bluuebunny/crossref_metadata_2025 huggingface dataset:
The Effect of Peer Approval and Disapproval on Improvement of Pitch Matching and Group Behavior
Authors: Hanser Suzanne B.
Published: June 2006

This investigation examined the effects of peer approval and disapproval on improvement in pitch-intonation performance and on the approval/disapproval behavior of fellow students. Eighty high school musk students participated in a pitch-matching training program while confederate peers approved or disapproved of the group performance on experimenter's cue. A significant finding was that 10% of the total group pitch-matching variance during treatment was attributable to the number of approvals/disapprovals offered by subjects. The greater the number of approvals, the better the performance. The greater the number of disapprovals given by subjects, the lower the performance.
Comparison of Two Approaches to Teaching Beginning Band
Authors: Whitener William T.
Published: June 2006

This study investigated the effects of a comprehensive musicianship approach as compared to a performance-oriented approach to the instruction of beginning band students at the junior high level. In the comprehensive musicianship approach (experimental group) the students experienced an in-depth study of several of the elements of music as well as form, composition, and improvisation. Students in the performance-oriented approach (control group) were taught according to the band method in use. A pretest-posttest design with the teachers nested within the treatment levels as well as a performance posttest specially designed for the study were used to provide data. The resulting effects of the two approaches on the dependent variables revealed significant differences in the posttest scores in the areas of interval, meter, major-minor mode, and auditory-visual discrimination. All significant differences favored the experimental group. There was no significant difference in the performance test. This evidence suggested that members of both groups performed equally well.
Preferences of Elderly Individuals for Selected Music Education Experiences
Authors: Gilbert Janet P. , Beal Mary R.
Published: June 2006

This study surveyed the musical interests and preferences of persons aged 55 or older to determine whether musical activity preferences are related to living setting or community size. Information was gathered through nationwide administration of a 54-item musical interest survey. Of 400 surveys distributed, 279 were sufficiently completed for use in data analysis. Mean response scores for survey items revealed that subjects preferred observational activities over experiences involving more active participation. A strong preference for older tunes was also noted. Response differences to the survey were also assessed via the Statistical Package for the Social Sciences subprogram multivariate analysis of variance using living setting and community size as the independent variables and scores on the 5 survey subscales as dependent variables. This analysis yielded] significant response differences for both living setting (p < .004) and community size (p < .001), with no significant interaction.
An Investigation of a Learning Sequence of Music Listening Skills
Authors: Hufstader Ronald A.
Published: June 2006

The purpose of this study was to investigate the possible existence of a learning sequence for music listening skills associated with the detection of alterations in timbre, rhythm, melodic pitch patterns, and harmony. An author-devised test of aural perception skills was adminstered to 596 first, third, fifth, and seventh grade students. It was found that a learning sequence of timbre, rhythm, melodic pitch patterns, and harmony seemed to exist for the students used in this study.
Discrimination of Tonal Direction on Verbal and Nonverbal Tasks by First Grade Children
Authors: Hair Harriet I.
Published: June 2006

This study investigated the ability of first grade children to discriminate tonal direction on verbal and nonverbal tasks. The verbal tasks required the children to mark a written word on an answer sheet indicating discrimination between paired tonal patterns, and to give spoken verbal descriptions of the tonal direction of patterns they had played or heard. Children were allowed to use their own vocabulary in their descriptions. The nonverbal tasks required the children to play tonal patterns on resonator bells that matched those played by the investigator. Subjects scored significantly higher on the non-verbal tasks than on the verbal tasks. They scored significatly higher on the written tests than on the spoken tests. Many of these children could perceive differences in tonal patterns and could match directional patterns without being able to verbalize the concept of tonal direction using traditional music terminology.
Physical Effects and Motor Responses to Music
Authors: Dainow Elliott
Published: June 2006

This article briefly surveys the literature on experiments relating to the physical effects of listening to music, as well as motor responses to music. The various response parameters discussed include heart rate, respiration, galvanic skin resistance, and muscle tension. Motor response to music is discussed as well. Other aspects considered are methodolgical issues, the comparative responsitivity of musical and nonmusical subjects, and the problem of subjective and objective correspondence of response data. Some cautions and directions for future research are discussed briefly.
Effects of Dynamics, Halves of Exercise, and Trial Sequences on Tempo Accuracy
Authors: Kuhn Terry Lee
Published: June 2006

