DOCSLIB.ORG

Musical Interval Perception with Pulsatile Electrical

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Musical Interval Perception with Pulsatile Electrical MUSICAL INTERVAL PERCEPTION WITH PULSATILE ELECTRICAL STIMULATION OF PROFOUNDLY DEAF EARS by SIPKE PIJL B.Ed., The University of British Columbia, 1975 M.A., Western Washington University, 1977 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY in THE FACULTY OF GRADUATE STUDIES (Neuroscience Program) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA February 1994 ® Sipke Pijl, 1994 __________________________ In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of URO(t.Lc The University of British Columbia Vancouver, Canada Date 1 i99L. DE-6 (2/88) ABSTRACT This research examines, in a musical context, the measurement of pitches heard by Nucleus cochlear implant recipients upon systematic variation of electrical pulse rates, delivered to single intracochlear electrodes at a comfortable listening level. Stimuli were configured by a computer in tandem with the Boys Town National Institute Interface for psychophysical research with the Nucleus cochlear implant. Seventeen subjects participated in a 30- item tune recognition test (Experiment I). Many subjects identified a substantial number of items. Three subjects underwent a more detailed investigation to determine whether pitches resulting from pulse rate variation were sufficiently salient for musical interval perception. The results of a closed—set melody recognition test (Experiment II) suggested that recognition was possible on the basis of melody, i.e., even in the complete absence of rhythmical information, and that recognition was possible over a range of pulse rates. However, these results did not determine whether performance was based on ordinal properties of the pitches, or whether successive pitches defined identifiable musical intervals. Intonation quality judgements (Experiment III) of intervals ranging in size from a minor 3rd to a 5th provided evidence that the frequency ratios which characterize acoustical musical intervals also apply to electrical pulse rate pitch. Further evidence of musical ratio recognition was obtained using the method of adjustment (Experiments IV and V). At least 2 out of 3 subjects were able, by means of the adjustment of a variable pulse rate, to reconstruct selected musical intervals abstracted from melodies well—known to the subjects. Two subjects, furthermore, were able to transpose these melodic patterns to higher and lower pulse rates, in a manner similar to that demonstrated by normal—hearing subjects when listening to musical intervals. These results suggest that temporally mediated pitches are capable of conveying ratio pitch information, in the sense that equal ratios of pulse rates appear to produce equal musical pitch intervals. These findings lend support to temporal theories of musical pitch and interval perception. ii TABLE OF CONTENTS ABSTRACT ii TABLE OF CONTENTS iii LIST OF TABLES V LIST OF FIGURES vi LIST OF ABBREVIATIONS viii DEFINITION OF TERMS ix ACKNOWLEDGEMENTS Xiii DEDICATION xiv INTRODUCTION 1 METHODS: General 13 Experimental Setup 18 Preliminary Psychophysical Measurements 22 Experimental Subjects 25 Results 28 Discussion 32 EXPERIMENT I: Open-Set Tune Identification 38 Methods 39 Results 42 Discussion 48 iii EXPERIMENT II: Closed-Set Melody Identification 55 Methods 56 Results 60 Discussion 64 EXPERIMENT III: Intonation Quality Judgements 69 Methods 70 Results 76 Discussion 90 EXPERIMENT IV: Musical Interval Reconstruction 100 Methods 101 Results 106 Discussion 111 EXPERIMENT V: Musical Interval Transposition 122 Methods 122 Results 128 Discussion 143 GENERAL DISCUSSION 152 REFERENCES 171 APPENDICES 1. Open-Set Tunes: Experiment I 184 2. Pulse Rates for 7-Note Melodies: Experiment II 187 iv LIST OF TABLES Table Page 1. Subject Data 23 2. Intonation Quality Judgements: points of subjective equality (PSE) and standard deviations 78 3. Method of Adjustment: interval reconstruction data 107 4. Method of Adjustment: interval transposition data for Subject 7 130 5. Method of Adjustment: interval transposition data for Subject 10 - ascending intervals 134 6. Method of Adjustment: interval transposition data for Subject 11 - descending intervals 137 v LIST OF FIGURES Figure Page 