Thai Musical Instruments and Carl Orff’s Instruments on Mentally Disabled Children’s Perception and Reaction to the Musical Elements." International Journal of Creative and Arts Studies 2, no. 2 (2015): 35. http://dx.doi.org/10.24821/ijcas.v2i2.1796.

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This research dealt with the comparison of the effects of using traditional Thai musical instruments and Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements. The objectives of the research were 1) to study the results of the effects of using traditional Thai musical instruments on mentally disabled children’s perception and reaction to the musical elements 2) to study the results of the effects of Carl Orff’s instruments on mentally disabled children’s perception and reaction to the musical elements 3) to compare the results of the effects of

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15

Līduma, Anna. "CHILD’S MUSICAL PERCEPTION DEVELOPMENT IN EARLY YEARS." SOCIETY. INTEGRATION. EDUCATION. Proceedings of the International Scientific Conference 2 (May 26, 2016): 416. http://dx.doi.org/10.17770/sie2016vol2.1408.

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This research is an analysis of the succession in the child’s musical perception development. The theory based experimental study of the gradual development of musical perception revealed the specifics of children’s musical perception formation from prenatal period to the age of 3. The formation of the sensory and vocal experience in early years, and purposeful activity at the realization of the connection of memory and thinking in conjunction with listening to music are analyzed. The author has observed that both stages of musical perception in the early genesis: sensory and motor and a perce

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16

Kerkova, Barbora. "Perception and experience of musical emotions in schizophrenia." Psychology of Music 48, no. 2 (2018): 199–214. http://dx.doi.org/10.1177/0305735618792427.

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The schizophrenic disturbance of affective processing has seen a welcome revival in academic inquiry. However, laboratory research on emotion in schizophrenia has largely drawn on facial and prosodic stimuli and the suitability of this practice has been questioned. This article aims to explore the utility of musical material, and to motivate its use in research on emotion in schizophrenia. The article lists some of the empirical advantages of musical material and describes key auditory and affective deficits which could alter musical emotions in schizophrenia. Existing findings pertaining to t

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17

Astakhova, Ol’ga Andreevna. "Physical and Acoustic Space in the Music of Composers of the Second Half of the XX Century." Pan-Art 3, no. 1 (2023): 3–10. http://dx.doi.org/10.30853/pa20230003.

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The study aims to prove the axiom that musical space, as well as musical time, has three main (basic) levels. The paper characterises the conceptual level of musical space, which is a subjective individual “spatial world” expressed by all elements of the musical language; the perceptual level of musical space, associated with the listener’s perception; the physical level of musical space, manifested when performing compositions. The scientific novelty of the study lies in developing a classification of perceptual space in music and determining the component composition of the physical and acou

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18

Koniari, Dimitra, Sandrine Predazzer, and Marc Méélen. "Categorization and Schematization Processes Used in Music Perception by 10- to 11-Year-Old Children." Music Perception 18, no. 3 (2001): 297–324. http://dx.doi.org/10.1525/mp.2001.18.3.297.

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This study investigates the role of the cue abstraction mechanism within the framework of cognitive processes underlying listening to a piece of music by 10- to 11-year-old children. Four experiments used different procedures to address three main processes: (a) the categorization of musical features, (b) the segmentation of the musical discourse, and (c) the elaboration of a mental schema of the piece. Two short tonal pieces from the classical piano repertoire were used as experimental material. Experiments 1 and 2 assessed children's capacity to classify segments from the same musical piece

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19

Choi, William, Cheuk Lam Katie Ling, and Chun Him Jason Wu. "Musical Advantage in Lexical Tone Perception Hinges on Musical Instrument." Music Perception: An Interdisciplinary Journal 41, no. 5 (2024): 360–77. http://dx.doi.org/10.1525/mp.2024.41.5.360.

