UNT Libraries - 151 Matching Results

Search Results

Advanced Method for the Slide Trombone: This advanced method for trombone is designed to meet the needs of the advanced high school trombonist and to prepare him for later participation in college, civic, and professional musical organizations of higher artistic standards. The student should not be satisfied with a thorough study of this method, but should seek improvement of his musical skill in other methods. Some very worthy studies for trombone have been written by La Fosse, Vobaron, Muller, Blume and others which should prove of much value to the student.
A Method of Filming a Music and Fine Arts Program: In reviewing the events of the advances of science and technology of the past two decades one is struck by the magnificence of man's accomplishments. The first moon walk televised live in 1969, the widespread utilization of color television receivers, the educational uses of sophisticated audio-visual equipment such as overhead projectors, slide projection, sound tape recorders, close-circuit television and videotape and the almost omniscient usage of television, is ample evidence to demonstrate that the tools necessary to accomplish a task are readily accessible items in this age. We are introduced to new gadgets, innovations, and events (like the moon walk) at such a rapid pace that we have become more flexible and more receptive to change; so much so that at times many of us are even blase about nearly miraculous accomplishments.
Functional Theory for Applied Music Students: The purpose of this study was to prepare music theory textbook-workbooks for students of elementary school grades four through eight who are taking private music lessons in voice, piano, or other instruments. The study was prompted by the action taken first by Texas Music Teachers Association and later by Music Teachers National Association which made the passing of comprehensive music theory examinations a prerequisite for entering all student performance and contest events sponsored by these associations.
Musical Experiences for the Educable Mentally Retarded: The purpose of the study was to indicate procedures leading to meaningful learning experiences through music for the educable mentally retarded child. Four areas of a music curriculum were considered: performing, composition, listening and dancing. Based upon known characteristics of the educable mentally retarded and professional writings of authorities in the fields of both music education and special education, objectives and specific approaches to musical experiences were determined, Twelve performing, eight composition, ten listening and ten dancing experiences are outlined with objective, previous experience, materials, room arrangement, song material, procedure and related activities included in each.
A Comparative Study of Two Choral Conductors: B. R. Henson and Lloyd Pfautsch: Although much has been written on the subject of conducting, it is generally recognized that a great deal can be learned through discussion with and observation of successful conductors. Direct contact with master conductors is an excellent learning tool, but seldom do high school or college choral conductors have the opportunity for direct individual study of the experts in their normal situations. This study provided the opportunity for one practitioner to work with two expert choral conductors. The report was written with the hope that other practitioners might also benefit from the results of the investigation. The purpose of this study was to identify and compare preparations and experiences, philosophies of music, and observable choral concepts which may have contributed to the superior choral achievements of B. R. Henson and Lloyd Pfautsch.
A Comparison of Major Theories of Laryngeal Vibration: The purpose of this study was to compare major theories of laryngeal vibration. The basic hypothesis of the study was that the differences and similarities between the major theories of laryngeal vibration could be made evident and clear through a comparative study. It was assumed that there are two or more theories of laryngeal vibration and that all the major theories of laryngeal vibration from 1945 to the present have been described in written form in English.
Compositions Designed to Improve Sight Singing in Junior High School: The purpose of this study was to identify certain aspects related to sight singing which tend to cause difficulty in teaching junior high school students and to suggest exercises that might be used to aid in overcoming these difficulties, Data included a questionnaire to junior high school teachers in three states. Subjects researched and discussed were the physical, intellectual, and emotional development of the adolescent; the changing voice and the range and vocal limitations of junior high singers; and rhythmic, melodic, harmonic, and other aspects of sight singing. Included were vocal procedures to be used with young voices, suggestions for choosing and/or arranging appropriate music, and original compositions designed to meet the needs and interests of junior high school students.
A Comparative Study of the Effects of Two Experimental Methods of Guidance on Vocal Solo Memorization: The purpose of this study was to compare the effects of guided musical analysis and guided attention to textual understanding on the speed of solo memorization by selected university vocal students. The guided musical analysis consisted of instruction to a subject regarding the melodic elements, rhythmic elements, phraseology, form, and key relationships of the experimental songs. The guided attention to textual understanding consisted of instruction to a subject regarding the meaning and phraseology of the experimental song texts. Subjects were required to rhythmically scan the texts in a declamatory manner. It was concluded that the three conditions of memorization were equally effective. Memorization rates were not significantly altered by historical period of song. Differences in memorization rates appeared to parallel the subjects' academic performances and their performances on the Drake Musical Aptitude Tests. Findings of this study indicated that future memorization experiments should be conducted with larger samples of subjects of a single sex who are music majors.
An Evaluation of the AVII Model: a Systematic Approach to Aural-Visual Identification Instruction in Music for Young Children: The problem of this study was to obtain empirical evidence of the functional nature of the Audio-visual Identification Instruction (AVII) model for designing effective music instruction for young children. The method was to use materials prepared according to the model specifications in actual classroom conditions. The purpose of the study was to compare the achievement gain of second grade children of high, middle, or low musical aptitude levels, who were instructed by experienced music specialists, first year music specialists, student teacher music specialists, or experienced classroom teachers using AVII model materials, on three tasks in the area of pitch and three tasks in the area of timbre. Subject to the circumstances and limitations of this investigation, the results indicate that the AVII model is effective for instruction for musical naming and identification tasks for young children.
