Skill Development in Music Reading. The Eye-Movement Approach

This dissertation examined skill development in music reading by focusing on the visual processing of music notation in different music-reading tasks. Each of the three experiments of this dissertation addressed one of the three types of music reading: (i) sight-reading, i.e. reading and performing completely unknown music, (ii) rehearsed reading, during which the performer is already familiar with the music being played, and (iii) silent reading with no performance requirements. The use of the eye-tracking methodology allowed the recording of the readers’ eye movements from the time of music reading with extreme precision. Due to the lack of coherence in the smallish amount of prior studies on eye movements in music reading, the dissertation also had a heavy methodological emphasis. The present dissertation thus aimed to promote two major issues: (1) it investigated the eye-movement indicators of skill and skill development in sight-reading, rehearsed reading and silent reading, and (2) developed and tested suitable methods that can be used by future studies on the topic. Experiment I focused on the eye-movement behaviour of adults during their first steps of learning to read music notation. The longitudinal experiment spanned a nine-month long music-training period, during which 49 participants (university students taking part in a compulsory music course) sight-read and performed a series of simple melodies in three measurement sessions. Participants with no musical background were entitled as “novices”, whereas “amateurs” had had musical training prior to the experiment. The main issue of interest was the changes in the novices’ eye movements and performances across the measurements while the amateurs offered a point of reference for the assessment of the novices’ development. The experiment showed that the novices tended to sight-read in a more stepwise fashion than the amateurs, the latter group manifesting more back-and-forth eye movements. The novices’ skill development was reflected by the faster identification of note symbols involved in larger melodic intervals. Across the measurements, the novices also began to show sensitivity to the melodies’ metrical structure, which the amateurs demonstrated from the very beginning. The stimulus melodies consisted of quarter notes, making the effects of meter and larger melodic intervals distinguishable from effects caused by, say, different rhythmic patterns. Experiment II explored the eye movements of 40 experienced musicians (music education students and music performance students) during temporally controlled rehearsed reading. This cross-sectional experiment focused on the eye-movement effects of one-bar-long melodic alterations placed within a familiar melody. The synchronizing of the performance and eye-movement recordings enabled the investigation of the eye-hand span, i.e., the temporal gap between a performed note and the point of gaze. The eye-hand span was typically found to remain around one second. Music performance students demonstrated increased professing efficiency by their shorter average fixation durations as well as in the two examined eye-hand span measures: these participants used larger eye-hand spans more frequently and inspected more of the musical score during the performance of one metrical beat than students of music education. Although all participants produced performances almost indistinguishable in terms of their auditory characteristics, the altered bars indeed affected the reading of the score: the general effects of expertise in terms of the two eye- hand span measures, demonstrated by the music performance students, disappeared in the face of the melodic alterations. Experiment III was a longitudinal experiment designed to examine the differences between adult novice and amateur musicians’ silent reading of music notation, as well as the changes the 49 participants manifested during a nine-month long music course. From a methodological perspective, an opening to research on eye movements in music reading was the inclusion of a verbal protocol in the research design: after viewing the musical image, the readers were asked to describe what they had seen. A two-way categorization for verbal descriptions was developed in order to assess the quality of extracted musical information. More extensive musical background was related to shorter average fixation duration, more linear scanning of the musical image, and more sophisticated verbal descriptions of the music in question. No apparent effects of skill development were observed for the novice music readers alone, but all participants improved their verbal descriptions towards the last measurement. Apart from the background-related differences between groups of participants, combining verbal and eye-movement data in a cluster analysis identified three styles of silent reading. The finding demonstrated individual differences in how the freely defined silent-reading task was approached. This dissertation is among the first presentations of a series of experiments systematically addressing the visual processing of music notation in various types of music-reading tasks and focusing especially on the eye-movement indicators of developing music-reading skill. Overall, the experiments demonstrate that the music-reading processes are affected not only by “top-down” factors, such as musical background, but also by the “bottom-up” effects of specific features of music notation, such as pitch heights, metrical division, rhythmic patterns and unexpected melodic events. From a methodological perspective, the experiments emphasize the importance of systematic stimulus design, temporal control during performance tasks, and the development of complementary methods, for easing the interpretation of the eye-movement data. To conclude, this dissertation suggests that advances in comprehending the cognitive aspects of music reading, the nature of expertise in this musical task, and the development of educational tools can be attained through the systematic application of the eye-tracking methodology also in this specific domain.