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Different musical instruments have different pitch processing demands. However, correlational studies have seldom considered the role of musical instruments in music-to-language transfer. Addressing this research gap could contribute to a nuanced understanding of music-to-language transfer. To this end, we investigated whether pitched musicians had a unique musical advantage in lexical tone perception relative to unpitched musicians and nonmusicians. Specifically, we compared Cantonese pitched musicians, unpitched musicians, and nonmusicians on Thai tone discrimination and sequence recall. In

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20

Boll-Avetisyan, Natalie, Anjali Bhatara, and Barbara Höhle. "Processing of Rhythm in Speech and Music in Adult Dyslexia." Brain Sciences 10, no. 5 (2020): 261. http://dx.doi.org/10.3390/brainsci10050261.

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Recent studies have suggested that musical rhythm perception ability can affect the phonological system. The most prevalent causal account for developmental dyslexia is the phonological deficit hypothesis. As rhythm is a subpart of phonology, we hypothesized that reading deficits in dyslexia are associated with rhythm processing in speech and in music. In a rhythmic grouping task, adults with diagnosed dyslexia and age-matched controls listened to speech streams with syllables alternating in intensity, duration, or neither, and indicated whether they perceived a strong-weak or weak-strong rhyt

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21

Ailamazyan, Aida M., and Nina L. Savchenko. "The problem of musical experience and intonation theory of music." Theoretical and experimental psychology 17, no. 4 (2024): 28–45. https://doi.org/10.11621/tep-24-32.

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Background. Despite the growing interest in the field of music psychology, the problem of musical experience remains the least developed. Psychological studies take into account the subjective side of musical experience, but usually leave aside the correlation between the characteristics of perception and the actual musical meanings. The works of musicologists, in their turn, reflect the relationship between experience and the structural features of the form of a musical work. Objective. The study has two aims: 1) to provide a theoretical and methodological analysis of ideas about musical expe

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22

Dyatlov, Dmitrii Alekseevich. "On the Typology of Musical Perception." Философия и культура, no. 10 (October 2022): 1–11. http://dx.doi.org/10.7256/2454-0757.2022.10.38893.

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Throughout the 20th century, the theory and history of performing arts repeatedly attempted to systematize various phenomena in the field of interpretation of works of academic music. The number of performing styles and types in various researches has risen dramatically, until the beginning of this century when it was reduced to a single concept - to the category of an individual style. This topic was discussed mainly in research papers devoted to the theory of pianism. The results of their observations and conclusions can be applied to the performing arts in general. The article mentions the

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23

Fujita, Shuji, and Juichiito. "Musical Perception in Nucleus Cochlear Implantees." Otolaryngology–Head and Neck Surgery 117, no. 2 (1997): P89. http://dx.doi.org/10.1016/s0194-59989780121-0.

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Kapliienko-Iliuk, Yuliia. "MUSICAL STYLE CATEGORY: PERCEPTION AND UNDERSTANDING." Knowledge, Education, Law, Management 2, no. 5 (2020): 25–30. http://dx.doi.org/10.51647/kelm.2020.5.2.5.

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Seger, Carol A., Brian J. Spiering, Anastasia G. Sares, et al. "Corticostriatal Contributions to Musical Expectancy Perception." Journal of Cognitive Neuroscience 25, no. 7 (2013): 1062–77. http://dx.doi.org/10.1162/jocn_a_00371.

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This study investigates the functional neuroanatomy of harmonic music perception with fMRI. We presented short pieces of Western classical music to nonmusicians. The ending of each piece was systematically manipulated in the following four ways: Standard Cadence (expected resolution), Deceptive Cadence (moderate deviation from expectation), Modulated Cadence (strong deviation from expectation but remaining within the harmonic structure of Western tonal music), and Atonal Cadence (strongest deviation from expectation by leaving the harmonic structure of Western tonal music). Music compared with

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26

Caclin, Anne, Elvira Brattico, Bennett K. Smith, Mari Tervaniemi, Marie‐Hilhne Giard, and Stephen McAdams. "Electrophysiological correlates of musical timbre perception." Journal of the Acoustical Society of America 112, no. 5 (2002): 2240. http://dx.doi.org/10.1121/1.4778890.

