bluuebunny/crossref_metadata_2025 huggingface dataset:
Performance Expectancy, Success, Satisfaction, and Attributions as Variables in Band Challenges
Authors: Chandler Theodore A. , Chiarella David , Auria Carl
Published: June 2006

Motivation of band members was tested by asking them if they had ever challenged for I chair positions and how frequently, if they felt they were correctly placed, what their expected performance level was for 3 months later, what degree of satisfaction and feeling of success they experienced with their current level of performance, and how much they enjoyed playing their instruments. Degree of satisfaction with one's instrument and the factors to which one attributes one's current level of performance were also assessed. Three comparable-size bands (total N = 234) representing urban, suburban, and rural areas completed a questionnaire anonymously. Results supported the hypothesis that if one perceives success and satisfaction with one's current level of performance, one will challenge more and probably attribute that success to internal factors such as effort, natural musical ability, and technical knowledge of the instruments. Failure and lack of satisfaction with one's current level of performance resulted in fewer challenges and external attributions.
On Early Applications of Psychology in Music Education
Authors: Rideout R. R.
Published: June 2006

Granville Stanley Hall, founder of the American Psychological Association and president of Clark University, was the first American psychologist to speak and write about music's place in the educational curriculum. An examination of his published writings reveals Hall based his theory of music education on principles of Social Darwinism and Child Study perspectives on education. Hall's theories are referenced and paraphrased in several song series textbooks and music appreciation texts published by music educators during his professional career. These sources indicate that Hall influenced the thinking of certain music educators and was important to music education, in general, in developing a receptivity toward psychological processes in music education practice.
The Effect of Disc Jockey, Peer, and Music Teacher Approval of Music on Music Selection and Preference
Authors: Alpert Judith
Published: June 2006

This study investigated the effects on attitudes and listening behaviors of approvals of various music types (classical, country, and rock) attributed to various sources (disc jockeys, peers, and music teachers) on four fifth-grade classes (combined N = 82). Controlling for prior music class attitudes with an analysis of covariance (ANCOVA), music teacher and disc jockey approvals increased classical music preferences and listening. Correlation between verbal preference response (VPR) and music selection behavior (MSB) was significant, albeit low, substantiating results of previous research on this age group. Correlation between the music type preference (MTP) measures and VPR, and MTP measures and MSB, indicate that if classical, country, and rock records were chosen in a drawing, listening selection behavior was associated more with record choices than was verbal preference rating.
The Effects of Conducting Experience and Programmed Materials on Error-Detection Scores of College Conducting Students
Authors: DeCarbo Nicholas J.
Published: June 2006

The purpose of this study was to (1) design two different approaches, using the same content, that would provide training in error-detection skills for college undergraduate instrumental students; (2) administer the materials to a sample of these students under experimental conditions; and (3) evaluate the effectiveness of the two formats in developing error-detection skills. In one group, students received instruction in conducting experience for 16 class sessions; in another group students received instruction in programmed materials for 16 class sessions. The effects of teaching method were measured by a conducting test and a written test. Results indicated that the conducting experience group scored significantly higher on the conducting test than the programmed materials group. There was no significant difference between the groups on the written test.
Discrimination of Modulated Music Tempo by Music Majors
Authors: Wang Cecilia Chu
Published: June 2006

This study investigated the ability of university music majors to aurally perceive sudden and gradual tempo changes of various magnitudes in several different musical compositions. Differing rates of tempo change, the least change being 1 M.M.14 measures, were incorporated into four musical compositions by a computer. Forty-two music majors were tested individually in a repeated measure design. They listened and decided whether tempo change occurred in each piece. Results indicated that subjects detected tempo changes better when the change was (a) increased rather than decreased for one composition, (b) sudden rather than gradual, (c) greater rather than smaller in magnitude, and (d) one- directional rather than two. Tempo accuracy was not found to relate to the amount of musical training. It was concluded that perception of music tempo could be affected by many factors. Further research using modulated music tempo was recommended.
The Use of Videotape Recordings to Increase Teacher Trainees' Error Detection Skills
Authors: Stuart Melanie
Published: June 2006

The study evaluated the extent that error detection training (the combination of videotape recordings, slides, textual materials, and class discussions) altered teacher trainees' recognition of specific string techniques or errors, as opposed to the teaching setting in which students used the entire class session to conduct the string orchestra. The data indicated that both error detection training and in-class conducting increased the trainees' recognition of both errors and appropriate string usage. Additional analysis indicated that the error detection training class performed at significantly higher levels than the other group, as measured on the error detection test.
Fray Pedro de Gante Pioneer American Music Educator
Authors: Heller George
Published: June 2006

