胎教音乐对胎儿影响的实验研究

该项研究从三个方面探讨了胎教音乐对胎儿的作用。结果发现：胎教音乐可以使胎动时间延长,并证明在胎儿后期即存在条件反射;胎儿出生后能够再认胎教音乐,说明在胎儿后期已经存在听觉记忆;胎儿的性别及神经活动类型是影响其对音乐反应的重要因素。该研究的意义在于：证明了胎儿期心理现象的存在。把对“胎儿期有无心理现象”的历史争论引入了心理学的实验过程。     

Musical groove shapes children's free dancing

The drive to move to music is evident across a variety of contexts, from the simple urge to tap our toe to a song on the radio, to massive crowds dancing in time at a rock concert. Though seemingly effortless, beat synchronization is difficult to master and children are often poor beat synchronizers. Nevertheless, auditory-motor integration is fundamental for many daily processes, such as speech. A topic that has been relatively understudied concerns how stimulus properties affect young children's movement in responses to auditory stimuli. In the present study, we examined how musical groove (adult-rated desire to move) affected 3.0- to 6.9-year-old children's free dancing in the comfort of their home (n = 78). In the high groove conditions, children danced more and with more energy compared to the low groove conditions. Moreover, in the high groove condition, children's movement tempos corresponded better with the tempos of the music. Results point to early childhood sensitivity to the musical features that motivate adults to move to music. High groove music may therefore prove especially effective at facilitating early auditory-motor integration. A video abstract of this article can be viewed at https://youtu.be/vli0-6N12Ts .     

论道家学派的音乐审美意识

道家学派理论面对忧患强调“天人合一”和解脱,因而具有浓郁的审美意识倾向。道家学派对“道”的体认也体现在对音乐本质的理解上。审美主体伴随着质态不尽相同的音乐过程,依次连缀形成“有声之乐”、“无怠之声”和“天乐”这三个层面的心理过程流时,这样的音乐才是老子所谓的“大音”,才是道家学派理想中的音乐。     

音乐训练对4~5岁幼儿普通话声调范畴感知能力的影响

已有研究表明, 音乐训练能提高成人对普通话声调范畴感知的能力, 此种训练能否增强幼儿对声调范畴感知的能力?训练效果是否受到训练时间长短的影响?本研究对幼儿园4~5岁幼儿进行音乐训练, 共40人, 分成音乐组和控制组, 每组各20人, 追踪考察音乐训练和训练时间长短对幼儿声调范畴感知能力提升的影响。实验采用前测-中测-后测设计, 对音乐组开展每周3次, 每次30分钟, 以小钟琴演奏为主的音乐训练; 控制组不进行任何有组织的训练活动。结果发现, 12个月音乐训练提升了幼儿对声调范畴感知的程度, 表现为音乐组幼儿范畴边界宽度显著小于控制组, 而训练6个月时, 该优势并不显著。此外, 12个月音乐训练还加强了幼儿区分范畴内刺激声学差异的敏感性, 而对范畴间刺激的区分能力无显著提高。本研究结果支持了音乐学习的歌剧理论(OPERA), 音乐训练具有跨域迁移作用, 可提升4~5岁幼儿对普通话声调范畴感知的能力, 但只有长期持续的训练才可能真正提高幼儿的音高精细化加工水平。     

论朱熹琴律理论中的儒家乐教思想

朱熹的琴律理论主要包括运用三分损益法的生律思路计算五音十二律与古琴徽位、琴上三准的掐断率并对其进行划分等。朱熹琴律理论中的儒家乐教思想主要体现在通过琴律以维护君臣关系,即论五音十二律以维护君臣关系、论琴上三准以区分君子与小人、论调弦之法以求五声伦序顺置等。他的乐教思想是以“理”为核心所生发出的一种音乐哲学思想:以“天理”作为乐教思想的理论依据,以“中和”作为乐教思想的心性基础,以“致知”作为乐教思想的最终归宿。     

Using equivalence-based instruction to teach piano skills to children

The purpose of the current study was to evaluate the effects of equivalence-based instruction (EBI) on learning to play individual notes and simple songs on the piano. Participants were 4 typically developing children and 4 children with a diagnosis of autism spectrum disorder (ASD). They were exposed to a series of auditory–visual matching-to-sample procedures using musical stimuli. Following training, participants were tested on the emergence of novel untrained relations and generalization in the form of playing two songs on a keyboard. Results suggest that the EBI was effective in teaching piano playing skills with both typically developing children and children with ASD. The success of this procedure is indicative of the wide-ranging applications of EBI to novel and creative domains.     

音乐知觉期待的特征研究

音乐知觉期待是音乐存在的奉质特征,主要的表现是：知觉期待是构成音乐基本元素的心理基础,知觉期待是影响音乐记忆的薅要原因,音乐知觉的心理机制是由“传输激活”引起的期待,知觉期待影响音乐时间操作的心理过程。     

An evaluation of matrix training to teach college students piano notes and rhythms

Twelve college students learned to tact the names of notes and rhythms and play them when presented with compound stimuli (visuals of notes and rhythms on a musical staff). In Experiment 1, we assessed generalization by presenting novel notes, rhythms, and compound stimuli not previously paired together. In the second experiment, we added a metronome that played at 60 beats per minute in all conditions for 3 out of 6 participants to ensure consistent tempo. Across both experiments, participants passed almost all posttests with the exception of tacting and playing in the presence of sound clips. Our data suggest that matrix training is an effective procedure to teach music skills to college students.     

Respecting religion in youth music subcultures: inclusivity,individuality and conflict avoidance strategy

Drawing on fieldwork with young Evangelical and Pentecostal Christians involved in the secular punk rock subculture, this article examines strategies for building respectful relationships between religious and irreligious young people in youth music subcultures. Although punk rock developed as a secular and often anti-religious youth subculture, and although a thriving Evangelical subculture has developed with its own popular music scenes at odds with secular values, a significant number of young Christians have become active participants in punk. Arguing for the importance of musical and subcultural identities among contemporary youth, this article analyses examples of creative inclusivity and respectful relationships across religious boundaries, as well as examples of conflicts over spiritual values. Outlining strategies for building religious inclusivity and resolving religious conflict in youth subcultures, it is shown that where young people’s creative capacities and individual autonomy are respected and enabled by subcultural peers and secular or religious youth workers and institutions, strongly held religious views can still be welcomed within even strongly secular youth subcultures.