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Musik ist ein überall präsentes Phänomen und Menschen sind täglich in ständigem Kontakt mit Musik. Beide Phänomene – Musik und Sprache – bauen auf streng festgelegten Grundlagen auf und sind fest im menschlichen Gehirn verankert. In unserer Arbeit präsentieren wir die Ergebnisse der Zusammenarbeit zwischen Linguisten, Neurologen und Musikern, nämlich eine EEG-Studie. Das Hauptziel war es, Unterschiede beim Vergleich der Gehirnreaktionen von Fremdsprachenlernenden und Nicht-Fremdsprachenlernenden auf kommende Reize zu identifizieren. Es wird erwartet, dass diese Identifizierung für den Bereich der Fremdsprachenmethodik fruchtbar sein kann. Unsere Ergebnisse bestätigten die Existenz eines sogenannten dichotomischen Modells des Gehirns (linke Hemisphäre – Sprache, rechte Hemisphäre – Musik).
This paper investigates whether preference interactions can explain why risk preferences change over time and across contexts. We conduct an experiment in which subjects accept or reject gambles involving real money gains and losses. We introduce within-subject variation by alternating subjectively liked music and disliked music in the background. We find that favourite music increases risk-taking, and disliked music suppresses risk-taking, compared to a baseline of no music. Several theories in psychology propose mechanisms by which mood affects risktaking, but none of them fully explain our results. The results are, however, consistent with preference complementarities that extend to risk preference.
Das Thema der Nutzung von Musik und Liedern im Fremdsprachenunterricht ist immer sowohl in unterrichtspraktischen als auch in theoretisch-konzeptionellen Diskussionen präsent. Im Unterricht erfüllen Musik und Songs unterschiedliche Funktionen (siehe etwa die psychohygienische, emotionale, sozialpsychologische Funktion), sind an der Förderung des unbewussten Lernens sowie (sprachlich) kognitiver Prozesse beteiligt, unterstützen das inter- bzw. (trans-)kulturelle Lernen, dienen als Auslöser fremdsprachlicher Kommunikationsprozesse etc. Praxiserfahrungen berichten über die herausragende Rolle von Songs beim Erwerb des Sprachmaterials (siehe insbesondere die Entwicklung des auditorisch-sensorischen Gedächtnisses). Allgemein bekannt sind die Vorteile des Liedhörens und Singens im mnemotischen Bereich, nicht zuletzt erweist sich ihr affektives sowie didaktisches Potenzial. In der Forschung vermehren sich seit den 1990er-Jahren Veröffentlichungen unterschiedlicher Qualität und Glaubwürdigkeit, die über vielfältige Wirkungen des Musikhörens, Musikspielens sowie des Gesangs auf Intelligenzleistungen, auf Gedächtnis, auf Emotionen sowie auf menschliche Gesundheit berichten. Uns als Theoretiker und Praktiker im Fach DaF interessiert in erster Linie der mögliche Beitrag unterschiedlicher Formen von Musikbeschäftigung zum(Fremdsprachen-)Lernen. Die bisherigen Resultate zeigen sich als nicht befriedigend: Trotz zahlreicher Publikationen und vielversprechender Schlussfolgerungen gibt es nur selten relevante theoretisch und empirisch untermauerte Studien über die gegenseitige Beeinflussung musikalischer und sprachlicher Fähigkeiten. Die Hauptursachen dieses Zustands sind in zahlreichen Querverbindungen zwischen den verschiedensten Aspekten der Musik sowie der menschlichen Kognition zu suchen, die so kompliziert und subtil erscheinen, dass es beinahe unmöglich ist, alle auftretenden Variablen kritisch zu prüfen und zu interpretieren.
Background
Cochlear Implants (CIs) provide near normal speech intelligibility in quiet environments to individuals suffering from sensorineural hearing loss. Perception of speech in situations with competing background noise and especially music appraisal however are still insufficient. Hence, improving speech perception in ambient noise and music intelligibility is a core challenge in CI research. Quantitatively assessing music intelligibility is a demanding task due to its inherently subjective nature. However, previous approaches have related electrophysiological measurements to speech intelligibility, a corresponding relation to music intelligibility, can be assumed. Recent studies have investigated the relation between results obtained from hearing performance tests and Spread of Excitations (SoEs) measurements. SoE functions are acquired by measuring Electrically Evoked Compound Action Potentials (ECAPs) which represent the electrical response generated in the neural structures of the auditory nerve. The parameters designed to describe SoE functions are used to estimate the dispersal of the electric field in the cochlea. The quality of spatial separation of the electrical field generated by adjacent electrodes are assumed to correlate with hearing performance measures.
