A Comparison of Listeners' Musical Cognition Using a Continuous Response Assessment

Abstract

The purpose of this study was to assess the degree to which listeners can discern if melodic, harmonic, and rhythmic parameters and pairings of these parameters are abstracted from the ongoingflow of a musical event. Students in Grades 3, 6, 9, and 12 (N = 114) listened three times to 12 prerecorded, four-phrase songs and moved the pointer of a Continuous Response Digital Interface dial to indicate whether they considered the second, third, andfourth phrase of each song to be the same as, similar to, or different from the song's initialphrase. In the significant grade-by--phrase-type interaction, students in Grades 3, 6, and 9 identified phrases predetermined as being the same as a song's initial phrase a greater percentage of time than they did similar or different phrases; students in Grade 12 identified different phrases more often than they identified phrases that were the same as or similar to the initial phrase.

An Investigation of Adult Listeners’ Conservation of Melody Under Harmonic Deformations

“…Few researchers continued to investigate children's music conservation after the 1980s, and even fewer researchers examined children's conservation of melody with harmony. Although there have been a number of studies on melodic perception (DeNardo & Kantorski, 1998), some of which involved harmony, they did not necessarily reference Zimmerman's concept of music conservation, perhaps because one of the challenges in this area was testing the theoretical validity of music conservation tasks. In Piagetian tasks, children were able to observe the process of transformation of a target object and the reverse transformation of the object to its initial state.…”

An assessment of children's discrimination of change when listening to a theme and variations form.

“…The number of subjects participating in this study was necessarily limited to 43 due to scheduling and logistical concerns at the host school. Despite this relatively small sample size, it was deemed important to proceed with data collection and analysis for two reasons: first, to relate results with previous studies (O’Hearn, 1984; DeNardo, 1990; DeNardo & Kantorski, 1995, in press) which investigated children’s discrimination processes as they listened to intact pieces of music and, second, to provide information that might be useful in posing salient questions for additional research involving children when listening to theme and variations or other complete compositions.…”

“…The present study, one in a continuing series, adheres to the premise that music as atemporal event is perceived as a musical whole. The findings of two studies by DeNardo and Kantorski (1995, in press) support the conclusions reached in an initial study (DeNardo, 1990) that (a) a sense of musical cohesion was not formed by internally representing an exact image of the initial phrase of a four-phrase song which was subsequently used to make discriminations elsewhere within the music, and (b) single parameters (e.g., harmony, melody and rhythm) or pairings of parameters were not abstracted and used by the listener to discriminate similarity and difference relationships among phrases as the music unfolded.…”

“…Like DeNardo (1990), phrases that were completely changed as compared to the initial phrases of a four-phrase song were more frequently discerned than phrases that were the same as the comparison phrase. The results of the third study (DeNardo & Kantorski, in press) revealed that students in the third, sixth, and ninth grades most accurately identified phrases that were the same as a song’s initial phrase; students in the 12th grade were most accurate when listening to phrases that were different from the comparison phrase. Data for the second and third studies were obtained by utilizing Continuous Response Digital Interface (CRDI) software.…”

Η Διδακτική Της Μουσικής Με Τη Χρήση Νέων Τεχνολογιών Σε Μαθητές Πρωτοβάθμιας Και Δευτεροβάθμιας Εκπαίδευσης

“…Σύµφωνα µε την Paul (2008) (Kersten, 2006, Loveless, 2004 (Geringer, 2004). Έχει χρησιµοποιηθεί ευρέως σε παιδιά προσχολικής και πρωτοσχολικής ηλικίας για να εξεταστεί η προτίµηση τους και η πρόσληψη στη µουσική (Byrnes, 1997;DeNardo & Kantorski, 1995, 1998Fredrickson, 1994;Parisi, 2004).…”