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Vurma, Allan, and Jaan Ross. "Production and Perception of Musical Intervals." Music Perception 23, no. 4 (2006): 331–44. http://dx.doi.org/10.1525/mp.2006.23.4.331.

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This Article Reports Two Experiments. In the first experiment, 13 professional singers performed a vocal exercise consisting of three ascending and descending melodic intervals: minor second, tritone, and perfect fifth. Seconds were sung more narrowly but fifths more widely in both directions, as compared to their equally tempered counterparts. In the second experiment, intonation accuracy in performances recorded from the first experiment was evaluated in a listening test. Tritones and fifths were more frequently classified as out of tune than seconds. Good correspondence was found between in

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28

Platel, Hervé. "Neuropsychology of musical perception: new perspectives." Brain 125, no. 2 (2002): 223–24. http://dx.doi.org/10.1093/brain/awf078.

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SMOLIAR, STEPHEN W. "Modelling Musical Perception: A Critical View." Connection Science 6, no. 2-3 (1994): 209–22. http://dx.doi.org/10.1080/09540099408915724.

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Beauchamp, James W., Andrew B. Horner, and Michael D. Hall. "Recent research in musical timbre perception." Journal of the Acoustical Society of America 126, no. 4 (2009): 2235. http://dx.doi.org/10.1121/1.3249183.

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FUJITA, S., and J. ITO. "Musical perception in nucleus cochlear implantees." Otolaryngology - Head and Neck Surgery 117, no. 2 (1997): P89. http://dx.doi.org/10.1016/s0194-5998(97)80121-0.

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Krumhansl, Carol L., and Peter W. Jusczyk. "Infants’ Perception of Phrase Structure in Music." Psychological Science 1, no. 1 (1990): 70–73. http://dx.doi.org/10.1111/j.1467-9280.1990.tb00070.x.

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A visual preference procedure was used to examine 6- and 41/2-monthold infants’ sensitivity to phrase structure in music. Sections of Mozart minuets were divided into segments that either did or did not correspond to the phrase structure of the music. Infants in both age groups listened significantly longer to the appropriately segmented versions. Their behavior accorded well with judgments of the same materials made by adults, suggesting that protracted musical experience may not be necessary to perceive phrase structure in music. Strong correlations were found between certain musical variabl

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33

Reva, Valentin. "SPIRITUAL AND PHYSICAL FOUNDATIONS OF MUSICAL PERCEPTION." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 114–18. http://dx.doi.org/10.36550/2415-7988-2021-1-195-114-118.

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Perception of music is auditory-motor in nature, accompanied by active bodily responses. It would be a gross methodological mistake not to take this intoaccount in the practice of art education. The effects of music, recorded not only by the ear, but also by the body, and by the vibrations of the muscles, indicate a unified musical perception. Sensorimotor skills saturate it with bodily associations, become fixed in memory, become artifacts of co-creation, solidary intonation-bodily empathy. Attempts to separate the bodily reactions of perception from consciousness, to bring them into the real

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Bailes, Freya, and Roger T. Dean. "Comparative Time Series Analysis of Perceptual Responses to Electroacoustic Music." Music Perception 29, no. 4 (2012): 359–75. http://dx.doi.org/10.1525/mp.2012.29.4.359.

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this study investigates the relationship between acoustic patterns in contemporary electroacoustic compositions, and listeners' real-time perceptions of their structure and affective content. Thirty-two participants varying in musical expertise (nonmusicians, classical musicians, expert computer musicians) continuously rated the affect (arousal and valence) and structure (change in sound) they perceived in four compositions of approximately three minutes duration. Time series analyses tested the hypotheses that sound intensity influences listener perceptions of structure and arousal, and spect

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35

Bondarenko, Andrii. "Musical As Intonation Practice." Bulletin of Kyiv National University of Culture and Arts. Series in Arts, no. 46 (May 22, 2022): 78–86. https://doi.org/10.31866/2410-1176.46.2022.258619.