Aim of study
This study investigated the relation of parameters derived by ECAP measurements and perceptive skills which aim to access the level of speech and music intelligibility in CI users. In addition, the ratings assessed in a questionnaire on self-rated music intelligibility were correlated to a test battery consisting of measures for speech reception threshold (SRT) in noise (Oldenburger Satztest (OLSA)) and music intelligibility (Adaptive Melody-Pattern-Discrimination Test (AMPDT)). We hypothesised that results from this test battery correlated to subjective ratings and measures describing SoE functions.
Methods
The patient collective covered 17 well-experienced bilateral CI listeners (8 females, 9 males) between the age of 14 and 77 years with a minimum CI experience of two years. Music enjoyment and self-rated musicality was evaluated by means of a questionnaire. The AMPDT included two psychoacoustic tests: timbre difference discrimination threshold (TDDT) and background contour discrimination threshold (BCDT). The accentuation of harmonics in a foreground melody created a background melody. Accentuation was realised by sound level increment, frequency detuning and onset asynchrony. Subjects had to detect target intervals comprising both foreground and background melody by discriminating timbre differences in a Three-Interval Three-Alternative Forced-Choice (3I3AFC) procedure. In a One-Interval Two-Alternative Forced-Choice (1I2AFC) procedure, subjects had to classify the background melody’s contour. SoE was measured via a spatial forward-masking paradigm. A basal, medial and apical recording electrode was measured. Probe electrodes were one electrode position apical to the recording. The width of normalised SoE functions was calculated at their 25 % and 50 % level (excitation distance (DIST)). Furthermore, exponential functions were calculated for SoE profiles with more than three data points for each side. The OLSA assessed SRT in noise. The noisy environment was presented through an array of four loudspeakers (MSNF). The Fastl noise-condition allows to make use of gap listening representing the temporal characteristics of speech as a fluctuating noise. The OLnoise-condition is a continuous noise resulting in a maximum portion of masking.
Results
We found that background melody contour classiffication (BCDT) is more challenging to CI users than the detection of small perceptual timbre differences (TDDT). Background melody contour classification was possible with harmonic accentuation by sound level increment whereas accentuation by onset asynchrony was more demanding. CI users failed in background melody contour classification obtained by frequency detuning. SRTs assessed in the OLSA were significantly lower in the OLnoise than in the Fastl noise masking condition. A number of N = 90 SoE functions were acquired from ECAP measurements, in which N = 48 showed a clearly present ECAP response. The DIST at the 25 % and 50 % level was narrower for the basal than for the apical and medial electrode. SoE functions showed asymmetric profiles with larger amplitudes towards the basal end of the cochlea. Correlation analysis between the AMPDT, OLSA and DISTs showed no significant correlation. Correlation analysis between the AMPDT, OLSA and the questionnaire’s results could not prove that musical activities (music listening, singing or playing instruments) improve music intelligibility. However, CI supply has restored the importance of music, self-rated musicality and musical enjoyment in this study’s subjects.
Conclusions
The present study’s results imply that CI listeners are only able to detect distinct timbre alterations throughout the course of a musical piece whereas they cannot discriminate background melodies hidden in a pattern of complex harmonic sounds. Furthermore, SoE measurements do not seem to be an adequate tool to predict neither speech nor music intelligibility in CI listeners, contrary to our initial hypothesis. This finding is consistent with a number of studies who did not find a correlation between music or speech intelligibility and channel interactions assessed by SoE measurements. It can be concluded that albeit CI supply restores musical enjoyment in patients with sensorineural hearing loss, music perception is still poor and does not significantly improve by regular musical activities such as listening to music, singing or playing instruments.