Fray Pedro de Gante was an important figure in the history of American music education. His life and work in Mexico City predate similar activities in the United States by at least a century. He worked in a radically changing ethnic arld sociocultural environment and was a principal agent in the acculturation process. In teaching music he also became involved in the arts in general education, multicultural education, and student teaching. He was the first European to teach music in the Western hemisphere and taught thousands of students during his 45-year tenure. His school served as a model for later Franciscan schools in the southwestern United States. The documents show that he was not only successful by European standards, but that he was also highly respected and admired by the Indians he taught.
Music History and Appreciation in the Two-Year College Curriculum
Authors: Friedlander Jack
Published: June 2006

The purpose of this study was to examine the status of music history and appreciation courses in the nation's community and junior colleges.1 Data on course offerings and enrollments in music history/appreciation courses were obtained in Spring 1975 and Spring 1977 from a representative sample of 178 two-year colleges participating in a nationwide study of the humanities curriculum in community and junior colleges. Among the findings reported were: (a) most two-year colleges offered a course in either music history or music appreciation in Spring 1975 (74.2%) and in Spring 1977 (70.2%); (b) enrollments in music history/appreciation courses declined by 9.5% in the same time period in which total college enrollments increased by 7.4%; and (c) nearly all of the music history and appreciation courses offered in two-year colleges are designed primarily for transfer program students. Recommendations on how music departments can increase their enrollments are offered in this paper.
Replication of a Study on Teaching Singing in the Elementary General Music Classroom
Authors: Froehlich Hildegard
Published: June 2006

This study was a replication of an investigation on the effective teaching of singing in the elementary general music classroom, using the technique of classroom observation. The purpose was to confirm or refute the results of the original study that investigated the relationship of some observational variables to the teaching of singing. The results of the study partially confirmed the results of the original study: (1) the observational form used for the investigation contained a sufficient number of reliably observed variables that discriminated between performance qualities; and (2) in both studies rhythmic reading activities were found to be the most important discriminators of differentially effective teaching procedures.
Tuning Preferences in Recorded Orchestral Music
Authors: Geringer John M.
Published: June 2006

The purpose of this study was to investigate tuning preferences regarding recorded orchestral music. Specifically, the study was designed to test subjects' tuning preferences while investigating both the direction and magnitude of mistuning. Sixty randomly selected undergraduate and graduate music students modulated a variable speed tape recorder to preferred pitch levels. Stimuli were recorded excerpts of ten orchestral works, each representative of a different key. Subjects listened to the thirty-second excerpts and turned a linear continuous-speed control knob with a pitch range of approximately an augmented fourth. Data consisted of cent deviation scores relative to A = 440 Hz. Results indicated a marked propensity to tune these excerpts sharper than their recorded pitch level. Subjects' responses indicated the mean cent deviation for sharp tunings to be 149.29 cents (approximately 11/2 semi-tones); when tuning flat, the mean deviation was 88.43 cents.
Student Participation in Decision-Making Processes Concerning Musical Performance
Authors: Petters Robert
Published: June 2006

The study was designed to determine if students who participated in decision-making processes about musical performance would more easily perceive expressive phrasing (as performed by others) and perform music more expressively than students who were given all directions for performance by a conductor.1 A secondary purpose of the study was to develop an outline that might help students analyze expressive elements in music, thereby enabling them to perform more expressively. The subjects, thirty-eight high school string orchestra students, were divided into control and experimental groups by the use of stratified random selection. Statistical analyses of data revealed that first, involving students in decision-making processes did not significantly increase their perception of expressive phrasing or their ability to perform expressively, and second, it is possible that students' expressive performance might significantly be increased if they are given the opportunity to analyze objectively expressive elements of music.
Changing Inservice Teachers' Self-Perceptions of Their Ability to be Effective Teachers of the Arts
Authors: Boyle J. David , Thompson Keith P.
Published: June 2006

The present study was based on two assumptions-first, that teacher self-confidence in personal ability to work in the arts is essential for successful teaching of the arts, and second, that teachers can gain self-confidence through successfu I creative experiences in the arts. The study sought to assess the effects of creative experiences in the arts on teachers' self-perceptions of their ability to teach the arts. Subjects for the study were twenty-two inservice teachers who were asked to give both pre- and post-test self-ratings to a number of perceptual statements regarding teaching ability in the arts. The McNemar Test for Significance of Changes was used to test the significance of the proportions of participants changing responses between the pretest and posttest.
Effect of Jaw-Thrust Instruction on Trumpet Performance and Overjet of Young Players
Authors: Testa Robert F.
Published: June 2006

