区分新手单独或结伴学习的音乐选段

IF 1.6 3区 心理学 0 MUSIC
A. Schiavio, Tudor Popescu, Adrian Kempf, Renee Timmers
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引用次数: 0

摘要

在之前的一项研究中,我们发现新手在独奏或二人组中学习音乐时同样准确(就演奏正确的节奏和音高而言)。被这些发现所吸引,我们进行了一项后续实验,调查听者对学习结果的主观判断是否有所不同。在这里,专业音乐家被要求辨别在同步、轮流或模仿的条件下学习的旋律是单独学习还是与同伴一起学习。此外,他们还评估了学习者演奏旋律的熟练程度,评估了表现力、发音和措辞的清晰度以及表演的整体连贯性。听者对学习条件和学习旋律的组合(独奏或双人)表现出不同的反应。虽然结果没有产生足够显著的结果来产生显著的反应集群,但我们的发现可以启发未来的研究,通过采用纵向方法来深入研究个人和群体音乐学习之间的可识别特征问题。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Distinguishing between musical excerpts learned by novices individually or in pairs
In a previous study, we found that musical learning of novices was equally accurate (in terms of playing the correct rhythms and pitches) when learning in a solo or duo setting. Intrigued by these findings, we conducted a follow-up experiment investigating whether the learning outcomes differed in subjective terms as perceived by listeners judging the performances. Here, expert musicians were asked to discern whether melodies learned under conditions of synchrony, turn-taking, or imitation were likely learned individually or with a partner. In addition, they evaluated the learners’ proficiency in playing the melodies, assessing expressiveness, the clarity of their articulation and phrasing, as well as the overall coherence of the performances. Listeners showed differential responses to both the learning condition and the pairing (solo or duo) in which the melodies were learned. Although the outcome did not yield salient-enough results for significant clusters of responses to emerge, our findings could inspire future research to delve into the question of discernible signatures between individual and group musical learning by adopting a longitudinal approach.
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来源期刊
CiteScore
4.00
自引率
17.60%
发文量
88
期刊介绍: Psychology of Music and SEMPRE provide an international forum for researchers working in the fields of psychology of music and music education, to encourage the exchange of ideas and to disseminate research findings. Psychology of Music publishes peer-reviewed papers directed at increasing the scientific understanding of any psychological aspect of music. These include studies on listening, performing, creating, memorising, analysing, describing, learning, and teaching, as well as applied social, developmental, attitudinal and therapeutic studies. Special emphasis is placed on studies carried out in naturalistic settings, especially those which address the interface between music psychology and music education.
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