Papers by Graziela Bortz
Plos One, 2021
Absolute Pitch (AP) is commonly defined as a rare ability that allows an individual to identify a... more Absolute Pitch (AP) is commonly defined as a rare ability that allows an individual to identify any pitch by name. Most researchers use classificatory tests for AP which tracks the number of isolated correct answers. However, each researcher chooses their own procedure for what should be considered correct or incorrect in measuring this ability. Consequently, it is impossible to evaluate comparatively how the stimuli and criteria classify individuals in the same way. We thus adopted a psychometric perspective, approaching AP as a latent trait. Via the Latent Variable Model, we evaluated the consistency and validity for a measure to test for AP ability. A total of 783 undergraduate music students participated in the test. The test battery comprised 10 isolated pitches. All collected data were analyzed with two different rating criteria (perfect and imperfect) under three Latent Variable Model approaches: continuous (Item Response Theory with two and three parameters), categorical (Latent Class Analysis), and the Hybrid model. According to model fit information indices, the perfect approach (only exact pitch responses as correct) measurement model had a better fit under the trait (continuous) specification. This contradicts the usual assumption of a division between AP and non-AP possessors. Alternatively, the categorical solution for the two classes demonstrated the best solution for the imperfect approach (exact pitch responses and semitone deviations considered as correct).
RESUMO Após uma extensa revisão bibliográca sobre o traço cognitivo conhecido como Ouvido Abso-lu... more RESUMO Após uma extensa revisão bibliográca sobre o traço cognitivo conhecido como Ouvido Abso-luto (OA), foi observado que sua principal ca-racterística reside na habilidade de reconhecer e identiicar tons utilizando rótulos verbais sem nenhum tipo de referência. Contudo, há várias deenições que incluem critérios não consensu-ais. Dessa forma, é importante encontrar uma abordagem adequada que lide de maneira sa-tisfatória com os indicadores que classiicam o OA, estabelecendo notas de corte para distinguir aqueles que possuem OA daqueles que não pos-suem. A primeira proposta é sugerir uma série de indicadores que apontem para o que seria a habilidade do OA, o que resultará em um mode-lo teórico que poderá ser testado em pesquisas futuras. O modelo para o OA (que consiste em indicado-res propostos) pode ser estabelecido utilizando uma padronização de critérios e um constructo validado, assim como aqueles utilizados na área médica, como o Diagnostic and Statistical Manual of Mental Disorders ou o Composite International Diagnostic Interview. O teste, que resultará em um modelo teórico, deve utilizar-se de processos de um campo da estatística conhecido como equação de mode-lo estrutural, focado em testar modelos teóri-cos. A existência de diferentes deenições para o Artigo originalmente publicado em língua in-glesa mesmo fenômeno latente utilizando diferentes critérios, inevitavelmente conduz a modelos te-óricos distintos e não passíveis de comparação. Para estudar qualquer traço psicológico latente, é essencial identiicar uma série de indicadores observáveis (por exemplo, critérios, expressões). Todos os critérios podem conter validade quan-do baseado em evidências, observações empíri-cas e fundamentação teórica. Este é um impor-tante passo para as pesquisas sobre OA, uma vez que um modelo testável adequado para o traço cognitivo do OA possa ser deenido e consequen-temente avaliado quanto a sua adequação com a realidade. PALAVRAS-CHAVE Ouvido Absoluto, Percepção Musical , Cognição Musical.
Resumo: Este artigo discute aspectos rítmicos da escola de composição chamada Nova Complexidade, ... more Resumo: Este artigo discute aspectos rítmicos da escola de composição chamada Nova Complexidade, tais como o uso de séries de quiálteras aninhadas e de compassos irregulares, para analisar, sob o ponto de vista do intérprete, a escrita rítmica de composições que compreendem o período de 1995-1999 da obra do compositor brasileiro Arthur Kampela. Com este objetivo, utiliza os métodos descritos por Arthur Weisberg para encontrar as mudanças de velocidade metronômica nas modulações de tempo de Elliott Carter e introduzir o conceito de modulação micrométrica criado por Kampela. Micro-metric modulation in the music of arthur Kampela abstract: This article discusses rhythmic aspects found in pieces of The New Complexity School of composition, such as nested rhythms and irrational meters, in order to analyze the rhythmic notation of works written between 1995 and 1999 by Brazilian composer Arthur Kampela. Two methods described by Arthur Weisberg are used to explain how to find the speed changes in Elliott Carter's tempo modulations, and to introduce the concept of micro-metric modulation as developed by Kampela.