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The purpose of the article is to identify the musical genre features and its development prospects in Ukraine in terms of intonation practices. Methods. The article is based on a comprehensive analysis of the temporal and spatial characteristics of the musical language used in musicals, which allows determining the nature of the intonation practices involved, identifying what is common and what is different in works of this genre. Results. The article analyses the characteristic musical language features of early film musicals of the USA and the UK, early musicals of the USSR and musicals of U

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36

Benguerel, André-Pierre, and Carol Westdal. "Absolute Pitch and the Perception of Sequential Musical Intervals." Music Perception 9, no. 1 (1991): 105–19. http://dx.doi.org/10.2307/40286161.

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When identifying musical intervals, most musicians appear to use only one strategy: they directly evaluate the musical interval between two notes (relative-pitch strategy). Musicians with absolute pitch (AP) seem to have two strategies available for identifying intervals: they can either use the relative-pitch strategy, or they can first identify the two pitches and then infer the musical interval between them (AP strategy). This study investigates the perception of sequential musical intervals by two groups of musicians, one group with AP and the other without AP. Most subjects in either grou

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Berger, Harris M. "Death metal tonality and the act of listening." Popular Music 18, no. 2 (1999): 161–78. http://dx.doi.org/10.1017/s0261143000009028.

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In recent years popular music scholars have paid increasing attention to musical sound. From Robert Walser's landmark work on heavy metal (1993), to Alan Moore's important analysis of rock style periods (1993), to a number of shorter studies (Whiteley 1990; Josephson 1992; Bowman 1995; Ford 1995; Hawkins 1996; Edström 1996), more and more scholars have recognised that all levels of scholarly focus must be pursued if we are to gain purchase on the phenomena of popular music. With no exceptions of which I am aware, all the popular music scholars concerned specifically with musical sound seek to

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Alimazyan, Aida M. "Musical movement as a means of comprehending the inner form of a musical work." National Psychological Journal 51, no. 3 (2023): 55–71. http://dx.doi.org/10.11621/npj.2023.0307.

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Background. The issue of the methods in aesthetic education, including music, is of particular importance in connection with the task of personal development and formation of the moral sphere. The question of organizing the work that the listener does when perceiving a piece of music arises. Practical solution to this problem requires considering and identifying the content and structure of musical perception. Objectives. The article aims (1) to research the mechanisms and orientation of musical perception; (2) to analyze approaches to the problem of musical content in musicology and music psy

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Song, Baoqing, Chenyu Gong, Yicheng Gao, et al. "Music Literacy and Soundscape Perception: A Study Based on the Soundwalk Method of Soundscapes." International Journal of Environmental Research and Public Health 19, no. 14 (2022): 8471. http://dx.doi.org/10.3390/ijerph19148471.

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To explore a method of promoting college aesthetic education through campus environments, the Aesthetic Education Center of the Beijing Institute of Technology Zhuhai (BITZH-AEC) used the soundwalk method of soundscapes to carry out an experiment on students’ soundscape perceptions on campus. Half of the students who participated in the experiment (n = 42) had musical instrument learning experience and musical literacy. The research work used conventional statistical analysis methods and “Soundscapy”, newly developed by the British soundscape research team, to process the experimental data. It

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Parson, Dale. "Quantum Composition and Improvisation." Proceedings of the AAAI Conference on Artificial Intelligence and Interactive Digital Entertainment 8, no. 4 (2021): 21–25. http://dx.doi.org/10.1609/aiide.v8i4.12552.

