scholarly journals The Effect of Wearing Foam and Etymotic Earplugs on Classical Musicians’ Pitch Perception

2021 ◽  
pp. 002242942198999
Author(s):  
Rebecca B. MacLeod ◽  
John M. Geringer ◽  
David S. Miller
Keyword(s):  
Pitch Perception ◽  
Future Research ◽  
Complex Stimulus ◽  
Music Majors ◽  
Experimental Conditions ◽  
Absolute Deviation ◽  
Digital Interface ◽  
School Of Music ◽  
Continuous Response ◽  
Classical Musicians

The purpose of this study was to investigate the effect of wearing earplugs on classical musicians’ pitch perception across three experimental conditions: no earplugs, foam earplugs, and Etymotic earplugs. Participants were graduate and undergraduate music majors attending a large school of music in the southeastern United States ( N = 72). Participants adjusted the pitch of five complex stimulus tones (C#4, C#5, C#3, G#4, and F#3) using a continuous response digital interface until they believed the interval was in tune with an oboe (C#4) reference tone. Participants tended to tune flat when the stimulus tone was presented flat and to tune sharp when it was presented sharp across all three earplug conditions. Overall cent deviation in tuning responses showed that in both directional and absolute deviation analyses, listeners were most accurate when tuning without earplugs, then when using Etymotic earplugs, and least accurate with foam earplugs. Significant differences, however, were limited to specific intervals and in magnitudes not likely to be perceived. Although more research is needed, the use of Etymotic earplugs may provide valuable protection against noise-induced hearing loss with negligible effects on pitch perception. Implications for musicians and recommendations for future research are discussed.

Analysis of Listening Preferences of High School and College Musicians

1994 ◽  
Vol 42 (4) ◽  
pp. 331-342 ◽  
Author(s):  
Dianne Gregory
Keyword(s):  
High School ◽  
Music Education ◽  
Classical Music ◽  
Sixth Grade ◽  
The United States ◽  
Music Majors ◽  
Digital Interface ◽  
Continuous Response ◽  
College Music ◽  
High School Musicians

Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.

Perception of Choral Blend Among Choral, Instrumental, and Nonmusic Majors Using the Continuous Response Digital Interface

2007 ◽  
Vol 55 (4) ◽  
pp. 313-325 ◽  
Author(s):  
Janice N. Killian ◽  
Lynn Basinger
Keyword(s):  
Group Differences ◽  
Future Research ◽  
Digital Interface ◽  
Continuous Response ◽  
Voice Matching ◽  
Choral Blend ◽  
Nonmusic Majors ◽  
Pearson Correlations

The concept of choral blend is often adjudicated but seldom researched. Voice matching to achieve choral blend (placing specific voices next to one another to achieve a blended sound within a section) is frequently recommended. The authors asked participants ( N = 55) comprised of vocal, instrumental, and nonmusic majors to move a continuous response digital interface dial to indicate judgment of blend quality while listening to voice-matched choral groupings. Graphic analyses indicated general agreement in judgments of good blend and bad blend among all three groups especially within alto and bass excerpts. Less agreement appeared for soprano and tenor excerpts. Pearson correlations between repeated excerpts were highly positive for vocalists but less consistent for others. Vocalists listened longer before making a judgment. Few group differences in judgment magnitude appeared, but general tendencies toward good blend judgments were evident. Discussion included future research implications and applications for educators.

