ethanporcaro/eric-fulltext-meta huggingface dataset:
The Effect of Key on Vocal Sight-Reading Achievement
Author: Henry, Michele L.
Date: 2013-00-00
Type: Journal Articles
Subjects: Music Education,Singing,High School Students,Music Techniques,Scores,Age Differences,Music Reading,Summer Programs,Acoustics

At its most basic level, sight-reading can be defined as the production of accurate pitch and rhythm from a previously unseen musical score. For vocalists, sight-reading principally involves the production of pitches by determining their relationship within a tonal framework. The ability to mentally conceive tonal function and convert it into vocalized pitch is the focus of vocal sight-readers and largely determines their overall success at the sight-reading task. The purpose of this study was to determine the effect of key on vocal sight-reading achievement. Research questions include: (1) What is the overall vocal sight-reading ability of high school choral singers when performing individually, in terms of pitch, rhythm, and total score? (2) Is there a significant difference in scores between performances in different keys? (3) Is there a significant difference in scores between grade levels? (4) Is there a significant difference in scores based on other factors, such as sight-reading system, choral experience, private voice study, keyboard experience, or other instrumental experience? Participants in this study were high school singers attending a summer choral camp in the state of Texas (n = 280). They completed a brief survey requesting demographic information including their upcoming grade level, choral experience, keyboard experience, other instrumental experience, and sight-singing system. Each participant then individually entered one of three randomly assigned testing rooms, returned the survey, and was asked to sight-sing a single melody. The melody appeared in either the key of F, D, or E-flat, depending on the testing room. They were asked to sing the melody using their preferred method of sight-singing. Upper-level and graduate choral music education students served as the test administrators. Each participant received a score of 0-10, based on the number of skills that were performed accurately. The overall mean score for pitch and rhythm was 6.96 out of a possible total score of 10. Pitch skills averaged 4.35/6 or 72.5% accuracy, while rhythm skills averaged 2.61/4 or 65.2% accuracy. Using a post hoc Tukey-Kramer HSD, a significant difference in total score was found between 12th grade and 9th grade (q = 3.91, p &lt; 0.0007) and 10th grade (q = 3.90, p &lt; 0007), and between 11th grade and 9th grade (q = 3.34, p &lt; 0.005), and 10th grade (q = 2.95, p &lt; 0.02). There was no significant difference between 12th grade and 11th grade. The amount of school choral experience F(7, 272) = 12.68, p &lt; 0.0004 or keyboard experience F(7, 272) =3.80, p = 0.05 affected total scores but participation in voice lessons and type of reading system used did not. [Paper presented at the Annual Meeting of the Texas Music Educators Association (San Antonio, TX, Feb 2013).]
Predicting Undergraduate Music Education Majors' Collegiate Achievement
Author: Rohwer, Debbie
Date: 2012-00-00
Type: Journal Articles
Subjects: Undergraduate Students,Academic Achievement,Grade Point Average,Music Education,Majors (Students),Predictor Variables,Music Theory,History,Musical Instruments,Statistical Analysis,Correlation,Regression (Statistics)

In order for teachers to guide students in their preparation to be music majors, it would be useful to know those musical components that best predict overall collegiate success. The purpose of this study was to measure the relationship of predictor variables (Lessons, Music History, Music Theory, and Piano) to collegiate grade point average (GPA) for undergraduate music education majors. Participants in the current study were 90 music education undergraduate majors from a large southwestern university. The dependent variable in the study was GPA. Student GPA was documented through the students' cumulative GPA over their time in college (two to three years of coursework). The data set for the prediction variable, Lessons, was gathered based on grades in the students' first of seven semesters of lessons on their primary instrument or voice part. Results for the current study document that the combination of common music core classes (Lessons, Music History, Music Theory, and Piano) can predict, in a statistically significant manner, music education majors' overall collegiate Grade Point Average (GPA). Of the core classes, Music Theory was the strongest predictor of GPA, followed by Music History and Piano, and finally Lessons. [Paper presented at the Annual Meeting of the Texas Music Educators Association (San Antonio, TX, Feb 2012).]
The Effects of Classical Guitar Ensembles on Student Self-Perceptions and Acquisition of Music Skills
Author: Kramer, John R.
Date: 2012-00-00
Type: Journal Articles
Subjects: Musical Instruments,Classical Music,Music Education,Self Concept,Music Activities,Skill Development,Elementary School Students,Secondary School Students,Outreach Programs,Video Technology,Graduate Students,Surveys,Observation,Correlation,Likert Scales,Student Attitudes,Academic Achievement,Student Behavior,Interpersonal Attraction,Comparative Analysis,Athletics,Scores,Reliability,Preferences,Adolescents,Self Concept Measures

