Implicit Cultural Knowledge<\/u><\/p>\n
-Knowledge that is not always available to conscious thought<\/p>\n
Diatonic Scale Step <\/u>-all whole steps<\/p>\n
Chromatic Scale Step<\/u><\/p>\n
-all semitones or half steps<\/p>\n
-Infants treat melodies with the same melodic contour Pup and down pattern) as the same and respond to the similarity of rhythmic patterns even across changes of tempo -The child\u2019s cognition of musical patterns contains the seeds of the adult\u2019s cognition<\/p>\n
-The fetus is responsive to sounds as early as the second trimester<\/p>\n
-Mother\u2019s characteristic patterns of pitch and stress accents spoken repeatedly during the third trimester were better preferred by babies.<\/p>\n
-Children suck on a blind nipple to hear a children\u2019s story<\/p>\n
-Children that heard the story in the womb sucked more to hear the story, whereas children who had not been read stories in the womb had no preference<\/p>\n
-Babies who had been read stories in the womb liked speech that was low-pass filtered as much as normal unfiltered speech, whereas babies who had not been read to did not.<\/p>\n
Perceptual Grouping<\/u><\/p>\n
-Just as adults segregate a sequence of notes alternating between pitch and streams, so do infants.<\/p>\n
-Infants are played AAAEEE and are trained to move their head whenever they hear a change in the music<\/p>\n
-The infants noticed changes when they occurred within groups, but not between groups<\/p>\n
-Infant pitch perception is accurate and displays octave equivalence just like adults<\/p>\n
-Adults have pitch constancy, and infants have it too P7 or 8 months old)<\/p>\n
-Just like adults, infants have difficulty discerning the pitch when the harmony present is high in frequency and remote from the frequency of the missing fundamental<\/p>\n
-Infants 7-10 months old can discriminate direction of pitch change for intervals as small as one half-step\/semitone.<\/p>\n
-Twinkle, Twinkle, Little Star is played for the babies<\/p>\n
-If it is changed by 3 semitones but the pitch is not changed, they did not notice<\/p>\n
-But, if the melody is shifted 3 semitones in pitch and its contour is altered, the babies show a heart-rate deceleration \u201cstartle response\u201d<\/p>\n
-For babies and adults, the transposition sounds like the same old melody again, whereas the different contour melody sounds new.<\/strong><\/p>\n -From Trehub and Thorpe\u2019s studies, they show that infants, like adults, encode and remember the contours of melodies they hear.<\/strong><\/p>\n -A set of all pitches that are a whole number of octaves apart -ex: the pitch class Cs in all octaves<\/p>\n -7 to 11 and 12 month olds found it easier to detect the diatonic patterns than the nondiatonic patterns<\/p>\n -But, 6 month olds performed equally well with diatonic and nondiatonic patterns<\/p>\n -i.e. the younger infants were not yet accustomed to the standard western diatonic scale whereas older infants were<\/p>\n -Between C and G<\/p>\n -The fundamental building block for all countries<\/p>\n -Gestalt theorists call this \u201cgood\u201d pattern construction<\/p>\n -During their second year, children begin to recognize certain melodies as stable entities in their environment and can identify them even after a considerable delay<\/p>\n -Children begin to sing spontaneously between the age of 9 months and a year. -At 18 months, the child generates recognizable, repeatable songs<\/p>\n -At two years old, the child repeats brief phrases over and over again.<\/p>\n -Child songs are unlike adult songs because they lack a stable pitch framework<\/p>\n -At age 5, children are able to produce easily recognizable versions of songs<\/p>\n -The ability to identify pitches by their note names even in the absence of musical context<\/p>\n -Only occurs in 4-8% of musicians; quite rare<\/p>\n -Not necessary for being able to play music<\/p>\n -Most children have the underlying ability for acquiring absolute pitch<\/p>\n -Takeuchi and Hulse say that absolute pitch can be acquired by anyone but only during the critical period during the fifth or sixth year<\/p>\n -With a moderate amount of training, people develop a \u201ctemporary and local\u201d sense of absolute pitch that leads them to encode what they hear and produce in terms of the tonal framework provided by the current context<\/p>\n -Adults are typically able to approximate the pitch levels of familiar songs<\/p>\n -Ex: Levitin\u2019s study; young adults sang popular songs they only heard once at approximately the correct pitch level<\/p>\n -7 and 8 year olds: tonality begins to be a factor<\/p>\n -9 and 10 year olds: a difference appears between familiar versions and same-contour imitations -5-year-olds rely principally on key distance, whereas 8-year-olds can use both key distance and interval changes to reject a same-contour imitation<\/p>\n -Babies can distinguish pitch contours and produce single pitches.