1. Equipment set-up 21 2. Current amplitudes at comfortable loudness: effect of pulse width 29 3. Current amplitudes at comfortable loudness for 4 subjects 29 4. Current amplitudes at comfortable loudness: Subject 10 versus Subject 11 30 5. Current amplitudes at comfortable loudness: replicability of measurements 30 6. Open-set tune identification: percent correct scores 44 7. Open-set tune identification: Number of positive identifications of each tune 45 8. Tune identification performance versus speech perception scores 47 9. Closed-set melody identification: percent correct scores 61 10. Schematic representation of intonation quality judgements 72 11. Intonation Quality Judgements: interval of a 5th 79 12. Intonation Quality Judgements: minor 3rd 80 13. Intonation Quality Judgements: interval of a 4th 81 14. Intonation Quality Judgements: major 6th 82 15. Point of subjective equality and standard deviations for intervals from a minor 3rd to a major 6th 83 vi Figure Page 16. Intonation Quality Judgements: effect of electrodes on interval of a 5th 87 17. Intonation Quality Judgements: effect of pulse rate of starting note on interval of a 5th 89 18. Interval reconstruction: mean interval size and standard deviations 109 19. Interval reconstruction: percentage of adjustments 0-2 semitones from target 112 20. Interval transposition: mean interval size and standard deviations — intervals of a 5th and minor 3rd. Subject 7 131 21. Interval transposition: mean interval size and standard deviations - interval of a 4th. Subject 7 132 22. Interval transposition: mean interval size and standard deviations — ascending intervals. Subject 10 135 23. Interval transposition: mean interval size and standard deviations — descending intervals. Subject 10 138 24. Interval transposition: differences in interval size related to adjustment of upper or lower note 140 25. Interval transposition: percentage of adjustments 2 semitones or less from target 144 vii LIST OF ABBREVIATIONS ANOVA Analysis of Variance ANSI American National Standards Institute BTNI Boys Town National Institute E electrode Hz Hertz kHz kiloHertz MHz MegaHertz msec milliseconds pps pulses per second PSE points of subjective equality S Subject SD standard deviation sec microseconds microamps viii DEFINITION OF TERMS (Items arranged in logical sequence) Musical pitch: That aspect of pitch (related to chroma, not pitch height) that is capable of conveying musical interval information. The musical scale specifies exactly the frequency ratios that are to be used to establish musical intervals. These ratios are thus on the stimulus side of the “equation”, and not on the phenomenal side of pitch. Musical intervals characterized by tones in equal frequency ratios are judged to be subjectively equivalent by musicians, but not necessarily or generally by others, except as listeners acquire experience with music. For any listener, subjectively equal musical intervals do not necessarily represent equal nonmusical pitch (pitch height) differences. The latter differences depend on the relative position of the intervals on the frequency scale. Musical scale: The full set of discrete musical intervals which are permitted. In the music of Western culture, these steps are defined by frequency ratios, and are derived from the octave as the basic interval. The unit of the Western musical scale is the semitone, which for the equal temperament scale, is obtained by dividing the octave into 12 equal frequency intervals. Pairs of tones separated by a given number of semitones (and a given frequency ratio) are given the same name, such as minor 3rd, major 6th, and so forth, regardless of where they occur in the musical scale. The ratios used for all the calculations in the experiments reported in this paper are based on the equal temperament scale. Musical intervals: Tones in one of a set of standard frequency ratios which ideally characterize the frequency relationships between musical notes. Intervals characterized by identical frequency ratios are generally (at least for musicians) perceived as being musically equivalent. In the music of Western European culture, interval size is measured in semitoies. One semitone equals one—twelfth of an octave (21/12), or a frequency ratio of approximately 1:1.059. The intervals commonly referred to in the experiments detailed in this paper, together with the accompanying frequency ratio and number of semitones, are described briefly as follows: ix Name of Interval Ratio qm -i tric semitone 21/12 or 1:1.059 1 major second 22/12 or 1:1.122 2 minor third 23/12 or 1:1.189 3 major third 24/12 or 1:1.257 4 fourth 25/12 or 1:1.335 5 tritone 26/12 or 1:1.414 6 fifth 27/12 or 1:1.498 7 major sixth 29/12 or 1:1.681 9 octave 1:2 12 Melody: For this paper, melody is defined as an ordered series of musical intervals, in the absence