Classical guitar ensembles are increasing in the United States as popular alternatives to band, choir, and orchestra. Classical guitar ensembles are offered at many middle and high schools as fine arts electives as one of the only options for classical guitarists to participate in ensembles. The purpose of this study was to explore the development of self-perceptions and skill acquisition of students in classical guitar ensembles. Participants included 14 classical guitar students ages 7-15 years in a university music outreach program. All students took weekly private classical guitar lessons and guitar ensemble classes from graduate music students. Systematic observation of 220 minutes of video data collected over a 12-week period was used to determine whether students demonstrated music skills associated with good tone and playing in time in an ensemble. All students took either the Self-Perception Profile for Children (Harter, 1985) for ages 7-13 years or the Self-Perception Profile for Adolescents (Harter, 1988) for ages 14-18 years. These surveys were administered at the end of the 12-week period. Participants answered approximately 40 questions using a forced-choice four-point Likert-like scale. All students answered questions related to student perceptions of their scholastic competence, social acceptance, athletic competence, physical appearance, behavioral conduct, and global self-worth. Results were compared to similar questions students answered about the importance of each subscale to determine discrepancies between their competence, importance and global self-worth scores. Ensemble instructors answered similar questions on their perceptions of their students for reliability purposes. Students also took a short multiple-choice questionnaire designed by the researcher on their musical experience, practicing behaviors and musical preferences. [Paper presented at the Annual Meeting of the Texas Music Educators Association (San Antonio, TX, Feb 2012).]
Sex-Types and Instrument Selection: The Effect of Gender Schemas on Fifth Graders' Instrument Choices
Author: Wiedenfeld, Laura M.
Date: 2012-00-00
Type: Journal Articles
Subjects: Musical Instruments,Music Education,Grade 5,Selection,Sex Stereotypes,Sex Role,Parent Surveys,Student Surveys,Middle School Students,Parent Influence,Social Influences

Since the mid-1970s, music education researchers studied and followed musicians' and non-musicians' views of music instrument gender stereotypes and associations. To understand instrument gender stereotypes, one must first understand the difference between sex and gender and gender's role in society. This research aims to study the views of beginning band students and their parents, and if their opinions of music and gender affect their instrument selections. Do fifth graders select their instruments based on social perceptions? Are parents a dominant force in their child's decision on what instrument to play in band? Is the sex role of the student reflected in their instrument selection? Would parents support their child if they opted for a gender-inconsistent instrument? These questions were synthesized in two surveys, one for parents and one for students, which were completed during an instrument drive at a North Texas-area middle school. The author hypothesized that this group of students would be more gender neutral, which would correlate with a gender-neutral band director and parents. Is this generation of new band students truly gender neutral, or is this middle school an exception to the norm, with other middle school students basing their instrument selections on gender guidelines placed on them by their parents and other outside influences that create their gender schemas? This pilot study revealed insights into instrument selection and gender. Fifth graders do select their instrument based on social perceptions; however, the social perceptions are changing and more instruments are considered gender neutral or androgynous. Parents were not the dominant force in their child's instrument selection among children in this sample; rather, the sound of the instrument and the student's ability and early success were the key factors in these children's instrument decision-making process. The sex-role of the student was sometimes reflected in their instrument selection. With little significant difference among the four sex-types, most of the students tested as androgynous; yet, they viewed the majority of their instruments as androgynous, as demonstrated in the high number of males and females testing and playing clarinet, horn, oboe, percussion, and trumpet. [Paper presented at the Annual Meeting of the Texas Music Educators Association (San Antonio, TX, Feb 2012).]
An Analysis of Middle School SATB and SAB Choral Sight Reading Contest Literature
Author: Poché-Rodriguez, Kelley
Date: 2013-00-00
Type: Journal Articles
Subjects: Music Reading,Singing,Competition,Middle School Students,Music Education,Grade 7,Grade 8

Between 2006 and 2012, 9% of all middle school choral entries in the Texas University Interscholastic League (UIL) Concert and Sight Reading Contest consisted of mixed choirs (N = 842) (Texas UIL, 2012a). Middle school mixed choirs pose unique pedagogical problems for directors. One such challenge lies in the determination of whether to perform Soprano Alto Tenor Bass (SATB) or Soprano Alto Baritone (SAB) literature. While a director must take into consideration the number, strength, and vocal independence of boys in the choir, the range of the part or parts and the students' progress in the voice change process are perhaps the most critical factors. The purpose of this study was to conduct an analysis of the UIL SATB and SAB middle school sight-reading literature from 2006-2012 and the corresponding UIL sight reading. [Paper presented at the Annual Meeting of the Texas Music Educators Association (San Antonio, TX, Feb 2013).]
Profile of a Career Music Educator
Author: Baker, Vicki D.
Date: 2011-00-00
Type: Journal Articles
Subjects: Music Teachers,Teacher Characteristics,Teacher Surveys,Likert Scales,Career Choice,Teacher Persistence,Teaching Skills,Self Evaluation (Individuals),Statistical Analysis,Self Concept,Student Centered Learning