A Comparison of Music Majors' and Nonmajors' Perceptions of Tension for Two Selections of Jazz Music

2003 ◽  
Vol 51 (3) ◽  
pp. 259-270 ◽  
Author(s):  
William E. Fredrickson ◽  
John C. Coggiola
Keyword(s):  
Order Effect ◽  
Music Majors ◽  
Aesthetic Response ◽  
Digital Interface ◽  
Continuous Response ◽  
Jazz Music ◽  
Nonmusic Majors ◽  
Definition Of ◽  
Musical Context ◽  
Musical Selection

The present study allowed music majors (n = 40) and nonmajors (n = 30) to record their perceptions of tension in two selections of jazz music using the Continuous Response Digital Interface (CRDI). Both musical stimuli were recorded versions of “St. Louis Blues” by W. C. Handy, The first was a popular, stylized version sung by Nat King Cole, and the second, which included an extensive improvisatory section, was performed by Ella Fitzgerald. In comparing these results to earlier studies dealing with music majors' and nonmajors' perceived tension and aesthetic response, there are certain factors that remain constant Music majors' responses did not seem to differ markedly in overall contour from nonmusic majors' responses, which is consistent with previous research. Graphs of perceived tension responses are much more highly differentiated than are graphs of perceived aesthetic response. These graphs produce a pattern that is unique to that musical selection (or in this case, a highly stylized performance). Subjects had no trouble performing the task or using an existing internal definition of musical tension. This existing internal definition is probably applied to a variety of musical styles, including jazz. This study also seemed to indicate a definite order effect in the presentation of the stimuli, which may relate to the way listeners put what they hear into a musical context.

Comparing Continuous versus Static Measurements in Music Listeners' Preferences

1995 ◽  
Vol 43 (1) ◽  
pp. 36-46 ◽  
Author(s):  
Ruth V. Brittin
Keyword(s):  
20Th Century ◽  
Significant Interaction ◽  
Rating Scale ◽  
Art Music ◽  
Music Majors ◽  
Digital Interface ◽  
Western Art ◽  
Continuous Response ◽  
Preference Ratings ◽  
Nonmusic Majors

In this investigation, we compared listeners' preferential ratings of art music, derived by conventional static ratings taken through 10-point Likert-type scales, and continuous ratings taken throughout the duration of each excerpt with a Continuous Response Digital Interface (CRDI). Music majors (n = 100) and non-music majors (n − 100) rated twelve excerpts of Western art music, including three substyles (Baroque, Romantic, and 20th-century) and three performance media (strings, keyboard, and winds). Music majors' preference ratings were significantly higher than were nonmusic majors' preference ratings. Although no significant effect was found due to using the CRDI or static rating scale, there was a significant interaction between type of measurement and major. Music majors' static and continuous ratings were similar; however, nonmusic majors' continuous ratings were noticeably higher than were static ratings. Nonmusic majors using the CRDI averaged almost one Likert-scale rating higher than those using the static measure.

Effects of Aural and Visual Conditions on Response to Perceived Artistic Tension in Music and Dance

1999 ◽  
Vol 47 (1) ◽  
pp. 31-43 ◽  
Author(s):  
R. J. David Frego
Keyword(s):  
Emotional Response ◽  
Additional Data ◽  
Visual Stimuli ◽  
Experimental Conditions ◽  
Digital Interface ◽  
Continuous Response ◽  
Significant Difference ◽  
Visual Conditions

The purpose of this study was to examine the effects of aural, visual, and combined aural/visual conditions on the emotional response to music and dance of musicians and nonmusicians. Measurement was recorded on the perceived amount of artistic tension occurring in three stimuli. Subjects were randomly assigned to three experimental groups: aural-only, visual-only, and combined aural/visual. Stimuli used for the experimental conditions were three dance excerpts. Subjects were asked to indicate degrees of perceived artistic tension by manipulating a Continuous Response Digital Interface (CRDI) dial during experimental conditions. Additional data were gathered using a questionnaire. Results indicated no significant differences in perceived artistic tension between musicians and nonmusicians. Additionally, no differences were found in perceived artistic tension among the responses to the three experimental conditions. Subjects responded similarly regardless of whether they had previously considered the existence of artistic tension. A significant difference occurred in subject response to each of the three stimuli.

