scholarly journals Effect of Music Training on Categorical Perception of Speech and Music

2020 ◽  
Vol 24 (3) ◽  
pp. 140-148
Author(s):  
L. Yashaswini ◽  
Sandeep Maruthy
Keyword(s):  
Instrumental Music ◽  
Auditory Perception ◽  
Vocal Tract ◽  
Categorical Perception ◽  
Vocal Music ◽  
Step Size ◽  
Music Training ◽  
Phoneme Boundary ◽  
Stimulus Continuum ◽  
Boundary Width

Background and Objectives: The aim of this study is to evaluate the effect of music training on the characteristics of auditory perception of speech and music. The perception of speech and music stimuli was assessed across their respective stimulus continuum and the resultant plots were compared between musicians and non-musicians. Subjects and Methods: Thirty musicians with formal music training and twenty-seven non-musicians participated in the study (age: 20 to 30 years). They were assessed for identification of consonant-vowel syllables (/da/ to /ga/), vowels (/u/ to /a/), vocal music note (/ri/ to /ga/), and instrumental music note (/ri/ to /ga/) across their respective stimulus continuum. The continua contained 15 tokens with equal step size between any adjacent tokens. The resultant identification scores were plotted against each token and were analyzed for presence of categorical boundary. If the categorical boundary was found, the plots were analyzed by six parameters of categorical perception; for the point of 50% crossover, lower edge of categorical boundary, upper edge of categorical boundary, phoneme boundary width, slope, and intercepts. Results: Overall, the results showed that both speech and music are perceived differently in musicians and non-musicians. In musicians, both speech and music are categorically perceived, while in non-musicians, only speech is perceived categorically. Conclusions: The findings of the present study indicate that music is perceived categorically by musicians, even if the stimulus is devoid of vocal tract features. The findings support that the categorical perception is strongly influenced by training and results are discussed in light of notions of motor theory of speech perception.

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.

Musical training improves memory for instrumental music, but not vocal music or words

2018 ◽  
Vol 48 (1) ◽  
pp. 150-159
Author(s):  
Jonathan M. P. Wilbiks ◽  
Sean Hutchins
Keyword(s):  
Instrumental Music ◽  
Musical Training ◽  
Vocal Music ◽  
Verbal Material ◽  
The Other ◽  
Musical Experience ◽  
Facilitative Effect ◽  
Musical Excerpts ◽  
And Performance ◽  
The Brain

In previous research, there exists some debate about the effects of musical training on memory for verbal material. The current research examines this relationship, while also considering musical training effects on memory for musical excerpts. Twenty individuals with musical training were tested and their results were compared to 20 age-matched individuals with no musical experience. Musically trained individuals demonstrated a higher level of memory for classical musical excerpts, with no significant differences for popular musical excerpts or for words. These findings are in support of previous research showing that while music and words overlap in terms of their processing in the brain, there is not necessarily a facilitative effect between training in one domain and performance in the other.

scholarly journals A Historical Perspective of Mangalavattiyam

2021 ◽  
Vol 3 (2) ◽  
pp. 1-10
Author(s):  
Suganya Aravinthon
Keyword(s):  
Instrumental Music ◽  
Historical Perspective ◽  
Vocal Music ◽  
Research Paper ◽  
Musical Instruments ◽  
The Other ◽  
Historical Study ◽  
Solo Music ◽  
Musical Genres ◽  
Over Time

From the earliest days of the Tamil music tradition, music was considered to be a combination of vocal music, instrumental music and dance. Each of these musical genres is closely intertwined. Knowledge of one helps to know about the other. Instrumental music has been interpreted as accompaniment to solo music and dance and as a solo specialty. In Bharata's book 'Natyashasthram', musical instruments are generally divided into four categories as nerve (tata) hole (kasira) ¸ skin (avanatta) ¸ kana (kanja). In this context, it is a research paper on the history and use of the Nagaswaram and thavil instruments, which are referred to today as the Mangala Vaathyam, which the Tamils ​​have merged with their culture.  This article also examines in detail the ideological changes that have taken place over time in the use of these two musical instruments. At the same time, the use of these instruments in the sociological context is taken into account. Finally, this article is a historical study of the lineage of musicians who have mastered these instruments.