The primary purpose of this study was to compare the effect of eighteen weeks of jaw-thrust instruction with an equivalent amount of regular instruction on protrusion of the upper teeth (overjet), intonation, ascending range, descending range, and lip flexibility of young players having from one (beginners) to five years experience on the trumpet. Inherent in the design of the experiment was an attempt to control for possible differences in the age, pretreatment overjet, and accumulated hours of practice time of the subjects in the two treatment groups at each of the five levels of experience. Analysis of the data indicates that jaw-thrust instruction appears to be superior to regular instruction with respect to improving intonation, ascending range, and lip flexibility. Neither type of instruction appears to be superior relative to improving overjet or descending range.
Development of Aural and Visual Perception Through Creative Processes
Authors: Bradley Ian L.
Published: June 2006

The present study was designed to test the growth of aural and visual perceptions of musical elements. A fourth grade class was chosen as the experimental group, with five other fourth grade classes serving as the control group. The experimental group participated in a one-year program of creative processes and experiences in music, while the control group participated in the traditional music education program. A comparison of pretest and posttest scores revealed significant gains by the experimental group on both aural and visual perception tests.
A Longitudinal Comparison of Four Music Achievement and Music Aptitude Tests
Authors: Young William T.
Published: June 2006

768 sixth-grade students enrolled in eight separate middle schools in the cities of Odessa, Henderson, and Gladewater, Texas, were given the Tonal Imagery and Rhythm Imagery tests from the Musical Aptitude Profile along with the complete Measures of Musical Abilities battery. After a year and a half of instrumental study, Music Achievement Test, Part 2 and Iowa Tests of Music Literacy, Level One were administered to all students remaining in the programs. Results of the study indicated the MAP Tonal Imagery was the most efficacious of the aptitude tests, while the ITML battery possessed the highest validity for measuring music achievement, based on teachers' subjective performance ratings. Interrelationships among certain achievement subtests were rather high, indicating that in some cases two subtests were measuring similar areas of achievement. Using these as a guide, it was possible to select a group of subtests from both the MAT and ITML batteries that were relatively unrelated and at the same time agreed satisfactorily with the teachers' professional judgments of their students.
Relative Effectiveness of Two Approaches to Rhythm Reading for Fourth-Grade Students
Authors: Palmer Mary
Published: June 2006

Fourth-grade classes from three elementary schools were used as subjects in this study. Two classes were given an experimental instruction program in rhythm reading based on the methods of Mary Helen Richards. Two other classes were given an experimental instruction program based on methods developed by Edwin Gordon. The remaining two classes were used as a control group. After the five-month instructional period, subjects' scores were compared on pre- and posttest measures of musical aptitude and rhythm reading achievement. Significant gains in overall rhythm reading were made by the aggregated experimental classes as compared to the control classes. Significant relationships between certain pre- and posttest scores on subtest of the measures also were found for experimental subjects. Although the Gordon approach appeared to be better than the Richards approach in the development of performance achievement, this result was not clearcut.
The Effect of Differentially Focused Observation on Evaluation of Instruction
Authors: Duke Robert A. , Prickett Carol A.
Published: June 2006

The present study examined evaluations by observers directed to attend to specific aspects of one-to-one instruction in applied music. One hundred forty-three nonmusic education majors enrolled in music study observed one of three videotaped versions of an 11-minute private lesson in violin. Visual presentation and observation instructions focused subjects' attention toward 1) the student, 2) the teacher, or 3) both student and teacher. Subjects evaluated 10 aspects of the lesson and estimated the frequency of approval and disapproval feedback. There were significant differences (p < .05) in the evaluations of teacher attitude and student attitude among the three presentation conditions, with subjects rating less positively the individual to whom attention was directed. Group mean estimations of disapproval frequency were also significantly different (p < .002), with subjects who were directed to observe teacher behavior estimating a greater number of teacher disapproval responses. In addition, analyses of subjects' written observations indicated considerable within-group variability concerning the perception of events. This information seems important in relation to the structuring of observation experiences for preservice teachers.
Art and Music in the Pestalozzian Tradition
Authors: Efland Arthur
Published: June 2006

This paper compared the relative impact of Pestalozzianism on art and music instruction in the early 19th century. Both methods departed from traditional rote methods through the use of exercises to measure space (drawing) and time (vocal music). Instruction was similarly organized around basic elements (rhythm, melody, and dynamics [music], and geometric lines and curves [drawing]). These were introduced in a simple-to-complex sequence in typical Pestalozzian fashion. Partly refuted is Ellis's claim that Lowell Mason's treatment of Pestalozzian music was in error. The argument suggests that Pestalozzianism had become a generic term for several similar methods by the 1820s and 1830s. The paper also suggested that music and art, though starting out on essentially the same foot, developed differently because of social forces that affected their respective roles in education.
The Effect of Instruction in Vocabulary and Listening on Nonmusicians' Descriptions of Changes in Music
Authors: Flowers Patricia J.
Published: June 2006

