bluuebunny/crossref_metadata_2025 huggingface dataset:
Development of Harmonization and Sight-Reading Skills among University Class Piano Students
Authors: Betts Steven L. , Cassidy Jane W.
Published: June 2006

This study is an exploration of the development of sight-reading and harmonization skills among nonkeyboard music majors enrolled in six intact sections of class piano ( N = 39). Classes included 10 minutes of instruction in each of two topics, harmonization and sight-reading, with the remaining time spent on keyboard skills not directly related to the study. Subjects were videotaped twice completing two harmonization and two sight-reading tasks. Videotapes were analyzed for pitch and rhythm errors. Statistical analysis compared pretest to posttest scores, right-hand to left-hand scores, the four tasks, and practice-group condition. Results indicated the right hand was more accurate and consistent than was the left hand, made less improvement on all tasks, and was slightly more accurate on the harmonization tasks than the sight-reading tasks. The left hand made noticeable gain in accuracy on all tasks and was more accurate on the easier tasks than on the more difficult ones.
Tonal Cognition in Pattern Discrimination: Evidence from Three Populations
Authors: Holahan John M. , Saunders T. Clark , Goldberg Michael D.
Published: June 2006

The development of tonal pattern discrimination was investigated in 24 college musicians, 24 college nonmusicians, and 38 children in first grade. Comparisons of the two college-age groups on three tests yielded differences in accuracy and speed that interacted with item type. Comparisons of all three groups on one test demonstrated that college nonmusicians were no more accurate, although they responded to some item types faster than did the first-grade group. These data support the process validity of the approach developed by Saunders and Holahan (1993) to the study of functional mechanisms of tonal audiation across the developmental span from the majority of children in first grade to college-age students with different levels of musical training.
The Effect of Positive Models of Inclusion on Band Students' Attitudinal Statements regarding the Integration of Students with Disabilities
Authors: Johnson Christopher M. , Darrow Alice-Ann
Published: June 2006

The purpose of this study was to examine the effect of five positive models of inclusion on band students' attitudinal statements regarding the integration of students with disabilities in their music program. Elementary, junior high, and senior high school band students from 15 public school served as subjects (N = 757), and a Solomon Four-Group design was chosen for this study. Bands (from elementary, junior high, and senior high school) were randomly assigned to one of the following four conditions: (1) pretest-treatment-posttest, (2) pretest-posttest, (3) treatment-posttest, or (4) posttest only. The independent variable for this project was a 30-minute videotape containing five segments that documented students with cognitive, physical, behavioral, or sensory disabilities successfully participating in a band in either rehearsal or performance situations. The dependent variable was a questionnaire consisting of attitudinal statements related to the following subscales: (a) inclusion of students with disabilities in band, (b) degree of comfort with inclusion, (c) efficiency of the band with students who have a disability, and (d) procedural issues involving students with a disability in band. Results indicated that treatment-group subjects' attitudinal statements were significantly more positive than were attitudinal statements of control-group subjects on three of the four subscales: inclusion, comfort, and efficiency. In addition, female students were significantly more positive than were male students on the same subscales. No clear trends were found among the different age-groups.
Effects of Psychomotor Instruction on Elementary General Music Students' Singing Performance
Authors: Phillips Kenneth H. , Aitchison Randall E.
Published: June 2006

This study is an investigation of the effects of a year-long program of vocal instruction I on measures of respiration (vital capacity, peak flow, duration) and singing performance (high pitch, low pitch, total range, pitch accuracy) among general music students in Grades 4, 5, and 6 (n = 269). A posttest-only control-group design was used with intact classes randomly assigned to either experimental or control conditions. Results of 2 ? 2 ? 3 factorial analyses (MANOVA and ANOVA) were as follows: (1) breath support (peak flow) may be improved with instruction; (2) vital capacity seems to be affected more by age than by instruction; (3) breath control (duration) may be improved with instruction, especially among fifth-grade students; (4) highest pitch of vocal range may be improved with instruction; (5) lowest pitch of vocal range may be improved with instruction, especially for boys; (6) total vocal range may be improved with instruction, especially for boys; (7) pitch accuracy seems to be greater for girl than for boys, and boys pitch accuracy may not be helped with vocal instruction when there is a reluctance to sing in the treble range.
Definitions of “Knowing”: Comparison of Verbal Report versus Performance of Children's Songs
Authors: Killian Janice N.
Published: June 2006