Resumo O trabalho cita a correlação existente entre diversos livros-texto de harmonia, contrapont... more Resumo O trabalho cita a correlação existente entre diversos livros-texto de harmonia, contraponto e percepção musical influenciados pela teoria schenkeriana nas últi-mas décadas e comenta brevemente algumas estratégias utilizadas em aulas de solfejo na decodificação de alturas. Em seguida, discute questões de direção e movimento envolvidos na leitura à primeira vista de música tonal. Acredita que essas questões devam ser endereçadas desde o primeiro contato com uma nova partitura e constrói argumentos baseados no estudo de camadas estruturais envolvidas na composição tonal. Utiliza para isso ferramentas da teoria schenke-riana e seus conceitos de linha e baixo fundamental, ilustrando ambiguidades de interpretação que podem existir até mesmo em solfejos simples, como no início da canção Der Entfernten, D. 350 de Franz Schubert, cujo primeiro período é apresentado no livro de solfejo de Ottman (1995). Apresenta, também, como ilus-tração de análise de melodia polifônica, o Minueto II da Suíte n. 2 em Ré menor, BWV 1008, para violoncelo de J. S. Bach. Conclui afirmando que as sutilezas de interpretação não devem ser desconsideradas nas mais variadas disciplinas, das aulas de percepção e teoria às de performance e que tampouco a teoria deve ser reservada apenas às aulas teóricas para que, de fato, as experiências musicais se tornem interdisciplinares. Palavras-chave: análise schenkeriana, interpretação musical, solfejo tonal Direction and movement in tonal sight-singing Abstract The article mentions the existing correlation among different textbooks of harmony , counterpoint and ear-training that have been influenced by schenkerian theory in the last decades. After briefly commenting upon strategies used to decode pitches in sight singing lessons, the work discusses questions about musical direction and movement involved in tonal sight singing. The author believes that those questions should be addressed on the very first contact with a new music part, and builds arguments based on structural layers involved in tonal compositions. It uses tools of schenkerian theory and its concepts of fundamental line and bass in order to illustrate ambiguities that can exist even in very simple solfeges, as it appears in the beginning of the song Der Entfernten, D. 350 of Franz Schubert, whose first period is presented on the sight singing book by Ottman (1995). It also presents as illustration of analysis of compound melody, the Minuet II from the Suite n. 2 for cello by J.S. Bach, BWV 1008. It concludes affirming that subtleties of interpretation should be considered in a variety of disciplines, from ear-training and theory to performance lessons. By the same token, theory studies should not be reserved to theory classes only, so that, in fact, musical experiences could become interdisciplinary.
Musician's dystonia is a task-specific dystonia (TSD) worldwide disabling disorder, and most of t... more Musician's dystonia is a task-specific dystonia (TSD) worldwide disabling disorder, and most of the affected individuals may have severe difficulty to play their instrument. Many professional music players may have to quit working as a player. The objective of the present study was to evaluate the clinical characteristics and frequency of TSD in Brazilian music players and to promote awareness of this condition among musicians. We visited orchestras and music schools delivering lectures on TSD and about the scope of our survey. Musicians were invited to answer a questionnaire, and those with possible neurological dysfunction associated with musical performance were recorded by video while playing the instrument. We visited 51 orchestras and music schools in 19 Brazilian cities between March 2013 and March 2015. We collected 2,232 questionnaires, and 72 subjects with suspicion of dystonia were video recorded during specific tasks and evaluated regarding motor impairment. Forty-nine individuals (2.2%) were diagnosed as having TSD (mean age 36.4 years; 92% male). The instruments most associated with TSD were acoustic guitar (36.7%) and brass instruments (30.6%). We concluded that Brazilian TSD music players are mainly male, classical music professionals, around 30 years of age, with arms, hands, or oromandibular muscles affected. TSD is a neuro-logical condition that can impair musical performance and should receive more attention from musicians, teachers, and health professionals.