Teacher attrition poses a problem to music education, with 11% to 27% of music educators planning to leave the teaching profession annually (Hancock, 2008; Killian &amp; Baker, 2006). This author notes, few studies have been conducted to ascertain why music educators make the decision to remain in the teaching field. Members of the Texas Music Administrators Conference, including the fine arts directors of most of the school districts in Texas, were sent an e-mail in 2010 asking that they distribute the request to complete a survey to their music teachers. Using a Likert scale, ranging from 1 (low) to 5 (high), respondents were asked to rank items in each of the following categories: Factors Impacting Decision to Persist as a Music Educator; Respondents' Self-Evaluation of Teaching Skills; and Respondents' Self-Evaluation of Character Traits. The results of the survey reported among other statistics that one of the overarching self-reported attributes of the respondents was their child-centered approach to education. The predominant factors impacting their decision to persist as a music educator were all focused on students: making a difference in students' lives; being able to inspire children; and seeing students accomplish musical goals. [Paper presented at the Annual Meeting of the Texas Music Educators Association, (San Antonio, TX, Feb 2011.]
Differences in Music Performance Anxiety Levels between Underclassmen and Upperclassmen Music Education Undergraduates
Author: Edmonson, Jordan M.
Date: 2012-00-00
Type: Journal Articles
Subjects: Anxiety,Undergraduate Students,Music Education,Majors (Students),Performance,Student Attitudes,Instructional Program Divisions,Likert Scales,Statistical Analysis,Comparative Analysis

Research looking specifically at the performance anxiety levels of undergraduate music education majors is sparse. In one of the few studies that examined this issue, Conway, Eros, Pellegrino, and West (2010) found that the different emphases placed on music education majors made for a wider array of activities and foci. Undergraduates who focus primarily in performance generally are concerned with ensembles and practicing, while music education undergraduates have many of the similar tasks combined with the pressure to go into schools and teach as early as possible. Students in the study noted tension they experienced between practicing and educational aspects of their degrees. Additionally, music education undergraduates perceived themselves as having a different identity from performance students, due to their additional tasks (Isbell, 2006). Performance anxiety could affect music education majors differently due to this difference; this study intends to begin to look at this population. Therefore, the primary purpose of this study is to determine whether there are differences in self reported levels of music performance anxiety between under- and upper-classmen music education undergraduate students. [Paper presented at the Annual Meeting of the Texas Music Educators Association (San Antonio, TX, Feb 2012).]
Perspectives of Elementary General Music Teachers on Factors Influencing Student Participation in Secondary Music Ensembles
Author: Chandler, Gabrielle
Date: 2011-00-00
Type: Journal Articles
Subjects: Elementary School Teachers,Music Teachers,Teacher Attitudes,Secondary Education,Music Education,Music Activities,Teacher Surveys,School Districts,Alignment (Education),Elementary Secondary Education,Teacher Role,Teacher Qualifications,Student Participation,Teacher Characteristics,Teaching Experience,Teacher Certification

The purpose of this study was to consider characteristics of elementary general music teachers and their views of factors influencing students to take part in secondary music programs, including their own influence and characteristics of their music programs. The following research questions concerning selected characteristics of elementary general music programs and music teachers' perspectives of them guided this study: (1) What is the typical teaching situation of a teacher responding to the survey in this study? (2) What are the qualifications of teachers responding to the survey, and what are some of their routine instructional practices? (3) To what extent does the district music program employ vertical curriculum alignment between the elementary and secondary levels? (4a) To what extent do secondary ensemble directors recruit at the elementary level? (4b) In the estimation of the study participants, what portion of their students go on to participate in secondary music programs? (5) How do elementary general music teachers perceive the relationship between their qualifications and experiences and student participation in secondary ensembles? A comprehensive survey was developed and sent to 195 elementary general music teachers in Southeast Texas. Results of this survey revealed a high level of concern and involvement among elementary general music teachers regarding the participation of their students in music activities in middle school and high school. Elementary music teachers were interested in the entire music program in their districts. They had connections with their students that could benefit music participation at all levels. [Paper presented at the Annual Meeting of the Texas Music Educators Association (San Antonio, TX, Feb 2011).]
Making Music as an Adult: What Do the Spouses Think?
Author: Rohwer, Debbie
Date: 2013-00-00
Type: Journal Articles
Subjects: Spouses,Adults,Questionnaires,Statistical Analysis,Music Activities,Recreational Activities,Musicians,Attitude Measures,Marital Satisfaction,Musical Instruments

