Escolar Documentos
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Patrcia Vanzella!
Universidade de Braslia Departamento de Msica !
pvanzella@unb.br!
Michael Weiss!
University of Toronto Department of Psychology!
michael.weiss@mail.utoronto.ca!
Glenn Schellenberg!
Sandra Trehub!
University of Toronto Department of Psychology!
sandra.trehub@utoronto.ca!
!
!
Title: Absolute pitch does not guarantee better memory for melodies!
Abstract: A recent study compared the performance of adults on a task of musical memory and
showed that sung melodies are better remembered than instrumental melodies. Using a similar
task, the present study investigated the musical memory of musicians and non-musicians and also
compared the performance of musicians with and without absolute pitch. In the first phase of the
experiment, participants listened to unfamiliar melodies presented in different timbres (piano,
voice, marimba, and banjo). Subsequently, participants were tested on the recognition of
previously heard melodies intermixed with new ones. The results showed that musicians have
better memory for melodies than non-musicians. The performance of musicians with and without
absolute pitch did not differ in the recognition task. And, finally, both among musicians and nonmusicians, vocal melodies were more remembered than instrumental melodies.!
Keywords: musical memory, vocal processing, absolute pitch!
Introduo!
O processamento tonal entre msicos pode apresentar caractersticas individuais bastante
distintas. Msicos portadores de ouvido absoluto (OA), por exemplo, so capazes de produzir
e/ou identificar notas musicais sem nenhuma referncia externa (Parncutt & Levitin, 2001),
Metodologia!
Participantes: O presente estudo foi aprovado pelo Comit de tica em Pesquisa do Instituto
de Cincias Biomdicas da Universidade de So Paulo. Os participantes foram recrutados
atravs de anncios em universidades em So Paulo e Braslia e atravs de listas de
participantes de outros estudos sobre OA realizados anteriormente. Trinta e oito msicos
(Midade = 28.3, SDidade = 9.3, 19 do sexo feminino) e vinte no-msicos (Midade = 27.4, SDidade
= 7.4, 14 do sexo feminino) participaram do estudo.!
Foram considerados msicos aqueles que possuam no mnimo cinco anos de
treinamento formal em seu instrumento principal (M = 14.3, SD = 6.6, variao 5 40 anos).
Entre os msicos, metade (n=19) eram portadores de OA. Os no portadores de OA (Midade =
26.8, SDidade = 7.2, 9 mulheres) tinham uma mdia de 11.7 anos (SD = 4.8, variao = 5-20
anos) de treinamento musical formal, e os portadores de OA (Midade = 29.8, SDidade = 10.9, 10
mulheres) tinham uma mdia de 16,8 anos (SD = 7.4, variao = 6 40 anos) de treinamento
musical. Foram qualificados como no-msicos os participantes que receberam menos de dois
anos de aulas de msica (M = 0.4, SD = 0.2, variao = 0 2 anos).!
Resultados!
Teste de ouvido absoluto: Foram considerados portadores de OA os msicos que obtiveram
uma pontuao igual ou superior a 19 respostas corretas (de um total de 24) em ao menos um
dos quatro timbres do teste de OA (MTotal = 20.49, SD = 0.56). Foram considerados no
portadores de OA os msicos que obtiveram pontuao igual ou inferior a 17 respostas
corretas em todos os timbres do teste de OA (MTotal = 7.86, SD = 0.74). A ttulo de referncia,
um desempenho aleatrio em 24 tentativas corresponde a seis respostas corretas; uma
pontuao igual ou maior que 11 considerada um desempenho melhor do que o acaso,
conforme determinado por uma aproximao unicaudal da distribuio normal para a
distribuio binomial sem correo de continuidade.!
Reconhecimento das melodias: Para cada participante, oito escores foram calculados como
mdias de escores de reconhecimento de melodias em cada timbre (voz, piano, banjo,
marimba) e nvel de exposio (melodia antiga, melodia nova). Os oito escores so: Voz,
!
Concluses!
!
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