Twenty subjects performed a short exercise, containing two dynamic levels, twice. Each subject listened to a metronomic tempo before performing the exercise, which was subsequently timed to the nearest .01 second. Timings were compared to discover the influence of the total sequence of dynamics and trials, the first and second half of the exercise, the first and second trial, and the interaction of the first three factors. Significant differences were produced between the first and second halves of the exercise and between the two trials on the exercises, indicating a tendency for subjects to increase tempo during the performance. The sequence factor and all interactions were nonsignificant, indicating that the total sequence of dynamics did not influence total performance time by subjects and that dynamic levels did not influence total performance time.
Elementary Student Attending Behavior as a Function of Classroom Activities
Authors: Forsythe Jere L.
Published: June 2006

This study investigated the extent to which attending behavior (on-task participation) of students in elementary music classes is a function of the activities in which students engage. On-task behavior also was examined for possible relationships with teachers and curriculum. A total of 262 in-class observations of 10 to 20 minutes each were conducted at all grade levels (K-6) taught by 11 elementary music teachers during one academic year. An interval recording technique was used to record the number of students judged to be off-task during a series of 15-second intervals. Symbols representing 11 different activities were placed on the form. Factor analysis produced significantly different levels of off-task behavior relating to activity, teacher, and curriculum. Such activities as playing instruments and singing yielded low levels of off-task behavior; students showed higher off-task levels during periods of “getting ready” for activities and during periods in which teachers and students were interacting verbally. A significant interaction occurred between teacher and activity only when the “getting ready” activity was included in the analysis. Off-task levels did not correlate significantly with the amount of time spent on the various activities. These results suggest that attending behavior is, in part, a function of the nature of the activity in which students participate.
Effects of Listeners' and Performers' Race on Music Preferences
Authors: McCrary Jan
Published: June 2006

This study's purpose was to examine the effects of black and white listeners' and performers' race on music preferences. On a Likert-type rating scale, middle-school (n = 102) and university (n =119) listeners indicated how much they liked or disliked 20 taped music examples. On a second rating scale, the listeners selected a point closest to the racial identifier that they believed described the performer's race. A second measurement examined the participants' attitudes toward social encounters with blacks and whites.

Only the black listeners showed statistically significant differences in their music preferences for white and black performers (p < .01). These listeners gave stronger preference ratings when they identified the performer's race as black. White listeners' preference ratings, however, were virtually equal for the black and white performers. On the social-encounter measurement, both black and white respondents provided more positive responses to statements of encounters with members of their own race than with the other racial group.
The “Missing Males” and Other Gender Issues in Music Education: Evidence from the Music Supervisors' Journal, 1914-1924
Authors: Koza Julia Eklund
Published: June 2006

An analysis of gender-related references appearing in the Music Supervisors' Journal (MSJ) from 1914 through 1924 revealed that both coeducational and single-sex musical organizations abounded and that vocal and instrumental instruction for boys and girls was advocated. When one sex or the other was singled out for consideration, however, the spotlight usually was focused on males. In addition to the “missing males” problem, writers in the MSJ discussed the role of music in the education of boys, career opportunities in music for males, the relationship of music to the nature and character development of boys, boys' musical likes and dislikes, the male singing voice, and music for the man at war. By contrast, little attention was devoted exclusively to females, their interests, or their problems. This analysis invites reflection on whether gender issues pertaining to females continue to be overlooked by the music education profession today.
Attitudes of Children toward Singing and Choir Participation and Assessed Singing Skill
Authors: Mizener Charlotte P.
Published: June 2006

The purpose of this study was to examine the attitudes of elementary music students toward singing and choir participation in relation to grade level and gender, classroom singing activities, previous and current out-of-school singing experiences, and degree of singing skill, both self-perceived and assessed. Data were obtained from 542 third- through sixth-grade children from responses to a questionnaire and from taped singing performances. Cross-tabulations of response data showed that most subjects indicated a positive attitude toward singing, but less than half were interested in choral singing. Girls, younger students, those who liked to sing, and those who wanted to sing in a choir generally responded more positively to most questionnaire items. Fourth and fifth graders had higher scores on one aspect of singing accuracy, but no other significant differences were found between singing skill and other variables in the study.
When Tempo Changes Rhythm: The Effect of Tempo on Nonmusicians' Perception of Rhythm
Authors: Duke Robert A.
Published: June 2006

The present study assessed the effects of tempo differences on listeners' ability to recognize previously heard rhythm phrases. The effect of audible beat on subjects' response accuracy also was examined. Three hundred twenty third-, fourth-, and fifth-grade students and nonmusic-major undergraduates heard one of two versions of a 20-item paired-comparison test and indicated whether the second rhythm in each pair was the same or not the same as the first rhythm in the pair. In one test version, a second “voice” accompanied each rhythm at the rate of the steady beat. Rhythm performances at the rate of 100 beats per minute (bpm) were compared to performances at 50, 75, 125, and 150 bpm.