<\/p>\n -The scale system develops during the elementary school years and confers on tonal materials an advantage in memory that remains in adulthood.<\/p>\n Atonal<\/u><\/p>\n -a mess of notes that do not sound good together<\/p>\n Interval<\/u><\/p>\n -the space between two notes or two tones<\/p>\n -5-year-olds performed at about chance with both tonal and atonal stimuli<\/p>\n -6-10 year olds had better performance for tonal sequences<\/p>\n -12 year olds, processing of the atonal sequences caught up<\/p>\n -5-year olds have implicit knowledge of key membership but not of implied harmony, whereas 7-year-olds, like adults, have implicit knowledge of both aspects of musical structure.<\/p>\n -7-year-olds could tell when a melody had been switched in midstream from one key to another or from the major mode to the minor.<\/p>\n -rhythm is not easily separable from other aspects of structural organization in a song; melody is intertwined with rhythm<\/p>\n -by the age of 9 or 10, the separation of pitch ranges confers an advantage<\/p>\n -ability to aim attention in time improves steadily from age 6 on<\/p>\n -5-year-olds can reproduce rhythms with two levels of organization: a steady beat and varying subdivisions of the beat<\/p>\n -They find binary patterns Pin two\u2019s) easier than ternary patterns Pin three\u2019s)<\/p>\n -By age 7, children improve and gain greater rhythmic complexity<\/p>\n -children at the age of 5 are responding to more than one level of rhythmic organization so that the songs they learn are processed as wholes and not by one level at a time<\/p>\n -During preschool years, children learn to identify emotions in songs and music and this ability improves during the school years<\/p>\n -In western music, major modes evoke happy emotions and minor modes evoke sadness -8 year olds and adults, but not 5 year olds, applied happy and sad emotions consistently to excerpts in the major and minor modes<\/p>\n Adulthood <\/u>Nonmusicians:<\/strong><\/p>\n -do not find contour recognition difficult but do find interval recognition more difficult<\/p>\n -are just as good with tonality, but perform worse with atonal melodies<\/p>\n -are just as error prone as musicians when dealing with quarter steps in Eastern music.<\/p>\n -the first degree of the scale<\/p>\n -in a C-major scale, the tonic is C<\/p>\n -the fifth degree of the scale<\/p>\n -in a C-major scale, the dominant is G<\/p>\n -Listeners with a moderate amount of training of music performed much worse with changed context<\/p>\n -Nonmusicians remembered the melody independent of its relation to the context<\/p>\n -Professional musicians performed very well in both changed and unchanged contexts<\/p>\n","protected":false},"excerpt":{"rendered":" Implicit Cultural Knowledge -Knowledge that is not always available to conscious thought Diatonic Scale Step -all whole steps Chromatic Scale Step -all semitones or half steps Infancy and Music… Continue Reading Decision-Making (Arthur B Markman and Douglas Medin)<\/span><\/a><\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[113],"tags":[],"_links":{"self":[{"href":"https:\/\/www.amyork.ca\/academic\/zz\/wp-json\/wp\/v2\/posts\/4488"}],"collection":[{"href":"https:\/\/www.amyork.ca\/academic\/zz\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.amyork.ca\/academic\/zz\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.amyork.ca\/academic\/zz\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.amyork.ca\/academic\/zz\/wp-json\/wp\/v2\/comments?post=4488"}],"version-history":[{"count":0,"href":"https:\/\/www.amyork.ca\/academic\/zz\/wp-json\/wp\/v2\/posts\/4488\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.amyork.ca\/academic\/zz\/wp-json\/wp\/v2\/media?parent=4488"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.amyork.ca\/academic\/zz\/wp-json\/wp\/v2\/categories?post=4488"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.amyork.ca\/academic\/zz\/wp-json\/wp\/v2\/tags?post=4488"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}Pitch Class<\/h2>\n
Study: Standard Western Diatonic Scales<\/h2>\n
Perfect Fifth<\/h2>\n
Childhood<\/h2>\n
Childhood Singing<\/h2>\n
Absolute Pitch<\/h2>\n
Residual Absolute Pitch<\/h2>\n
Melodic Contour and Tonality<\/h2>\n
\n
Study: Zenatti\u2019s Tonal Scale Framework<\/h2>\n
Study: Trainor and Trehub\u2019s Tonality in Pitch Change<\/h2>\n
Rhythm<\/h2>\n
\n
Andrews and Dowling\u2019s \u201cHidden Melodies Task\u201d<\/h2>\n
Drake\u2019s 5-year-old Rhythm Task<\/h2>\n
Accent Structure<\/h2>\n
Emotion<\/h2>\n
Tonic<\/h2>\n
Dominant<\/h2>\n
Dowling\u2019s Study for Context of Chords<\/h2>\n