This study explored variations in the definition of “knowing” by comparing third-graders' (n = 31) and adults' (n = 31) verbal recognition of song titles with their ability to sing the same songs. Data consisted of number of song titles recognized and number of songs actually sung, as well as subjects' pitch accuracy, word accuracy, and starting pitches. Results indicated a moderate positive correlation between titles circled and songs sung. Adults attempted to sing significantly more songs than did children, and word and pitch accuracy were not significantly related for either group. No significant differences were found on number of titles circled, on pitch accuracy, or on word accuracy. Adults' operant starting pitches were significantly lower than those of children, and both children and adults discriminated among songs when choosing a starting pitch.
Eminence Choices in Three Musical Genres and Music Media Preferences
Authors: Rose Richard F. , Wagner Michael J.
Published: June 2006

Subjects in college classes (N = 413) were asked to list five compositions that should “live forever” in three categories: pop/rock, orchestral, and choral/operatic. The students also provided information regarding musical training listening habits, and ownership of audio equipment. Fewer than 50% of the subjects listed five compositions in any one category. Subjects with approximately 10 years of music training completed more entries in the orchestral and choral/operatic categories than did those with fewer years of study. Those who had 3 or more years of music study were better able to complete the music survey than were other subjects. Approximately equal numbers of subjects preferred to listen to music on tapes, radios, and compact disc (CD) formats. Generally, younger subjects listened to more music per day than did older subjects, and subjects who preferred to listen to music on CD players listened to music more hours per day than did subjects choosing other devices.
Explaining Expressive Performance: Component Cognitive Skills in an Aural Modeling Task
Authors: Woody Robert H.
Published: June 2006

This study is an examination of musicians' expressive performances, in an aural modeling task, paying special attention to the skills of goal imaging and motor production. Twenty-five university musicians heard expressive piano excerpts preceded by expressionless “deadpan” versions to use as the bases of comparison. After giving imitative performances of each expressive model, subjects indicated the perceived dynamic and tempo contours of the model by drawing on a chart. Multiple regression analyses were used to explain the dynamic variations of subjects' expressive performances. A theoretical model designated “contextual goal image” consisted of (a) subjects' previous attempts at performing in a deadpan manner (indicating the expressive conventions automatically applied to the excerpts' musical contexts) and (b) their line drawings of what they perceived in the models. Overall, the contextual goal image model explained a large proportion of the variance in performance, indicating the importance of supplementing automatically applied performance conventions with an explicit goal performance plan.
Relationships between Pitch-Matching Accuracy, Speech Fundamental Frequency, Speech Range, Age, and Gender in American English-Speaking Preschool Children
Authors: Trollinger Valerie L.
Published: June 2006

This study is an investigation of the relationships among acoustical measurements of pitch-matching accuracy, speech fundamental frequency, speech frequency range, age, and gender in preschool children. Consideration was taken in applying known research concerned with the anatomical characteristics of the developing child voice to see if a relationship between the acoustic findings and anatomical structure and function was evident. Participants in the study were 70 English-speaking children, ages 36–71 months, from three geographical areas of the United States. Subjects were asked to engage in directed and spontaneous speech activities and short echo-singing activities. All speech and singing data were taped and subsequently analyzed for fundamental frequency (Fo) using the Cspeech acoustical voice analysis program. Results revealed (a) both speech Fo and speech range were the overall strongest predictors of pitch-matching accuracy (p < .0001) and (b) that age in months was a significant predictor (p = .03) of the ability to sing the lower pitches (C and D) used in the study. Gender also emerged as a significant predictor of pitch-matching accuracy, but not as strong as speech fundamental frequency or speech range. The acoustic findings supported previously established research findings concerned with child vocal anatomy and function.
Development of Music Creativity among Elementary School Students
Authors: Kiehn Mark T.
Published: June 2006

The purpose of this study was to compare the music improvisational creativity of students in Grades 2, 4, and 6. Randomly selected participants ( N = 89) were given two measures of creativity, the Vaughan Test of Musical Creativity and the Torrance Tests of Creative Thinking (figural form). Two independent judges scored responses on the Vaughan test to determine music improvisational creativity. A significant grade-level difference emerged for music creativity scores, with Grade 2 students scoring significantly lower than Grade 4 and 6 students. Results of the study may indicate a music creativity growth stage exists from Grade 2 to 4, followed by a developmental leveling (no significant change in test scores) between Grade 4 and Grade 6. There also were significant gender differences for music creativity test scores, with boys scoring higher than girls. Finally, a weak but statistically significant correlation was found between music creativity and figural creativity.
Effect of Virtual Reality Graded Exposure on Heart Rate and Self-Reported Anxiety Levels of Performing Saxophonists
Authors: Orman Evelyn K.
Published: June 2006