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Quantum mechanical systems exist as superpositions of complementary states that collapse to classical, concrete states upon becoming entangled with the measurement apparatus of observer-participants. A musical composition and its performance constitute a quantum system. Historically, conventional musical notation has presented the appearance of a composition as a deterministic, concrete entity, with interpretation approached as an extrinsic act. This historical perspective inhabits a subspace of the available quantum space. A quantum musical system unifies the composition, instruments, situate

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Liang, Jie, Fen Zhang, Wenshu Liu, et al. "Musical Pitch Perception and Categorization in Listeners with No Musical Training Experience: Insights from Mandarin-Speaking Non-Musicians." Behavioral Sciences 15, no. 1 (2024): 30. https://doi.org/10.3390/bs15010030.

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Pitch is a fundamental element in music. While most previous studies on musical pitch have focused on musicians, our understanding of musical pitch perception in non-musicians is still limited. This study aimed to explore how Mandarin-speaking listeners who did not receive musical training perceive and categorize musical pitch. Two experiments were conducted in the study. In Experiment 1, participants were asked to discriminate musical tone pairs with different intervals. The results showed that the nearer apart the tones were, the more difficult it was to distinguish. Among adjacent note pair

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Vukićević, Nataša M. "НАСТАВА МУЗИЧКЕ КУЛТУРЕ И ПОЗИТИВНО ОБРАЗОВАЊЕ – ОД ДОЖИВЉАЈА ДО ИСХОДА У ОБЛАСТИ МУЗИЧКОГ СТВАРАЛАШТВА И СЛУШАЊА МУЗИКЕ". Узданица XX, № 3 (2023): 241–56. http://dx.doi.org/10.46793/uzdanica20.s.241v.

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This paper analyses experiential aspects of teaching music in the context of the well-being education and creating a stimulating environment for learning, development and psychological well-being of lower-grade pupils. The analysis involves music classes held with fourth-graders who were expected to connect a literary text with a corresponding musical composition they listened to. The research was conducted in the primary school “17. Oktobarˮ in Jagodina in September 2023. In accordance with the research topic which encompasses pupils’ achievement in two areas, musical creativity and listening

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43

Petersen, Suse. "Talent development in Chinese and Swiss music students." International Journal of Music Education 36, no. 2 (2017): 230–43. http://dx.doi.org/10.1177/0255761417729544.

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Musical talent development and the factors that influence it—such as family or peers—have been widely researched, especially in a Western setting. Despite the growing body of research in non-Western cultures and regions, there is still a lack of research comparing the factors and perceptions of musical talent development between Western and Asian settings. This interview study compared Swiss and Chinese music students’ ( N = 19) musical talent development and the factors influencing musical talent during childhood and adolescence, their professional aims, and their perception of internal and e

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Samiotis, Ioannis Petros, Sihang Qiu, Christoph Lofi, Jie Yang, Ujwal Gadiraju, and Alessandro Bozzon. "Exploring the Music Perception Skills of Crowd Workers." Proceedings of the AAAI Conference on Human Computation and Crowdsourcing 9 (October 4, 2021): 108–19. http://dx.doi.org/10.1609/hcomp.v9i1.18944.

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Music content annotation campaigns are common on paid crowdsourcing platforms. Crowd workers are expected to annotate complicated music artefacts, which can demand certain skills and expertise. Traditional methods of participant selection are not designed to capture these kind of domain-specific skills and expertise, and often domain-specific questions fall under the general demographics category. Despite the popularity of such tasks, there is a general lack of deeper understanding of the distribution of musical properties - especially auditory perception skills - among workers. To address thi

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Upadhya, Sushmitha, Rohit Bhattacharyya, Ritwik Jargar, and K. Nisha Venkateswaran. "Closed-field Auditory Spatial Perception and Its Relationship to Musical Aptitude." Journal of Indian Speech Language & Hearing Association 37, no. 2 (2023): 61–65. http://dx.doi.org/10.4103/jisha.jisha_20_23.