Effects of Background Music on Phonological Short-Term Memory

1989 ◽  
Vol 41 (1) ◽  
pp. 107-122 ◽  
Author(s):  
Pierre Salamé ◽  
Alan Baddeley
Keyword(s):  
Instrumental Music ◽  
Short Term Memory ◽  
Exclusion Process ◽  
Vocal Music ◽  
Background Music ◽  
Theoretical Interpretation ◽  
Short Term ◽  
Noise Condition ◽  
Trained Subjects ◽  
Immediate Memory

Immediate memory for visually presented verbal material is disrupted by concurrent speech, even when the speech is unattended and in a foreign language. Unattended noise does not produce a reliable decrement. These results have been interpreted in terms of a phonological short-term store that excludes non-speechlike sounds. The characteristics of this exclusion process were explored by studying the effects of music on the serial recall of sequences of nine digits presented visually. Experiment 1 compared the effects of unattended vocal or instrumental music with quiet and showed that both types of music disrupted STM performance, with vocal music being more disruptive than instrumental music. Experiment 2 attempted to replicate this result using more highly trained subjects. Vocal music caused significantly more disruption than instrumental music, which was not significantly worse than the silent control condition. Experiment 3 compared instrumental music with unattended speech and with noise modulated in amplitude, the degree of modulation being the same as in speech. The results showed that the noise condition did not differ from silence; both of these proved less disruptive than instrumental music, which was in turn less disruptive than the unattended speech condition. Theoretical interpretation of these results and their potential practical implications for the disruption of cognitive performance by background music are discussed.

Psychoacoustical Differentiation with Regard to the Perception of Pitch—A Comparison Between Musicians and Non-Musicians

2020 ◽  
Vol 17 (9) ◽  
pp. 4454-4457
Author(s):  
Dattatreya Muthalik Desai ◽  
H. S. Sanjay ◽  
S. Ankitha ◽  
B. S. Prithvi ◽  
P. A. Dinesh
Keyword(s):  
Auditory Perception ◽  
Professional Training ◽  
Detection Threshold ◽  
Comparative Assessment ◽  
The Other ◽  
Pitch Detection ◽  
Human Beings ◽  
Sound Perception ◽  
Music Training ◽  
Control Set

Psychoacoustics is considered to be a category of psychophysics and is termed as the assessment of auditory or sound perception and deals with perception of sound among different human beings. Psychoacoustics is a very qualitative phenomenon and is often the reason for an individual to perceive the sound in different manner, as compared to another. This effect is more prominent in music wherein a given music bit may seem good to one, whereas, another may perceive it as bad. For this to happen, various attributes of sound play an important part, in the categorization based on psychoacoustical perception. The present work considered pitch as the varying attribute and provided a comparative assessment of sound, based on the variation of pitch in terms of Pitch Detection Threshold (PDTh) between trained musicians and non-musicians. 44 subjects of both conditioned and controlled set were considered for this study and were made to undergo the Pitch Detection Test (PDT) to assess their PDTh. Two trials were conducted, once in the morning and the other in the evening. The results provided substantial cue to conclude that the musicians had a better PDTh (6.83 dB) than the control set (31.31 dB). Also, the PDTh was better in the morning trials, as compared to their evening counterparts. This could be attributed to the professional training in music, due to which the conditioned set outperformed the control set of subjects. Such an analysis could aid in the assessment of auditory perceptive abilities and their improvement with music and hence indicate the plausible improvement in the auditory perception with music based raaga therapy. Further, more attributes such as intensity and frequency could be encompassed to provide stronger relationship between perception and learning, in this case being music training sessions, which could also work as therapy for certain auditory perceptive disorders.