This study is an examination of the effect of computer-generated virtual reality graded exposure on the physiological and psychological responses of performing musicians. Eight university saxophone majors, five men and three women, participated in twelve 15- to 20-minute weekly practice sessions during which they were immersed in one of four different virtual environments designed to elicit various anxiety levels. Baseline heart rates and subjective measurements were taken prior to immersion and continued throughout the exposure period. In addition, heart rate and subjective measurements were recorded for three live performances given by each subject before beginning the virtual reality exposure and after completion of the sixth and the twelfth exposure sessions. Findings indicated that the virtual environments did elicit a sense of presence and may have provided the means for desensitization. Heart-rate readings and psychological indications of anxiety did not always correspond.
The Relationship between the Undergraduate Music Methods Class Curriculum and the Use of Music in the Classrooms of In-Service Elementary Teachers
Authors: Propst Tonya Gray
Published: June 2006

The purpose of this study was to determine which experiences in undergraduate elementary music methods curricula were the strongest predictors of the amount of time elementary classroom teachers used music weekly in their classrooms. A discriminant analysis procedure was used to determine whether the variable clusters considered simultaneously were significant predictors of the amount of time elementary classroom teachers ( n = 297) use music in their classrooms. Of the three variable cluster groupings, two were found to contribute uniquely to the definition of the discriminant function. More than 42% of the subjects were correctly classified as to the amount of time they used music in their classroom by simultaneously considering Variable Cluster 1 (participating in folk dances, singing games, movements; integrating music with academic subjects; creating songs, rhythms, movements) and Variable Cluster 3 (developing call charts; teaching lessons on musical concepts; practicing solfege; reading music notation; playing musical recordings as background music; identifying names of instruments in the orchestra).
Influence of Selected Variables on Solo and Small-Ensemble Festival Ratings
Authors: Bergee Martin J. , Platt Melvin C.
Published: June 2006

With this study, we examined four potential influences on American high school solo and. small-ensemble festival adjudicator ratings—time of day, performing medium (vocal or instrumental), type of event (solo or ensemble), and school size. A total of 7,355 instrumental and vocal events from two consecutive midwestern state solo and ensemble festivals were analyzed. The two festivals, held in 2001 and 2002, employed 75 adjudicators (33 vocal and 42 instrumental). Statistically significant differences were found in the main effects of time of day, type of event, and school size. The averages rating for all events moved toward “Superior” (“I”) as the day progressed. This tendency, found in all size classifications except the largest, was most prevalent among events from mid-size schools. Large-school events received higher average ratings than did small-school events. Although preliminary analyses showed that small-school events were disproportionately held during morning hours, the interaction between time of day and school size was not significant. Significant time-of-day by performing-medium (vocal/instrumental) and type-of-event (solo/ensemble) by performing-medium interactions were found. The two performing media seemed to mirror each others rating patterns. Vocal ensemble events were more likely to receive a superior rating than were vocal solo events, whereas the opposite was true for instrumental events. Similar time-of-day tendencies were found in both festivals, despite almost entirely different adjudicators. Representing a more even mix of public school and college teachers and selected based on different criteria, the 2002 adjudicators awarded significantly more Superior ratings.
A Meta-Analysis on the Effects of Music as Reinforcement for Education/Therapy Objectives
Authors: Standley Jayne M.
Published: June 2006

This meta-analysis evaluated 208 variables derived from 98 studies incorporating I music as a contingency for education and therapeutic objectives. Variables were converted to effect sizes (ES) via statistical formulae and compared for determination of characteristics affecting reinforcement value of music. The overall benefits attributable to contingent music were almost three standard deviations greater than control/baseline conditions (ES= 2.90). Results demonstrate that contingent music was more effective than contingent nonmusic stimuli used in these studies and more effective than continuous music. Pairing other stimuli such as food, approval, or visual stimulation with the music decreased its effectiveness as a reinforcer. Uniquely, music functioned as a reinforcer and simultaneously as subject matter, and there was evidence of generalized benefit to other academic and social behaviors that were measured but were not contingently reinforced with music.
An Exploration of Children's Musical Compositions
Authors: Wilson Sarah J. , Wales Roger J.
Published: June 2006

In this study, we examined the musical compositions of children aged 7 and 9 years to discover the nature of childrens melodic and rhythmic representations of music. The compositions were performed using a computer program that did not require formal music training. Post hoc analysis revealed that the compositions could be divided into three melodic and rhythmic developmental stages that varied according to melodic contour, tonality, rhythmic grouping, and meter. Older children created more compositions at higher stages of complexity, and the more private musical training children had received, the more rhythmically complex their compositions were. The girls produced a greater percentage of compositions assigned to the highest stages than did the boys. Qualitative features of the subjects' approach to the task were noted during testing and were also found to vary with developmental stage. The number of parts inherent in the compositions was a nonpredictive variable in this analysis.
An Ethnography of Improvisation Training in a Music Methods Course
Authors: Delia-Pietra Christopher J. , Campbell Patricia Shehan
Published: June 2006

