Padrão perceptivo-motor em tarefas psicoacústicas de estruturação rítmica: efeitos da experiência musical
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Data
2017-03-10
Autores
Paiva, Ana Clara de Souza [UNESP]
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Universidade Estadual Paulista (Unesp)
Resumo
Diferentes experiências rítmicas podem influenciar funções psicoacústicas durante a reprodução de estruturas rítmicas. A periodicidade do pulso é um elemento básico, presente no ritmo musical, unido ao agrupamento de eventos sucessivos e que é essencial à compreensão e interpretação de estruturas de sequências sonoras. O objetivo deste estudo foi avaliar os efeitos da experiência musical no campo da dança e da música no padrão perceptivo-motor de reprodução de estruturas rítmicas monotônicas e musicais organizadas em tarefas com crescente complexidade. Foram selecionados previamente 60 adultos jovens para compor três grupos: 1) grupo com experiência com ritmo constituído por músicos (MU; n = 20); 2) grupo com experiência com ritmo constituído de dançarinos (DA; n = 20); e 3) grupo sem experiência profissional com música e dança (SE; n = 20). Os três grupos realizaram dois testes psicoacústicos rítmicos: o primeiro, um teste de percepção e reprodução de estruturas rítmicas monotônicas que consistia em ouvir a um estímulo rítmico e reproduzi-lo imediatamente, e o segundo, um teste de percepção e reprodução de estruturas rítmicas musicais, em que a sequência rítmica apresentada é reproduzida simultaneamente à escuta. As variáveis analisadas incluíram frequência de acertos (FA) para ambos os testes, regularidade temporal (RT) do tempo de início da resposta (s), duração (s) dos pulsos e pausas de cada estrutura rítmica para o teste monotônico. E no teste musical a variável sincronismo (SINC) foi verificada pela diferença relativa (%) entre a estrutura temporal do teste e a estrutura temporal da resposta. Os valores SINC foram subdivididos em desvio temporal do pulso e desvio temporal da pausa (componentes psicoacústicos rítmicos). Os resultados encontrados foram divididos em: Etapa 1 - Efeitos da experiência musical e da natureza de testes rítmicos monotônicos e musicais na percepção rítmica, Etapa 2 - Efeitos da memória na regularidade temporal da resposta rítmica, e Etapa 3 - Padrão perceptivo-motor de sincronização rítmica. Os resultados encontrados na Etapa 1 mostraram diferenças entre os grupos com e sem experiência musical. O grupo de MU teve FA acima de 90% nos dois testes. A reprodução do teste musical refletiu o desempenho superior pelos grupos SE e MU comparados ao desempenho no teste monotônico. Em ambos os testes encontramos efeito de complexidade da tarefa apenas para estruturas terminais da sequência, porém com particularidades na variabilidade para cada grupo. Em relação à regularidade temporal do teste monotônico apenas pausas foram variáveis associadas com diferenças entre grupos e complexidade da tarefa. O SINC mostrou que variabilidade da pausa é o parâmetro indicativo de diferenças entre grupo, confirmando o desempenho superior dos grupos com experiência com música. Concluímos que a experiência musical dos participantes teve efeito sobre o padrão perceptivo-motor durante o processamento da informação psicoacústica de estruturas rítmicas com testes monotônicos e musicais, particularmente em parâmetros de variabilidade. A complexidade dos padrões rítmicos parece ter impacto de dificuldade apenas em estruturas terminais em ambos os testes.