Resolution
(2019)
Many parodies operate through temporal strategies that distort the narrative proportions of their targets. This essay discusses two texts that manipulate time for parodic purposes: the contemporary animated sitcom "Bojack Horseman" and the twelfth-century romance "Ipomedon". Their shared method involves the absurd prolongation of narrative structures of resolution and satisfaction in order to reveal these structures' arbitrary nature. But this method, in turn, shows that resolution - a retrospective determination of shape and meaning - can never be avoided entirely, even if it can be deferred.
O artigo trata da “Filosofia da Nova Música” de Theodor Adorno e tem como problema de investigação saber quais são os valores estéticos apresentados pelo autor para identificar Schoenberg como o representante do progresso musical. Como objetivos específicos para esse trabalho foram definidos: a identificação das principais características estéticas nas obras musicais de Stravinsky e de Schoenberg e apontar alguns fundamentos filosóficos para diferenciar progresso e regressão na estética musical de Adorno. Ao caracterizar sua concepção estética como filosofia da arte, Adorno toma a produção e a recepção como expressões de uma relação dialética com o meio social e tece críticas especialmente a indústria cultural e a arte burguesa que tinham como propósito agradar o ouvido e permitir que os produtores e receptores estabelecessem uma relação de troca no mercado capitalista. Por isso, sua estética está assentada na crítica e na possibilidade de criação dissonante e autônoma, análises que foram realizadas no âmbito desta investigação que tem como foco a questão da música enquanto objeto estético de progresso ou regressão da audição.
The neural processing of speech and music is still a matter of debate. A long tradition that assumes shared processing capacities for the two domains contrasts with views that assume domain-specific processing. We here contribute to this topic by investigating, in a functional magnetic imaging (fMRI) study, ecologically valid stimuli that are identical in wording and differ only in that one group is typically spoken (or silently read), whereas the other is sung: poems and their respective musical settings. We focus on the melodic properties of spoken poems and their sung musical counterparts by looking at proportions of significant autocorrelations (PSA) based on pitch values extracted from their recordings. Following earlier studies, we assumed a bias of poem-processing towards the left and a bias for song-processing on the right hemisphere. Furthermore, PSA values of poems and songs were expected to explain variance in left- vs. right-temporal brain areas, while continuous liking ratings obtained in the scanner should modulate activity in the reward network. Overall, poem processing compared to song processing relied on left temporal regions, including the superior temporal gyrus, whereas song processing compared to poem processing recruited more right temporal areas, including Heschl's gyrus and the superior temporal gyrus. PSA values co-varied with activation in bilateral temporal regions for poems, and in right-dominant fronto-temporal regions for songs. Continuous liking ratings were correlated with activity in the default mode network for both poems and songs. The pattern of results suggests that the neural processing of poems and their musical settings is based on their melodic properties, supported by bilateral temporal auditory areas and an additional right fronto-temporal network known to be implicated in the processing of melodies in songs. These findings take a middle ground in providing evidence for specific processing circuits for speech and music in the left and right hemisphere, but simultaneously for shared processing of melodic aspects of both poems and their musical settings in the right temporal cortex. Thus, we demonstrate the neurobiological plausibility of assuming the importance of melodic properties in spoken and sung aesthetic language alike, along with the involvement of the default mode network in the aesthetic appreciation of these properties.
Neste artigo, propõe-se uma confrontação entre a teoria dos signos de Gotthold E. Lessing, tal como exposta em Laocoonte ou sobre as fronteiras da pintura e da poesia (1766), e os dois ensaios de Theodor W. Adorno sobre as relações entre música e pintura (de 1950 e 1965). Pretende-se, com isso, demonstrar a presença decisiva de elementos da estética clássica alemã no pensamento adorniano do pós-guerra; em particular, observa-se o modo pelo qual a teoria racionalista de Lessing atua na abordagem dialética adorniana a respeito da irredutibilidade formal dos meios artísticos e das possibilidades de sua convergência. À luz de tal confrontação, discutem-se, em um segundo momento do artigo, os temas da conferência de Adorno de 1966, A arte e as artes, que, em certa medida, consubstancia a discussão dos ensaios anteriores sobre música e pintura. Assinala-se, nesse contexto, a continuidade da posição teórica de Adorno e se apresentam as diferenças entre o processo de pseudomorfose e o de imbricação (Verfransung) dos meios artísticos, segundo o filósofo.