In the belief that the strengthening of secondary school music programs is at least partially linked to the training of prospective teachers in the techniques of improvisation, me have examined the process by which music education students reveal an understanding of improvisation, its relationship to analytical listening, the musical and social interactions that can result from its study and practice in a group setting, and ways to integrate it into the curriculum. A 5-week improvisation training segment was included in a secondary music methods course. Five 90-minute sessions were focused on listening and analyzing model pieces and consequent small-group improvisations “in the style of the model.” Data were analyzed using ethnographic techniques. The profiles of two students were developed to trace emerging thoughts and behaviors regarding improvisation training. Although the profiled students differed as to prior experiences and personal perspectives on music-making and teaching, both showed evidence of an evolving sensitivity to the process of improvisation due to instruction—for themselves and for their students.
Musicians' and Nonmusicians' Aural Perception of Orchestral Instrument Families
Authors: Rentz Earlene
Published: June 2006

The purpose of this study was to examine aural perception in a selective listening task using a Continuous Response Digital Interface (CRDI). Undergraduate college students (60 musicians, 60 nonmusicians) listened to an excerpt from Billy the Kid by Aaron Copland. Subjects indicated focus on instrumental family by manipulating the indicator of the CRDI. “Sound intervals” were determined by changes in predominant instrument family in the orchestral texture. Families were divided into five categories: (a) brass, (b) percussion, (c) woodwinds, (d) strings, and (e) all The “all” category indicated focus on three or more families simultaneously (e.g., tutti). Results were based on examination of subjects' category selections in terms of percentages of time focused on each category within each interval Analyses of cumulative seconds across all intervals indicated that nonmusicians focused on brass and percussion longer than did musicians. Musicians focused on strings longer and selected strings mare frequently than did nonmusicians. Musicians also indicated focus on three or more families simultaneously more than did nonmusicians.
The Effect of Repetition on Tempo Preferences of Elementary Children
Authors: Moskovitz Elisa M.
Published: June 2006

The purpose of this study was to measure the effect of repeated listenings on children's preferences between selected slow and fast excerpts of art music. The sample consisted of fourth graders from a South Carolina elementary school After a pretest given to control and experimental groups, the experimental groups were exposed to repeated slow excerpts played in comparison to single presentations of different “transitory ” fast examples drawn from baroque, classical, romantic, and atonal styles. The control group duplicated this procedure with the exception that both slow and fast listening examples were always “transitory.” The proportions of control and experimental group preferences were statistically analyzed, and significant results were obtained. The experimental group exceeded the control group in its choices of slow excerpts in all style categories tested. Repetition had a positive effect on children's preferences for slow music.
A Multidimensional Scaling Analysis of Musical Style
Authors: Eastlund Joyce O.
Published: June 2006

This study was designed to define the dominant perceptual dimensions used by listeners in classification of music excerpts by style. In addition, similarity ratings of novice listeners, defined as those with limited training and expert listeners, defined as those with advanced degrees in music and at least 5 years of teaching experience, were compared. Subjects (N = 30) rated all possible pairings of fifteen 15-second excerpts drawn from European tonal music composed between 1762 and 1896. Analysis of data from each subgroup solution yielded a three- dimensional solution. When stimulus coordinates were compared, they were found to be significantly correlated. Therefore, the data were pooled. Multidimensional scaling techniques generated a three-dimensional stimulus configuration for the pooled data. Dominant dimensions for novice and expert musicians were interpreted as historical period, complexity or amount of information, and tempo.
Attention and Perseverance Behaviors of Preschool Children Enrolled in Suzuki Violin Lessons and Other Activities
Authors: Scott Laurie
Published: June 2006

The purpose of this study was to examine certain effects of designated activities on attention and persevering behaviors of preschool children. Relationships between teacher reinforcement and student attending behavior were also examined. The subjects, eighty 3- to 5-year-old children, were (a) enrolled in individual Suzuki violin lessons, (b) enrolled in individual and group Suzuki violin lessons, (c) enrolled in creative movement classes, (d) enrolled in preschool activities or classes, or (e) not enrolled in any organized preschool activities or classes. Analysis of classroom and lesson videotapes provided information on teacher and student behaviors. Attention and perseverance behaviors were analyzed through observation of videotape recordings of subjects performing two tasks designed by the experimenter. Both Suzuki groups scored higher on all attention task variables than did children in the other groups. Subjects receiving both individual and group Suzuki violin instruction spent significantly more time on the perseverance task than did all other subjects in the creative movement or preschool group. Teachers of subjects receiving both individual and group Suzuki violin instruction demonstrated significantly more teacher approval than did the preschool or creative movement teachers.
“The Need to Know”: 1994 Senior Researcher Award Acceptance Address
Authors: Carlsen James C.
Published: June 2006

