bluuebunny/crossref_metadata_2025_split huggingface dataset:
Investigation of the Relationships Between Music Perception and Music Performance
Authors: Marciniak Francis M. 
Published: June 2006

The purpose of this study was to investigate the relationships between the levels of music perception and music performance attained by selected high school bands. The following variables were selected by analysis to determine the extent of their contribution to the relationships: music perception, music performance, music aptitude, ensemble experience, socioeconomic status, amount of instruction in music history and music theory, academic achievement, band literature performed, students' major instruments, amount of directors' teaching experience, and directors' educational backgrounds. The contest ratings earned by the selected bands were considered measures of music performance. Standardized tests used in the study were the Schimke Test of Music Perception, Drake Musical Aptitude Tests, and various academic achievement batteries. The data were submitted to a multiple regression and correlation analysis and analysis of variance. The various analyses of the data indicated that significant relationships existed between music perception and each of the following variables: music aptitude, academic achievement, ensemble experience,- and music history and music theory instruction. Nonsignificant results were found between music perception and the following: literature ratings, directors' backgrounds, socioeconomic status, music performance, and students' major instruments.
Effects of Guided Listening on Musical Enjoyment of Junior High School Students
Authors: Prince Warren F. 
Published: June 2006

This study centered on whether greater liking of specific styles of music (Baroque and twentieth century) would result at the junior high school level in classes providing guided, analytical listening. The dependent variables, liking for Baroque and twentieth-century music, were measured by an investigator-developed test. The research design was pretest-training-post test with control groups. The training consisted of twelve tape-recorded listening lessons for each style of music. The manner of presentation was influenced by Leonard Bernstein's children's concerts. Within the limits of the procedures of this investigation, the findings suggested that greater liking for a particular style of music did not result in classes where music of this style was presented with analytic commentary. The investigator concluded that, in the light of this and other studies, general music teachers should be cautious in their expectations of teaching junior high school students to increase their appreciation of particular styles of music.
Temporal Discrimination of Modulated Intensity in Music Excerpts and Tones
Authors: Geringer John M. 
Published: June 2006

This study was designed to investigate listener discrimination of modulated intensity. Synthesizer music, previously recorded music excerpts, and electronic tones with gradual increases, decreases, or no change in intensity were presented to 108 subjects, 54 musicians and 54 nonmusicians. The total amount of stimulus modulation for both increase and decrease conditions was 12 dB(A) at the rate of 1 dB per second, well above the relative threshold level The time (in seconds) necessary for correct judgments of intensity change served as the dependent measure. Musicians did not differ from nonmusician subjects in the number of correct discriminations nor in latency of correct responses. An analysis of response time demonstrated a significant effect of modulation direction. Subjects correctly discriminated intensity modulation decreases sooner than intensity increases. There were, however, significant interactions between stimulus examples and modulation conditions. Results are discussed in relation to a series of studies concerning temporal modulations within musical contexts.
Effects of Hand Signs, Syllables, and Letters on First Graders' Acquisition of Tonal Skills
Authors: Martin Beverly A. 
Published: June 2006

In this study, I investigated the contributions of tonal syllables, hand signs, and letter representations of tonal syllables, as well as high and low levels of tonal aptitude and school readiness, to the development of verbal and symbolic tonal syllable skills of first-grade students. During Part 1 (17 weeks), all groups echoed tonal patterns with tonal syllables during the first 9 minutes of every class meeting—normally three per week. Group 1 echoed the patterns with tonal syllables only, whereas Groups 2 and 3 echoed and used hand signs; Group 3 also viewed letter representations of the patterns on cards. The patterns, randomly chosen from a 378-item list of three- and four-note tonal patterns, used the syllables do, re, mi, sol, and la; a range from C4 (middle C) to A4 was always used. During Part 2 (17 weeks), all groups echoed tonal patterns but also saw them written in noteheads on a staff. Every other class meeting Group 3 viewed letter representations on the staff instead of note-heads. A three-way analysis of variance of data from the Metropolitan Readiness Tests, the Primary Measures of Music Audiation (PMMA), and three singing tests showed no method to be significantly better for any group as a whole nor for a specific aptitude group. Only tonal aptitude, as measured by PMMA, had a significant effect on test scores.
Self- Expressed Adult Music Education Interests and Music Experiences
Authors: Bowles Chelcy L. 
Published: June 2006

This study assessed self-expressed music education interests and described the music experiences of prospective participants in adult music education. Questionnaires were mailed to a sample of 800 music-performance attenders. Of the 275 people who returned questionnaires, 183 indicated positive responses toward participation and 92 indicated negative responses. Among adults who expressed interest in music participation, piano was the instrument most frequently chosen for private study, followed by voice and guitar. Choral organizations ranked highest among preferred performance organizations, and aural analysis and introductory music history courses ranked highest among preferred areas of academic study. Most of the previous formal experiences of prospective participants comprised private lessons and participation in performance organizations; a surprising amount of self-directed music experience and learning was reported. Results indicated several significant relationships between course preferences and prior experiences with similar music activities. Positive attitude toward participation was found to be significantly related both to current involvement and to early participation in classroom general music. Parents and home were the most frequently cited positive influences in developing music interests.
Perceptions of Role Expectations and Performance of the Music Coordinator
Authors: Heller Robert W. , Quatraro John A. 
Published: June 2006