The mean number of correct responses for undergraduates was significantly higher than the corresponding means for the third-, fourth-, and fifth-grade subjects, which were not significantly different from one another. Response accuracy across all groups was affected significantly both by the comparison tempo and by the direction of tempo change between the first and second rhythms in the test item. The mean number of correct responses for items with a 50-bpm comparison tempo was significantly lower than the correct response means for items with 75-, 125-, and 150-bpm comparison tempos, which did not differ significantly from one another. Subjects were better able to identify paired rhythms as identical when the tempo of the second rhythm was the faster of the two examples in the pair than when the second example was the slower of the two examples. There were no differences in response accuracy attributable to the presence (or absence) of an audible steady beat in the stimulus, and there were no significant interactions between main effects.
Effects of Intensity and Age on Perception of Accent in Isochronous Sequences of a Snare Drum Timbre
Authors: Walls Kimberly C.
Published: June 2006

Musical expression is often dependent upon accentuation, yet there is little research in the perception of dynamic accent in music and its relationship to intensity just noticeable differences (JNDs). This experiment estimated relationships among (a) accent limen (AL), (b) difference limen (DL), and (c) the ages of the nonmusician female subjects (N = 51). The AL was the intensity increment producing 80 % correct criteria in subjects' perceptions of single accented tones embedded xvithin seven-tone isochronous series. The unaccented tones were identical-timbre 87-dB(A) digitally produced snare drum sounds. The DL was the intensity difference in tone pairs that produced a 75% correct criterion. The relationship between AL and DL was not significant [F(1, 48) = 5.505, p = .197]. The relationship between AL and age was significant [F(1, 48) = 5.732, p = .021], suggesting that the amount of intensity change required for perception of intensity accentuation in musical set-I tings (especially by children) should be larger than the DL.
Familiarity with Basic Song Repertoire: Music Education/Therapy Majors versus Elementary Education Majors
Authors: Prickett Carol A. , Bridges Madeline S.
Published: June 2006

An audiotape of the tunes of 25 standard songs assumed to be known by everyone who has finished Grade 6 was played for 273 undergraduate music therapy and music education students and 306 elementary education students who were beginning a music skills class. Music majors identified significantly more tunes than did elementary education majors, but the means for both groups indicated that neither had developed a strong repertoire of standard songs outside the college classroom. Several songs that music educators have stated are very important for children to learn could not be identified by even half the students in either group. It is recommended that those preparing elementary education students emphasize building a song repertoire and that those teaching music therapy and education students consider adding this goal to appropriate courses.
The Evaluation of Teaching in Choral Rehearsals
Authors: Yarbrough Cornelia , Madsen Katia
Published: June 2006

Seven rehearsal excerpts demonstrating research-identified teaching skills were presented to university music majors ( N = 89) for ratings and comments. The excerpts focused on the conductor/teacher and were selected from previously taped choral rehearsals of two contrasting pieces across one complete semester. Numerical ratings from 1 to 10 were assigned by subjects to 10 categories of student and teacher behavior: time use, musicianship, accuracy of presentation, student attentiveness, student performance quality, enthusiasm, intensity, pacing, personality, and overall effectiveness. Comparisons of the characteristics of the highest-rated excerpt with the highest-rated showed that the highest-rated excerpt contained less off-task student behavior, a higher percentage of approvals, more eye contact, more activity changes, and that the average length of both teacher and student activities was from 5-6 seconds. Subjects' comments revealed that the highest-rated excerpt received the most positive comments and the lowest-rated received the most negative comments. For the highest-rated excerpt, the most positive comments were for student attentiveness, enthusiasm, pacing, and overall teaching effectiveness; and for the lowest-rated, the most negative comments were for student attentiveness, pacing, and overall teaching effectiveness.
Proximal Positioning: A Strategy of Practice in Violin Pedagogy
Authors: Gholson Sylvia A.
Published: June 2006

The research problem for this study was the identification and characterization of patterns of expert teaching practice as they occurred in context. The primary participant, renowned violin pedagogue Dorothy DeLay, was observed in the natural setting of her studio, and her teaching practices were documented through field notes, audiotapes, and contextual artifacts. The theory of proximal positioning represents a dominant theme within the educational environment Delay created. This pattern of teaching practice accounts for the adjustments that a pedagogue makes in order to assist students through zones of proximal development. Two categories of teaching strategies support this theory. Preparatory strategies are characterized by teacher actions that reveal the overall goals of instruction and processes for probing student frames of reference. Facilitative strategies are characterized in terms of lesson-goal development, cognitive magnification of performance details (an attention-directing tactic), the use of metaphor (a cognitive structuring strategy), and the creation of contextual regions of comfort and challenge.
Emotion versus Tension in Haydn's Symphony no. 104 as Measured by the Two-Dimensional Continuous Response Digital Interface
Authors: Madsen Clifford K.
Published: June 2006