James C. Carlsen is the recipient of the MENC 1994 Senior Researcher Award. The following speech was presented on April 8, 1994, at a special session of the Society for Research in Music Education at MENC's National Biennial In-Service Conference held in Cincinnati, Ohio.
Effects of Tempo, Musical Experience, and Listening Modes on Tempo Modulation Perception
Authors: Sheldon Deborah A.
Published: June 2006

In this study, I investigated the effects of tempo direction, listening mode, and level of subjects' musical experience on speed and accuracy in tempo change detection abilities. Tempo-change and direction-change examples gradually decelerated, accelerated, or remained steady. Listening mode included listening only, listening and watching a conductor, and listening and moving. The two levels of musical experience were defined as music majors ( n = 80) and nonmajors ( n = 80). Subjects listened to music examples and manipulated a Continuous Response Digital Interface (CRDI) to demonstrate perception of tempo alteration. Analysis of data included subject response latency and accuracy.

Experience was found to be a determinant in quantifiably different temporal response. Music majors more accurately detected tempo changes than did nonmajors. Subjects were generally better at detecting tempo acceleration over tempo deceleration. Subjects demonstrated a slightly lower degree of response accuracy when listening and watching a conductor compared to the conditions of listening alone and listening and moving. Most demonstrated shorter initial response latencies during tempo acceleration. The combined variables of experience, tempo-change direction, and listening condition had an interactive effect on response latency.
Factors and Abilities Influencing Sightreading Skill in Music
Authors: McPherson Gary E.
Published: June 2006

This study was designed to replicate and extend existing literature by seeking to determine important factors and abilities that influence sightreading skill in music. The Watkins-Farnum Performance Scale (WFPS) was administered to 101 high school clarinet and trumpet students who were completing Australian Music Examinations Board (AMEB) performance examinations. Findings show that, in the beginning stages of training, sightreading skill is not significantly correlated with the ability to perform a repertoire of rehearsed music for a comprehensive performance examination as assessed on the AMEB examination. As instrumentalists mature, however, correlations between these two aspects of performance seem to strengthen markedly. Consistent with other studies, results show that rhythmic errors far outweigh all other types of errors. Differing strategies used by high-scoring and low-scoring subjects on the WFPS and by two groups of high school subjects in school years 7-9 and 10-12 were observed and discussed.
Children's Strategies for Solving Compositional Problems with Peers
Authors: Wiggins Jacqueline H.
Published: June 2006

This article reports some of the findings of a qualitative study of musical learning processes. The data were drawn from analysis of videotapes and audiotapes that shadowed the classroom experiences of two target students in a fifth-grade general music class over a period of 5 months.

A portion of the curriculum in the study class involved small-group composition projects. Findings reported here characterize the group composition process in terms of the nature of the strategies the children used as they worked together with peers to solve those compositional problems. Children who were successful in completing class assignments used strategies that seemed to follow a pattern of moving from whole (initial planning) to part (development of motivic ideas) and back to whole (reassembling and practicing). The children's decisions seemed to stem from a holistic viewpoint, reflecting a preconceived vision of the final product from the outset. In contrast, there were very few instances of random exploration.
The Tokyo Kosei Wind Orchestra: A Case Study of Intercultural Music Transmission
Authors: Hebert David G.
Published: June 2006

Instrumental music education in Japan has long emphasized wind bands, and in recent decades, Japanese bands have achieved a level of performing excellence that arguably rivals all other nations. This case study of Japan s premier wind ensemble provides insights applicable to bands throughout the nation. The study explores the influence of the ensembles repertoire and educational activities, traces its religious origins, and examines Frederick Fennell's role as musical ambassador. The findings suggest that Japan has not only assimilated and mastered the band genre, but it has transformed the tradition. Moreover, the subculture of wind bands is argued to be a domain of internationalization that challenges Japanese notions of gender roles and ethnic identity.
An Application of Amabile's Consensual Assessment Technique for Rating the Creativity of Children's Musical Compositions
Authors: Hickey Maud
Published: June 2006

Amabile has proposed that the most valid way to measure creativity is by using experts' subjective assessment of creative products—a technique she has labeled “consensual assessment.” The purpose of this study was to test the reliability of the consensual assessment technique on children's musical compositions and to determine which group of judges provides the most reliable ratings of creativity for music compositions of fourth- and fifth-grade children. The groups that were compared were music teachers, composers, theorists, seventh-grade children, and second-grade children. The interjudge reliabilities for each groups creativity ratings on 11 children's musical compositions were: composers, .04; all music teachers, .64; music theorists, .73; seventh-grade children, .61; and second-grade children, .50. Significant correlations were found between the music teachers and music theorists, and between the two groups of children. There were very weak or negative correlations between the composers' scores and the scores of the other groups.
Music Education and Mentoring as Intervention for At-Risk Urban Adolescents: Their Self-Perceptions, Opinions, and Attitudes
Authors: Shields Christina
Published: June 2006