An Evaluation of the Effectiveness of the Undergraduate Music Education Curriculum at North Texas State University: Graduates who responded to the survey indicated that the undergraduate music education curriculum between 1967 and 1972 was generally adequate in preparing students to teach music in the public schools. Areas such as administration, supervision, student teaching, and professional education were deemed weaker than other areas by both the vocal and instrumental graduates. In comparing vocal and instrumental graduates' responses in certain areas of the questionnaire it was found that in most cases opinions of both groups agreed regarding importance of listed competencies. The curriculum was equally effective in training vocal and instrumental teachers, with the exception of secondary instrumental methods, which appeared to be an outstanding weakness. A low positive correlation (r=.107) existed between selected graduates' academic success and their success as teachers in public schools. This correlation was, however, not statistically significant and it was accepted that there was only a slight relationship between students' success in undergraduate training at North Texas and their success as public school music teachers. Graduates who responded to the survey indicated that the undergraduate music education curriculum between 1967 and 1972 was generally adequate in preparing students to teach music in the public schools. Areas such as administration, supervision, student teaching, and professional education were deemed weaker than other areas by both the vocal and instrumental graduates. In comparing vocal and instrumental graduates' responses in certain areas of the questionnaire it was found that in most cases opinions of both groups agreed regarding importance of listed competencies. The curriculum was equally effective in training vocal and instrumental teachers, with the exception of secondary instrumental methods, which appeared to be an outstanding weakness. A low positive correlation (r=.107) existed between selected graduates' academic success and their success as teachers in public schools. This correlation was, however, not statistically significant and it was accepted …
A Fourteen-Week Program for Teaching Beginning Music Reading Through Rhythmic Notation and Pitch Notation to Pre-School Children in Piano Classes: The purpose of this study is to develop a fourteen-week program for teaching beginning music reading through rhythmic and pitch notation to pre-school children in piano classes. The historical background for the study discusses man's learning abilities in the group process in music education with the particular reference to class piano and its development and publications by leading authorities concerning class piano and rhythmic training in the classroom. The second chapter contains analyses and summaries of five selected texts pertinent to the study. The findings of research of the five selected texts serve as the groundwork for the development of the program which is contained in the third chapter.
The Beginning Piano Class at the College Level: The problem was to investigate current thoughts concerning the beginning piano class at the college level, Data were collected from published and unpublished materials from 1964 to 1976. It was found that class piano instruction usually occurs in a three- to four-semester sequence, with classes meeting from two to five periods per week, containing from four to twenty-five students. Classification of students is by interview, placement test, and/or audition. Varying room arrangements are used with either conventional or electronic pianos, plus a variety of audio-visual equipment, Course content, with varying emphases, includes sight-reading, functional skills, technique, and repertoire. Teaching techniques used are numerous and varying. Recommendations were submitted for administrators, teachers, and researchers.
An Evaluation of the Music Programs in the Seventh-Day Adventist Academies in the United States: The purpose of this study was to survey and evaluate the music programs in Seventh-day Adventist academies in the United States during the 19 75-76 school year. Data were collected by means of a survey form sent to all principals and music teachers in the eighty schools and a music achievement test administered to graduating seniors in twenty-eight randomly selected academies. Although most departments judged the music facilities to be adequate, library materials such as scores, filmstrips, and in-service resources were needed in the majority of schools. One-half of the music programs did not have listening facilities available for classroom use. Comparing achievement test results for graduating seniors in Adventist schools with those of the standardization sample revealed no significant differences. The null hypothesis was rejected, however, when comparing size of school, location of school, type of school (boarding or day), sex of the student, and amount of piano and instrumental experience.
An Acoustical Study of Individual Voices in Choral Blend: The purpose of this study was to investigate the phenomenon of choral blend through acoustical analysis of individual vocal sounds. One aspect of the study involved identifying and comparing the acoustical qualities of sounds produced in the usual solo manner and sounds produced by the same singers attempting to blend with a unison ensemble. Another aspect of the study involved identifying and comparing the acoustical qualities of vocal sounds identified as blending well and poorly with a unison ensemble. Singers attempting to blend adjust their overall intensity not only to affect the perceived loudness of their tones, but also to facilitate other acoustical changes which are helpful for achieving blend. Vocal blend apparently may be achieved more readily on vowels having few upper partials than on vowels having numerous upper partials. Where vibrato is employed, certain vocal sounds can achieve a good blend even though their fundamental frequencies only approximate the theoretically correct frequency. There apparently is an interaction between the vibrato of a vocal tone and its spectral features, making it advantageous for the singer to adopt mutually beneficial approaches to both factors in order to blend. Vowel modification effective for achieving vocal blend- -at least for sopranos-- appears to consist primarily of changes in the intensity relationships between the vowel formants. Singers' variations in frequency extend beyond the boundaries of any system of tuning or temperament.