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Introduction: Musical aptitude is the innate ability of an individual to understand, appreciate, improvise, and have a good sense of pitch and rhythm, even without undergoing formal musical training. The present study aimed to understand the effect of musical aptitude on auditory spatial perception. Method: Forty nonmusicians were subjected to a musical aptitude test Mini Profile of Music Perception Skills (Mini-PROMS) based on which they were divided into two groups. Group I included 20 nonmusicians with good musical aptitude (NM-GA) and Group II comprised 20 nonmusicians with poor musical ap

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Broze, Yuri, Brandon T. Paul, Erin T. Allen, and Kathleen M. Guarna. "Polyphonic Voice Multiplicity, Numerosity, and Musical Emotion Perception." Music Perception 32, no. 2 (2014): 143–59. http://dx.doi.org/10.1525/mp.2014.32.2.143.

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Three experimental studies suggest that music with more musical voices (higher voice multiplicity) tends to be perceived more positively. In the first experiment, participants heard brief extracts from polyphonic keyboard works representing conditions of one, two, three, or four concurrent musical voices. Two basic emotions (happiness and sadness) and two social emotions (pride and loneliness) were rated on a continuous scale. Listeners rated excerpts with higher voice multiplicity as sounding more happy, less sad, less lonely, and more proud. Results from a second experiment indicate that thi

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Garipova, Natalya. "On the psychological component in the preparation of a future musician teacher." SHS Web of Conferences 87 (2020): 00105. http://dx.doi.org/10.1051/shsconf/20208700105.

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The article reveals the pragmatic aspect of the psychological training of future music teachers and reveals its specificity. This specificity lies in the fact that knowledge and skills from the field of psychology in the professional activity of a music teacher should ensure the comprehension of the emotional-figurative content of a musical work, and not familiarization with it as an object of study, as it happens in the development of other educational disciplines. The role of psychological knowledge for solving many other tasks solved in the process of musical education, carried out both in

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Marčenoka, Marina. "Formation of the Artistic Image in the Music Perception Process." SOCIETY, INTEGRATION, EDUCATION. Proceedings of the International Scientific Conference 1 (May 30, 2015): 467. http://dx.doi.org/10.17770/sie2013vol1.578.

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Musical art, which clears vast possibilities for cognition of the man’s internal world, develops feelings of empathy and tolerance, facilitates the creative comprehension of personal, moral and aesthetical values of micro and macro social media. Musical art, while reflecting the reality by means of the artistic image, the system of musical expression means, has its own specificity in development of universal values. This specificity consists in development of personality’s aesthetical and moral needs and in recovery of the spiritual culture; and only music with high spiritual contents is able

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Rodriguez, Hugo, Pablo Arias Sarah, and Clément Canonne. "Contrasts of Register Underlie the Perception of Musical Humor." Music Perception: An Interdisciplinary Journal 40, no. 4 (2023): 316–33. http://dx.doi.org/10.1525/mp.2023.40.4.316.

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In the psychological literature on musical humor, the emphasis on laughter-inducing music has naturally led researchers to focus on quite uncommon devices, such as stylistic deviations or formal incongruities that strongly violate listeners’ expectations, as the privileged basis for musical humor. But musical humor extends well beyond laughter-inducing music. It is also a kind of semantic content frequently ascribed to music, as attested by the long list of musical genres that are more or less explicitly associated with humor, wit, or comedy. As such, the communication of musical humor should

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Peters, Deniz. "Musical Empathy, Emotional Co-Constitution, and the “Musical Other”." Empirical Musicology Review 10, no. 1-2 (2015): 2. http://dx.doi.org/10.18061/emr.v10i1-2.4611.

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Musical experience can confront us with emotions that are not currently ours. We might remain unaffected by them, or be affected: retreat from them in avoidance, or embrace them and experience them as ours. This suggests that they are another&rsquo;s. Whose are they? Do we arrive at them through empathy, turning our interest to the music as we do to others in an interpersonal encounter? In addressing these questions, I differentiate between musical and social empathy, rejecting the idea that the emotions arise as a direct consequence of empathizing with composers or performers. I argue tha

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