Diseño de los Senderos Interpretativos del Bosque en el Campus Dr. Víctor Levi Sasso, Universidad Tecnológica de Panamá

La Universidad Tecnológica de Panamá tiene el propósito de poner en marcha el proyecto ``Diseño de los Senderos Interpretativos del Bosque en el Campus Dr. Víctor Levi Sasso''. El Campus de la UTP se identifica como un sitio que combina tanto infraestructura moderna como bosque exuberante. Los visitantes se sienten atraídos por esta naturaleza que rodea los edificios y tienen la necesidad de entrar en un contacto más cercano con ella. Este documento es en esencia una iniciativa en forma de propuesta donde se detallan las estrategias a seguir para lograr el desarrollo a buen término del proyecto. En principio, se contempla la mejora de senderos ya existentes y la creación de otros nuevos. También, se deben mejorar los accesos a los senderos y algunos pasos difíciles de transitar y colocar señalizaciones.La Universidad Tecnológica de Panamá tiene el propósito de poner en marcha el proyecto ``Diseño de los Senderos Interpretativos del Bosque en el Campus Dr. Víctor Levi Sasso''. El Campus de la UTP se identifica como un sitio que combina tanto infraestructura moderna como bosque exuberante. Los visitantes se sienten atraídos por esta naturaleza que rodea los edificios y tienen la necesidad de entrar en un contacto más cercano con ella. Este documento es en esencia una iniciativa en forma de propuesta donde se detallan las estrategias a seguir para lograr el desarrollo a buen término del proyecto. En principio, se contempla la mejora de senderos ya existentes y la creación de otros nuevos. También, se deben mejorar los accesos a los senderos y algunos pasos difíciles de transitar y colocar señalizaciones

Perception of isolated chords: Examining frequency of occurrence, instrumental timbre, acoustic descriptors and musical training

This study investigated the perception of isolated chords using a combination of experimental manipulation and exploratory analysis. Twelve types of chord (five triads and seven tetrads) were presented in two instrumental timbres (piano and organ) to listeners who rated the chords for consonance, pleasantness, stability and relaxation. Listener ratings varied by chord, by timbre, and according to musical expertise, and revealed that musicians distinguished consonance from the other variables in a way that other listeners did not. To further explain the data, a principal component analysis and linear regression examined three potential predictors of the listener ratings. First, each chord’s frequency of occurrence was obtained by counting its appearances in selected works of music. Second, listeners rated their familiarity with the instrumental timbre in which the chord was played. Third, chords were described using a set of acoustic features derived using the Timbre Toolbox and MIR Toolbox. Results of the study indicated that listeners’ ratings of both consonance and stability were influenced by the degree of musical training and knowledge of tonal hierarchy. Listeners’ ratings of pleasantness and relaxation, on the other hand, depended more on the instrumental timbre and other acoustic descriptions of the chord

Introducing music students to harmony – an alternative method

If teaching and learning harmony could rely less on prescriptive rules and more on the music that students themselves play, an alternative teaching method for harmony beginners may become possible. This approach yields a specific kind of knowledge, namely non-propositional knowledge or knowledge acquired by direct experience. After considering the function of thinking and doing in experiential learning, the article shows how the teaching of harmony in the twentieth century steadily moved away from the legacy of Rameau, the founder of harmony as a discipline in the eighteenth century. By using as point of departure melodic motifs in the piano music that students play, this article demonstrates the integration of horizontal and vertical musical features when introducing music students to the study of harmony. Furthermore, it shows how a linear approach could eventually lead through two-part counterpoint to the writing of four-part harmony, demonstrated at the end of the article. This proposed method provides a foundation for acquiring basic music-writing skills that are less concerned with music theory as a regulatory discipline and more with music as a creative art.http://www.tandfonline.com/loi/redc202016-06-30hb201