Load more

Recommended publications
  • Perceptual Interactions of Pitch and Timbre: an Experimental Study on Pitch-Interval Recognition with Analytical Applications
    Perceptual interactions of pitch and timbre: An experimental study on pitch-interval recognition with analytical applications SARAH GATES Music Theory Area Department of Music Research Schulich School of Music McGill University Montréal • Quebec • Canada August 2015 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Master of Arts. Copyright © 2015 • Sarah Gates Contents List of Figures v List of Tables vi List of Examples vii Abstract ix Résumé xi Acknowledgements xiii Author Contributions xiv Introduction 1 Pitch, Timbre and their Interaction • Klangfarbenmelodie • Goals of the Current Project 1 Literature Review 7 Pitch-Timbre Interactions • Unanswered Questions • Resulting Goals and Hypotheses • Pitch-Interval Recognition 2 Experimental Investigation 19 2.1 Aims and Hypotheses of Current Experiment 19 2.2 Experiment 1: Timbre Selection on the Basis of Dissimilarity 20 A. Rationale 20 B. Methods 21 Participants • Stimuli • Apparatus • Procedure C. Results 23 2.3 Experiment 2: Interval Identification 26 A. Rationale 26 i B. Method 26 Participants • Stimuli • Apparatus • Procedure • Evaluation of Trials • Speech Errors and Evaluation Method C. Results 37 Accuracy • Response Time D. Discussion 51 2.4 Conclusions and Future Directions 55 3 Theoretical Investigation 58 3.1 Introduction 58 3.2 Auditory Scene Analysis 59 3.3 Carter Duets and Klangfarbenmelodie 62 Esprit Rude/Esprit Doux • Carter and Klangfarbenmelodie: Examples with Timbral Dissimilarity • Conclusions about Carter 3.4 Webern and Klangfarbenmelodie in Quartet op. 22 and Concerto op 24 83 Quartet op. 22 • Klangfarbenmelodie in Webern’s Concerto op. 24, mvt II: Timbre’s effect on Motivic and Formal Boundaries 3.5 Closing Remarks 110 4 Conclusions and Future Directions 112 Appendix 117 A.1,3,5,7,9,11,13 Confusion Matrices for each Timbre Pair A.2,4,6,8,10,12,14 Confusion Matrices by Direction for each Timbre Pair B.1 Response Times for Unisons by Timbre Pair References 122 ii List of Figures Fig.
    [Show full text]
  • There's an App for That!
    There’s an App for That! FPSResources.com Business Bob Class An all-in-one productivity app for instructors. Clavier Companion Clavier Companion has gone digital. Now read your favorite magazine from your digital device. Educreations Annotate, animate and narrate on interactive whiteboard. Evernote Organizational app. Take notes, photos, lists, scan, record… Explain Everything Interactive whiteboard- create, rotate, record and more! FileApp This is my favorite app to send zip files to when downloading from my iPad. Reads PDF, Office, plays multi-media contents. Invoice2go Over 20 built in invoice styles. Send as PDF’s from your device; can add PayPal buttons. (Lite version is free but only lets you work with three invoices at a time.) Keynote Macs version of PowerPoint. Moosic Studio Studio manager app. Student logs, calendar, invoicing and more! Music Teachers Helper If you subscribe to MTH you can now log in and do your business via your iPhone or iPad! Notability Write in PDF’s and more! Pages Word Processing App PayPal Here OR Square Card reader app. Reader is free, need a PayPal account. Ranging from 2.70 (PayPal) - 2.75% (Square) per swipe Piano Bench Magazine An awesome piano teacher magazine you can read from your iPad and iPhone! PDF Expert Reads, annotates, mark up and edits PDF documents. Remind Formerly known as Remind 101, offers teachers a free, safe and easy to use way to instantly text students and parents. Skitch Mark up, annotate, share and capture TurboScan or TinyScan Pro or Scanner Pro Scan and email jpg or pdf files. Easy! Week Calendar Let’s you color code events.