This study examined the effect of instruction in vocabulary and listening on number of changes counted in a music excerpt, verbal descriptions of these changes, and use of music vocabulary. One hundred twenty-four undergraduate nonmusicians were divided into four groups: vocabulary only, listening only, vocabulary plus listening, and contact control. Following 4 weeks of differential instruction, listening only and vocabulary plus listening counted significantly fewer changes on the posttest than the pretest; vocabulary plus listening gained significantly in number of descriptions of musical elements; and both vocabulary only and vocabulary plus listening gained significantly in use of technical vocabulary.
A Facet-Factorial Approach to Rating High School Choral Music Performance
Authors: Cooksey John M.
Published: June 2006

The purpose of this study was to construct and test a rating scale for the evaluation of high school choral music performance, using a facet-factoria I approach. A scale was developed by collecting descriptions of high school choral performances, transforming them into items, and pairing them with a Likert-type scale. Fifty judges used the scale to rate one hundred high school choral performances. The ratings were factor analyzed and inter-judge reliability estimates were obtained. Two criterion-related studies, using a global performance rating and the NIMAC adjudication scale as criteria, were completed. Seven factors of choral performance were produced by the analysis: diction, precision, dynamics, tone control, tempo, balance/blend, and interpretation/musical effect. Thirty-six criteria (dimensions-items) were selected to form subscales to measure these seven factors. The final scale achieved high inter-judge reliability and high criterion-related validity.
The Relationship of Selected Observational Variables to the Teaching of Singing
Authors: Froehlich Hildegard
Published: June 2006

The purpose of this study was to investigate some observational variables that might contribute to the effective teaching of singing in the elementary general music classroom. The specific problems were (1) the development of an instrument that would satisfactorily describe activities and interaction patterns related to the teaching of singing in the elementary general music classroom, and (2) the investigation of those activities and interaction patterns that related significantly to selected criterion variables defined as a measure of specific teaching of singing. Results indicated the observational instrument included a usable number of variables which were established as consistent and stable. The variables observed on a stable basis were also established as concurrently valid. The effective teaching of singing was related to specific teaching patterns observed in some of the classrooms. These patterns were found to occur in classes in which a larger proportion of students had private musical instruction, the teacher had taught for a longer period of time, and the teacher participated in choral activities outside school.
The Effects of Pitch Interval on Brainwave Amplitudes
Authors: Wang Cecilia Chu
Published: June 2006

Results of analyses from the electroencephalogram (EEG), recorded at the F8-T4 position on the scalp while testing the pitch discrimination ability of fourteen musically trained university students, showed that the EEG amplitude decreased as pitch intervals became smaller. There was no change in the EEG amplitude when comparison pitches were at intervals of a whole step higher or lower from the reference pitch, but change did occur when the interval was diminished to a quarter step. Within the forty-five-second period, during which the reference pitch was to be remembered, no difference was found between the EEG taken in the early seconds of testing as compared with the later part of the test span. Deviations in alpha, theta, and beta frequency bands were more prominent than those in the gamma and delta bands.
A Study of Two Approaches to Developing Expressive Performance
Authors: Marchand David J.
Published: June 2006

The purpose of this project was to: (1) study whether expressive performance could be learned; (2) determine which of two instructional methods, entitled Discovery and Expository, would result in greater expressive performance achievement; and (3) determine what effect music experience had upon such achievement. Secondarily, the study also determined what effect the treatments had upon the variables of aural achievement, knowledge of music facts, and vocal skills.

Subjects were college-age nonmusic majors in a music fundamentals program. Three course sections of approximately 30 each allowed comparison of the two noted treatments with a control.

Results indicated that: (1) expressive perfcrmance can be learned; (2) technical skills might also be enhanced when expression is emphasized as a learning; (3) the two treatments had similar effects upon aural achievement, knowledge of music facts, and vocal skills; and (4) subjects with higher amounts of experience benefited from the more straightforward, teacher-oriented approach, whereas subjects with less experience benefited from the student-centered, Discovery teaching strategies.
Music Reading Ability of Beginning Wind Instrumentalists After Melodic Instruction
Authors: MacKnight Carol B.
Published: June 2006

Teaching techniques and materials that would treat music reading as a process and emphasize the structure of the melodic line were researched, developed, and then tested with 90 fourth grade students, each studying a wind instrument of his/her choice for a year. Control and experimental groups were set up with the groups and their teachers statistically equated. The only variation in treatment of the two groups was in the method of introducing pitches. The experimental group was introduced to pitch through a series of tonal patterns, while the control group learned a new pitch by letter name, fingering, and sound.