This study describes the role and importance of music education as intervention for at-risk urban adolescents through participation in performance groups while receiving mentoring. Students' self-perceptions over six domains, including musical competency, were measured by scales administered pretest and posttest. Opinions and attitudes of students were gathered in structured interviews and coded for themes. Results showed a significant increase in the students' self-perception of musical competence. A change from a moderate positive relationship to a low positive relationship between perceived musical competency and global self-worth indicated that musical participation in students' lives was domain-specific, related to global self-worth, but not synonymous with it. Students ranking music as important in their lives increased from 76% to 82% over the course of the study. Interviews resulting in 101 themes provided evidence of the importance and role of music, music education, and the music teacher as mentor in the students' lives.
Classroom Teachers' and Music Specialists' Perceived Ability to Implement the National Standards for Music Education
Authors: Byo Susan J.
Published: June 2006

This study was designed as an examination of teacher perceptions about factors affecting the successful teaching of the National Standards for Music Education. Subjects of the study were music specialists and fourth-grade classroom teachers—or generalists—from public elementary schools throughout Florida. A survey was administered to both groups to determine opinions regarding the feasibility of implementing each of the nine National Standards for Music Education (singing, playing instruments, improvising, composing/arranging, reading/notating, listening/analyzing, evaluating, understanding music as it relates to other subjects, and understanding musk as it relates to history and culture) by rating seven items (contact time, resources, assistance, ability, training, interest, responsibility, and level of assistance). Results indicated that, with respect to all seven items, music specialists are considerably more amenable to the implementation of all nine standards than are general educators. Certain standards are more feasible for both music teachers and generalists to integrate, whereas others should be solely implemented by music teachers. Music specialists are less dependent on the assistance of generalists, but the generalists need the assistance of music specialists to successfully implement most standards. Both groups expressed a concern about the lack of time and resources to effectively teach what is required by most standards.
Calvin Brainerd Cady: Thought and Feeling in the Study of Music
Authors: Shiraishi Fumiko
Published: June 2006

Calvin Brainerd Cady (1851-1928) was an influential American music educator who developed a theory of music education that emphasized the unification of children's thoughts and feelings. Focusing on the development of artistic music-conception (the ability to hear music in the mind), Cady taught music's intellectual and emotional aspects simultaneously. Cady demonstrated the effectiveness of his theory through successful music education practices at John Dewey's laboratory school and at his own Music-Education School. Cady was a significant reformer who pioneered several new activities and principles that became standard practices. His practical theories and effective practice influenced many music educators and the course of American music education history. His unification of thought and feeling in the music curriculum is still relevant to current and future music education practices.
A Content Analysis of Doctoral Research in String Education, 1936–1992
Authors: Kantorski Vincent J.
Published: June 2006

The purpose of this study was to analyze the contents of doctoral research written between 1936 and 1992 that related to string education. A search of the Dissertation Abstracts International (DAI) index of dissertations revealed 252 dissertations concerning string education. These dissertation titles and abstracts were analyzed for year of completion, type of degree, instrument, and nine topic areas. Results indicated that the greatest numbers of string education dissertations were written in the 1970s; the Ph.D. was awarded more often than other degrees; violin was researched more than viola, cello, and double bass combined; and the topic areas addressed most often were techniques and skills, performance practice, and information resources. It was suggested that increased doctoral research be done in the areas of string teacher education, string program evaluation, viola, and double bass.
Attributions of Success, Grade Level, and Gender as Factors in Choral Students' Perceptions of Teacher Feedback
Authors: Schmidt Charles P.
Published: June 2006

