Anglų kalbos ritmas tradiciškai priskiriamas kirčiu paremtų kalbų ti­pologinei ritmo grupei. Nors dalis mokslininkų nepritaria tokiai griežtai kalbų klasifikacijai pagal jų ritmo grupes, t. y. teigia, kad kiekviena kalba turi ir kirčiu paremto, ir skiemeniu paremto ritmo savybių, tradicinis tipologinis skirstymas tebėra ypač aktualus mokant anglų kalbos. Anglų kalbos ritmą apibrėžia aiškus sakinio kirtis, stipriųjų ir silpnųjų formų vartojimas, balsių redukcija ir kiti rišliosios kalbos aspektai. Šio straipsnio tikslas – ištirti, kaip šių anglų kalbos ritmo aspektų mokyti panaudojant muziką. Kalba (...) ir muzika, tarpusavyje glaudžiai susijusios evoliuciniu, neurologiniu, pažintinių ir jutiminių procesų lygmenimis, yra panašios savo pro­zodine išraiška: kirčiu, metru, ritmu ir kt.. Muzikinio anglų kalbos ritmo mokymo tyrimo rezultatai atskleidė ypač teigiamą poveikį tyrimo subjektų kalbai: sakinio kirčiui nustatyti, stipriosioms ir silpnosioms formoms vartoti ir ypač balsių redukcijai silpnosiose formose. (shrink)

Emotion Review, Volume 14, Issue 1, Page 84-95, January 2022. Emotional stimuli such as images, words, or video clips are often used in studies researching emotion. New sets are continuously being published, creating an immense number of available sets and complicating the task for researchers who are looking for suitable stimuli. This paper presents the KAPODI-database of emotional stimuli sets that are freely available or available upon request. Over 45 aspects including over 25 key set characteristics have been extracted and (...) listed for each set. The database facilitates finding of and comparison between individual sets. It currently contains sets published between 1963 and 2020. A searchable online version allows users to select specific set characteristics and to find matching sets accordingly, as well as to add new published sets. (shrink)

Implicit learning is a core process for the acquisition of a complex, rule‐based environment from mere interaction, such as motor action, skill acquisition, or language. A body of evidence suggests that implicit knowledge governs music acquisition and perception in nonmusicians and musicians, and that both expert and nonexpert participants acquire complex melodic, harmonic, and other features from mere exposure. While current findings and computational modeling largely support the learning of chunks, some results indicate learning of more complex structures. Despite the (...) body of evidence, more research is required to support the cross‐cultural validity of implicit learning and to show that core and more complex music theoretical features are acquired implicitly. (shrink)

Musical knowledge is largely implicit. It is acquired without awareness of its complex rules, through interaction with a large number of samples during musical enculturation. Whereas several studies explored implicit learning of mostly abstract and less ecologically valid features of Western music, very little work has been done with respect to ecologically valid stimuli as well as non-Western music. The present study investigated implicit learning of modal melodic features in North Indian classical music in a realistic and ecologically valid way. (...) It employed a cross-grammar design, using melodic materials from two modes that use the same scale. Findings indicated that Western participants unfamiliar with Indian music incidentally learned to identify distinctive features of each mode. Confidence ratings suggest that participants' performance was consistently correlated with confidence, indicating that they became aware of whether they were right in their responses; that is, they possessed explicit judgment knowledge. Altogether our findings show incidental learning in a realistic ecologically valid context during only a very short exposure, they provide evidence that incidental learning constitutes a powerful mechanism that plays a fundamental role in musical acquisition. (shrink)

Neurocognitive and genetic approaches have made progress in understanding language-music interaction in the adult brain. Although there is broad agreement that learning processes affect how we represent, comprehend, and produce language and music, there is little understanding of the content and dynamics of the early language-music environment in the first years of life. A developmental-ecological approach sees learning and development as fundamentally embedded in a child’s environment, and thus requires researchers to move outside of the lab to understand what children (...) are seeing, hearing, and doing in their daily lives. In this paper, after first reviewing the limitations of traditional developmental approaches to understanding language-music interaction, we describe how a developmental-ecological approach can not only inform developmental theories of language-music learning, but also address challenges inherent to neurocognitive and genetic approaches. We then make suggestions for how researchers can best use the developmental-ecological approach to understand the similarities, differences, and co-occurrences in early music and language input. (shrink)