scholarly journals Vinay Mishra and the Artistry of the Harmonium

2021 ◽  
Vol 8 ◽  
pp. 39-46
Author(s):  
Lahiru Gimhana Komangoda
Keyword(s):  
Instrumental Music ◽  
Musical Training ◽  
Fine Arts ◽  
Vocal Music ◽  
Colonial Era ◽  
Tuning Method ◽  
Equal Temperament ◽  
Hindustani Music ◽  
Tuning Methods ◽  
Music Faculty

Vinay Mishra is an accomplished Indian solo and accompanying harmonium player born and brought up in Benaras and currently residing in Delhi serving as a faculty member of the Department of Music, Faculty of Music and Fine Arts, University of Delhi. The rigorous training of both vocal and instrumental music under veteran Hindustani Music virtuosos, the academic and scholarly scope built up till the degree of PhD in Music, the realizations, and understandings on music must have conspicuously made an impact of his practice and artistry as a harmonium player. Harmonium was originated in the west and adopted by Indian musicians in the colonial era which was brought up to the present day through many artistic, cultural and political controversies, and obstacles. This work focuses on discovering the insights of the harmonium art of Vinay Mishra. Hence, his academic background, musical training, musical career, his playing style as a soloist, general techniques and techniques of accompaniment, sense of machinery, perspectives on raga Taal, and thoroughly the tuning methods were studied in-depth through personal conversations and literature resources where it was observed that modern Hindustani harmonium artists favor a typical natural tuning method over the 12 equal temperaments of the common keyboard instruments. According to him, the stable sound of the harmonium was the reason to be vocal music- friendly in classical and light vocal music accompaniment which was only interrupted by the equal temperament earlier and was later overcome by the artists and harmonium makers. The idea was also raised that apart from gaining the basic command of an instrument, a Hindustani instrumentalist may learn and practice all other aspects of Hindustani music from the teachers of other forms too. Vinay Mishra’s thoughts of machinery, musical forms, compositions, applying Hindustani vocal, and plucking string instrumental ornamentations on the Harmonium were also reviewed.

scholarly journals The Effects of Intrinsic Acoustic Cues on Categorical Perception in Children with Cochlear Implants

2020 ◽  
Vol 10 (5) ◽  
pp. 110
Author(s):  
Kejuan Cheng ◽  
Xiaoxiang Chen
Keyword(s):  
Cochlear Implants ◽  
Categorical Perception ◽  
Normal Hearing ◽  
Acoustic Cues ◽  
Intrinsic Cues ◽  
Boundary Width ◽  
Hearing Children ◽  
Mandarin Vowels ◽  
Impaired Children

Many previous studies researched the influence of external cues on speech perception, yet little is known pertaining to the role of intrinsic cues in categorical perception of Mandarin vowels and tones by children with cochlear implants (CI). This study investigated the effects of intrinsic acoustic cues on categorical perception in children with CIs, compared to normal-hearing (NH) children. Categorical perception experiment paradigm was applied to evaluate their identification and discrimination abilities in perceiving /i/-/u/ with static intrinsic formants and Tone 1 (T1)-Tone 2 (T2) with dynamic intrinsic fundamental frequency (F0) contours. Results for the NH group showed that vowel continuum of /i/-/u/ was less categorically perceived than T1-T2 continuum with significantly wider boundary width and less alignment between the discrimination peak and the boundary position. However, a different categorical perception pattern was depicted for the CI group. Specifically, the CI group exhibited less categoricalness in both /i/-/u/ and T1-T2. It suggested that the effects of intrinsic acoustic cues on categorical perception was proved for the normal-hearing children, while not for the hearing-impaired children with cochlear implants. In conclusion, acoustically dynamic cues can facilitate categorical perception of speech in NH children, whereas this effect will be inhibited by difficulties in processing spectral F0 information as in the CI users.

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