Improvisation in the Beginning Piano Class: The problem was to survey and collect ideas on the use of improvisation as a teaching and learning tool in elementary piano instruction and to prescribe activities and exercises for second through fourth grade piano classes. These areas were examined: philosophies and theories influencing traditional instruction, effects of creative keyboard activities on children's musical development, specific teaching strategies using improvisation, evaluative procedures, and suitability of materials for young children. Data collected from published and unpublished materials were classified, and presented concerning the feasibility of using keyboard improvisation with early elementary children. It was found that suitable improvisational exercises allow the child to organize his perceptions into the basic concepts of music. Recommendations for teachers and researchers were made.
The Development and Evaluation of a Series of Video-Tape Lessons to Supplement a College Course in Advanced Music Theory: The purpose of the study was to develop and evaluate a series of video-tape lessons to supplement the traditional lecture-discussion method of teaching a college course in advanced music theory. The specific problems investigated were: 1) to evaluate the effect of video-tape material on achievement in an advanced music theory course. 2) To assess the effect of the video-tape materials on the achievement in harmony, keyboard, sight singing, and ear training for students who had differential learning ability levels. 3) To assess the attitudes toward music theory and the use of the supplemental lessons. 4) To assess attitudes toward music theory and the use of the supplemental lessons and achievement for all students involved in the study. Analysis of co-variance, simple analysis of variance, t tests, and Pearson correlations produced statistical results that led to the following conclusions: 1) Students who used the video-tape supplemental lessons did not score higher on achievement tests in harmony, keyboard, sight singing, and ear training than the students who did not use those lessons. 2) Students who used the video-tape lessons had greater variance among the ability levels on the achievement tests; and for those using the lessons, students in the low beginning-ability level did not achieve at a corresponding rate with the students in the high and middle levels. 3) Attitudes toward music theory and the use of supplemental materials were less positive for the students who used the video-tape lessons. 4) Among all participants of the evaluation, a significant relationship was found between attitudes toward music theory and the use of supplemental materials and achievement in music theory.
A Study to Determine the Effect of a Program of Rhythmic Training on the Ability to Perform Music at Sight: The purpose of this study was to determine the effect of a program of rhythmic training upon the ability to perform music at sight. In addition to examining the overall sight-reading improvement, rhythm reading improvement was also investigated. The program of rhythmic training utilized the Temporal Acuity Products (TAP) system as the rhythm training aid. From these findings it was concluded that the program of rhythmic training did not affect the ability to perform music at sight. A transfer of rhythm reading to sight-reading did no take place. Results of the retention test indicated an improvement in the experimental group's scores over an extended period of time. This improvement revealed that when subjects were tested after two months, the program of rhythmic training did have an effect on sight-reading ability. It was also concluded that there might be a hierarchy of skills in which rhythmic training is only one aspect. Furthermore, there could be a combination of skills which must improve simultaneously in order to effect overall sight-reading ability.
A Guide for the Performance of Trumpet Mariachi Music in Schools: The purpose of this study is to provide a guide for the instruction of a trumpet mariachi performance ensemble in a music curriculum. The fulfillment of this purpose is dependent upon the data supplied in answer to the sub problems: (1) What socio-cultural information provides authentic trumpet mariachi music; (2) What trumpet mariachi literature illustrates the repertoire and style; (3) What instructional source materials may be developed such that Mexican American and non-Mexican American instructors build a competency in repertoire and style; (4) How could this guide be evaluated in its functional design for a music curriculum? The data collected for use in this study has been presented in three major categories: (1) the history and milieu in which the trumpet, mariachi crystalized; (2) the repertoire--its history and function in Mexican society and the transcriptions of types demonstrating the musical structure; and (3) the technical information relative to the instruction of the particular mariachi instruments. An evaluative instrument has been supplied in an attempt to establish the validity of the information and examples provided in this practicum. The validity of the research seems to rest on its authenticity and its serviceability. The findings of this study are stated as assertions based on the literature in general and the repertorial types specifically included. These assertions are aligned with the organization of the data as it has been reported in the body of the dissertation. The conclusions are stated in a similar manner as assertions pertinent to cross referenced statements which may be implied as concepts drawn from the reported data and the literature observed in this study.
The Development and Evaluation of a Comprehensive First Semester College Jazz Improvisation Curriculum: The purpose of the study was to develop and evaluate a comprehensive first semester college jazz improvisation curriculum. Specific problems concerning the evaluation of the curriculum were, (a) to assess achievement in music theory fundamentals, (b) to assess achievement in jazz listening, (c) to assess improvement in jazz improvisation performance, (d) to assess student attitudes toward jazz improvisation and the curriculum. Based on the findings, the conclusions were as follows students benefited from the study of jazz improvisation, utilizing the developed curriculum, in the areas of, (1) knowledge of music fundamentals, namely, chord spelling, scale spelling and harmonic analysis; (2) identification of jazz tunes, composers, musical forms and prominent jazz performers; (3) improvisation performance in a jazz style, and (4) positive attitude toward improvement in jazz improvisation.