Different rhythmic experiences can influence psychoacoustic functions during the reproduction of rhythmic structures. The frequency of the pulse is a basic element in the musical rhythm and the grouping of successive events are essential to the understanding and interpretation of sound sequences. The purpose of this study was to evaluate the effects of musical experience in the field of dance and music on perceptive-motor pattern of monotonic rhythm and musical rhythm with structures organized into tasks with increasing complexity. Sixty young adults were selected to comprise three groups: 1) group with experience with rhythm consisting of musicians (MU; n = 20); 2) group with experience with rhythm consisting of dancers (DA; n = 20); and 3) group without experience with music or dance (SE; n = 20). The three groups performed two tests: the first test of perception and reproduction of monotonic rhythmic structures that were responded immediately after their presentation; the second test required perception and synchronization of tapping to musical rhythmic structures. The variables we examined included frequency of correct performance (FA) in both tests, temporal regularity (RT) of initiation of the response, duration of pulses and pauses of each rhythmic structure for monotonic test. In the musical test timing (SINC) was verified using the relative difference (%) between the temporal structure of the test and the temporal structure of the response. The values SINC were subdivided into temporal deviation of pulse and pause (psychoacoustic rhythmic components). The results were divided in: 1- Effects of musical experience and nature of monotonic rhythm and musical rhythm tests on rhythm perception, 2 - Memory effects on temporal rhythmic regularity, and 3 - Perceptual-motor pattern of rhythm synchronization. The results showed differences between the groups with and without musical experience. The MU group showed a 90% FA in both tests. Performance in the music test reflected superior performance by groups with musical experience compared to performance in the monotonic test. In both tests effect of task complexity was found only in the terminal sequence structures, but with distinctive variability for each group. In relation to temporal regularity of the monotone test, pauses were the variables associated with deterioration of performance in relation to complexity of the task. The SINC has shown that variability of pause is the parameter that detected differences between groups, confirming the superior performance of groups with experience with music. We conclude that experience with music had an effect on the perceptual-motor pattern during the processing of structures with monotonic and musical psychoacoustic rhythms, particularly of parameters of variability. The complexity of rhythmic patterns seems to appear in terminal structures in both tests.
Different rhythmic experiences can influence psychoacoustic functions during the reproduction of rhythmic structures. The frequency of the pulse is a basic element in the musical rhythm and the grouping of successive events are essential to the understanding and interpretation of sound sequences. The purpose of this study was to evaluate the effects of musical experience in the field of dance and music on perceptive-motor pattern of monotonic rhythm and musical rhythm with structures organized into tasks with increasing complexity. Sixty young adults were selected to comprise three groups: 1) group with experience with rhythm consisting of musicians (MU; n = 20); 2) group with experience with rhythm consisting of dancers (DA; n = 20); and 3) group without experience with music or dance (SE; n = 20). The three groups performed two tests: the first test of perception and reproduction of monotonic rhythmic structures that were responded immediately after their presentation; the second test required perception and synchronization of tapping to musical rhythmic structures. The variables we examined included frequency of correct performance (FA) in both tests, temporal regularity (RT) of initiation of the response, duration of pulses and pauses of each rhythmic structure for monotonic test. In the musical test timing (SINC) was verified using the relative difference (%) between the temporal structure of the test and the temporal structure of the response. The values SINC were subdivided into temporal deviation of pulse and pause (psychoacoustic rhythmic components). The results were divided in: 1- Effects of musical experience and nature of monotonic rhythm and musical rhythm tests on rhythm perception, 2 - Memory effects on temporal rhythmic regularity, and 3 - Perceptual-motor pattern of rhythm synchronization. The results showed differences between the groups with and without musical experience. The MU group showed a 90% FA in both tests. Performance in the music test reflected superior performance by groups with musical experience compared to performance in the monotonic test. In both tests effect of task complexity was found only in the terminal sequence structures, but with distinctive variability for each group. In relation to temporal regularity of the monotone test, pauses were the variables associated with deterioration of performance in relation to complexity of the task. The SINC has shown that variability of pause is the parameter that detected differences between groups, confirming the superior performance of groups with experience with music. We conclude that experience with music had an effect on the perceptual-motor pattern during the processing of structures with monotonic and musical psychoacoustic rhythms, particularly of parameters of variability. The complexity of rhythmic patterns seems to appear in terminal structures in both tests.
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Palavras-chave
Perceptivo-motor, Estruturas rítmicas, Experiência musical, Perceptual-motor, Rhythmic structures, Musical experience