The study showed that tonal pattern instruction is superior to note identification teaching techniques in development of both sight reading skills and auditory-visual discrimination skills. The experimental treatment was particularly effective with students of low musical ability as measured by the Watkins-Farnum Performance Scale, a test of instrumental sight reading.
Music, Education, and Community in Nineteenth-Century Kansas Euterpe, Tönnies, and the Academy on the Plains
Authors: Haack Paul A. , Heller George N.
Published: June 2006

This study applied the conceptual structures of gemeinschaft (community) and gesell-schaft (association) developed by the German sociologist Ferdinand Tonnies (1855–1936) to the history of music education in Kansas during the nineteenth century. It documents the interactions among musical activities, educational institutions, and community structures in the missions of the early nineteenth century, the relatively independent small town and rural schools from around 1850 to 1875, and the state-wide educational system that grew up in the last quarter of the nineteenth century. Primary and secondary sources were taken primarily from the Kansas Collection at the University of Kansas in Lawrence, the Kansas State Historical Society in Topeka, and the Country Schools Legacy project of the Mountain Plains Library Association.
Music Instruction in the Nineteenth Century: Views from Godey's Lady's Book, 1830–77
Authors: Koza Julia Eklund
Published: June 2006

For this study, the researcher examined views expressed in Godey's Lady's Book on (1) the role of music in the nineteenth-century curriculum, (2) the goals of music instruction (3) what should be and (4) who should receive musical training. The value of music instruction and the role of music in the curriculum were highly controversial subjects. While proponents cited extrinsic benefits, detractors viewed music as a frill. Boys were rarely mentioned in these discussions; music instruction was not considered a particularly masculine activity. Debates raged over whether a girl's music instruction would be an asset in adult life. Musical talent was viewed as a gift bestowed on a fortunate few, and parents were advised not to waste money on those who lacked natural ability. Rudimentary training was preferred over intensive study; reforming American taste sometimes was the goal. Ideologies and tensions evident in Godey's continue to surface in the modern discussion.
Cooperative Promotional Efforts of the Music Supervisors National Conference and the National Bureau for the Advancement of Music
Authors: Koch Franklin W.
Published: June 2006

The National Bureau for the Advancement of Music was established in 1916 by the National Piano Manufacturers Association to promote sales of pianos and related merchandise. Like many organizations of its time, it contributed significantly to the important musical developments of the 1920s. While the Bureau could and did act independently, its principal and preferred mode of operation was to work through and in cooperation with other organizations that were active in the advancement of music. Some of the most significant contributions of the Bureau were accomplished through its cooperation with the Music Supervisors National Conference (MSNC). Among those efforts were the securing of high school credit for private music study, the formation of high school bands and orchestras, the organization of state and national band and orchestra contests, the promotion of piano classes in the schools, and the advancement of vocal music.
Effects of Dark-Bright Timbral Variation on the Perception of Flatness and Sharpness
Authors: Wapnick Joel , Freeman Peter
Published: June 2006

Fifty undergraduate music majors listened to 48 pairs of clarinet tones. Both tones in each pair were three seconds long, the interstimulus interval lasted one second, and the interval between trials was ten seconds. The subjects' task was to indicate whether the pitch of the second tone sounded sharp, flat, or the same as the first pitch. The tones had been altered by an audio equalizer so that they were either bright or dark relative to the original recorded level. The equalized tone pairs thus consisted of bright-bright, dark-dark, bright-dark, and dark-bright sequences. In addition, the second tone was adjusted to either 12 cents sharp, 12 cents flat, or was left unaltered. Analyses of response error patterns suggest that subjects associated darkness with flatness and brightness with sharpness.
The Effect of Music Contest Format on Self-Concept, Motivation, Achievement, and Attitude of Elementary Band Students
Authors: Austin James R.
Published: June 2006

The purpose of this study was to examine the effect of two music contest formats on the music achievement, self-concept, achievement motivation, performance achievement, and attitude of elementary band students. The author randomly assigned 44 fifth-and sixth-grade instrumentalists to one of two treatment groups: (a) students receiving written comments and ratings or (b) students receiving written comments only. Pretest and posttest data were obtained on dependent measures of the Music Achievement Test (MAT) and the Self-Concept in Music (SCIM) scale; data on achievement motivation and attitude were gathered on a posttest basis only. After 1 month of preparation, all students performed unaccompanied solos for an adjudicator. The results showed significant gains (p < .05) in musical self-concept for both groups, but only the rated group made a significant gain in music achievement. In addition, there was no significant difference in achievement motivation scores for rated versus nonrated students. Of the students, 76% said they would choose to participate in a rated contest format in the future. Pretest scores on the MAT were the single best predictor of performance achievement.
Effect of Tempo on Pitch Perception
Authors: Duke Robert A. , Geringer John M. , Madsen Clifford K.
Published: June 2006

