Acústica del violín y reconocimiento tímbrico por músicos profesionales y no-músicos
- Alonso Lacasta, Rebeca-Kerstin
- Olazabal Roman, Ion
ISSN: 0214-9877
Année de publication: 2016
Titre de la publication: PSICOLOGÍA, CIENCIA Y PROFESIÓN: MIRANDO AL FUTURO.
Volumen: 2
Número: 1
Pages: 337-346
Type: Article
D'autres publications dans: International Journal of Developmental and Educational Psychology: INFAD. Revista de Psicología
Objectifs de Développement Durable
Résumé
The current project aim was to investigate the possibilities of timbre produced by two professional violinists and analyze the recognizability of the resulting sounds, by a sample of musicians and non-musicians, in order to assess the importance should be given to timbre in the process of violin teaching. For that purpose a sample of 60 adults, half of them are professional graduated musicians and a half have no formal musical training. The measuring instrument was experimental test Ikarak consisting in the execution of various sounds and their aural recognition. High score results on the aural recognition of sounds were found in musicians and non-musicians. Furthermore, the results show a small magnitude of correlation between the two groups that is not statistically significant. After the results, programs to boost timbre awareness can be established in order to encourage all conservatory students to accomplish their full potential and high academic performance, as they are a reflection of an effective learning.
Références bibliographiques
- Alonso-Moral, J. (2004). Acústica Musical I. Material no publicado.
- Blaxter, L., Hughes, C. y Tight, M. (2005). Cómo se hace una investigación. Barcelona: Editorial Gedisa.
- Chartrand, J.P. y Belin, P. (2006). Superior voice timbre processing in musicians. Neuroscience Letters, 405(3), 164-167.
- Cortes, J.A., Knott, A.M. y Chaves, J.A. (2012). Aproximación a la síntesis de la música a través del análisis de fourier. Scientia et Technica Año XVII, 52.
- Fontes de Gracia, S., García-Gallego, C., Quintanilla Cobián, L., Rodríguez Fernández, R., Rubio de Lemus, P. y Sarriá Sánchez, E. (2010). Fundamentos de investigación en Psicología. Madrid: Editorial Universidad Nacional de Educación a Distancia.
- Kraus, N., Skoe, E., Parbery-Clark, A. y Ashley, R. (2009). Experience-induced malleability in neural encoding of pitch, timbre and timing. Annals of the New York Academy of Sciences, 1169, 543-557.
- Olazábal, T. (1954). Acústica musical y organología. Buenos Aires: Ricordi Americana.
- Pantev, C., Roberts,L.E., Schulz, M., Engelien, A. y Ross, B. (2001). Timbre-specific enhancement of auditory cortical representations in musicians. Cognitive Neuroscience and Neuropsychology, 12(1), 169-174.
- Pierce, J.R. (1985). Los sonidos de la música.Barcelona: Labor.
- Shahin, A.J., Roberts, L.E., Chau, W., Trainor, L.J. y Miller, L.M. (2008). Music training leads to the development of timbre-specific gamma band activity. NeuroImage, 41(1), 113-122.
- Zamacois, J. (1976). Teoría de la música II. Barcelona: Labor.