Caro Carapetyan: His Choral Beliefs and Practices: The purpose of this study was to identify and describe the convictions about choral conducting is held and applied by Caro Carapetyan which may have contributed to his superior choral work. The primary source of information was a series of personal interviews with Carapetyan. The report was organized into five sections. The first part supplied background material. Subjects covered in the report include philosophy, the relationship between conductor and singers the conductor's knowledge of music history and literature, rehearsal planning, conducting technique the selection of singers, choral tone, blend and balance, diction, intonation, rhythm, and dynamics. Each of the chapters in Parts II, III and IV includes a summary and some comparisons with other choral music sources. The fifth part is a summary of the findings, conclusions, and recommendations. Recommendations for choral conductors and future researchers are included.
A Comparative Pedagogical Study of American Art-Songs Recommended for Beginning Voice Students: This study's purpose was to examine and compare pedagogical opinions and suggestions regarding teaching American art-songs recommended as suitable for beginning voice students. Specific problems were to determine 1. The ten American art-songs most recommended by voice teachers for beginning students, 2. Pedagogical opinions and suggestions about these art-songs, 3. Voice teachers' general opinions and suggestions regarding teaching American artsong, 4. Ways in which their opinions and suggestions were similar and 5. Ways in which their opinions and suggestions were dissimiliar.
Competencies in Piano Accompanying: The purpose of this study was to ascertain what competencies professional accompanists and accompanying teachers deem sufficiently important to be included at some point in the development of a professional accompanist. Research problems were formulated to determine what differences exist between opinions of teachers and professionals regarding necessary skills in preparation of accompanists in (1) pianistic skills, (2) accompanying skills, (3) vocal skills, (4) linguistic skills, (5) knowledge of repertoire, (6) understandings in human relationships, and (7) other competencies. Data were collected by means of a validated questionnaire containing items grouped into the seven categories listed above. It was sent to twenty professional accompanists and thirty-one schools offering accompanying degrees. Seventy per cent of the professionals and 84 per cent of the schools responded. Each competency was rated first for its relative importance to a professional accompanist and then for its appropriate place in the sequence of an accompanist's preparation. A chi square comparison of responses of the two groups regarding the importance of each competency showed virtually no significant differences. Responses on appropriate stages of training were not treated statistically.
An Investigation of Teacher Initiated Listening Activities in the Elementary General Music Classroom: This study investigated how and to what extent music listening was initiated by elementary general music teachers. The specific problems of the study were (1) identification of activities and materials related to music listening and (2) the determination of how and to what extent assigned and assumed music listening was initiated in the selected classrooms. Systematic observation was chosen to investigate these problems. An observation instrument, the Elementary Music Listening Schedule (EMLS), was developed by which eighteen elementary general music teachers were observed during ten lessons.
The Design and Evaluation of Study Materials for Integrating Musical Information into the Choral Rehearsal: The purpose of the study was to design and evaluate materials for integrating musical concepts and stylistic concepts into the high school choral rehearsal. Need for the study was established by examining related literature and by means of a survey of Texas high school choral directors. A systems approach model of curriculum development, consisting of a ten-step procedural outline, was adopted for formulation of the study. The following criteria for the curriculum, called Integrated Musical Information for Choirs (IMIC), were set: (1) Materials should be in the hands of each student; (2) Materials would relate directly to music being performed by the choir; (3) Use of the materials should assist the teacher in organizing his/her work; (4) Teachers should be able to put materials into use without adaptation; (5) Teachers' out-of-class preparation should be minimal.
An Exploratory Study of Children's Multi-Sensory Responses to Symbolizing Musical Sound Through Speech Rhythm Patterns: The purpose of the study was to investigate the multi-sensory responses of children to symbolizing musical sound through speech rhythm patterns. Speech rhythm patterns consist of the number of syllables and the stress/nonstress relationships of these syllables in a word or a phrase. The research problems were (1) to determine children's responses to speech rhythm patterns according to the differential sensory modes used; (2) to determine the children's responses to speech rhythm patterns by age, and (3) to compare children's responses to speech rhythm patterns by age and sensory modes.
An Investigation of Hemispheric Specialization for the Pitch and Rhythmic Aspects of Melodic Stimuli: This study's purpose was to investigate the phenomenon of hemispheric specialization for the pitch and rhythmic aspects of melody. Its research problems were to investigate the Influence of pitch, rhythm, and training on hemispheric specialization for pitch-plus-rhythm melodic fragments. A final problem was to examine the relationship between dlchotic ear scores and eye movements evidenced during melodic processing. Twenty musicians and twenty nonmuslcians, right-handed and equally divided as to gender, participated in the project. Accepted dlchotic testing and eye behavior indexing procedures were implemented to investigate each research problem. The dlchotic tape produced for the study contained five subtests In which pitch activity was variously greater than, less than, or equal to rhythmic activity.