This study compared musicians' responses while listening to the first movement of Haydn's Symphony no. 104 using a two-dimensional continuous response digital interface (CRDI). The two-dimensional CRDI uses a mouse cursor via a computer screen to indicate the interrelationship of two dimensions simultaneously. In the present investigation, 50 musicians were presented with the dimensions of arousal (i.e., relaxing-exciting) and affect (i.e., ugly-beautiful). The vertical dimension on the computer screen listed the word “Exciting” at the top and “Relaxing” at the bottom; the horizontal axis listed “Ugly” on the left side and “Beautiful” on the opposite side. Subjects moved the cursor as they tracked their response to the musk. Results indicated that there was an inverse relationship between the two dimensions as subjects tracked responses during this selection. The correlation between the two dimensions was r = −.58. Additionally, graphic analysis indicated almost a mirror-image relationship between the two dimensions. When analyzed within the musical context, both the arousal and the excitement dimensions evidenced many subtle characteristics shown graphically as peaks and valleys corresponding to variations in the music. It was apparent that these two dimensions represent different aspects of perceived listening; the exciting-relaxing dimension representing degrees of arousal that were most often the opposite from subjects' affective response. Additional comparisons were made with previous research that used this identical Haydn selection but measured each dimension separately.
Characteristics of 50 Years of Research Samples Found in the Journal of Research in Music Education, 1953–2002
Authors: Ebie Brian D.
Published: June 2006

The purpose of this study was to investigate and identify specific characteristics and frequencies of subject samples as found in the Journal of Research in Music Education from its inception in 1953 through the final issue of 2002. Seven research questions were analyzed with respect to research samples used during the past 50 years. Samples were analyzed in the following categories: school level (elementary, secondary, or college/university); grade in school; major in college/university; public school personnel; college/university personnel; public at large; and geographic location. Results indicated that 34 % of subject samples during the past 50 years have been drawn from college/university settings; 21 % of subject samples have been from elementary school settings; and 19% of subject samples have been drawn from secondary school settings. Gender- and race-specific samples are analyzed in this study, as were research samples by state and geographic location. Conclusions and implications for future research are discussed.
Developmentally Appropriate Practice in a Yamaha Music School
Authors: Miranda Martina L.
Published: June 2006

Pedagogical practices in a Yamaha Music School were explored using ethnographic techniques to collect data during one semester of instruction. Two groups of participants served as informants in this study: (1) children 4-6 years of age, who were enrolled in the Yamaha Junior Music Courses, and (2) their teachers and parents in the setting. Developmentally Appropriate Practice (DAP) guidelines as published by the National Association for the Education of Young Children were the theoretical grounding for the study. The following question guided the investigation: In what ways are the events and interactions in a Yamaha music class congruent or incongruent with DAP guidelines ? Congruent events and interactions were the pace and variety of instructional activities, recognition of individuals, involvement of parents, and inclusion of dramatic play. Incongruent events and interactions were the approach to two-hand playing, fixed accompaniment tempos, minimal peer interactions, and fixed curricular goals.
Effects of Performer Attractiveness, Stage Behavior, and Dress on Evaluation of Children's Piano Performances
Authors: Wapnick Joel , Mazza Jolan Kovacs , Darrow Alice Ann
Published: June 2006

The purpose of this study was to determine whether selected nonmusical attributes of sixth-grade pianists would affect ratings of their performances. Twenty pianists (10 girl and 10 boys) were videotaped. They and their performances were rated by 123 musically trained evaluators. Members of the visual group viewed a videotape with the sound turned off. They rated pianists on appropriateness of dress, stage behavior, and physical attractiveness. These ratings were the basis for grouping students as being high or low on each of these three attributes. Audiovisual and audio group members rated musical performance on five test items. Results revealed support for the existence of a bias: although high pianists were rated higher than low pianists under the audio condition for all three attributes, the differences between them often were significantly greater under the audiovisual condition than under the audio-only condition. In addition, and unlike finding of earlier studies, videotaped performances were not rated higher than audiotaped performances. Also, female judges were more lenient than male judges. Finally, male and female pianists were affected differently by nonmusical attributes for about half of the test items.
On Publishing, Pluralism, and Pitching
Authors: Geringer John M.
Published: June 2006

John M. Geringer is the recipient of the MENC 2000 Senior Researcher Award. The following speech was presented on March 10, 2000, at a special session of the Society for Research in Music Education at MENC's National Biennial In-Service Conference held in Washington, D. C.
Effects of Tone-Quality Conditions on Perception and Performance of Pitch among Selected Wind Instrumentalists
Authors: Worthy Michael D.
Published: June 2006

