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The results of the test showed that many factors such as interference tone, degree of tonality, and tonal fitness of comparison tone showed to be a key factor in how listeners performed in the task. [9] Vispoel's research journal described an adaptable test that is for tonal memory. There are three phases that were created in order to get the ...
When dealing with key changes, a student must know how to account for pitch function recognition after the key changes: retain the original tonic or change the frame of reference to the new tonic. This last aspect in particular, requires an ongoing real-time (even anticipatory) analysis of the music that is complicated by modulations and is the ...
Two types of gamma activity were found by Snyder & Large: induced gamma activity, and evoked gamma activity. Evoked gamma activity was found after the onset of each tone in the rhythm; this activity was found to be phase-locked (peaks and troughs were directly related to the exact onset of the tone) and did not appear when a gap (missed beat ...
A major challenge in sight-reading instruction, according to Hardy, is obtaining enough practice material. Since practicing rehearsed reading does not help improve sight-reading, a student can only use a practice piece once. Moreover, the material must be at just the right level of difficulty for each student, and a variety of styles is preferred.
Auditory learning or auditory modality is one of three learning modalities originally proposed by Walter Burke Barbe and colleagues that characterizes a learner as depending on listening and speaking as a main way of processing and/or retaining information.
Tone is the use of pitch in language to distinguish lexical or grammatical meaning—that is, to distinguish or to inflect words. [1] All oral languages use pitch to express emotional and other para-linguistic information and to convey emphasis, contrast and other such features in what is called intonation, but not all languages use tones to distinguish words or their inflections, analogously ...
According to Andranik Tangian, [7] analytical phrasing can be quite subjective, the only point is that it should follow a certain logic. For example, Webern’s Klangfarbenmelodie-styled orchestral arrangement of Ricercar from Bach’s Musical offering demonstrates Webern’s analytical phrasing of the theme, which is quite subjective on the one hand but, on the other hand, logically consistent:
Voice leading (or part writing) is the linear progression of individual melodic lines (voices or parts) and their interaction with one another to create harmonies, typically in accordance with the principles of common-practice harmony and counterpoint. [1]