The purpose of the study was to examine the general conceptual relationship between role expectations and perceived performance of the music coordinator. Dimensions of these concepts focused on the functional components of: administration (routine and staffing), and program (curriculum/research and evaluation). The design of the study included development of the Role Expectation Behavior-Evidenced Questionnaire (REBE). An independent panel of five music experts each attested to the validity of the content and construct of the items on the final form of the REBE, which was administered to a stratified sample of 153 school districts in New York State having music coordinators. The subjects included the chief school officer, the school board president, the music coordinator, and two randomly selected music staff members from each of the participating school districts. The research instrument proved effective in discriminating among perceptions held for role expectations and job performance of the music coordinator by the four referent groups studied. Analysis of the data revealed statistically significant disagreement among the four respondent groups in their respective perceptions of the role of the music coordinator. These differences suggest an apparent lack of clear definition and understanding of the role, responsibilities, and authority of the music coordinator. Throughout all analyses, the significant differences realized among the respondent groups served only to underscore the conflicting levels of expectation and performance established for the music coordinator.
A Study of Two Approaches to Developing Expressive Performance
Authors: Marchand David J. 
Published: June 2006

The purpose of this project was to: (1) study whether expressive performance could be learned; (2) determine which of two instructional methods, entitled Discovery and Expository, would result in greater expressive performance achievement; and (3) determine what effect music experience had upon such achievement. Secondarily, the study also determined what effect the treatments had upon the variables of aural achievement, knowledge of music facts, and vocal skills. Subjects were college-age nonmusic majors in a music fundamentals program. Three course sections of approximately 30 each allowed comparison of the two noted treatments with a control. Results indicated that: (1) expressive perfcrmance can be learned; (2) technical skills might also be enhanced when expression is emphasized as a learning; (3) the two treatments had similar effects upon aural achievement, knowledge of music facts, and vocal skills; and (4) subjects with higher amounts of experience benefited from the more straightforward, teacher-oriented approach, whereas subjects with less experience benefited from the student-centered, Discovery teaching strategies.
Music Reading Ability of Beginning Wind Instrumentalists After Melodic Instruction
Authors: MacKnight Carol B. 
Published: June 2006

Teaching techniques and materials that would treat music reading as a process and emphasize the structure of the melodic line were researched, developed, and then tested with 90 fourth grade students, each studying a wind instrument of his/her choice for a year. Control and experimental groups were set up with the groups and their teachers statistically equated. The only variation in treatment of the two groups was in the method of introducing pitches. The experimental group was introduced to pitch through a series of tonal patterns, while the control group learned a new pitch by letter name, fingering, and sound. The study showed that tonal pattern instruction is superior to note identification teaching techniques in development of both sight reading skills and auditory-visual discrimination skills. The experimental treatment was particularly effective with students of low musical ability as measured by the Watkins-Farnum Performance Scale, a test of instrumental sight reading.
Amzi Chapin: Frontier Singing Master and Folk Hymn Composer
Authors: Scholten James W. 
Published: June 2006

Amzi Chapin was born in Springfield, Massachusetts, in March 1768. From 1791 to 1795 he taught in Virginia and North Carolina. In 1795 Amzi moved to Kentucky where he resided and taught singing schools. The available evidence indicates that he and an older brother, Lucius, were among the first singing masters to teach sacred music west of the Alleghenies. In 1800 Amzi moved to western Pennsylvania where he farmed and taught singing schools periodically until 1831, when he and his family moved to Northfield, Ohio. Amzi resided there until his death on February 19, 1835. From the time of his death until 1969, Amzi Chapin remained a shadowy figure in the history of American music, although both his and his brother' s tunes were included in well-known collections of American sacred music during the nineteenth century. Although Mary O. Eddy did some research on Amzi Chapin in the 1940' s, her research has been relatively unknown to scholars in American music during the past twenty years.
A Study of High School Music Participants Stylistic Preferences and Identification Abilities in Music and the Visual Arts
Authors: Haack Paul 
Published: June 2006

Little is known about how high school students conceptualize the basic Classical-Romantic style dichotomy or how students operate within such a conceptual framework as concerns stylistic preference and identification. Thus 55 subjects were tested with music and visual arts exemplars to assess their preferences and stylistic identification abilities. Although there was a slight preference for the Classical style in general, an interesting interaction resulted in preferences for Classical music and Romantic art. Because the subjects were music performance students, their demonstrated preference for music examples was expected; more surprising, however, was their ability to identify visual arts styles more effectively than musical styles. Knowledge of one's personal preferences appeared to relate to better stylistic identification ability, but more music performance experience did not seem to relate either to preference or stylistic identification ability.
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.
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.
An Empirical Method for Measuring the Aesthetic Experience to Music
Authors: Madsen Clifford K. , Brittin Ruth V. , Capperella-Sheldon Deborah A. 
Published: June 2006