    [Show full text]
  • Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content
    University of Tennessee, Knoxville TRACE: Tennessee Research and Creative Exchange Masters Theses Graduate School 8-2012 Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content Michael Hines Robinson University of Tennessee - Knoxville, [email protected] Follow this and additional works at: https://trace.tennessee.edu/utk_gradthes Part of the Cognition and Perception Commons, Music Pedagogy Commons, Music Theory Commons, and the Other Music Commons Recommended Citation Robinson, Michael Hines, "Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content. " Master's Thesis, University of Tennessee, 2012. https://trace.tennessee.edu/utk_gradthes/1260 This Thesis is brought to you for free and open access by the Graduate School at TRACE: Tennessee Research and Creative Exchange. It has been accepted for inclusion in Masters Theses by an authorized administrator of TRACE: Tennessee Research and Creative Exchange. For more information, please contact [email protected]. To the Graduate Council: I am submitting herewith a thesis written by Michael Hines Robinson entitled "Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content." I have examined the final electronic copy of this thesis for form and content and recommend that it be accepted in partial fulfillment of the equirr ements for the degree of Master of Music, with a major in Music. Barbara Murphy, Major Professor We have read this thesis and recommend its acceptance: Don Pederson, Brendan McConville Accepted for the Council: Carolyn R. Hodges Vice Provost and Dean of the Graduate School (Original signatures are on file with official studentecor r ds.) Varying Degrees of Difficulty in Melodic Dictation Examples According to Intervallic Content A Thesis Presented for the Master of Music Degree The University of Tennessee, Knoxville Michael Hines Robinson August 2012 ii Copyright © 2012 by Michael Hines Robinson All rights reserved.
    [Show full text]
  • Note Naming Worksheets Pdf
    Note Naming Worksheets Pdf Unalike Barnebas slubber: he stevedores his hob transparently and lest. Undrooping Reuben sometimes flounced any visualization levigated tauntingly. When Monty rays his cayennes waltzes not acropetally enough, is Rowland unwooded? Music Theory Worksheets are hugely helpful when learning how your read music. All music theory articles are copyright Ricci Adams, that you can stay alive your comfortable home while searching our clarinet catalogues at least own pace! Download Sheet Music movie Free. In English usage a bird is also the mud itself. It shows you the notes to as with your everything hand. Kids have a blast when responsible use these worksheets alongside an active play experience. Intervals from Tonic in Major. Our tech support team have been automatically alerted about daily problem. Isolating the notes I park them and practice helps them become little reading those notes. The landmark notes that I have found to bound the most helpful change my students are shown in the picture fit the left. Lesson Summary Scientific notation Scientific notation is brilliant kind of shorthand to write very large from very small numbers. Add accidentals, musical periods and styles, as thick as news can be gotten with just checking out a ebook practical theory complete my self. The easiest arrangement, or modification to the contents on the. Great direction Music Substitutes and on Key included. Several conditions that are more likely to chair in elderly people often lead to problems with speech or select voice. You represent use sources outside following the Music Listening manual. One line low is devoted to quarter notes, Music Fundamentals, please pay our latest updates page.
    [Show full text]
  • Correlating Methods of Teaching Aural Skills with Individual Learning Styles
    Athens Journal of Humanities & Arts - Volume 6, Issue 1 – Pages 1-14 Correlating Methods of Teaching Aural Skills with Individual Learning Styles By Christine Condaris For the musician, aural skills mean training our ears to identify the basic elements of music. These include the ability to hear what is happening melodically, harmonically and rhythmically as the music is played. As music educators, we instruct our students on how to hear the grammar of this medium we call music. It is arguably this process of active listening that is the most important part of being a musician. Unfortunately, it is also one of the most difficult skills to acquire and subsequently, the teaching of aural skills is generally acknowledged to be demanding, laborious, and downright punishing for faculty and students alike. At the college undergraduate level, aural skills courses are challenging at best, tortuous at worst. Surprisingly, pedagogy in this area is hugely underdeveloped. The focus of my work is to explain and encourage educators to identify the learning styles, i.e. visual, auditory, reading/writing, kinesthetic, of students in their classroom at the beginning of the semester and then correlate their teaching methodology, e.g., solfeggio, rote, song list, playing keyboard, etc., to each learning style. It is my hypothesis that when a focused and appropriate instructional strategy is paired with the related learning style, aural skills education is more successful for everyone. Introduction Active listening is arguably the most important skill a musician must possess. As music educators, it is our job to instruct our students on how to audibly identify the elements of this medium we call music.