Spekulaation materiaalinen paluu ja välttämätön kontingenssi

Kirjallisuusarvostelu

Vaikeasti määrittyvät kohtalottaret

Kirjallisuusarvostelu

Silk and ink. What were silk wallets, and what can they, together with Jacobina Charlotta Munterhjelm’s diary, tell us about the gentry women’s lives in the 18th and 19th century?

The subject of this thesis is the elaborate silk wallets and what can they tell about the gentry women’s lives in the 18th and 19th century Finland together Jacobina Charlotta Munsterhjelm’s diary. Silk wallets were made of silk and decorated by embroidering, they were used to preserve memorabilia and letters. Making these lavish items took time, skills and materials, and the decorations usually contained symbols and messages. As main source there are silk wallets from the collections of the National Museum of Finland and Satakunta Museum, as well as the diary of Jacobina Munsterhjelm from 1799 to 1801. By interpreting these items we can build a picture of gentry women’s lives. The culture of silk wallets is European, the silk wallet phenomenon studied is Swedish-Finnish, and the research is limited mainly in Finland by its sources. This research has been carried out by constructing a cultural context to the silk wallets with the help of Ginzburg’s methods from his work Juusto ja madot - 1500-luvun myllärin maailmankuva. Silk wallets represent the gentry as well as the communication culture in the 18th and 19th centuries, but have remained unstudied. The thesis consists of two parts, the first focuses on the silk wallets, from where were they developed, how they were made, and to their decorations. The silk wallet culture developed among the gentry handicrafts during the 18th century and faded during the early 20th century. The making of the silk wallets demanded time, skills and materials. The decorations contain messages and symbols – they contain the possible affections the makers might have toward the receiver, and reflect the status and qualities of the receiver. The second part examines the makers, the gentry women, and the handicraft culture which played a big role in their lives, through silk wallets and the diary of Jacobina Munstehjelm. From there it continues to the affections and meanings which can be found from the silk wallets.

Helluntailaiset luokkakuvassa. uskontokulttuuri ja yksikön luokka-asema Turun Helluntaiseurakunnassa