This study was designed to investigate empirically the “aesthetic experience” as individually defined by each subject. Subjects ( N = 30) were faculty members and advanced graduate students at a large university school of music. Each subject listened to a 20-minute excerpt from Act I of Puccini's La Bohème and simultaneously manipulated the dial of a Continuous Response Digital Interface (CRDI) to indicate perceived aesthetic level. The CRDI dial represented a negative/positive continuum along a 256-degree arc. Data collected were charted graphically to indicate levels of aesthetic response across time. Subjects completed a questionnaire designed to estimate frequency, duration, location, and magnitude of perceived aesthetic experiences and also indicated whether dial manipulation roughly corresponded to these experiences. Results indicated that there were different responses throughout the excerpt by all subjects. Heightened aesthetic responses were evident during certain parts of the excerpt. “Peak experiences” were relatively short (15 seconds or less in duration), preceded by a period of concentrated focus of attention, and generally followed by an “afterglow” ranging from 15 seconds to several minutes. All subjects reported having at least one aesthetic experience and also reported that movement of the CRDI dial roughly approximated this experience. “Aesthetic responses” for subjects seemed to cluster at many of the same places in the music, with one collective “peak” experience that was represented by the highest and lowest dial movements.
Music Teachers as Role Models for African-American Students
Authors: Hamann Donald L. , Walker Linda Miller 
Published: June 2006

The purpose of this study was to determine what proportion of African-American students in high school settings, if any, identified music teachers as their role models. The study was also designed to determine whether there were any differences in the subjects' perceptions of the number of African-American students or teachers of their race or sex in their nonmusic versus music classes and to determine whether any significant differences existed between subjects who had or did not have a music-teacher role model as to whether they would attend a college/university after graduation and whether they would consider: (a) making music their major, (b) taking some music classes, or (c) playing or singing in an ensemble. Subjects for the study were 811 African-American high school students. Descriptive statistics, t tests for dependent/correlated samples, and chi-square analyses were used to analyze the data. Significant differences were found by subjects' choice of role models(s) and selected variables.
Audiation-Based Improvisation Techniques and Elementary Instrumental Students' Music Achievement
Authors: Azzara Christopher D. 
Published: June 2006

The purpose of this research was to develop and to examine an improvisation curriculum designed to improve the music achievement of elementary school instrumental music students. The specific problems of this study were (a) to investigate the effect of improvisation study on the music achievement of fifth-grade wind and percussion students, and (b) to investigate the effects of various levels of music aptitude on the music achievement of fifth-grade wind and percussion students. Sixty-six fifth-grade students participated in this study. Students who received instruction that included emphasis on improvisation were found to perform at significantly higher achievement levels than students who received instruction without such emphasis. High-aptitude students performed at higher achievement levels than low-aptitude and moderate-aptitude students. The data obtained in this research provide preliminary evidence that improvisation contributes to the improvement of instrumental music performance achievement in elementary students.
Relationships among Vocal Jazz Improvisation Achievement, Jazz Theory Knowledge, Imitative Ability, Musical Experience, Creativity, and Gender
Authors: Madura Patrice Dawn 
Published: June 2006

The purpose of this study was to investigate relationships among various aspects of vocal jazz improvisation achievement and several predictor variables. Subjects included 101 college students enrolled in vocal jazz courses. The aspects of vocal jazz improvisation achievement that were measured included 18 tonal, rhythmic, and expressive items. Subjects performed two vocal jazz improvisation tasks, a blues, and a ü-V7-I progression. The independent variables included jazz theory knowledge, imitative ability, jazz experience, instrumental lessons, voice lessons, gender, and general creativity. The major findings of this study were as follows: (a) the best order of predictors of the blues task was jazz theory knowledge, jazz experience, and imitative ability; (b) the best order of predictors of the ü-V7-I task was imitative ability, jazz theory knowledge, and jazz experience; (c) the best order of predictors of the composite improvisation tasks were jazz theory knowledge, imitative ability, and jazz experience; and (d) instrumental lessons, voice lessons, gender, and general creativity were not found to be significant predictors of vocal jazz improvisation achievement.
Arts Education as Equal Educational Opportunity: The Legal Issues
Authors: Richmond John W. 
Published: June 2006

The purpose of this study was to determine whether gross disparities in arts curricular offerings between districts within a state offend the Equal Protection Clause of the Constitution of the United States. The design required a review of literature and the identification and analysis of relevant federal and state case law. Legal reasoning was the philosophical method. Such deduction required the development of a central thesis and a series of supporting syllogisms. The central thesis to emerge was that such disparate provision of arts education does not constitute a violation of the Equal Protection Clause, but may constitute a violation of the equal protection clauses and public education provisions of state constitutions in the United States. Six syllogisms developed this thesis or addressed related research questions.
Analysis of Listening Preferences of High School and College Musicians
Authors: Gregory Dianne 
Published: June 2006

Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.