The purpose of this study was to assess the effects of changes in tone quality on the perception of pitch and to determine the extent to which the same tone-quality conditions would affect the performance of pitch. The experiment was conducted in two segments: a perception task that involved judgments of paired comparisons of tones, and a performance task that involved tone matching. High school and university wind instrumentalists participated in perception and performance tasks that were similar to provide a basis for comparison. Results indicated that tone-quality conditions had significant effects on the perception and performance of pitch. Subjects judged “bright” tones “brighter” in tone quality and sharper in pitch than reference tones and performed sharp when matching “bright” stimuli. Subjects judged “dark” tones “darker” in tone quality and flatter in pitch than reference tones and performed flat when matching “dark ” stimuli.
The Match between Music Excerpts and Written Descriptions by Fifth and Sixth Graders
Authors: Flowers Patricia J.
Published: June 2006

The purpose of this study was to examine the effect of instruction in writing about music on descriptions of music excerpts. Fifth and sixth graders received 4 days of instruction in music description focusing on metaphor and emotion, analytic music elements, and temporal language. Then, they wrote brief descriptions of six excerpts that were counterbalanced for instrumentation and style. Their descriptions were compared to those of students who did not receive instruction. There were no significant differences between children receiving and not receiving instruction within each grade level, except that the taught fifth graders mentioned significantly more musical elements than did fifth graders who did not receive instruction. There were no significant differences within grade levels in the rate at which expert readers matched descriptions to the original music excerpt, but sixth graders significantly outperformed the fifth graders. When excerpts were not correctly matched, they were usually misassigned to the excerpt with the same instrumentation, corroborating the priority of naming instruments in music description tasks.
Time Use, Rehearsal Activity, and Student Off-Task Behavior during the Initial Minutes of High School Choral Rehearsals
Authors: Brendell Janna K.
Published: June 2006

In this study, the use of rehearsal time during the initial minutes (i.e., the warm-up time) of 33 high school choral rehearsals was examined. Student attentiveness was also investigated during initial rehearsal activities. Trained observers used interval observation techniques in collecting attentiveness, rehearsal activity, and time usage data. Interobserver agreement averaged .93 for off-task, .88 for activity coding, and .85 for rehearsal timing. Conductors averaged 43.45 elapsed seconds prior to the first verbal statement to begin and 14 minutes 19 seconds prior to rehearsal of literature. Time allotted to rehearsal activities was the following: sight-reading, 22.23%; vocal warm-up, 9.63%; getting ready, 6.75%; physical warm-up, 3.37%; literature instruction, 1.84%; and other activity, 1.46%. Off-task percentages were: getting ready, 26.14%; physical warm-up, 18.48%; other, 16.53%; literature instruction, 16.27%; vocal warm-up, 15.07%; and sight-reading, 9.22%. Results indicated that the highest percentages of off-task behavior occurred during activities requiring less singing and active participation. Off-task behavior seemed to be a function of the nature of the activity.
Musicians' and Nonmusicians' Assessment of Perceived Rubato in Musical Performance
Authors: Johnson Christopher M.
Published: June 2006

The purpose of this study was to investigate musicians' and nonmusicians' assessment of perceived rubato in musical performance. Music majors ( n = 48) and nonmusic majors ( n = 48) listened to four different soloists' performances of the development section of Mozart's Concerto for Horn and Orchestra No. 2, movement 1. Subjects evaluated the degree of appropriateness/inappropriateness of each soloist's use of rubato using the Continuous Response Digital Interface (CRDI), an instrument that allows ongoing evaluation of specified performance variables. Using a Likert-type scale, subjects also assessed soloists with regard to musicianship, expression, tone quality, and tempo. Results indicated significant differences for musicians compared to nonmusicians regarding rubato assessments. Musicians agreed with expert assessments, whereas non-musicians' scores seemed haphazard. When musicians were separated into two groups based on musical skill level, results from the “more proficient” musicians were in direct agreement with the panel of experts' evaluations. The “less proficient” musicians were much less discriminating across all dependent measures; rubato assessments disagreed substantially with those of experts. This study suggests that rubato is an extremely subtle musical nuance. Though nonmusicians and less proficient musicians seem to be able to assess performances on somewhat more obvious variables, it seems that only the most proficient musicians can evaluate the usage of rubato in performance. Based on the data from this study, it appears that a relationship exists between musicianship and the use of rubato and that use of rubato might well be one element that separates the very finest performance from the simply ordinary.
Effect of Conductor Verbalization, Dynamic Markings, Conductor Gesture, and Choir Dynamic Level on Singers' Dynamic Responses
Authors: Skadsem Julie A.
Published: June 2006