This study examined 120 secondary school choral students' perceptions of teacher feedback behaviors as a function of students' attributions of success in vocal music, grade level, and gender. Subjects rated 29 audiotaped excerpts of applied vocal instruction that featured teacher approval or disapproval behaviors. The tape presented four excerpts each for approval-improvement, approval-information, approval-control, person-praise, personal approval, norm-referenced approval, and five excerpts of disapproval. Subjects rated excerpts using four 7-point scales: good-bad, effective-ineffective, sincere-insincere, and appropriate-inappropriate. Subjects provided information concerning their attributions of success in vocal music. Responses were coded as internal-stable (ability), internal-unstable (effort), external-stable (task difficulty), and external-unstable (luck). Results indicated that (a) frequencies for students' internal-unstable and internal-stable attributions were greater than frequencies for external (stable or unstable) attributions; (b) students' attributions of success and failure were generally consistent; (c) attributions did not differ significantly by grade level or gender; (d) significant within-subjects differences were found across the approval categories with approval-improvement receiving the highest mean rating and norm-referenced approval receiving the lowest mean rating; (e) females rated approval-improvement, approval-control, person-praise, and personal approvals significantly higher than did males; (f) male subjects rated disapproval behaviors significantly higher than did females; and (g) perception of teacher feedback behaviors did not differ significantly according to students' internal/external attributions or grade level.
Band Musicians' Performance and Eye Contact as Influenced by Loss of a Visual and/or Aural Stimulus
Authors: Fredrickson William E.
Published: June 2006

The purpose of this study was to determine the effect of losing a visual (conductor) and/or aural (ensemble) stimulus on the ability of band members to perform a piece of music with an ensemble. Subjects were 120 undergraduate band members who individually played their instrument while viewing a videotape of a conductor and listening to a band via headphones. After the first 16 measures, experimental groups lost the sound of the band, the picture of the conductor, or both. The control group continued to view and hear the full stimulus tape and received the highest accuracy ratings. Subjects in the group that could only see the conductor were rated almost identically with those who could only hear the ensemble, and both were rated higher than the group that lost the entire stimulus. Videotapes of control-group subjects were analyzed for instances of eye contact with the conductor. These subjects looked up at the conductor nearly 28 % of the time, with glances that averaged just under 1 second each.
The Incidence of Noise-Induced Hearing Loss among Music Teachers
Authors: Cutietta Robert A. , Klich Richard J. , Royse David , Rainbolt Harry
Published: June 2006

The purpose of this study was to compare the hearing acuity of three groups of music teachers: vocal, elementary instrumental, and high school instrumental. One hundred four music teachers were tested for evidence of hearing loss that could possibly be attributed to Noise-Induced Hearing Loss (NIHL). This type of hearing loss is a permanent loss of hearing acuity resulting from repeated exposure to intense sound levels. Results indicate that some risk of NIHL is involved in high school band directing but the degree of risk varies widely among individuals.
The Design, Development, and Evaluation of a Systematic Method for English Diction in Choral Performance
Authors: Fisher Robert E.
Published: June 2006

This study is concerned with the design, development, implementation, and evaluation of a standardized method for teaching English diction for choral music performance. Review and analysis of various approaches to choral diction reveal that such methods generally are inconsistent and based primarily on tradition and personal preference. A review of research in the language, speech, hearing, and acoustical sciences facilitates a more systematic foundation for product planning and design. The product, the Articulatory Diction Development Method (ADDM), focuses on developing kinesthetic awareness and on controlling the speech articulators through various sung exercises. This type of approach is essential since the practices that transfer from speech into song generally are habitual and unconscious.

After 12 weeks of preliminary and prototype testing and refining, the ADDM was implemented for 6 weeks in three high school choirs. Pretraining and posttraining recordings provided data for evaluating the method's effectiveness. Evaluation was based on choral tone preference responses and text intelligibility scores from a group of 47 judges. The method was significantly effective in improving choral tone and textual intelligibility in all three choral ensembles.
Developmental Trends and Relationships in Children's Aural Perception and Symbol Use
Authors: Gromko Joyce Eastlund , Poorman Allison Smith
Published: June 2006

The purpose of this study was to examine the relationships among children's aural perception of tonal patterns and children's symbol use in drawing and selection tasks based on tonal information. Children's performances on perception, drawing, and selection tasks were investigated for developmental trends within and across tasks. Sixty-four children, ranging in age from 4 years, 7 months, to 12 years, 8 months, were tested for their performance on aural perception of tonal patterns (PMMA/IMMA), selection, and drawing tasks. A principal components analysis showed perception, selection, and drawing to load on one factor. When factor scores were examined for differences by age with a one-way ANOVA, age was shown to be a significant effect, F(3, 60) = 7.58, p < .001. Post-hoc comparisons showed that children at the youngest level differed significantly (p < .01) from those at the two older levels on the literacy factor, with scores on all tasks and factor score means revealing a linear trend in children's musical development of symbol use.
Measuring Singing Voice Development in the Elementary General Music Classroom
Authors: Levinowitz Lili M. , Barnes Pamela , Guerrini Susan , Clement Margaret , D'April Pasquale , Morey Mary Jane
Published: June 2006

