The Psychology of Musical Talent |
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Common terms and phrases
ability absolute pitch achievement actual acuity of hearing adults æsthetic analysis artistic audiometer auditory imagery average cent right Chapter child clang combination tones complex degree difference tone disk emotional experience experimental expression extensity fact factors feeling Figure fusion Galton whistle grade guidance harmonic series heard imagination individual instrument intelligence intensity discrimination intervals keen kind mean variation measure memory ment mental methods motility motor imagery movement musical education musical mind musical talent musicians norms observer octave ordinarily overtones percentile rank person phonograph pitch discrimination play precision psychology of music pupil pure tone reaction record relative reliable result rhythmic action rôle sense of consonance sense of intensity sense of pitch sense of rhythm sense of timbre sensory singing sound wave specific teachers tion tonal tonal memory tonoscope tuning fork two-clang vary visual voice volume
Popular passages
Page 260 - the active, persistent, and careful consideration of any belief or supposed form of knowledge in the light of grounds that support it, and the further conclusions to which it tends.
Page 238 - It will now appear clear that all improvement of the memory lies in the line of elaborating the associates of each of the several things to be remembered. No amount of culture would seem capable of modifying a man's general retentiveness.
Page 125 - exertion of body or mind, made to please ourselves, and with no determined end." It makes us play, young and old. It determines the form of play, in large part. Through play it leads to self-realization by serving as an ever-present incentive for practice.
Page 193 - stand still, while all other dots move and tend to blur. The row which stands still, therefore, points to a number on the scale which designates the pitch of the tone. The screen contains a sufficient number of rows of dots to cover exactly one octave. Tones above or below this octave are read on
Page 61 - development of interest, isolation of the problem in. hand, and more consistent application to the task in hand. This is, of course, not improvement in the psycho-physic ear but merely a preliminary to a fair determination of the psycho-physic limit. It follows that instruction in regard to the nature of the test and individual help
Page 218 - The clinking of glasses? (c) The ringing of church bells ? (d) The hum of bees ? 2. Can you image the characteristic tone-quality of — (a) A violin? (6) A cello? (c) A flute? (d) A cornet? 3. Can you repeat in auditory imagery the air of — (a) Yankee Doodle?
Page 218 - Dixie," or other air heard played? (d) "Tell me not in mournful numbers" spoken by yourself? III. MOTOR. 1. Can you image, in motor terms, yourself—(a) Rocking in a chair? (b) Walking down a stairway? (c) Biting a lump of sugar? (d) Clenching your fist? 2. Does motor imagery arise in your mind when you
Page 218 - A black crow? (c) A gray stone? (d) The blade of a knife? 3. Can you image the form of—(a) The rose? (6) The leaf? (c) The teacup? (d) The knife? 4. Can you form a visual image of — (a) A moving express train
Page 200 - 1. The human voice is about equally accurate, in terms of vibration, at all points well within its range; therefore, the high tones are sung relatively (per cent) more exactly than those which are low. 2. A strong standard tone (especially with low forks) is reproduced as decidedly lower than a weak standard.
Page 217 - Fix clearly in mind and use as consistently as possible the following scale of degrees of vividness: 0. No image at all 1. Very faint 2. Faint 3. Fairly vivid 4. Vivid 5. Very vivid 6. As vivid as