The purpose of this study was to investigate changes in selected children's Graphing Response Patterns to elemental changes in compositions in theme and variation form. The research problems were (1) to determine points and degrees of elemental change in the compositional structure of the musical examples; (2) to determine number, degree, and nature of changes in subjects' graphing response pattern to aurally presented musical examples; (3) to determine percentages of agreement between changes in graphing response patterns and points of elemental change within the compositional structures; (4) to determine the relationship of changes in subjects' graphing response pattern to the quality and magnitude of elemental change within the compositional structure. Twenty second- and fourth-grade children were individually videotaped as they listened to and graphed a series of aurally-presented musical examples. Each musical example was analysed according to such parameters as timbre, range/interval size, texture, tempo/meter, attack/rhythmic density, key/mode, dynamic level, and melodic presentation. Change in each parameter was scored using an interval scale reflecting change/no change and degree of change. Changes in graphing response pattern were determined by an interval scale which reflected the presence of change/no change and amount of change, using as analytical units speed, size, shape, type, and pause. The following conclusions were made: findings showed an observable, quantifiable relationship between changes in children's graphing response patterns and elemental changes in music parameters. This relationship encompassed not only change/no change judgements but also magnitude of response. Overall, frequency and magnitude/degree of student response was proportionate to the frequency and magnitude of change in the music parameter/s. Results indicated the existence of high-ranking correlations between student response and certain parameters regardless of the degree-of-change/points-of-change ratio. Findings showed that one degree of change in a single music parameter was not sufficient to cause an observable change in the attention of the young listener.
