Music and its significance in children favourite audiovisuals

Abstract

Los audiovisuales forman parte de la vida cotidiana de la infancia, construyendo con ellos una parte de la realidad que muchas veces se anticipa y otras sustituye. Este artículo se interesa por una de las partes del binomio audiovisual, la banda sonora, con la finalidad de conocer su significado y sentido desde la propia interpretación infantil. Sus objetivos son determinar si los niños perciben de modo diferente los clips audiovisuales a los que son expuestos (sonido, imagen y todo); establecer las posibles diferencias en la valoración que realizan comparando las modalidades de presentación sonido e imagen. Se identificaron 14 audiovisuales preferidos (películas, series, dibujos animados y reportajes) por parte de 115 niños de 10 a 12 años. Fueron editados en tres modalidades (solo sonido, solo imagen y todo) y agrupados en series de tres clips, que fueron visionados en sesiones grupales por 547 niños, españoles y argentinos, con una edad media de 11 años. Se diseñó y utilizó un cuestionario de valoración de clips audiovisuales. Los resultados mostraron diferencias sobre el significado de la banda sonora en tres de las cinco categorías del cuestionario, destacando el predominio significativo del sonido en series, reportajes y, de manera destacada, en películas. Se perciben por el sonido (la música) elementos contextuales espacio-tiempo, la implicación afectiva, sentimientos y empatía así como la valoración de la experienciaAudiovisual media are part of children´s daily life. They build and/or replace a part of the reality that is sometimes preceded. This paper is interested in one of the elements of the audiovisual binomial, the soundtrack, in order to analyse its meaning and sense from the children’s point of view. The objectives are: to determine if the audiovisual media clips to which children are exposed (sound, image and all) are perceived differently; to establish the possible differences in the assessment they make when comparing the sound and image presentation modalities. Fourteen audiovisual media (movies, series, cartoons and documentaries) were identified by 115 children (10-12 years old) as preferred. Audiovisuals were edited in three modalities (sound, image, and all) and grouped into different series of three clips, which were watched in group sessions by 547 Spanish and Argentinian children (mean age: 11 years old). An Assessment Questionnaire of audiovisual clips was designed and implemented. Results showed differences in the meaning of the soundtrack in three of the five categories of the questionnaire. The significant predominance of the sound in series, documentaries and, especially, movies is highlighted. Contextual space-time elements, affective implications, feelings, and empathy as well as assessment of the experience are all perceived by means of the sound (the music

Audiovisual Music from the Audience’s Viewpoint

“…The word 'music' in WoS is connected to 'tone' (185), 'aural perception' (48), 'musical perception' (53), 'the perception of audiovisual music' ( 27), 'the perception of time' (26) and 'emotions' (19).…”

“…Furthermore, Vygotsky [25] talked about emotions as primitive feelings that cannot remain indifferent or ineffective on behaviour, and which have signed as mediators. These concepts were used in Porta and Porta, Herrera [4,21,26] to create experiences referenced in this study on children's experience when listening to audiovisual productions.…”

“…The effects of music on emotions are a field of rising interest, especially in psychology, health sciences and social studies, with a broad bibliography, that we will go over in the bibliographic review. From the experiential side on the effects of music on filmic and audiovisual tales and narratives, Amparo Porta and Porta, Herrera [16,26] performed audiovisual experiences to study their effects on children from a Vygotskian perspective, finding connections between music, emotions and some narrative elements, the first of which is the hero. The perception of the story, the plot and the personality of the hero cause conflicting emotions and are a key process in the tragedy, which requires specific features [29].…”

“…In this study, we want to show music together with the image and narrative: the synchronisation, the creation of worlds and realities from sound, their ability to tell stories, the place and position of the narrator, their evocative power, the task of informing of and describing elements without listening (such as space/time and other external elements), their ability to hold diegetic and extra-diegetic positions, cause reactions that affect a different sense through sound [26] and create dialogues between emotional, cognitive and narrative aspects in an intermedial way.…”

Visual Education of Music Course for College Students Based on Human-Computer Interaction

“…Visual education is an educational activity that utilizes advanced information technology under the support of educational purposes and advanced technology [9]. Traditional educational and teaching methods place students in the position of passive acceptance, and visual teaching is conducive to teaching and learning cooperation so as to inspire feelings and give students initiative in learning [10].…”