Tässä tutkimuksessa analysoin sitä, miten helluntailainen uskontokulttuuri vaikuttaa yksilön valintoihin ja sen kautta siihen, mihin luokka-asemiin seurakuntalaiset ovat päätyneet Turun Helluntaiseurakunnassa. Tutkimus on uskontoantropologinen ja kuuluu uskontotieteen alaan. Siinä yhdistetään sosiologista luokkatutkimusta sekä rationaalisen valinnan ja toiminnan teorioita uskontoantropologisessa viitekehyksessä. Pääasialliseksi aineistoksi keräsin laajan etnografisen aineiston, joka koostuu systemaattisesta havainnoinnista, kyselyistä ja haastatteluista. Lisäksi olen tutkinut seurakunnan ja helluntailaisuutta koskevia arkistoja sekä kirjallisuutta. Tutkimuksen kohde on Turun helluntaiseurakunta, joka muodostaa tutkimusongelman kannalta mielekkään tutkimusasetelman. Tutkimus kertoo olennaista tietoa siitä, miten uskonto vaikuttaa yksilön valintoihin ja hänen yhteiskunnalliseen asemaansa. Tutkimusaineiston pohjalta laadin selittävän mallin kuvaamaan sitä prosessia, miten yksilöt tekevät valintojaan rationaalisina toimijoina eri kulttuurien vaikutuspiireissä. Antropologisena pohjana selitykselle toimii uskonnon rajojen rakentumisen, muuttamisen ja ylittämisen logiikka. Pyhän kategorisoinnin jäsentämä uskontokulttuuri ohjaa yksilöä suosimaan toisia kulttuureja, luokkakulttuureja ja tyylejä sekä vierastamaan toisia. Jos yksilö haluaa tehdä valinnan, joka nähdään arveluttavana, täytyy hänen oikeuttaa se kulttuurinsa sisäisillä symboleilla ja rituaaleilla. Turun Helluntaiseurakunnassa korostuvat auttamisen ja sivistämisen ammatit, kuten lääkäri, sairaanhoitaja ja opettaja. Nämä voidaan edelleen jäljittää seurakunnan opetuksiin sekä seurakuntalaisten käyttämiin diskursseihin ja oletuksiin hyväksytyistä elämäntyyleistä. Lisäksi diskursseissa korostuvat näkemykset ammatista kutsumuksena, koulutuksen itsestäänselvyys sekä asemaan liittyvän radikalismin välttäminen. Seurakunnan uskontokulttuurin keskiluokkaistava vaikutus näkyy ennen kaikkea toisen ja useamman polven helluntailaisissa, jotka sijoittuvat korkeampiin asemiin kuin ulkopuolelta kääntyneet. Seurakunnan uskontokulttuuri vähentää luokkatietoisuuden syntyä ja voi osaltaan ylläpitää yhteiskunnan luokkarakennetta, koska uskonnon ensisijaiset päämäärät eivät kohdistu yhteiskunnan rakenteen muuttamiseen Suomessa. Tutkimuksen mukaan yksilön omat ja häneen kohdistetut oletukset ja arvot, jotka hän kulttuurissa omaksuu, ohjaavat häntä myös kulttuurinsa näkökulmasta suosiollisiin asemiin.

Kuinka kansalliset symbolit ovat yhteydessä maahanmuuttajiin kohdistuneisiin asenteisiin?

Eerika Finellin väitöskirja National symbols, their meanings, and how they relate to national identification, outgroup attitudes and national sentiments : rhetorical, correlational and experimental studies (Helsingin yliopisto 2012).

Structural and Computational Existence Results for Multidimensional Subshifts

Symbolic dynamics is a branch of mathematics that studies the structure of infinite sequences of symbols, or in the multidimensional case, infinite grids of symbols. Classes of such sequences and grids defined by collections of forbidden patterns are called subshifts, and subshifts of finite type are defined by finitely many forbidden patterns. The simplest examples of multidimensional subshifts are sets of Wang tilings, infinite arrangements of square tiles with colored edges, where adjacent edges must have the same color. Multidimensional symbolic dynamics has strong connections to computability theory, since most of the basic properties of subshifts cannot be recognized by computer programs, but are instead characterized by some higher-level notion of computability. This dissertation focuses on the structure of multidimensional subshifts, and the ways in which it relates to their computational properties. In the first part, we study the subpattern posets and Cantor-Bendixson ranks of countable subshifts of finite type, which can be seen as measures of their structural complexity. We show, by explicitly constructing subshifts with the desired properties, that both notions are essentially restricted only by computability conditions. In the second part of the dissertation, we study different methods of defining (classes of ) multidimensional subshifts, and how they relate to each other and existing methods. We present definitions that use monadic second-order logic, a more restricted kind of logical quantification called quantifier extension, and multi-headed finite state machines. Two of the definitions give rise to hierarchies of subshift classes, which are a priori infinite, but which we show to collapse into finitely many levels. The quantifier extension provides insight to the somewhat mysterious class of multidimensional sofic subshifts, since we prove a characterization for the class of subshifts that can extend a sofic subshift into a nonsofic one.