Musicians' and Nonmusicians' Assessment of Perceived Rubato in Musical Performance

1996 ◽  
Vol 44 (1) ◽  
pp. 84-96 ◽  
Author(s):  
Christopher M. Johnson
Keyword(s):  
Musical Performance ◽  
Music Majors ◽  
Digital Interface ◽  
Tone Quality ◽  
Performance Variables ◽  
Continuous Response ◽  
Development Section ◽  
Expert Assessments ◽  
Nonmusic Majors ◽  
Ongoing Evaluation

The purpose of this study was to investigate musicians' and nonmusicians' assessment of perceived rubato in musical performance. Music majors ( n = 48) and nonmusic majors ( n = 48) listened to four different soloists' performances of the development section of Mozart's Concerto for Horn and Orchestra No. 2, movement 1. Subjects evaluated the degree of appropriateness/inappropriateness of each soloist's use of rubato using the Continuous Response Digital Interface (CRDI), an instrument that allows ongoing evaluation of specified performance variables. Using a Likert-type scale, subjects also assessed soloists with regard to musicianship, expression, tone quality, and tempo. Results indicated significant differences for musicians compared to nonmusicians regarding rubato assessments. Musicians agreed with expert assessments, whereas non-musicians' scores seemed haphazard. When musicians were separated into two groups based on musical skill level, results from the “more proficient” musicians were in direct agreement with the panel of experts' evaluations. The “less proficient” musicians were much less discriminating across all dependent measures; rubato assessments disagreed substantially with those of experts. This study suggests that rubato is an extremely subtle musical nuance. Though nonmusicians and less proficient musicians seem to be able to assess performances on somewhat more obvious variables, it seems that only the most proficient musicians can evaluate the usage of rubato in performance. Based on the data from this study, it appears that a relationship exists between musicianship and the use of rubato and that use of rubato might well be one element that separates the very finest performance from the simply ordinary.

Effects of Tempo, Musical Experience, and Listening Modes on Tempo Modulation Perception

1994 ◽  
Vol 42 (3) ◽  
pp. 190-202 ◽  
Author(s):  
Deborah A. Sheldon
Keyword(s):  
Response Latency ◽  
Interactive Effect ◽  
Initial Response ◽  
Musical Experience ◽  
Music Majors ◽  
Response Latencies ◽  
Digital Interface ◽  
Continuous Response ◽  
Tempo Change ◽  
Speed And Accuracy

In this study, I investigated the effects of tempo direction, listening mode, and level of subjects' musical experience on speed and accuracy in tempo change detection abilities. Tempo-change and direction-change examples gradually decelerated, accelerated, or remained steady. Listening mode included listening only, listening and watching a conductor, and listening and moving. The two levels of musical experience were defined as music majors ( n = 80) and nonmajors ( n = 80). Subjects listened to music examples and manipulated a Continuous Response Digital Interface (CRDI) to demonstrate perception of tempo alteration. Analysis of data included subject response latency and accuracy. Experience was found to be a determinant in quantifiably different temporal response. Music majors more accurately detected tempo changes than did nonmajors. Subjects were generally better at detecting tempo acceleration over tempo deceleration. Subjects demonstrated a slightly lower degree of response accuracy when listening and watching a conductor compared to the conditions of listening alone and listening and moving. Most demonstrated shorter initial response latencies during tempo acceleration. The combined variables of experience, tempo-change direction, and listening condition had an interactive effect on response latency.

Prevalence of vocal problems: Speech-language pathologists’ evaluation of music and non-music teacher recordings

2012 ◽  
Vol 31 (1) ◽  
pp. 26-34
Author(s):  
Rhonda S. Hackworth
Keyword(s):  
Teaching Experience ◽  
Teacher Evaluations ◽  
Music Teacher ◽  
Future Research ◽  
Speech Language Pathologists ◽  
Digital Interface ◽  
Vocal Hygiene ◽  
Continuous Response ◽  
Preliminary Examination ◽  
The Individual