An Investigation of Music Teacher Preparation in Selected United Negro College Fund Colleges and Universities: The problem of this study was to determine the perceptions of music educators at selected United Negro College Fund colleges and universities concerning the importance of music teaching competencies and courses for prospective public school music teachers, it was further designed to (a) determine if the music educators were in agreement with the published competency recommendations of the National Association of Schools of Music and the Music Educators National Conference for preparing prospective public school music teachers and (b) to discover if there were significant differences in UNCF music educators' perceptions across selected independent variables concerning the importance of those competencies and courses.
The Development of Vocal Concepts in Children: The Methodologies Recommended in Designated Elementary Music Series: This study's purpose was to investigate the kinds of instructions provided for teachers by authors and publishers of elementary music series for the development of children's voices. Specifically, the study was 1. to investigate the recommended methodology related to the development of vocal concepts in children, 2. to investigate musical aspects that could be indicators of expected vocal ability in children, and 3. to relate the findings of this study to other research results that give insight into the vocal capabilities of children. To collect the data, the teacher's editions of grades one, three, and five of music series published by the Silver Burdett Company and by the American Book Company during the period circa 1945 to 1975 were subjected to a content analysis and to a musical analysis. Three categories were established for the content analysis: Vocal Characteristics, Singing Objectives, and Teaching Strategies. Validity of the research tool was tested by the jury method and by logical validity. Reliability coefficients of .90 were determined by using two additional coders and by re-coding material.
The Development of Occupational Identity in Undergraduate Music Education Majors: The purpose of this study was to investigate the development of occupational identity in undergraduate music education majors using a Symbolic Interactionist theoretical framework. Three research problems were formulated: (1) The identification of occupational norms and values of undergraduate music education majors; (2) The determination of the commitment of under graduate music education majors to specific skills and knowledge of music education; (3) The determination of career commitment to music education by undergraduate majors. The sample consisted of undergraduate music education majors enrolled in North Texas State University; Denton, Texas, during 1981 and 1982. A questionnaire and interview schedule, which had been developed in a pilot study, were used to gather data. Questionnaire responses from 165 students were analyzed by comparing selected variables by area and by class year. These data were further clarified by information from thirty-eight interviews conducted by this researcher.
An Investigation of the Frequency Modulations and Intensity Modulations of the Vibrato on Selected Brass Instruments: The purpose of this study was to investigate the frequency modulations and the intensity modulations of the hand vibrato and the jaw vibrato as they relate to performance on selected brass instruments. Ten trumpet players and ten trombone players were recorded performing a musical exercise which was written in three different registers. Five performers in each group used a hand vibrato and five used a jaw vibrato.
Effects of an Auditor's Past Musical Experience on the Intelligibility of Vowel Sounds in Singing: The purpose of this study was to determine the effects of an auditor's past musical training and experience on the intelligibility of selected vowel sounds at differential pitch levels. The specific problems of the study were to investigate the effects of extensive vocal music training, extensive non-vocal music training, and limited or no music training on an auditor's ability to discriminate accurately selected vowel sounds performed at various pitch levels. The effects of pitch and vowel sound on auditor recognition of vowel sounds in singing and the ability of each singer to be intelligible to auditors was also investigated.
An Investigation of the Relationship of Self Concept to Selected Communication Skills of Choral Conductors: This study investigated the relationship between selected measures of self concept as perceived by a group of choral conductors, their eye dependency on score, and the measures of expressive voice. The problems were (1) to determine the degree of perceived self concept of a selected group of choral music teachers through measures of (a) total self, (b) physical self, (c) moral-ethical self, (d) personal self, (e) family self, and (f) social self? (2) to assess eye dependency on score of the same teachers; (3) to assess the aspect of expressive voice through measures of (a) pitch levels of modulation, (b) speech flow, and (c) voice energy level; and (4) to examine the relationship between the measures of self concept, eye dependency on score and expressive voice.
A Comparison of the Acoustical Properties in Solo and Ensemble Performance of the Trombone: The specific problems investigated involved identifying and describing the characteristics of fundamental frequency, overall intensity, and spectral content in unaccompanied and ensemble performance settings. Additionally, comparisons and descriptions of the relationships among these acoustical parameters were made. Fifteen trombonists were used as research subjects. Each subject recorded a selected musical excerpt in the following performance modes: high register unaccompanied, harmonic, and unison ensemble; and low register unaccompanied and unison ensemble. Tape recordings of these subjects were used in conjunction with certain electronic apparatus to obtain data on frequency, intensity, and spectral content. Based on these data, descriptions of these acoustical parameters and comparisons of unaccompanied and ensemble performance settings were made.
The General Music Course in the Secondary School: A Content Analysis of Selected Curricular Sources: The study described through content analysis the general music course in the secondary school as perceived in selected curricular sources from the 1960's and 1970's. As various writers of curricular sources developed their own content and methodologies, a vast amount of data became available which seemed unmanageable because of the particular philosophical goals chosen for the course. The study organized in a systematic manner the content and methodologies of the.course by means of eighteen categories. Categories of high frequency inclusion in the general music sources were shown to be the elements of music, music vocabulary as a specific area for learning, the predominant choice of classical Western/art music, the use of listening and creative activities and the discussion of psychological learning principles.