Given the relationship between language acquisition and music processing, musical perception (MP)... more Given the relationship between language acquisition and music processing, musical perception (MP) skills have been proposed as a tool for early diagnosis of speech and language difficulties; therefore, a psychometric instrument is needed to assess music perception in children under 10 years of age, a crucial period in neurodevelopment. We created a set of 80 musical stimuli encompassing seven domains of music perception to inform perception of tonal, atonal, and modal stimuli, in a random sample of 1006 children, 6–13 years of age, equally distributed from first to fifth grades, from 14 schools (38% private schools) in So Paulo State. The underlying model was tested using confirmatory factor analysis. A model encompassing seven orthogonal specific domains (contour, loudness, scale, timbre, duration, pitch, and meter) and one general music perception factor, the " m-factor, " showed excellent fit indices. The m-factor, previously hypothesized in the literature but never formally tested, explains 93% of the reliable variance in measurement, while only 3.9% of the reliable variance could be attributed to the multidimensionality caused by the specific domains. The 80 items showed no differential item functioning based on sex, age, or enrolment in public vs. private school, demonstrating the important psychometric feature of invariance. Like Charles Spearman's g-factor of intelligence, the m-factor is robust and reliable. It provides a convenient measure of auditory stimulus apprehension that does not rely on verbal information, offering a new opportunity to probe biological and psychological relationships with music perception phenomena and the etiologies of speech and language disorders.
Assessment criteria for sight-singing abilities are similar to those used to judge music performa... more Assessment criteria for sight-singing abilities are similar to those used to judge music performances across music school programs. However, little evidence of agreement among judges has been provided in the literature. Fifty out of 152 participants were randomly selected and blindly assessed by three judges, who evaluated students based on given criteria. Participants were recorded while sight-singing 19 intervals and 10 tonal melodies. Interjudge agreement on melodic sight-singing was tested considering four items in a five-point Likert scale format as follows: (1) Intonation and pitch accuracy; (2) Tonal sense and memory; (3) Rhythmic precision, regularity of pulse and subdivisions; (4) Fluency and music direction. Intervals were scored considering a 3-point Likert scale. Agreement was conducted using weighted kappa. For melodic sight-singing considering the ten tonal melodies, on average, the weighted kappa (κ w) were: κ1 w = 0.296, κ2 w = 0.487, κ3 w = 0.224, and κ4 w = 0.244, ranging from fair to moderate.. For intervals, the lowest agreement was kappa = 0.406 and the highest was kappa = 0.792 (on average, kappa = 0.637). These findings light up the discussion on the validity and reliability of models that have been taken for granted in assessing music performance in auditions and contests, and illustrate the need to better discuss evaluation criteria.
(Dis)agreement on Sight-Singing Assessment of Undergraduate Musicians, May 28, 2018
Assessment criteria for sight-singing abilities are similar to those used to judge music performa... more Assessment criteria for sight-singing abilities are similar to those used to judge music performances across music school programs. However, little evidence of agreement among judges has been provided in the literature. Fifty out of 152 participants were randomly selected and blindly assessed by three judges, who evaluated students based on given criteria. Participants were recorded while sight-singing 19 intervals and 10 tonal melodies. Interjudge agreement on melodic sight-singing was tested considering four items in a five-point Likert scale format as follows: (1) Intonation and pitch accuracy; (2) Tonal sense and memory; (3) Rhythmic precision, regularity of pulse and subdivisions; (4) Fluency and music direction. Intervals were scored considering a 3-point Likert scale. Agreement was conducted using weighted kappa. For melodic sight-singing considering the ten tonal melodies, on average, the weighted kappa (κ w) were: κ1 w = 0.296, κ2 w = 0.487, κ3 w = 0.224, and κ4 w = 0.244, ranging from fair to moderate.. For intervals, the lowest agreement was kappa = 0.406 and the highest was kappa = 0.792 (on average, kappa = 0.637). These findings light up the discussion on the validity and reliability of models that have been taken for granted in assessing music performance in auditions and contests, and illustrate the need to better discuss evaluation criteria.
Resumo: As correntes de educação democrática e de educação libertária ou anarquista, que mantêm c... more Resumo: As correntes de educação democrática e de educação libertária ou anarquista, que mantêm certas afinidades, como a ênfase no processo de desenvolvimento da autonomia dos indivíduos, opõem-se aos currículos pré-estabelecidos e à educação competitiva visando os títulos. Em ambas as correntes, este processo é construído no âmbito social. A primeira corrente baseia-se em pensadores e educadores como Tolstoi, Korckac, Neill, Pacheco e Illich. A segunda corrente baseia-se nas propostas anarquistas de Bakunin, Proudhon, Robin, Faure e Ferrer i Guàrdia, autores estudados por Gallo em seu trabalho sobre pedagogia libertária. A partir desses princípios pedagógicos, é elaborada uma proposta de auto-gestão no ensino superior de música, sugerindo uma transformação no pensamento educacional da música na universidade.
Thesis Chapters by Graziela Bortz
Uploads
Papers by Graziela Bortz
Thesis Chapters by Graziela Bortz