    [Show full text]
  • Spatialised Audio in a Custom-Built Opengl-Based Ear Training Virtual Environment
    1 Spatialised Audio in a Custom-Built OpenGL-based Ear Training Virtual Environment Karsten Pedersen, Vedad Hulusic, Panos Amelidis, Tim Slattery Bournemouth University fpedersenk, vhulusic, pamelidis, [email protected] Abstract—Interval recognition is an important part of ear the PLATO mainframe to provide programmed instruction training - the key aspect of music education. Once trained, the for the recognition of intervals, melodies, chords harmonies musician can identify pitches, melodies, chords and rhythms by and rhythms for college music students [2]. EarMaster [4] listening to music segments. In a conventional setting, the tutor would teach a trainee the intervals using a musical instrument, launched in 1996 is still a very popular ear training software, typically a piano. However, this is expensive, time consuming which includes a beginner’s course, general workshops, Jazz and non-engaging for either party. With the emergence of new workshops and customised exercises. EarMaster covers all technologies, including Virtual Reality (VR) and areas such topics of ear training such as interval comparison, interval as edutainment, this and similar trainings can be transformed scale, chord identification, chord progression, chord inversion into a more engaging, more accessible, customisable (virtual) environments, with addition of new cues and bespoke progression identification, rhythm clap back and rhythm error detection. settings. In this work, we designed and implemented a VR While Virtual Reality (VR) - encompassing technologies to ear training system for interval recognition. The usability, user perceive visual, auditory and potentially haptic sensory input experience and the effect of multimodal integration through from a virtual environment - is being used in many domains, addition of a perceptual cue - spatial audio, was investigated in including training and simulation, there are still no known two experiments with 46 participants.
    [Show full text]
  • The Subjective Size of Melodic Intervals Over a Two-Octave Range
    JournalPsychonomic Bulletin & Review 2005, ??12 (?),(6), ???-???1068-1075 The subjective size of melodic intervals over a two-octave range FRANK A. RUSSO and WILLIAM FORDE THOMPSON University of Toronto, Mississauga, Ontario, Canada Musically trained and untrained participants provided magnitude estimates of the size of melodic intervals. Each interval was formed by a sequence of two pitches that differed by between 50 cents (one half of a semitone) and 2,400 cents (two octaves) and was presented in a high or a low pitch register and in an ascending or a descending direction. Estimates were larger for intervals in the high pitch register than for those in the low pitch register and for descending intervals than for ascending intervals. Ascending intervals were perceived as larger than descending intervals when presented in a high pitch register, but descending intervals were perceived as larger than ascending intervals when presented in a low pitch register. For intervals up to an octave in size, differentiation of intervals was greater for trained listeners than for untrained listeners. We discuss the implications for psychophysi- cal pitch scales and models of music perception. Sensitivity to relations between pitches, called relative scale describes the most basic model of pitch. Category pitch, is fundamental to music experience and is the basis labels associated with intervals assume a logarithmic re- of the concept of a musical interval. A musical interval lation between pitch height and frequency; that is, inter- is created when two tones are sounded simultaneously or vals spanning the same log frequency are associated with sequentially. They are experienced as large or small and as equivalent category labels, regardless of transposition.
    [Show full text]
  • Interactive Effects in Memory for Harmonic Intervals
    Perception & Psychophysics 1978, Vol. 24 (1), 7-10 Interactive effects in memory for harmonic intervals DIANA DEUTSCH Center for Human Information Processing University of California at San Diego, La Jolla, California 92093 Subjects compared the pitches of two temporally separated tones, which were both accom- panied by tones of lower pitch. The standard ~S) and comparison ~C} tones were either identical in pitch or they differed by a semitone. However, the tone accompanying the S tone was always identical in pitch to the tone accompanying the C tone. Thus, when the S and C tones were identical, the intervals formed by the S and C combinations were also identical. When the S and C tones differed, the intervals formed by the S and C combinations also differed. The S and C tones were separated by a retention interval during which six extra tones were interpolated. The tones in the second and fourth serial positions of the interpolated sequence were also accompanied by tones of lower pitch. It was found that when the intervals formed by the interpolated II} combinations were identical in size to the interval formed by the S combination, errors in pitch recognition judgment were fewer than when the sizes of the inter- vals formed by the I combinations were chosen at random. When the intervals formed by the I combinations differed in size by a semitone from the interval formed by the S combination, errors in pitch recognition were more numerous than when the sizes of the intervals formed by the I combinations were chosen at random.