The purpose of this study was to determine the effects of conductor verbalization, dynamic markings, conductor gesture, and choir dynamic level on individual singers' dynamic responses in music. Singers (N = 144) sang along with nine renditions of a tune while watching a videotape of a conductor, listening to a choir through headphones, and referring to the music. Instructions regarding the dynamic level (soft or loud) were given under four conditions: (a) verbal instructions, (b) written instructions, (c) changes in conducting gesture, and (d) volume changes in the choir. Results indicated that verbal instructions from the conductor elicited significantly stronger dynamic performance responses (alpha = .05) than did the other three instructional conditions. Singers responded significantly better on instructions pertaining to soft singing than they did on instructions relating to loud singing. Comparisons were made between conductors, college singers, and high school singers, and eye contact was also examined.
Perceptions of the Voice-Change Process: Male Adult versus Adolescent Musicians and Nonmusicians
Authors: Killian Janice N.
Published: June 2006

To examine the changing-voice process, 141 males were interviewed regarding their voice change. Subjects included changing-voice boys (both singers and nonsingers) and men (both singers and nonsingers during time of voice change). Audiotaped interviews were scripted and verbal content analyzed. Results included the following: Boys remembered significantly more about their voice changes than did men. Singers remembered more than nonsingers. Significantly more singers than nonsingers noticed their voice change themselves and indicated that it affected both their singing and speaking. Five of every six interviewees regarded his voice change as a positive experience, but eight times more negative than positive comments were made. Vocabulary was limited to few words and was similar across all groups. Boys used “crack” and men used “break” to describe the sensation; few used musical terminology. Results are discussed in terms of teacher preparation for those working with adolescent boys.
The Illinois School for the Deaf Band: A Historical Perspective
Authors: Sheldon Deborah A.
Published: June 2006

From 1923 until 1942, the Illinois School for the Deaf included in its offerings for its resident boys the opportunity to participate in a brass band. The band was supported by state and private funds throughout its nearly twenty-year existence. It gave students a musical outlet, provided functional music and entertainment for the other resident students as well as community members, and became a symbol of strength and ability among members of the deaf community. Historical reports recount the outstanding quality of the music performed by the boys. While the band received a fair amount of criticism along with a vast amount of praise, it has been lauded as a most successful and meaningful endeavor. Even though the band has been defunct for more than fifty years, some music classes and activities at the Illinois School for the Deaf are still offered to students.
Relationships among Faculty, Peer, and Self-Evaluations of Applied Performances
Authors: Bergee Martin J.
Published: June 2006

This study is the second in a series examining relationships among faculty, peer, and self-evaluations of applied music end-of-semester performances. At three locations, college and university voice, percussion, woodwind, brass, and stringed instrument instructors rated undergraduate performances. Later, the performers rated the same set of performances (one of which was their own) on videotape. Ranging from .23 to .93, total score faculty interjudge reliability was mixed. Total score interjudge reliability among student (peer) panels was more consistent (.83-. 89). Most category score reliabilities were acceptable, although there was a wide range. Consistent with results of the first investigation, correlations between faculty and peer evaluations generally were high, ranging from .61 (p < .10) to .98 (p < .01). Also consistent with results of the first investigation, self-evaluation correlated poorly with both faculty and peer evaluation. No significant differences in self-evaluation were found among performance concentrations (voice, percussion, etc.) or between preliminary-level (first or second year) and upper-level (third year and beyond) performance status.
Vocal Self-Identification Singing Style, and Singing Range in Relationship to a Measure of Cultural Mistrust in African-American Adolescent Females
Authors: Chinn Beverly Johnson
Published: June 2006

The purpose of this study was to determine the relationship between high or low cultural mistrust and the vocal characteristics of African-American adolescent females (N = 44). The vocal characteristics were vocal self identification, singing style, and singing range. The subjects were assigned to high or low cultural mistrust groups based on scores on the Cultural Mistrust Inventory. A researcher-devised vocal self-identification survey provided information about the subjects' vocal self-concepts and acceptance of vocal models. Subjects sang “America” in a key and style of choice for the singing-style measurement. The performances were analyzed for eight style characteristics: bends, glides, breathiness, hoarseness, raspiness, dips, hard attacks, and emphasis of chest voice. Results indicated statistically significant differences between two groups on each vocal characteristic. The high-mistrust group demonstrated more characteristics associated with the African-American culture than did the low-mistrust group.
Access to String Instruction in American Public Schools
Authors: Smith Camille M.
Published: June 2006