The purpose of the current study was to describe perceptions of adult band member spouses concerning musical participation to obtain a contextual and socially integrated picture of lifelong learning in music. Forty-two band member spouses took part in the study. The sample consisted of 15 males and 27 female spouses with an age range from 50 to 87 years (M = 69.09, SD = 8.80) who had been married an average of 41 years (ranging from 10 to 64, SD = 13.62). While 31 of the spouses were retired and 31 of the band members were retired, there were four couples that had a retirement mismatch; two of the couples were composed of a retired male spouse and a nonretired female band member, and two couples were made up of a non-retired female spouse and a retired male band member. The questionnaire comprised 23 questions in several formats, including quantitative, short answer, and open-ended queries Descriptive statistics including means, standard deviations, ranges, and percentages were used to analyze the quantitative data. Band spouses noted similar perceived musical and social benefits to those cited by band members in previous literature. In general, spouses thought band participation was a favorable hobby for their husbands and wives. The only activities that were perceived as more important to the spouses were hobbies that the couples could partake in together. [Paper presented at the Annual Meeting of the Texas Music Educators Association (San Antonio, TX, Feb 2013).]
Home Listening Practices of Parents, Infants, and Toddlers: A Survey of Parents Enrolled in Early Childhood Music Education Classes
Author: Hamilton, Lani
Date: 2014-00-00
Type: Journal Articles
Subjects: Early Childhood Education,Music Education,Listening,Parents,Infants,Toddlers,Parent Surveys,Parent Child Relationship,Audio Equipment,Classical Music,Time on Task,Music Activities,Enrollment

A national survey by Custodero &amp; Johnson-Green (2003) examined how parents experienced music with their infants, and found that many reported playing and singing music frequently. More than half of the parents described playing recorded music for their children daily, and parents who had played an instrument and taken music lessons themselves as children were more likely to report playing recorded music to their infants than parents who had not had the same childhood experience. Particularly relevant to the present study is the finding that parents who were given a classical music CD at the time of their child's birth were not more likely to provide listening opportunities for their children than they would have if not given such a recording. Parents enrolled in early music classes are often provided with recordings of class material, though little is known about how parents utilize these recordings. The present study investigated how families enrolled in an early childhood music education class used a recording intended for home practice with their young children. Research questions were designed to identify how often, how long, and when parents listened to class material with their children, and to identify what parents and their children did while listening to the recordings. The survey also asked parents why they chose to enroll their children in the class. [Paper presented at the Annual Meeting of the Texas Music Educators Association (San Antonio, TX, Feb 2014).]
Effects of Age, Experience, and Instruction on Elementary Music Teacher Movement Self-Efficacy: A Pilot Study
Author: Fisher, Ryan
Date: 2011-00-00
Type: Journal Articles
Subjects: Music Education,Age Differences,Pretests Posttests,Scores,Workshops,Music Teachers,Self Efficacy,Elementary School Teachers,Experience,Motion,Human Body,Psychomotor Skills,Surveys,Faculty Development

As one of the recognized media of the Orff-Schulwerk method of music instruction, movement is fundamental to music specialists' teaching. It can embody the mantra of &quot;sound before sign,&quot; and provide the means by which students experience the kinesthetic learning that is so natural to their musical development. Because there are multiple variables that may affect self-efficacy, it is important to discover their relationships in the field of music education, specifically as it relates to teachers' own movement development and confidence level. The purpose of this research was to measure the effects of age, experience, and instruction on elementary music teacher movement self-efficacy. This pilot study was designed to examine differences in the overall pretest scores of Level I and Level II participants. Volunteer participants (N = 23) in this study were enrolled in Level 1 (n = 14) or Level 2 (n = 9) of a two-week American Orff-Schulwerk Association (AOSA), approved training workshop held at a Southern university. Participants completed the Movement Self-Efficacy Scale for Elementary Music Teachers (MSES), a measure created by the researchers, before beginning the Orff workshop and immediately following the last movement class on the last day of the workshop (pre-test, posttest design). To determine whether Level I and Level II participants differed on the MSES pretest, a one-way, between subjects ANOVA was performed. A mixed ANOVA with repeated measures was calculated to examine the effects of instruction on Level 1 participants' movement self-efficacy, with between-subjects variables of teaching experience and age compared. Overall results indicate that the Level I participants had significantly lower movement self-efficacy than Level II participants upon entering Orff Schulwerk movement training. Results also indicate that Orff Schulwerk Level I movement instruction may significantly increase participants' movement self-efficacy. The increase in movement self-efficacy for Level II participants may not be as substantial due to the ceiling effect, or could be attributed to differences in the amount of instruction between levels. Results from this study also show that neither age nor years of experience appear to have an impact on movement self-efficacy results. [Paper presented at the Annual Meeting of the Texas Music Educators Association (San Antonio, TX, Feb 2011).]