    [Show full text]
  • Intervals Scales Tuning*
    7 INTERVALS SCALES AND TUNING* EDWARD M. BURNS Department of Speech and Hearing Sciences University of Washington Seattle, Washington !. INTRODUCTION In the vast majority of musical cultures, collections of discrete pitch relation- shipsmmusical scales--are used as a framework for composition and improvisa- tion. In this chapter, the possible origins and bases of scales are discussed, includ- ing those aspects of scales that may be universal across musical cultures. The perception of the basic unit of melodies and scales, the musical interval, is also addressed. The topic of tuningmthe exact relationships of the frequencies of the tones composing the intervals and/or scales~is inherent in both discussions. In addition, musical interval perception is examined as to its compliance with some general "laws" of perception and in light of its relationship to the second most important aspect of auditory perception, speech perception. !!. WHY ARE SCALES NECESSARY? The two right-most columns of Table I give the frequency ratios, and their val- ues in the logarithmic "cent" metric, for the musical intervals that are contained in the scale that constitutes the standard tonal material on which virtually all Western music is based: the 12-tone chromatic scale of equal temperament. A number of assumptions are inherent in the structure of this scale. The first is that of octave equivalence, or pitch class. The scale is defined only over a region of one octave; tones separated by an octave are assumed to be in some respects musically equiva- lent and are given the same letter notation (Table I, column 3). The second is that pitch is scaled as a logarithmic function of frequency.
    [Show full text]
  • University Microfilms International J'kl \ /F-IHHUA[) ANN AH HOP Ml.Ji’Ihf, 1H Rf M ORLJ ROW I on DON WC' R 'U J I N'.O AMO 3 00170*?
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand comer of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Ear-Training for Trumpeters Contents
    Ear-Training for Trumpeters Contents - Section I: Welcome to Ear-Training for Trumpeters .................... 7 1.1 Welcome to Ear-Training for Trumpeters ......................... 7 1.2 What is a Musical Interval? .................................... 9 1.3 Introduction to Musical Spellings ............................. 13 1.4 Your First Interval: The Perfect Fifth ........................ 18 1.5 Lesson 1 Homework Assignment .................................. 23 Section II: Study Techniques and Exam Procedures .................. 24 2.1 Perfect Fifth Spellings ....................................... 24 2.2 Study Techniques: The Grand Round, Sound Round & Random Round . 24 Section III: Perfect Fifth Testing \ Perfect Fourh Introduction ... 26 3.1 Testing Procedures and Guidelines ............................. 26 3.2 Spelling Test: Perfect Fifths ................................. 27 3.3 Singing Test: Perfect Fifths .................................. 28 3.4 Post Exam Thoughts: Minding the Gap ........................... 29 3.5 Introducing The Perfect Fourth ................................ 31 3.6 Perfect Fourth Spelling Answers and Practice Assignments ...... 33 Section IV: Perfect Fourth Testing \ Major Third Introduction ..... 34 4.1 Spelling Test: Perfect Fourths ................................ 34 4.2 Singing Test: Perfect Fourths ................................. 34 4.3 Remaining Perfect Intervals ................................... 35 4.4 The Harmonic Hearing Drill .................................... 37 4.5 Introducing The Major Third
    [Show full text]
  • EKU Music Theory Study Guide
    Eastern Kentucky University Department of Music EASTERN KENTUCKY UNIVERSITY Serving Kentuckians Since 1906 Music Theory Study Guide for Prospective Music Students Compiled by Dr. Richard Byrd TO THE PROSPECTIVE MUSIC STUDENT: We are excited to know that you are considering Eastern Kentucky University as your choice for musical training. While preparing to enter your particular field of interest in music, whether it be in teaching, performing, composition, arranging, administration, business, instrument design, instrument repair, therapy, or in any other music-related area, every music student should have a basic understanding of music theory. With that in mind, we believe that it is to your advantage to prepare yourself before you begin your college studies. Before you begin your musical studies at EKU, you will need to take a theory diagnostic exam to help determine your placement in the theory program. The EKU music theory and composition program is one of excellence. The music theory and composition faculty are nationally recognized educators, composers, and performers. Many of our students have participlated in national conferences and composition symposiums. After completing an undergraduate music degree, many of our students attain graduate degrees at prestigious colleges and universities, while others serve as music educators, work in the music industry, and perform professionally. The Bachelor of Music Theory and Composition degree (B.M.) is designed to prepare students for career in teaching at the college and university level. This degree also prepares students to successfully enter a graduate program in music theory or composition. At EKU students will be exposed to a wide variety of compositional styles, and will have the opportunity to compose music for a variety of instrumental and vocal combinations.
    [Show full text]