This study is an examination of string access in American public schools; the researcher sought to determine the actual number of school districts in each state that offered string instruction and at which grade levels. Specific questions posed were (a) What is the current relationship between access to string instruction and school-district location, size, and socioeconomic level? (b) How does access vary by school type—elementary, middle, high school? (c) How does access vary in different regions of the country? Data were obtained for each of the 14,183 school districts listed in the 1994-1995 Market Data Retrieval School Directories. A total of 2,268 districts (15.99%) were identified that offered string instruction. Of these, it was found that 71.42% (N = 1,620) offered string instruction at the elementary school level, 78.52% (N = 1,781) at the middle school level, and 80.15%) (N = 1,818) at the high school level. The findings also indicated that string instruction was offered most often in average-socioeconomic-level, medium-sized, urban districts in the Eastern, North Central, and Northwest Music Educators National Conference divisions, and in average-socioeconomic-level, large, metropolitan districts in the Southern, Southwestern, and Western divisions. String instruction was offered least often in low-socioeconomic-level school districts (N = 100) regardless of location or size.
The Effect of a Recorded Model on Band Students' Performance Self-Evaluations, Achievement, and Attitude
Authors: Morrison Steven J. , Montemayor Mark , Wiltshire Eric S.
Published: June 2006

In this study, we examined effectiveness of recorded models in the context of ensemble rehearsals. Over a 5-week treatment period, directors of three middle/junior high and two high school bands systematically included professional recordings as part of their preparation of selected pieces. Students completed weekly self-evaluation reports assessing their individual progress and their ensembles' progress on model and no-model pieces. Using numerical and free-response formats, students evaluated self-achievement and ensemble achievement on notes/rhythms, articulation/dynamics, tuning, and balance. Expert evaluations revealed no difference in achievement between model and no-model pieces on pretreatment and posttreatment performance recordings. Student evaluations showed more modest achievement gains for model pieces. High school students demonstrated more positive self-evaluations for their own versus their ensembles' performance and greater overall differentiation in their evaluations across time. Middle school/junior high students were significantly more positive toward the model pieces. All students provided a greater number of free-response comments for model pieces.
Time Use in Instrumental Rehearsals: A Comparison of Experienced, Novice, and Student Teachers
Authors: Goolsby Thomas W.
Published: June 2006

Sixty instrumental music rehearsals were videotaped to measure the use of rehearsal time by three groups of teachers. Rehearsals were equally divided among those conducted by experienced teachers, novice teachers, and student teachers at the middle and high school levels. Dependent variables included preparation time, initial teacher talk, time in warm-up, time during each musical selection, breaks, final teacher talk, and dismissal. Variables were measured in real time and converted to percentages of class period. The primary variables for teaching activities were time spent in verbal instruction, nonverbal modeling, verbal discipline (disapproval-social), and performance. Findings include: student teachers talked most and allowed students to play least; experienced teachers provided the most break time, divided rehearsal time more equally between a warm-up and two musical selections, spent more than half the period on performance, used the most nonverbal modeling got the ensembles on-task the quickest, and talked the I least during rehearsals.
Job Satisfaction and Stress among Band Directors
Authors: Heston Melissa L. , Dedrick Charles , Raschke Donna , Whitehead Jane
Published: June 2006

Public-school band directors completed a survey in which they were asked to rank-order 10 factors according to their contribution to the directors' sense of job satisfaction. Respondents also rated another set of 10 factors on the degree of stress they experienced in conjunction with these factors. Students were reported to be sources of both high satisfaction and high stress. Parental and administrative support were also considered sources of job satisfaction. Spouses were most often chosen as the primary source of support when directors coped with job-related stress. Overall, the data indicated that strong positive interpersonal relationships between directors and students, parents, administrators, and other faculty could increase the level of job satisfaction experienced by public-school band directors.
Listeners' Preference for Music of Other Cultures: Comparing Response Modes
Authors: Brittin Ruth V.
Published: June 2006

This study was designed to investigate listeners' preferences for music of other cultures, as determined by 10-point Likert-type scales and by continuous ratings taken throughout the duration of each excerpt with a Continuous Response Digital Interface (CRDI). Music major (n = 75), nonmusic major (n = 75), and junior high school (n = 75) musicians participated. One-third of each groups subjects rated the selections with a Likert-type rating-scale, representing a summative, static response. One-third of each group used a single CRDI dial to continuously show preference throughout the music. The remaining third continuously manipulated two CRDI dials, one to indicate preference and the other complexity. Selections representing the following cultures were included: the Caribbean, Africa, India, and Oceania. Listeners using the continuous measurement responses rated selections significantly higher than did listeners using paper-and-pencil rating scales (p < .05). There was no significant difference in preference between listeners who rated preference only and listeners who rated preference and complexity. There were no significant differences attributable to level of music experience. These results have implications for (1) the way teachers present new material to students, (2) the manner in which teachers structure student feedback, and (3) the technological devices teachers use for music activities.
Effect of Instruction in Appropriate Rubato Usage on the Onset Timings of Musicians in Performances of Bach
Authors: Johnson Christopher M.
Published: June 2006