The purpose of the study was to investigate the perceptions of music majors and nonmusic I majors concerning combined frequency and tempo changes in music across a range of musical tempi. The subjects, 200 music majors and 200 nonmusic majors, heard 10 consecutive presentations of an orchestral excerpt, each of which had been altered by changing the frequency or tempo (or both) of the original version in various combinations. The task was to compare each example to the preceding version and indicate perceived pitch and tempo changes. This comparison procedure was replicated using four different music excerpts, in which the speeds of the fastest moving voices were approximately 50, 100, 150, and 200 per minute. Each of the 400 subjects was randomly assigned to two of the four replications. Results indicated that (a) music majors and nonmusic majors responded similarly across conditions and replications; (b) changes in tempo were discriminated more accurately than frequency changes of the same magnitude; (c) tempo changes seemed to affect pitch perception to a greater extent than frequency changes affected the perception of tempo; and (d) the speed of subdivided beats apparently affected the perception of changes in frequency and tempo across replications.
The Effect of Programmed Materials on the Vocal Development of Selected Children's Choruses
Authors: Eyck Stephen G. Ten
Published: June 2006

The purpose of this study was to investigate the effect of programmed materials with adjunct listening examples on the vocal development of children's choruses. A programmed text was designed, tested, and revised in several pilot studies that constituted Phase 1. The text, developed by means of the systems approach model, was effective as measured by pretest-to-posttest gains by all subjects in summative and formative pilot testings. Phase 2 of the study was an experimental design to determine the amount of methods and materials presented in the text that could be implemented by practicing teachers. Forty music teachers and their respective choruses served as subjects and were divided into two groups: a no-contact control and an experimental group. Judges' ratings of the performances were used as the main variable to match groups; other variables included length of rehearsal, grade levels, and size of the chorus. All choruses were tape recorded singing “The Star-Spangled Banner.” Teachers in the experimental group were given copies of the programmed materials and allotted a 10-week interval to implement materials of their choice during rehearsals. The posttest taping utilized the same song and another of the teacher's choice. Results of data analysis indicated that there was no significant difference in the overall choral sound between groups. Written posttests did indicate a significant gain by teachers in the experimental group of knowledge contained in the text. It was concluded that the lack of significance may have been attributed to an inability to transfer concepts from the text to the rehearsal setting.
Attitude Assessment of Upper Elementary Students in a Process-Oriented Music Curriculum
Authors: Pogonowski Lenore M.
Published: June 2006

The purpose of the investigation was to determine whether attitudes among students engaged in a Process-Oriented Music Curriculum (POMC) differ as a function of gender, grade level, socioeconomic status, and musical aptitude. The research questions the writer sought to answer were: 1. How do music attitudes differ among students engaged in a POMC according to grade level, gender, and socioeconomic status? 2. Are there any relationships between low, average, or high musical aptitude and classroom music attitudes? 3. Is there a relationship between a measure of global attitude toward music class and a measure of attitude toward classroom musical experiences? 4. Are classroom music attitudes of students related to (a) membership in a school performing organization and (b) private study of a musical instrument? Subjects ( N = 411) were derived from intact fourth-, fifth-, and sixth-grade classes from three suburban elementary schools where a curriculum modeled after the Manhattanville Music Curriculum Program had been in use for at least 2 years. The three measures used to collect data were (a) the Music Class Attitude Index, (b) the Musical Attitude Inventory, and (c) Melody and Rhythm subtests of the Musical Aptitude Profile. Data resulting from the two attitude instruments were analyzed by two repetitions of a 3 × 3 × 2 analysis of variance for grade level, socioeconomic status, and gender. Pearson product-moment correlations were computed to analyze the relationship between the two attitude instruments and the relationships between each of the attitude instruments and the remaining variables. Among the findings of the study are: 1. Classroom music attitudes vary as a function of grade level, socioeconomic level, and gender. 2. Classroom music attitudes and musical aptitude are essentially unrelated to each other. 3. A close correspondence exists between students' global attitudes toward music class and attitudes toward their music class activities. 4. Classroom music attitudes are not strongly influenced by the participation of students in performing groups or private instrumental study.
Early Advocates of Music Education for the Hearing Impaired: William Wolcott Turner and David Ely Bartlett
Authors: Darrow Alice-Ann , Heller George N.
Published: June 2006

