AURAL SKILLS INSTRUCTION: A RESEARCH STUDY

Comparing the effects of interactive audio in computer-based instruction (CBI) versus noninteractive audio in CBI on the skills and attitudes of music students in identifying harmonic voicing was divided into two subproblems for this study. The first was to compare students' skill in identifying harmonic voicing using interactive versus noninteractive audio. The second was to compare music students' attitudes toward CBI using interactive versus noninteractive audio. A two-group pretest-posttest experiment was conducted in which 46 participants volunteered to work with a computer program developed for this study. The experimental group used interactive audio and the control group used noninteractive audio. Both groups completed an attitude measure. The test scores showed acceptable to high reliability. Analysis of the data reveal that the experimental group showed greater skill development than the control group in identifying harmonic voicing. Analysis of the attitude measure reveals no difference between the groups. Four tables and four figures illustrate the study. An appendix describes the program and introduces some music terminology. (Contains 36 references.) (SLD) ********************************************************************** Reproductions supplied by EDRS are the best that can be made * from the original document. *********************************************************************** INTERACTIVITY IN COMPUTER-BASED AURAL SKILLS INSTRUCTION: A RESEARCH STUDY Trent G. Worthington The King's University College Edmonton, Alberta, Canada and Michael Szabo, Ph.D. University of Alberta Department of Educational Psychology Division of Technology in Education Edmonton, Alberta, Canada U.S. DEPARTMENT OP EDUCATION Othce of EduCattOntil PatlaPOO end Improvement EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC! 0 Ms document hat teen reproduced as ecreead from the parson or orgammlbon ongmahng 0 Minor changes have been made to improve nsproducton outlay Pt .nls of view 0, op 1110S staled tn Ints doctr mord So not necessonty represent eked OERI positron or policy 2 "PERMISSION TO REPRODUCE THIS MATERIAL HAS BEEN GRANTED BY Michael Szabo Tzcni: G. Worthinztah TO THE EDUCATIONAL RESOURCES INFORMATION CENTER (ERIC). " INTERACTIVITY IN COMPUTER-BASED AURAL SKILLS INSTRUCTION: A RESEARCH STUDY Trent G. Worthington The King's University College and Michael Szabo, Ph.D. University of Alberta Comparing the effects of interactive audio in Computer-Based Instruction (CBI) versus non-interactive audio in CBI on the skills and attitudes of music students in identifying harmonic voicing has been divided into two sub-problems for the purposes of this study. The first sub-problem is to compare music students' skill in identifying harmonic voicing using interactive versus non-interactive audio. The second sub-problem is to compare music students' attitude toward CBI using interactive versus non-interactive audio. A two group pretest-posttest experiment was conducted in which forty-six participants volunteered to work with a computer program developed for this study; the experimental group used interactive audio and the control group used non-interactive audio; and, both groups completed an attitude measure. The test scores showed acceptable to high reliability. Analysis of the data revealed that the experimental group showed greater skill development than the contro:' group in identifying harmonic voicing. Analysis of the attitudinal measurement revealed no difference between the groups. The subject area of study is aural skills training in music. The musician in ensemble performance is typically surrounded by harmony. A good performance is partially dependent upon proper relationships among voices. Effective harmonic analysis provides the foundation for understanding the interrelationships between voice parts: identification of individual voices which make up the vertical harmonic structure requires abilities in listening and analysis. Although music and music education may initially appear to be quite self-contained without the need for technology, modern technology can be very valuable to both the modern musician and the music teacher. Using CBI for aural training in music implies the use of audio: it is, not the purpose of this study to examine the use of audio in CBI but to examine the implications of allowing user-control of specific parameters of the audio. Hofstetter pioneered the research supporting CBI using the PLATO system with a program called GUIDO (Hofstetter, 1975, 1979). Taylor (1982) evaluated computerized melodic dictation using PLATO and a program called MEDICI. He recommended that MEDICI be used at the university level of study and suggested further developments for CBI in aural skills. Interactive audio in computer-based aural skills instruction has not been thoroughly documented: GUIDO allowed student control of individual voices (Aronson & Hofstetter, 1983) but the effectiveness of this interactivity was never evaluated. Woodruff & Heeler (1990, 1991) and Ashley (1989) successfully used interactive audio with videodisk and CD-ROM technology to develop listening skills of music students. Aural skills need to be developed in order for musicians to experience music more completely. Given that involving the student in interactive dialog during analysis can help form better listeners and better musicians (Pogonowski, 1989) and that computer technology with multimedia has been successfully applied in music education (Ashley, 1989; Gillespie & Placek, 1991; Kuzmich, 1989; Woodrulff & Heeler, 1990, 1991), CBI in aural skills with multimedia presentation in an interactive environment may lead to increased student abilities in harmonic analysis. Interactivity in this cor'ext refers to audible samples of three part harmonies utilizing user control of individual voice volume. Review of Related Literature Identification of harmonic voicing is closely related to harmonic dictation and is one of many fundamental aural skills. Aural skills remain an important foundatior for musicians. The term refers to skill in recognition or identification of various components of music. Some of these components are: intervals, melodies, chords, harmonies, rhythms, timbres, and dynamics. Listening for all these components at the same time is very