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.

Alitajunta ei ole kaikille sama : neosurrealismi, anarkia ja uusi taide - John Richardsonin kirja An Eye for Music avaa näkökulmia digitaalisen ajan surrealismille

Kirjallisuusarvostelu

Música, religião e cor: uma leitura da produção de black music gospel

O artigo busca apresentar novos elementos para discutir a transformação do meio evangélico brasileiro. Para tanto, recorre à produção musical, especificamente à black music gospel / "música negra". Esta é baseada em musicalidades contemporâneas como, por exemplo, o hip-hop e o reggae , e efetivada por grupos independentes. Eles são formados por fiéis e não têm vínculos com empresas especializadas. Seus responsáveis apresentam bens e serviços que dialogam com as noções religiosas, principalmente com aquelas relacionadas ao contingente de fiéis afro-descendentes. Suas práticas e concepções caracterizam determinado estilo de participação e de pertencimento. Para a abordagem proposta, aplicam-se algumas noções como "negritude", "Atlântico negro" e "diáspora".

Social class as a factor for the construction of a musician’s identity : The Musician’s social background and identity questionnaire (MSBIQ) – a cross-sectional comparative quantitative online survey research study of music students at two higher education institutions in Finland

There is currently little empirical knowledge regarding the construction of a musician’s identity and social class. With a theoretical framework based on Bourdieu’s (1984) distinction theory, Bronfenbrenner’s (1979) theory of ecological systems, and the identity theories of Erikson (1950; 1968) and Marcia (1966), a survey called the Musician’s Social Background and Identity Questionnaire (MSBIQ) is developed to test three research hypotheses related to the construction of a musician’s identity, social class and ecological systems of development. The MSBIQ is administered to the music students at Sibelius Academy of the University of Arts Helsinki and Helsinki Metropolia University of Applied Sciences, representing the ’highbrow’ and the ’middlebrow’ samples in the field of music education in Finland. Acquired responses (N = 253) are analyzed and compared with quantitative methods including Pearson’s chi-square test, factor analysis and an adjusted analysis of variance (ANOVA). The study revealed that (1) the music students at Sibelius Academy and Metropolia construct their subjective musician’s identity differently, but (2) social class does not affect this identity construction process significantly. In turn, (3) the ecological systems of development, especially the individual’s residential location, do significantly affect the construction of a musician’s identity, as well as the age at which one starts to play one’s first musical instrument. Furthermore, a novel finding related to the structure of a musician’s identity was the tripartite model of musical identity consisting of the three dimensions of a musician’s identity: (I) ’the subjective dimension of a musician’s identity’, (II) ’the occupational dimension of a musician’s identity’ and, (III) ’the conservative-liberal dimension of a musician’s identity’. According to this finding, a musician’s identity is not a uniform, coherent entity, but a structure consisting of different elements continuously working in parallel within different dimensions. The results and limitations related to the study are discussed, as well as the objectives related to future studies using the MSBIQ to research the identity construction and social backgrounds of a musician or other performing artists.

Effects of different concentrations of passion fruit peel (Passiflora edulis) on the glicemic control in diabetic rat

Diabetes mellitus, an endocrine disorder, is the major cause of morbidity in developing countries, and it is considered the fourth leading cause of death worldwide. The conventional therapy for diabetes is insulin treatment. The peel of the Passion fruit is rich in fiber and prevents the absorption of carbohydrates, and thus can control and reduce the blood sugar rate. The objective of this study was to analyze the effect of the passion fruit peel flour on the glicemia of diabetic rats, as well as to study the probable action mechanisms. Wistar rats were used in the experiment and were offered the flours of the passion fruit peel in three concentrations: 5, 10, and 15%, and a casein diet as control. The most significant effect on the reduction of the glicemic rate was obtained with the 5% diet. The best values of hepatic glycogen were found in the 5 and 10% diets. The results of this study suggest that the 5% passion fruit flour diet was the one that provided the best reduction of blood glucose levels (59%) and the higher increase of the hepatic glycogen level (71%). The conversion of blood glucose into hepatic glycogen was considered the probable action mechanism involved.

Evaluation of the in vitro glycemic index of a fiber-rich extruded breakfast cereal produced with organic passion fruit fiber and corn flour

The aim of this study was to determine the influence of process parameters and Passion Fruit Fiber (PFF) addition on the Glycemic Index (GI) of an extruded breakfast cereal. A 2³ Central Composite Rotational Design (CCRD) was used, with the following independent variables: raw material moisture content (18-28%), 2nd and 3rd barrel zone temperatures (120-160 ºC), and PFF (0-30%). Raw materials (organic corn flour and organic PFF) were characterized as to their proximate composition, particle size, and in vitro GI. The extrudates were characterized as to their in vitro GI. The Response Surface Methodology (RSM) and Principal Component Analysis (PCA) were used to analyze the results. Corn flour and PFF presented 8.55 and 7.63% protein, 2.61 and 0.60% fat, 0.52 and 6.17% ash, 78.77 and 78.86% carbohydrates (3 and 64% total dietary fiber), respectively. The corn flour particle size distribution was homogeneous, while PFF presented a heterogeneous particle size distribution. Corn flour and PFF presented values of GI of 48 and 45, respectively. When using RSM, no effect of the variables was observed in the GI of the extrudates (average value of 48.41), but PCA showed that the GI tended to be lower when processing at lower temperatures (<128 ºC) and at higher temperatures (>158 ºC). When compared to white bread, the extrudates showed a reduction of the GI of up to 50%, and could be considered an interesting alternative in weight and glycemia control diets.

Effect of drying method on the adsorption isotherms and isosteric heat of passion fruit pulp powder

The sorption behavior of dry products is generally affected by the drying method. The sorption isotherms are useful to determine and compare thermodynamic properties of passion fruit pulp powder processed by different drying methods. The objective of this study is to analyze the effects of different drying methods on the sorption properties of passion fruit pulp powder. Passion fruit pulp powder was dehydrated using different dryers: vacuum, spray dryer, vibro-fluidized, and freeze dryer. The moisture equilibrium data of Passion Fruit Pulp (PFP) powders with 55% of maltodextrin (MD) were determined at 20, 30, 40 and 50 ºC. The behavior of the curves was type III, according to Brunauer's classification, and the GAB model was fitted to the experimental equilibrium data. The equilibrium moisture contents of the samples were little affected by temperature variation. The spray dryer provides a dry product with higher adsorption capacity than that of the other methods. The vibro-fluidized bed drying showed higher adsorption capacity than that of vacuum and freeze drying. The vacuum and freeze drying presented the same adsorption capacity. The isosteric heats of sorption were found to decrease with increasing moisture content. Considering the effect of drying methods, the highest isosteric heat of sorption was observed for powders produced by spray drying, whereas powders obtained by vacuum and freeze drying showed the lowest isosteric heats of sorption.