Published histories of music education do not often recognize early instances of music for handicapped students. Music for the hearing impaired is more obscure than for most handicapping conditions because it is often regarded as impractical. This study recognizes the early efforts of William Wolcott Turner and David Ely Bartlett on behalf of music education for the deaf In an 1848 article in the American Annals for the Deaf and Dumb, these two pioneers showed that a hearing-impaired student could learn music and that sound reasons existed to support such an endeavor. The research confirmed both the authenticity and credibility of Turner and Bartlett's work, with biographical information on the two authors and a critical analysis of the contents of their article in light of subsequent research on music for the hearing impaired.
Effect of Vocal Vibrato and Performer's Sex on Children's Music Preference
Authors: LeBlanc Albert , Sherrill Carolyn
Published: June 2006

This study measured the effect of low and high levels of vocal vibrato, employed by male and female performers, on the self-reported music listening preferences of upper elementary school children. A listening test was administered to 127 children from grades 4, 5, and 6 drawn from five classrooms in Lansing, Michigan. Test reliability was evaluated in terms of stability across time and internal consistency, and student behavior was observed during the test as an additional check on the validity of results. Wilcoxon matched-pairs signed-ranks tests disclosed a significant preference for low levels of vibrato and for male singers, expressed by both sexes. Both male and female listeners associated “strong” performances with male rather than female performers. The preference for low levels of vibrato and male singers was weaker in the case of female listeners, indicating an interaction between listener sex and the vocal vibrato and performer sex variables.
Student Beliefs About the Causes of Success and Failure in Music: A Study of Achievement Motivation
Authors: Asmus Edward P.
Published: June 2006

Elementary and secondary music students' achievement motivation was characterized by the reasons they cited for success and failure in music. The students' free responses were classified according to the two-dimensional model of Attribution Theory in which the causes of success and failure are categorized by locus of control, internal or external, and stability through time, stable or unstable. The major findings of the study were that 80% of the reasons cited for success and failure in music were internal in nature, a greater number of stable reasons were cited for success while more external-unstable reasons were cited for failure, females cited more internal-stable reasons than males, the frequency of internal-stable reasons increased with grade level while internal-unstable reasons declined, and the school attended significantly influenced the type of reasons students provided. The importance of these findings to music education practice and their relationship to previous research in achievement motivation was discussed.
Relationship of Selected Factors in Trumpet Performance Adjudication Reliability
Authors: Fiske Harold E.
Published: June 2006

This study investigated the relationship between reliability of music performance, adjudication, judge performance ability, and judge nonperformance music achievement. Thirty-three recent music education graduates rated a series of trumpet performances. Individual judge reliability was calculated and applied music, music history, and music theory academic grades were collected for each of the subjects. In addition, a composite variable labeled “nonperformance music grade” was obtained by averaging each subject's music theory and music history grades. Results of statistical analyses showed: (1) no relationship between judge performing ability and judge reliability, (2) no relationship between judge performing ability and judge nonperformance music achievement, and (3) a statistically significant inverse relationship between judge reliability and judge nonperformance music achievement.
Relationships Between Melodic Error Detection, Melodic Dictation, and Melodic Sightsinging
Authors: Larson Richard C.
Published: June 2006

This study investigated the competencies of undergraduate music majors in the three aural skills of melodic error detection, melodic dictation, and melodic sightsinging. Three criterion-referenced aural tasks were developed for comparative evaluation of these competencies within the single musical parameter of pitch for diatonic, chromatic, and “atonal” melodic styles. Significant relationships were obtained among nearly all task and subtask scores, although the relationships were generally higher between error detection and dictation scores than between error detection and sightsinging scores. It also was found that differing melodic styles affected task difficulty but did not have an appreciably different effect upon the relationships between tasks.
Relationships Between Pitch Memory in Short Melodies and Selected Factors
Authors: Long Peggy A.
Published: June 2006

This study investigated relationships between memory for pitch in short melodies and melody length, tonal structure, melodic contour, and music perception ability. Results indicated that all these factors interact to some degree with memory. The factors demonstrating the greatest influence were music perception ability (a product of previous music learning), and tonal structure (the degree of relationships among the pitches of a melody, commonly described as tonality or atonality). Memory for pitch improved as the number of pitches in a melody decreased. Certain melodic contours also caused variations in pitch memory.
Mainstreaming: Needs Assessment Through a Videotape Visual Scale
Authors: Stuart Melanie , Gilbert Janet
Published: June 2006