The Effect of Rhythm on Melodic Expectancy: The present study sought to confirm melodic expectancy patterns discovered in a previous investigation and to determine whether data would be affected by altering the rhythmic condition of the stimuli. The three problems of this investigation were to study expectancies generated by two-note stimulus intervals of equal duration; the expectancies generated by stimulus intervals presented with a long-short rhythm; and the expectancies generated by stimulus intervals presented with a short-long rhythm. Fifty subjects were asked to sing what they believed would be the natural continuation of the melody begun by a two-note stimulus interval. The stimulus intervals were grouped in rhythmic sets, one set of neutral-rhythm stimuli, one set of long-short stimuli, and one set of short-long stimuli. The interval from the second note of the stimulus interval to the first sung note was transcribed as the generated expectancy response interval. The data were examined in two basic ways, using response data as a whole and examining data for each stimulus interval separately. A third method of data evaluation concerned harmonic triads occurring in the response data. Both when considering response frequency as a whole, and when considering response data separately for each melodic beginning, no significant difference associated with rhythmic condition could be found. Smaller response intervals were generated much more often than large intervals. Some stimulus intervals, notably the major second ascending, were observed to be much more powerful generators than others. It was concluded from these results that in response to two-note stimulus intervals melodic expectancy can clearly be shown to operate, confirming the results of an earlier study, but that no effect of rhythm on melodic expectancy can be shown to operate.
An Investigation of Extrinsic Laryngeal Muscle Responses to Auditory Stimulation: The purpose of this study was to provide, through systematic investigation, empirical data to support or reject the assumption that auditory stimulation by discrete pitches evokes consistent muscle responses in the extrinsic laryngeal muscles. The study was an electromyographic investigation of specific upper and lower extrinsic laryngeal muscles as stimulated by two specific pitch stimuli. The responses were evoked by auditory stimulation, without vocalization. From these findings, it was concluded that a direct relationship exists between specific pitch stimuli and specific extrinsic laryngeal muscle responses. It was concluded that these responses likely exist in the general population.
An Investigation of the Career Realities and Occupational Concerns of Selected Professional Performing Musicians: The purpose was to investigate the career realities and occupational concerns of successful full-time performing instrumentalists. Four research problems were formulated; (1) the establishment of a demographic profile of musicians who perceived themselves successful; (2) the determination of the musicians' career realities; (3) the determination of the musicians' occupational concerns; and (4) a comparison of the relationship of the demographic profile to the career realities and occupational concerns. A pilot study was used to develop a questionnaire and an interview schedule. The sample for the main study was chosen by the questionnaire and consisted of twenty musicians, five each in the musical categories of jazz, classical, commercial and pop. To resolve research problem one, the questionnaire also collected general demographic data. Research problems two and three were fulfilled by an interview schedule based upon career realities and occupational concerns cited in previous sociological studies. The realities and concerns were either confirmed or refuted by each interviewee. The career realities were role conflict, career contingencies, musical labels, life style, hierarchies, audience relationships and environment. The occupational concerns were mobility, status, entrapment, personal contacts, dependency, security, competition, economic issues, working conditions, travel requirements, appearance, management control, auditions, maintenance of skills and training relevancy. The interviews were taped and transcribed by a court reporter and included in the text. An analysis of the interviews in relation to the demographic data fulfilled research problem four. Results showed that career contingencies, mobility and life style were positive influences for the sampled musicians. Also, a "hierarchy of expertise" appeared as the ultimate occupational hierarchy for the sampled musicians. Furthermore, a "hierarchy of dependency," based upon instrument played, affected the sampled musicians' attitudes toward their careers. It was concluded that performers who were devoting their full time to performance were more tolerant of imperfect career conditions than …
An Investigation of Perception of a Frequency Modulated Band Location of Pitch Within a Musical Vibrato: The purpose of this study was to investigate aspects of pitch perception of auditors when presented with musical tones whose frequencies were modulated. Research problems were: estimation of the effect of musical training upon pitch perception; estimation of the effect of stimuli of differing tonal qualities and frequency ranges upon perception; and estimation of the effect of solo and ensemble performances upon pitch perception. Subjects for the study were thirty musicians and thirty nonmusicians. Subjects were students at North Texas State University and Paris Junior College who had volunteered for the study. A test containing thirty-six items was developed which required subjects to match a tone created by a sawtooth wave generator to a simultaneously presented musical tone performed with vibrato. Each subject was tested individually, and allowed three attempts to match each test item. After the third playing of each item, a reading was taken of the frequency selected by the subject, Using the split half method, reliability for the test was found to be .86 for nonmusicians and .88 for musicians. ANOVA evaluation of responses of subjects indicated that there was a significant difference.in the location of pitch among musicians and nonmusicians, with musicians locating the pitch somewhat higher in the frequency spectrum than nonmusicians. Neither group located the pitch of modulated musical tones at the geometric mean of the modulation. Differences located in responses of the groups were consistant with regard to stimuli of varying frequency levels and timbres, and were unaffected by either solo or ensemble performance of the stimulus. Subsidiary findings indicated that among musicians no significant differences in pitch perception may be traced to the major performing instrument of the subject; differences in these subgroups and nonmusicians were consistant with the findings comparing musicians as "a whole and nonmusicians. Suggestions were made concerning application …
