Subject: Auditory perceptual blocks / guides From: eldad tsabary <tazberrydocs@xxxxxxxx> Date: Sun, 25 Nov 2012 13:24:50 -0500 List-Archive:<http://lists.mcgill.ca/scripts/wa.exe?LIST=AUDITORY>--Apple-Mail=_37B0990B-8E77-4DA5-B041-078928512ADA Content-Transfer-Encoding: quoted-printable Content-Type: text/plain; charset=us-ascii Hi all, I am looking for some ideas and literature on two concepts relevant to = ear training. 1. perceptual blocks - the case where a lack of perceptual flexibility, = inability to change attentional focus, or hear at a different structural = level, or any other aspect of perception, prevents ear training students = from discriminating, segregating, or identifying sonic or musical = parameters despite regular practice. I have used the term "perceptual = block" to describe such instances, though in the literature, this term = is usually associated with theories of creativity (and while I find some = parallels , these concepts are quite different). One of many such blocks, for example, could be (in the tonal domain) a = perceptual habit that could be described, perhaps, as "tonal = interference." In such cases, the students seem to listen to a certain = interval in the context of previous tonal stimuli and may get thrown off = by that contextual modality. A simple example of that is in listening to = a minor third E-G right after hearing the major third C-E. In my = experience, students often hear the minor third in the context of a C = major triad and therefore hear it as having a major modality (or = "feel").=20 This is only one type of example. I am looking for any literature that = deal (more widely or more specifically) with the concept of auditory = organization being stuck on a certain interpretation, inhibiting skill = acquisition. 2. perceptual guides or anchors - the case where ear training students = find a relatively reliable perceptual reference point that allows them = to identify a certain sonic or musical parameter by comparison. An = example from the tonal domain, again, may be the technique of learning = how scale degrees sound by comparing them in the mind's ear to the tonic = as a steady anchor. In another example, students practicing microtonal = discrimination (down to about 5 cents differences) discovered that the = acoustics of the room had an effect on the spatial perception of = microtonal variation in pure tones. They used their spatial perception = as an anchoring mechanism to recognizing microtonal differences.=20 The second example is of course very different from the first, but I am = interested in both and more. I am looking for any literature that deals = with perceptual organization strategies (in attentive processing) that = can be used to acquire aural skills by providing a reliable reference = point. I would also love some ideas about these concepts. Many thanks Eldad --Apple-Mail=_37B0990B-8E77-4DA5-B041-078928512ADA Content-Transfer-Encoding: quoted-printable Content-Type: text/html; charset=us-ascii <html><head></head><body style=3D"word-wrap: break-word; = -webkit-nbsp-mode: space; -webkit-line-break: after-white-space; ">Hi = all,<div>I am looking for some ideas and literature on two concepts = relevant to ear training.</div><div><br></div><div>1. perceptual = <b>blocks</b> - the case where a lack of perceptual flexibility, = inability to change attentional focus, or hear at a different structural = level, or any other aspect of perception, prevents ear training students = from discriminating, segregating, or identifying sonic or musical = parameters despite regular practice. I have used the term "perceptual = block" to describe such instances, though in the literature, this term = is usually associated with theories of creativity (and while I find some = parallels , these concepts are quite = different).</div><div><br></div><div>One of many such blocks, for = example, could be (in the tonal domain) a perceptual habit that could be = described, perhaps, as "tonal interference." In such cases, the students = seem to listen to a certain interval in the context of previous tonal = stimuli and may get thrown off by that contextual modality. A simple = example of that is in listening to a minor third E-G right after hearing = the major third C-E. In my experience, students often hear the minor = third in the context of a C major triad and therefore hear it as having = a major modality (or "feel"). </div><div><br></div><div>This is = only one type of example. I am looking for any literature that deal = (more widely or more specifically) with the concept of auditory = organization being stuck on a certain interpretation, inhibiting skill = acquisition.</div><div><br></div><div>2. perceptual <b>guides or = anchors</b> - the case where ear training students find a relatively = reliable perceptual reference point that allows them to identify a = certain sonic or musical parameter by comparison. An example from the = tonal domain, again, may be the technique of learning how scale degrees = sound by comparing them in the mind's ear to the tonic as a steady = anchor. In another example, students practicing microtonal = discrimination (down to about 5 cents differences) discovered that the = acoustics of the room had an effect on the spatial perception of = microtonal variation in pure tones. They used their spatial perception = as an anchoring mechanism to recognizing microtonal = differences. </div><div><br></div><div>The second example is of = course very different from the first, but I am interested in both and = more. I am looking for any literature that deals with perceptual = organization strategies (in attentive processing) that can be used to = acquire aural skills by providing a reliable reference = point.</div><div><br></div><div>I would also love some ideas about these = concepts.</div><div><br></div><div>Many = thanks</div><div>Eldad</div><div><br></div><div><br></div><div><br></div><= div><br></div><div><br></div></body></html>= --Apple-Mail=_37B0990B-8E77-4DA5-B041-078928512ADA--