The primary goal of this study was to examine the reliability of Rutkowski's Singing Voice Development Measure for use in the general music classroom, Grades 1-6. Results indicated that the rating scale, although originally designed for young children, is reliable for use when children in Grades 1-5 perform a short major song in solo. Results from ancillary problems indicate that (a) elementary children may have a better use of their singing voice when performing a major song than a minor song, and (b) a large portion of the children sampled did not have full use of their singing voice.
Effect of Interactive Multimedia Computing on Young Saxophonists' Achievement and Attitude
Authors: Orman Evelyn K.
Published: June 2006

Effects of development and implementation of an interactive multimedia computer program on the achievement and attitude of 44 sixth-grade saxophonists were investigated. For 3 weeks, the control group (n = 24) participated in band while students in the experimental group (n = 20) individually worked on the computer program during 8-15 minutes of their daily band class. Following treatment, students and band directors (n = 4) completed attitude surveys. Additionally, students completed written cognitive and videotaped performance assessments subsequently analyzed by two independent judges. Findings indicated that (a) band directors believed that they had covered assessed material in class; (b) experimental students demonstrated significantly higher levels (p < . 001) of perceived knowledge and performed significantly better (p < . 001) than did control students on written and videotaped assessments; and (c) students and directors indicated acceptance of the computer program. Data suggest that proper development and application of educational multimedia computer programs may benefit instrumental education.
The Status of Orchestra Programs in the Public Schools
Authors: Gillespie Robert , Hamann Donald L.
Published: June 2006

The objective of this study was to gather descriptive information about orchestra programs that can be used as baseline data when considering the needs of school string programs. Of the 1,345 surveys sent to schools offering orchestra instruction, 652 were completed. Orchestra teachers were asked to describe themselves, their schools, and their orchestra's curriculum, students, and music. Findings indicate a continued enrollment increase in school orchestras in the 1990s, although the number of orchestra teachers has remained relatively stable. Also, larger schools are more likely to offer orchestra instruction. The majority of orchestra students and their teachers are white. More than two-thirds of students who begin to play stringed instruments in the schools continue playing them until graduation. Twenty percent of orchestra students are in the upper 10% of their graduating class, even though they make up less than 5% of the student population.
Teaching Effectiveness and Social Skill Development
Authors: Hamann Donald L. , Lineburgh Nancy , Paul Stephen
Published: June 2006

The purpose of this study was to determine whether there were any relationships between adjudicated teaching effectiveness scores, assessed by the Survey of Teaching Effectiveness (Hamann & Baker, 1995), an observation-based assessment instrument, and social skills scores, assessed by the Social Skills Inventory (Riggio, 1989), a self-report instrument, of preservice teachers. Subjects for the study, N = 138, were music education and elementary/secondary education students preparing to be teachers at three universities in Ohio and Oklahoma. From regression analysis, it was found that (a) Emotional Expressivity, an individual's skill in nonverbal communication, (b) Emotional Sensitivity, an individual's skill in receiving and interpreting nonverbal communication of others, and (c) Social Control, an individual's ability to engage others in social discourse, were related to teaching effectiveness among preservice teachers.
The Band Played On: Predicting Students' Intentions to Continue Studying Music
Authors: Corenblum Barry , Marshall Eric
Published: June 2006

A model predicting student intentions to continue in a high school band program was developed and tested. Past research indicates that socioeconomic level and academic competency predict musical aptitude and achievement; these factors may also predict intentions to continue studying music or continue participating in a band program. Factors that may mediate the relation between socioeconomic level, intellectual competency, and intentions—such as students' attitudes toward the band program and their extracurricular musical activities—were also examined. Students provided information about their socioeconomic levels, current grades, attributions for performance in band class, extracurricular musical activities, and perceptions of the attitudes of their parents, band teachers, and the school toward the band program. In addition, band teachers evaluated each student's performance in band. Structural equation modeling indicated that socioeconomic level and teacher evaluations predicted intentions to continue both directly and indirectly through students' outside musical activities and through support for the program by their parents, band teachers, and the school. Implications of these findings for band instruction and suggestions for future research are presented.
Characteristics of Music Teachers and the Progress of Young Instrumentalists
Authors: Davidson Jane W. , Moore Derek G. , Sloboda John A. , Howe Michael J. A.
Published: June 2006

This study is an investigation of the role of some key characteristics of teachers in the development of students' musical ability. Interviewing 257 children who differed in the extent of their instrumental mastery, we discovered that the most successful learners regarded their teachers differently from those children who ceased music study. The more successful learners rated their first teacher higher than did other learners on personal dimensions such as friendliness, and rated their current teacher higher than did other learners on task-oriented professional dimensions such as pushiness. Additionally, the highly successful learners studied, on average, with more teachers than did the other learners; these learners also generally received more individual instruction than did the children who eventually ceased lessons. These findings confirm the importance of matching teacher characteristics to the changing requirements of learners in enabling the development of high levels of musical expertise.