ABSTRACT

This study deals with the meaning that musicians and non-musicians attach to two contemporary railway noise compositions as conveyed through verbal and audio-graphic responses. The purpose of this mixed-method study was twofold: (1) to examine similarities and differences between musicians and non-musicians in their responses to contemporary train-noise music; (2) to explore the effect of two train-noise compositional techniques – orchestral and electro-acoustic – on listeners’ verbal and audio-graphic responses. 14 participants (7 music students and 7 non-musicians) took part in the study. Two sessions were held with each participant. Two musical pieces were presented; one in each session in a randomised order: Villa-Lobos's orchestral The Little Train of the Caipira (1930); and Reich's electro-acoustic Europe during the War (1988). Four categories emerged: associations (train associations or idiosyncratic imagery), musical features (e.g. tempo, pitch, instrumentation), affect (emotions, assessment, like/dislike), and audio-graphic types (e.g. figurative drawings and musical maps). Qualitative analyses indicated both similarities and differences between musicians and non-musicians by the four categories. The statistical analyses showed a marginal significance between musicians and non-musicians in the second category (musical features). The study highlights the benefits of including environmental noise music in music education programmes for listeners with and without formal musical backgrounds.

摘要

这项研究涉及音乐家和非音乐家对通过口头和音频图像反应传达的两种当代铁路噪音作品的重视。这项混合方法研究的目的有两个：（1）检查音乐家和非音乐家在对当代火车噪音音乐的反应中的异同；(2) 探索两种火车噪声作曲技巧——管弦乐和电声——对听众的语言和音频图像反应的影响。14 名参与者（7 名音乐学生和 7 名非音乐家）参与了这项研究。与每个参与者举行了两次会议。展示了两首音乐作品；每节中一个随机顺序：Villa-Lobos 的管弦乐The Little Train of the Caipira (1930)；和 Reich 的电声战争期间的欧洲（1988 年）。出现了四个类别：关联（火车关联或特殊意象）、音乐特征（例如节奏、音高、乐器）、情感（情绪、评估、喜欢/不喜欢）和音频图形类型（例如具象图画和音乐地图）。定性分析通过四个类别表明音乐家和非音乐家之间的异同。统计分析表明，音乐家和非音乐家在第二类（音乐特征）中存在边际显着性。该研究强调了将环境噪音音乐纳入音乐教育计划对有和没有正式音乐背景的听众的好处。