An Investigation of the Whistle Register in the Female Voice: The purpose of the study was concerned with specific elements of the portion of the female voice commonly referred to as whistle or flute register. Three elements of vocal production were chosen for which past research has demonstrated relationships to source function. These elements included spectral characteristics, airflow rates, and perceptual identification. The research compared what the singer-subjects perceived as being whistle register phonations with that which they perceived as being head register phonations. A comparative technique was utilized where pitch, intensity and phonemic category were held relatively constant, register, therefore, being the only variable. Spectral characteristics and airflow rates of the two subject-determined registers were compared. In addition, an attempt was made to determine if the whistle register could be perceptually differentiated on the basis of voice quality,
An Investigation of Conflicts in the Perceptions of Band Directors, School Administrators, and Selected Members of the Community About Their Respective Band Programs: The purpose of the study was to investigate conflicts in the perceptions of band directors, band parents, band students, and selected school personnel regarding the role and scope of their respective band programs. The problems were to examine the relationships among these four groups in terms of selective perception, perceptual constancy, and polarization. Questionnaires were developed in order to survey the senior public high schools in Cedar Rapids, Iowa. In addition to demographic data, the questionnaires included perceptions about public performances, marching, concert, and jazz bands; contests and festivals; and other band related activities which might be desirable in a band program. The questionnaires concluded with opportunities for open-ended comments and suggestions about the survey instrument and the band program. Statistical computations included one-way analysis of variance, chi-square test, frequency counts, and cross-tabulations. Qualitative analyses and reports of interviews helped to clarify and interpret all statistical findings.
Relationships Between Selected Musical Aural Discrimination Skills and a Multivariate Measure of Intellectual Skills: This study attempted to explore the strength and nature of relationships between specific intellectual information processing skills included in a multi-dimensional model conceived by Guilford, and measured by Meeker's Structure of Intellect - Learning Abilities Test, and specific musical aural discrimination skills as measured by Gordon's Musical Aptitude Profile. Three research questions were posed, which involved determining the strength and the nature of the relationship between MAP melodic, rhythmic, and aesthetic discrimination abilities and the intellectual information processing skills comprising the SOI - LA. Both instruments were administered to 387 fourth, fifth, and sixth graders from schools in the Dallas area. After a pilot study established the feasibility of the study and reliability estimates of the test instruments, multiple regression analysis determined that 10% to 15% of the variance between intellectual information-processing skills and the individual musical aural discrimination abilities was in common (r = +.32 to r = +.39). It was further determined that only six specific SOI intellectual dimensions, all involving the skills of "Cognition" and "Evaluation", were significantly related to the musical aural discrimination abilities. Through the use of the Coefficient of Partial Correlation, the strength of each individual information-processing skill's unique contribution to that covariance was determined. The study indicated that "Semantic" mental information processing skills, involving the ability to recall an abstract meaning or procedure given an external stimulus, play an extremely important part within this relationship. Skills of a "Figural" nature, which involve comprehending either a physical object or an non-physical idea and separating it from other impinging stimuli also enter into the relationship, although not to so high an extent. Finally, it was observed that the dimensions involving an understanding of "Systems", those mental skills which deal with groupings of figures, symbols, or semantic relationships, also was important to the relationship.
The Bands of the Confederacy: An Examination of the Musical and Military Contributions of the Bands and Musicians of the Confederate States of America: The purpose of this study was to investigate the bands of the armies of the Confederate States of America. This study features appendices of libraries and archives collections visited in ten states and Washington D.C., and covers all known Confederate bands. Some scholars have erroneously concluded that this indicated a lack of available primary source materials that few Confederate bands served the duration of the war. The study features appendices of libraries and archives collections visited in ten states and Washington, D.C., and covers all known Confederate bands. There were approximately 155 bands and 2,400 bandsmen in the service of the Confederate armies. Forty bands surrendered at Appomattox and many others not listed on final muster rolls were found to have served through the war. While most Confederate musicians and bandsmen were white, many black musicians were regularly enlisted soldiers who provided the same services. A chapter is devoted to the contributions of black Confederate musicians.
Judgment of Intonation in the Context of Three-Part Woodwind Ensemble Performances: The purpose of the study was to determine judgments of trained musicians regarding the intonation of complex tones in the context of synthesized woodwind ensemble performances. Problems included in the study were (1) estimation of the point in pitch deviation which would result in out-of-tune judgments, (2) investigation of timbral effects on judged intonation, and (3) investigation of effects of mistuning within differential voices.
