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EUROPEAN SOCIETY FOR THE COGNITIVE SCIENCES OF MUSIC
Author(s) -
Luis A. Estrada,
Reinhard Kopiez,
Anna Wolf,
Friedrich Platz
Publication year - 1993
Publication title -
cognitive science
Language(s) - English
Resource type - Journals
SCImago Journal Rank - 1.498
H-Index - 114
eISSN - 1551-6709
pISSN - 0364-0213
DOI - 10.1207/s15516709cog1702_5
Subject(s) - cognition , citation , library science , psychology , computer science , neuroscience
Background According to Gordon's (1993) music learning theory, notational audiation is based on the skill of generating a mental representation of unfamiliar music from only reading the score without the presence of physical sounds. This skill is indispensable for composers, conductors, and performing musicians. However, the degree to which this skill has been developed in different groups of professional musicians remains unknown, as there is no reliable test for measurement. Aims The aim of this study is the development of a standardized measurement of professional musicians’ ability to generate a mental representation (audiation) from written notation without the presence of physical sounds. Method In line with previous studies by Brodsky et al. (2003; 2008), an embedded melody paradigm was used. In contrast to Brodsky et al. (2003; 2008), entirely new and unknown examples were constructed to prevent the confounding effects of familiarity. First, N = 70 triple combinations were generated by a group of composers: (a) a diatonic melody (theme) of eight bars length; (b) a melodic-outline variation (figuration) of the theme (so-called embedded melody); (c) a "lure" variation that showed a certain similarity to the original theme but was characterized by significant harmonic and melodic deviations and would thus result in a different embedded melody. In a second step, six music theory teachers evaluated the material according to the criteria of musical plausibility and its suitable use as test items. As an outcome, N = 29 triple combinations were selected. In a third step, 30 students of music theory, composition and conducting participated in the experimental testing: first, they silently read either the notated variation or lure variation followed by the original theme. Secondly, participants had to decide whether the visually presented notation contained those invariant notes represented by the original theme. Finally, items were analyzed by means of item-response theory and were excluded if they did not meet all model-fit-criteria. Results Data collection is ongoing, and final results are expected in spring 2015.