[Ref.] Froebel’s 7th 8th & 9th Gifts

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Points, Lines and Planes from Froebel’s 7th 8th and 9th Gifts

Images from http://www.froebelgifts.com/

[Ref.] Pedagogical Effectiveness of Music Drawing

The children were asked to listen intently to a piece of music, then they participated actively in an analysis of its structure and content. After that the children began to draw.  (Rephrased)

All the experiments have proven to have great pedagogical effectiveness:

1. Music drawing is a creative act that requires independent thinking and action and helps to create conditions for maximum concentration, to activate attention and interest, and to solve discipline problems in the classroom.
2. A comparative analysis of the results of question sessions, which were held after the experiments were performed and aimed to investigate the pupils’ understanding of music content, revealed an essential rise in interest and understanding by students in the experimental groups as compared with the controls (especially in the experiment that involved showing the light-music film).
3. Long-term experiments provided a means of obtaining proof of a more thorough and sound knowledge of music in the experimental classes when follow-up studies were done 5 years later.
4. Children’s drawings reflecting the form and content of musical works serve as visual documents that allow one to judge the depth of the music perception as well as the personal psychological peculiarities of the schoolchildren themselves. This provided feedback that was not available by any other means (such as testing, conversation or questioning) – in every class and for every pupil.

Vanechkina, I. (1994). “”Musical Graphics” as an Instrument for Musicologists and Educators” Leonardo, 27 (5), pp. 437-439

[Ref.] Goethe’s Triangle

In Goethe’s original triangle the three primaries red, yellow, and blue are arranged at the vertices of the triangle. The other subdivisions of the triangle are grouped into secondary and tertiary triangles, where the secondary triangle colors represent the mix of the two primary triangles to either side of it, and the tertiary triangle colors represent the mix of the primary triangle adjacent to it and the secondary triangle directly across from it.

From Colour Mixing and Goethe’s Triangle (Java Applet) (Image from Paint & Colour)

[Ref.] Synaesthetic Associations (Marks, 1987)

Marks, L. E. (1987). “On cross-modal similarity: Auditory-visual inter- actions in speeded discrimination.” Journal of Experimental Psychology:Human Perception and Performance, 13, pp. 384-394.

[Review] 재밌고 유익한~ Fun and Worthwhile~

★★★★★

3살 딸아이가 눌러보고 흔들어보고 재밌게 노네요. 다른 앱들과 달리 자극적이지 않고 차분하게 사운드도 들으면서 노니까 부모입장에서 안심이 되네요. 아이들에게 시각적 형태감이나 음악적 감성을 자극할 수 있는 교육적 측면이 높은 앱인거 같습니다.

My 3 year old daughter had fun shaking and playing. Unlike other apps, Sound Sketchbook is comforting for the parents because its highly child-friendly and lets your child hear soothing sounds. So I can give my iPhone to my child with Sound Sketchbook with no worries. Highly educational for children to get used to graphical forms and musical sensibilities.

2011-Apr-02

(Thank you 신비아빠 from South Korea)

[Ref.] Adriano Abbado’s Harsh and Soft Timbres

Harsh (Left) & Soft (Right) Musical Timbres Visualized

Abbado, A. (1988). “Perceptual correspondences of abstract animation and synthetic sound.”, M.S. Thesis (Reviewed Excerpt), MIT Media Laboratory, Massachusetts, 13 pages.

[Ref.] The Geometric Point

The geometric point is an invisible thing. Therefore, it must be defined as an incorporeal thing. Considered in terms of substance, it equals zero.

Hidden in this zero, however, are various attributes which are “human” in nature. We think of this zero – the geometric point – in relation to the greatest possible brevity, i.e., to the highest degree of restraint which, nevertheless, speaks.

Thus we look upon the geometric point as the ultimate and most singular union of silence and speech.

The geometric point has, therefore, been given its material form, in the first instance, in writing. It belongs to language and signifies silence.

Kandinsky W., Point and Line to Plane, Dover Publications, 1979.

[Ref.] Synesthesia-like Mappings of Lightness, Pitch and Melodic Interval

When nonsynesthetic subjects are asked to match visual lightness with either auditory pitch or loudness, they often produce matches very similar to the correspondences reported by synesthetic subjects.

Cytowic (1989) argued that nonsynesthetes actually engage in a great deal of synesthesia, but that those synesthetic processes normally do not reach consciousness.

Lighter visual stimuli were judged to fit better with higher auditory pitches and darker visual stimuli were judged to fit better with lower auditory pitches.

Hubbard, T.L. (1996). “Synesthesia-like mappings of lightness, pitch and melodic interval.” The American journal of psychology, 109, pp. 219–238.

[Ref.] Synaesthesia, creativity and art: What is the link?

What evidence, if any, points to a link between synaesthesia and creativity? First, some researchers have noted that synaesthesia is found in a number of famous creative individuals (Mulvenna & Walsh, 2005). A common list of gifted synaesthetes includes the composers Messian (Bernard, 1986) and Scriabin (Peacock, 1985), the painters Kandinsky (Ione & Tyler, 2003) and Hockney (Cytowic, 2002), the physicist Feynman (1988) and the author Nabokov (1967).

Dailey, Martindale, and Borkum (1997) took a somewhat different approach to Domino (1989) and Sitton and Pierce (2004). Their participants were initially grouped according to a measure of creativity and then assessed for synaesthesia-like traits (rather than grouped by reports of synaesthesia and assessed on creativity). The creativity measure used was the Remote Associates Test (RAT, Mednick, 1962; Mednick, 1967) in which participants are given a triplet of words (e.g. elephant – lapse – vivid) and required to find a linking fourth word (e.g. memory). High and low scoring participants were then given a series of tones, vowel sounds and emotion words and for each they were required to decide how well a given colour went with that stimulus. The high creativity group showed a higher degree of consensus about which colour should go with which stimulus.

Ward, J., Thompson-Lake, D., Ely, R., & Kaminski, F. (2008). Synaesthesia, creativity, and art: What is the link? British Journal of Psychology, 99, 127–141.

 

[Ref.] The Sound of Color

Perhaps more striking yet is the theorized relationship of light wavelength to auditory stimuli as per the results of this experiment. If one looks at Figure 7 one can view a graphic that approximates the potential inverse relationship between light wavelength frequency and sound wavelength frequency, as directly construed by these experimental results and analyses.

Datteri, D.L. and Jeffrey, N. H. (2004) “The Sound of Color,” Proceedings of the 8th International Conference on Music Perception & Cognition, Evanston, Illinois

Link