The purpose of this study was to examine the effect of instruction in the use of specific rhythmic nuances on the timings of a musical performance. Volunteer subjects were asked to perform Bach's Suite no. 3 for Violoncello solo, Bouree no. 1, using a computer software program that controlled pitches, amplitude, and all other musical variables. The only aspect of the performance that the operator controlled was the rhythmic onset of each pitch. When the subjects had generated a performance with which they were pleased, they recorded it. Subjects in the experimental group were then given a model of rhythmic variations that represented the aggregate of the rubato variations used by 15 professional cellists in performances of this work. This model was presented visually informs, including a version of the score that had been marked up to indicate incidences of rubato, graphs of these incidences, and a prose synopsis. Subjects were then given time to practice until they believed that they were prepared to make a second recording that incorporated these rhythmic variations. Subjects in the control group repeated the pretest procedures. All note-onset data were analyzed to determine the extent to which subjects imitated the model. Results indicated that both groups' pretests, as well as the control group's posttest, had almost no correlation with the model; while the results of the experimental group's posttest significantly correlated with the rhythmic model.
Path Analysis of a Theoretical Model to Describe the Relationship among Five Types of Musical Performance
Authors: McPherson Gary E. , Bailey Michael , Sinclair Kenneth E.
Published: June 2006

Path analysis was used to test a model designed to encapsulate the flow of influences theorized to exist between five types of musical performance and four factors derived from a researcher-administered questionnaire. Results, using a sample of 101 high school wind instrumentalists, reveal major differences in the pattern of influences leading to the re-creative skill of performing a repertoire of rehearsed music for a formal music examination, compared to the creative ability of improvising. Performing a repertoire of rehearsed music was found to be influenced most by an ability to sight-read, together with a factor consisting of variables concerned with the length of time a subject had been studying his or her instrument and taking lessons. In sharp contrast, an ability to improvise was most markedly influenced by an ability to play by ear. Results for this sample of instrumentalists exposed to a “traditional” style of teaching also suggest that instrumentalists' ability to sight-read may be influenced by how well they are able to play by ear.
Researchers in Music Education/Therapy: Analysis of Publications, Citations, and Retrievability of Work
Authors: Brittin Ruth V. , Standley Jayne M.
Published: June 2006

This study offers a look at accepted standards for evaluation of eminence and productivity in the scientific community and updates the database established by Standley (1984) from the contents of the three premier journals in the field of music education/therapy research: the Journal of Research in Music Education (JRME), the Bulletin of the Council for Research in Music Education (CRME), and the Journal of Music Therapy (JMT). Data from the last 10 years were combined with those in the prior study (inception of the journals through 1982) to identify music researchers with the most publications in the three journals evaluated, to identify the most productive universities in contributing to the research literature, and to identify the most-cited scholars in the field for a period representing a span of more than 40 years. Due to the advent and reliance upon computerized literature searches, the classification of productive authors' research by specialists outside the field was also analyzed to ascertain retrievability. Generally, these results showed that, on average, only 50% of selected authors' works were retrievable via combined searches of ERIC and PsycLit and that most authors' studies were labeled with great diversity. Implications for standards of evaluating eminence, for the ongoing compilation of eminence/productivity data, and for use of computerized databases to locate research are discussed.
Cited Quantitative Research Articles in Music Education Research Journals, 1975–1990: A Content Analysis of Selected Studies
Authors: Schmidt Charles P. , Zdzinski Stephen F.
Published: June 2006

In this article, we identified those studies that were cited most often in research articles published in the Journal of Research in Music Education, the Bulletin of the Council for Research in Music Education, Psychology of Music, the Journal of Music Therapy, Contributions to Music Education, and the Missouri Journal of Research in Music Education between 1975 and 1990. Sampling was limited to citations within descriptive or experimental studies (N = 922) that were data-based. A content analysis of the 26 most cited studies was conducted, and the articles were classified according to populations studied and central variables used. Results indicated that primary dependent variable categories included music preference, student on-task/off-task behavior, perception and/or performance of tempo, vocal performance, pitch accuracy/intonation, melodic or rhythmic perception, teacher approval-disapproval behavior, student attitudes, and evaluation of teaching/instruction. The most frequent independent variables used across the 26 studies included musical stimulus characteristics (e.g., tempo, style), teacher behaviors (e.g., approval-disapproval, eye contact), instructional methods, and subject characteristics (e.g., grade level, training/experience).