Corrigendum to “Ability to process musical pitch is unrelated to the memory advantage for vocal music” [Brain Cogn. 129 (2019) 35–39]

2020 ◽  
Vol 142 ◽  
pp. 105567
Author(s):  
Michael W. Weiss ◽  
Isabelle Peretz
Keyword(s):  
Vocal Music ◽  
Musical Pitch ◽  
Memory Advantage

Ability to process musical pitch is unrelated to the memory advantage for vocal music

2019 ◽  
Vol 129 ◽  
pp. 35-39 ◽  
Author(s):  
Michael W. Weiss ◽  
Isabelle Peretz
Keyword(s):  
Vocal Music ◽  
Musical Pitch ◽  
Memory Advantage

scholarly journals Song Is More Memorable Than Speech Prosody: Discrete Pitches Aid Auditory Working Memory

2020 ◽  
Vol 11 ◽  
Author(s):  
Felix Haiduk ◽  
Cliodhna Quigley ◽  
W. Tecumseh Fitch
Keyword(s):  
Vocal Communication ◽  
Vocal Music ◽  
Auditory Memory ◽  
Musical Experience ◽  
Human Communication ◽  
Speech Prosody ◽  
Relative Pitch ◽  
Interesting Difference ◽  
Pitch Contours ◽  
Memory Advantage

Vocal music and spoken language both have important roles in human communication, but it is unclear why these two different modes of vocal communication exist. Although similar, speech and song differ in certain design features. One interesting difference is in the pitch intonation contour, which consists of discrete tones in song, vs. gliding intonation contours in speech. Here, we investigated whether vocal phrases consisting of discrete pitches (song-like) or gliding pitches (speech-like) are remembered better, conducting three studies implementing auditory same-different tasks at three levels of difficulty. We tested two hypotheses: that discrete pitch contours aid auditory memory, independent of musical experience (“song memory advantage hypothesis”), or that the higher everyday experience perceiving and producing speech make speech intonation easier to remember (“experience advantage hypothesis”). We used closely matched stimuli, controlling for rhythm and timbre, and we included a stimulus intermediate between song-like and speech-like pitch contours (with partially gliding and partially discrete pitches). We also assessed participants' musicality to evaluate experience-dependent effects. We found that song-like vocal phrases are remembered better than speech-like vocal phrases, and that intermediate vocal phrases evoked a similar advantage to song-like vocal phrases. Participants with more musical experience were better in remembering all three types of vocal phrases. The precise roles of absolute and relative pitch perception and the influence of top-down vs. bottom-up processing should be clarified in future studies. However, our results suggest that one potential reason for the emergence of discrete pitch–a feature that characterises music across cultures–might be that it enhances auditory memory.

Visuo-spatial Memory Advantage of Biscriptal Bilinguals

2013 ◽  
Author(s):  
Lidia Suarez ◽  
Ismath Beevi ◽  
Jonathan J. H. Soh ◽  
Rachel P. L. Lim ◽  
Sok Hui Teo
Keyword(s):  
Spatial Memory ◽  
Memory Advantage

The functions of teachers of vocal music

1893 ◽  
Author(s):  
J. E. Lightner
Keyword(s):  
Vocal Music

Uniform Musical Pitch

1859 ◽  
Vol 1 (4) ◽  
pp. 55-55 ◽  
Keyword(s):  
Musical Pitch

Beyond Drama: Monteverdi, Marino, and the Sixth Book of Madrigals (1614)

2016 ◽  
Vol 69 (1) ◽  
pp. 1-46
Author(s):  
Tim Carter
Keyword(s):  
Seventeenth Century ◽  
Vocal Music ◽  
Downward Spiral ◽  
Giambattista Marino

Monteverdi's Il sesto libro de madrigali a cinque voci (1614) is often viewed as an outlier in his secular output. His Fourth and Fifth Books (1603, 1605) were firmly embroiled in the controversy with Artusi over the seconda pratica, while his Seventh (1619) sees him shifting style in favor of the new trends that were starting to dominate music in early seventeenth-century Italy: the Sixth Book falls between the cracks. But it also suffers—in modern eyes, at least—for the fact that it reflects the composer's first encounters with the poetry of Giambattista Marino, marking what many see as the start of a fundamental reorientation, if not downward spiral, in his secular vocal music. The problems are exposed by one of the Marino settings in the Sixth Book, “Batto, qui pianse Ergasto: ecco la riva,” in which an unnamed speaker tells Batto how Ergasto has been abandoned by Clori. The text has often been misunderstood. Uncovering the sources for the story—and the literary identities of Batto, Ergasto, and Clori—forces a new reading of the poetry and more particularly of Monteverdi's music. It also answers some profound questions in terms of how best to address issues of narration and representation, and of diegesis and mimesis, in this complex repertory.

Vasyl Bezkorovayny’s vocal works in Ukrainian music of the first half of the XX century

2019 ◽  
pp. 500-515
Author(s):  
Nataliia Kosaniak
Keyword(s):  
Choral Music ◽  
Instrumental Music ◽  
Symphony Orchestra ◽  
Vocal Music ◽  
The United States ◽  
Musical Life ◽  
Western European ◽  
Vocal Works ◽  
Post War ◽  
Talented Artist

Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.

Emotional Memory Advantage of Individuals with Posttraumatic Stress Disorder

2013 ◽  
Vol 20 (2) ◽  
pp. 248-255
Author(s):  
Xiao-Ling WANG ◽  
Song-Wei LI ◽  
Ming-Yi QIAN
Keyword(s):  
Posttraumatic Stress Disorder ◽  
Posttraumatic Stress ◽  
Stress Disorder ◽  
Emotional Memory ◽  
Memory Advantage
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