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 = 10), or high school ( n = 10), and had a mean of 14 years’ teaching experience. Each teacher read a poem while being audio recorded. Nine licensed speech-language pathologists with a mean of 20 years’ clinical experience served as expert evaluators by listening to the 41 recordings while manipulating the Continuous Response Digital Interface (CRDI) dial. Results showed no significant differences between music and non-music teacher evaluations. The individual variations in scores showed no trends for any particular group, but rather pointed out how personal vocal hygiene (care of the voice) is for individual teachers. Suggestions for future research include ways to best help teachers manage individual vocal problems.

scholarly journals Validation of Reference Genes for Studying Different Abiotic Stresses in oat (Avena sativa L.) by RT-qPCR

Plants ◽  
2021 ◽  
Vol 10 (7) ◽  
pp. 1272
Author(s):  
Judit Tajti ◽  
Magda Pál ◽  
Tibor Janda
Keyword(s):  
Gene Expression ◽  
Avena Sativa ◽  
Abiotic Stresses ◽  
Reference Genes ◽  
Nutritional Value ◽  
Tissue Type ◽  
Future Research ◽  
Experimental Conditions ◽  
Expression Studies ◽  
Gene Expression Studies

Oat (Avena sativa L.) is a widely cultivated cereal with high nutritional value and it is grown mainly in temperate regions. The number of studies dealing with gene expression changes in oat continues to increase, and to obtain reliable RT-qPCR results it is essential to establish and use reference genes with the least possible influence caused by experimental conditions. However, no detailed study has been conducted on reference genes in different tissues of oat under diverse abiotic stress conditions. In our work, nine candidate reference genes (ACT, TUB, CYP, GAPD, UBC, EF1, TBP, ADPR, PGD) were chosen and analysed by four statistical methods (GeNorm, Normfinder, BestKeeper, RefFinder). Samples were taken from two tissues (leaves and roots) of 13-day-old oat plants exposed to five abiotic stresses (drought, salt, heavy metal, low and high temperatures). ADPR was the top-rated reference gene for all samples, while different genes proved to be the most stable depending on tissue type and treatment combinations. TUB and EF1 were most affected by the treatments in general. Validation of reference genes was carried out by PAL expression analysis, which further confirmed their reliability. These results can contribute to reliable gene expression studies for future research in cultivated oat.

The Role of Incubation in Creative Problem Solving: Within a Collectivistic Cultural Context

2021 ◽  
pp. 108-118
Author(s):  
Rabia Anjum ◽  
Ivan Suneel
Keyword(s):  
Problem Solving ◽  
Cultural Context ◽  
Creative Thinking ◽  
Cultural Psychology ◽  
Cross Cultural ◽  
Future Research ◽  
Creative Problem Solving ◽  
Experimental Conditions ◽  
Significance Level ◽  
Creative Problem

Creative thinking is essential for the progress in education, industry and life in general. Incubation is a widely studied phenomenon in creativity research, referring to leaving a problem aside for a period, to accrue performance on a creative problem. This study investigated the effect of incubation on creative problem-solving by means of a pretest-posttest quasi-experimental design, and remote associates tasks (RATs) were used as a measure of creative problem-solving. For this purpose, a sample of 60 students (22 males, 38 females) was recruited from the population of a private university. They were assigned to a control condition and two different experimental conditions based on the time of onset of incubation. The data collected was analyzed for a significant effect across all conditions by means of a chi-squared test and covariates were inferred by means of Spearman's Rho, with a significance level set at ?<.05. The results did not find an incubation effect in creative problem-solving, and several possible explanations may account for this trend, especially the limited cross-cultural application of measurement tools and theoretical paradigms. The disparity is especially prominent with regards to Pakistan, which is predominantly collectivistic, and the educational system stymies creative thinking. Future research must take into account the relevance of culture in creative problem-solving, and propose solutions to circumvent the dearth of creative potential in developing nations such as Pakistan. Keywords: Incubation, Creative Problem-Solving, Creativity, Remote Associate Tasks, Cross-Cultural Psychology

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