This study investigated whether and how the musical palindrome (tonal, melodic, and metric) can be recognized in auditory and/or visual perception in musically trained participants. According to the results, we suggest that palindrome recognition can only be aurally perceived if it is short enough and the listener is quite sophisticated. There is a fair amount of research on the recognition of transformed auditory and visual patterns, as well as the visual symmetry perception in persons with ASD. Thus, a future study will test more people with ASD, on one hand, and musically trained participants recognizing short musical palindromes.
Циљ овог истраживања је испитивање односа између музичких преференција и криминалног понашања. Истраживање је обухватило 216 испитаника мушког пола, узраста од 18 до 30 година (просечне старости 24,59), подељених у две групе: студенти (115) и затвореници (101) на издржавању казне због кривичних дела крађе. Подаци су прикупљени у анонимној ситуацији, посебним упитником намењеним истраживању музичких жанрова. Тај упитник садржи седам питања о томе које су музичке жанрове испитаници слушали током одрастања, као и у разли-1
A new interdisciplinary approach of teaching ABBA's songs in university solfeggio classes involves: graphical representation of melodic contours and harmonic progressions; embodied tension and relaxation caused by the (un)expected harmonic patterns/progressions, form and rhythm; aural and visual music analysis of ostinato and drone, as the elemental characteristics of popular music, and Dorian mode, PEN-tatonic and blue tones, as the main Orff-Schulwerk teaching strategies; emotions, experienced in relation to the gradual addition of voices and the chain of dominants; verbality, respecting the use of rhymes in verse translations, and the prosodic stress, musical meter and melodic contour alignment.
The aim of this paper is to indicate the importance of the metaphorical terminology and verbal description of music in education and performance due to inevitable role of emotions and embodiment in music experience. Metaphorical music terminology should follow the interpretative maturity, such as for the term scherzo, which would be joke for younger, but forced joke or all but prank for older musicians. For music beginners we can use extramusical verbal symbols: the pulse is represented as the stickman; major with the symbol of sun and minor with the symbol of rain; sequencing is presented with the picture of stairs; the picture of butterfly implies image-schematicity in interpreting the wave melodic contour; children understood duple meter through the picture of a soldier, while triple meter appreciated through the picture of a ballerina; staccato is experienced as a movement, but also as a visual and auditory metaphor. Multimodality plays an important role in music education, because it implies the integration of movement, sound, picture and verbal metaphors. Therefore, the musical experience is described and performance interpreted by following the direction from the emotional sound experience to its cognitive processing. Mul-628 Rasprave 44/2 (2018.) str. 627-641 timodal approach would increase associative thinking and enlarge individual associations on musical terms, which gives a better understanding of music and widens perspective in music education.
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