This study set out to develop a videotape scale measuring attitude toward atypical students and their music behavior, and to use this scale to investigate the reactions of college music education and therapy majors to these situations. To accomplish this purpose, a tape containing 26 excerpts portraying individuals involved in music activities was viewed by two groups of subjects. One group (N = 44) viewed the tape using Thurstone ratings in determining the degree to which the musical responses portrayed in each segment were common behavior of the general population. These ratings classified the segments as normal, moderately atypical, or extremely atypical. The same tape was viewed by 83 respondents who indicated their willingness to interact, willingness to work with, or felt capability in working with the individual portrayed in each segment. A six-point Likert scale was used in this procedure. Likert scale responses of the majors were then compared for each category (normal, moderately atypical, extremely atypical) using analyses of variance. Results indicated significant differences across majors (p <.001), while the year in college was nonsignificant. These differences remained consistent for all behavioral categories as well as for all three questions.
Interval Recognition in Minimal Context
Authors: Shatzkin Merton
Published: June 2006

Thirty-six college music majors were asked to identify ascending intervals with a distractor tone either a major second or a perfect fourth below and preceding the first tone of the interval, a distractor tone either a major second or a perfect fourth above and following the second tone, and with no distractor (control condition). There was a tendency for responses to the distractor-before, major second condition to overestimate the target, and for responses in distractor-after conditions to underestimate. A “tonic effect” is proposed to explain these results.
The Conservation of Rhythm in Suzuki Violin Students: A Task Validation Study
Authors: Nelson David J.
Published: June 2006

The purposes of this study were to (1) develop a task as a measure of rhythmic conservation in young instrumentalists, and (2) determine the validity of the task. Twenty Suzuki violin students between 4 and 8 years old were individually administered an author-designed rhythmic task and a series of standardized tasks that measured area and length conservation. The training level of the students was found to be less of a factor in their ability to conserve rhythm than was age and area-length conservation. These results appeared to satisfy the criteria established for validation. Administration of the conservation of rhythm task to a large population of Suzuki violin students seems warranted.
The Effects of Repetition on Liking for Music
Authors: Hargreaves David J.
Published: June 2006

An inverted-U theory of the relationship between the subjective complexity of and liking for different musical pieces was developed. The theory was then used to derive some predictions about the effects of repetition on liking for pieces of music of different styles chosen to represent contrasting levels of objective complexity. These predictions were tested in two experiments. The first experiment was a short time-scale study in which two pieces (“easy-listening” music and avant-garde jazz) were played to subjects three times during a single session. The second experiment involved repetition over 3 weekly sessions, as well as four times within sessions, of three pieces (popular, classical, and avant-garde jazz). The results of both experiments were interpreted as broadly supporting the inverted-U model although there were some surprising exceptions. These exceptions occurred when functions relating familiarity and liking were compared between musical styles, and they were tentatively explained in terms of attitudinal stereotyping.
Amzi Chapin: Frontier Singing Master and Folk Hymn Composer
Authors: Scholten James W.
Published: June 2006

Amzi Chapin was born in Springfield, Massachusetts, in March 1768. From 1791 to 1795 he taught in Virginia and North Carolina. In 1795 Amzi moved to Kentucky where he resided and taught singing schools. The available evidence indicates that he and an older brother, Lucius, were among the first singing masters to teach sacred music west of the Alleghenies. In 1800 Amzi moved to western Pennsylvania where he farmed and taught singing schools periodically until 1831, when he and his family moved to Northfield, Ohio. Amzi resided there until his death on February 19, 1835.

From the time of his death until 1969, Amzi Chapin remained a shadowy figure in the history of American music, although both his and his brother' s tunes were included in well-known collections of American sacred music during the nineteenth century. Although Mary O. Eddy did some research on Amzi Chapin in the 1940' s, her research has been relatively unknown to scholars in American music during the past twenty years.
A Study of High School Music Participants Stylistic Preferences and Identification Abilities in Music and the Visual Arts
Authors: Haack Paul
Published: June 2006

Little is known about how high school students conceptualize the basic Classical-Romantic style dichotomy or how students operate within such a conceptual framework as concerns stylistic preference and identification. Thus 55 subjects were tested with music and visual arts exemplars to assess their preferences and stylistic identification abilities.

Although there was a slight preference for the Classical style in general, an interesting interaction resulted in preferences for Classical music and Romantic art. Because the subjects were music performance students, their demonstrated preference for music examples was expected; more surprising, however, was their ability to identify visual arts styles more effectively than musical styles. Knowledge of one's personal preferences appeared to relate to better stylistic identification ability, but more music performance experience did not seem to relate either to preference or stylistic identification ability.