Perception of Timbral Differences Among Bass Tubas: The present study explored whether musicians could (1) differentiate among the timbres of bass tubas of a single design, but constructed of different materials, (2) determine differences within certain ranges and articulations, and (3) possess different perceptual abilities depending on previous experience in low brass performance. Findings indicated that (1) tubas made to the same specifications and constructed of the same material differed as much as those of made to the same specifications, constructed of different materials; 2) significant differences in perceptibility which occurred among tubas were inconsistent across ranges and articulations, and differed due to phrase type and the specific tuba on which the phrase was played; 3) low brass players did not differ from other auditors in their perception of timbral differences.
The Relationships Between Job Satisfaction and Personality Traits Among Music Teachers: The purpose of this study was to investigate the relationships between personality traits and job satisfaction among music teachers. The research problems were 1. to investigate the areas of job satisfaction of music teachers; 2. to investigate the patterns of personality traits that were common among music teachers; 3. to determine whether relationships existed between the areas in which the music teachers showed job satisfaction/dissatisfaction and their personality profiles.
An Investigation of the Needs for Music-Related Content in the Bible College Pastoral Curriculum as Perceived by a Selected Group of Pastors: The purpose of the study was to investigate the needs for music-related content in the Bible college pastoral curriculum as perceived by a selected group of pastors. The research problems were (1) to assess the extent of musical preparation of recent pastoral graduates from selected accredited Bible colleges in the United States, (2) to assess the music-related duties of those graduates in paid pastoral positions, (3) to assess the pastors' perceived needs for instructional preparation for the fulfillment of their musical duties, and (4) to determine the effect of selected factors on the perceived needs of those pastors.
The Effect of Teacher Approval/Disapproval on Students' On-Task Behaviors in a Selected Beginning Strings Class: The present study explored whether (a) positive or negative reinforcement would produce higher percentages of on-task student behavior at set timed intervals, (b) positive, negative, or total reinforcement would increase student attentiveness after reinforcement, and (c) if natural fluctuations in teacher approval/disapproval would have any bearing on percentages of student attentiveness. Findings of the 15-day study concluded that (a) positive reinforcement maintained significantly higher levels of student attentiveness over negative reinforcement, (b) negative reinforcement did not significantly lower percentages of student attentiveness, and (c) natural fluctuations in rates of teacher approval/disapproval had no apparent effect on the amount of on-task behavior in the beginning strings class.
Aesthetic Justifications for Music Education: a Theoretical Examination of Their Usefulness: Justifications for music education have been studied only by examining historical trends in statements of aesthetic versus utilitarian values, and not from the perspective of evaluating the justifications' usefulness. A number of prominent writers in the music education field, while supporting aesthetic values as important for music education, have expressed doubts about the effectiveness of aesthetic justifications when used for convincing outsiders of the importance of music in the public school curriculum. These doubts, along with a preponderance of aesthetic justifications in the recent music education literature, led to the present study, which conducted a theoretical examination of the usefulness of aesthetic justifications for music education. The study addressed three research problems, namely: (1) the attitudes of the clientele groups of the public schools in terms of their values toward music as a subject in the schools; (2) the attitudes of the groups within the music education profession in terms of their values for music in the public schools and for the profession itself; and 3) the likelihood that justifications based upon "aesthetics" as a system of values would be accepted by the groups both inside arid outside the music education profession. A philosophical-sociological perspective was chosen for the theoretical analysis because the problems of the study concern the manner in which values are accepted or rejected by groups of people. The particular sociological theory chosen combined the symbolic interaction theory of George Herbert Mead and the sociology of knowledge as described by Peter Berger and Thomas Luckmann. Conclusions: Problems arise in justifying music education using aesthetic theory because (1) the symbolic universe of aesthetic theory is complex and is not well-understood by music educators or the clientele of the public schools; and (2) aesthetic theory represents gestures of a reference group with norms and values not usually found in …
Independent Piano Teachers: An Investigation of Their Attitudes toward Selected Attributes of Profession: The purpose of the study was to investigate independent piano teachers' view of themselves in the light of selected attributes found in sociological writings on the professions. The research problems were: (a) to determine the attitudes which independent piano teachers held toward selected professional attributes; (b) to determine the relationship between the attitudes toward the professional attributes and selected background variables; and (c) to determine the degree of association between these attributes. The problems were addressed by a questionnaire directed to independent piano teachers active in the area of Dallas-Ft. Worth, Texas. Thirty teachers were also interviewed to determine consistency of response and to explore issues which the questionnaire had raised. Reliability and validity were established at acceptable levels. Techniques of statistical analysis included Pearson's product-moment correlation, multiple regression, chi-square in conjunction with Cramer's V_, and factor analysis. The strongest attitudes expressed by the teachers in the study concerned professional self-image, altruism, client orientation, commitment to work, and independence. The most important background variables were age, years of experience, number of students, certification by a professional association, and college degree in music. A multiple regression analysis tested each variable against the dependent variable professional self-image; recognition by others, commitment to work, client orientation, and qualification were found to account for 25% of the common variance. A factor analysis was also conducted to seek out patterns of attitudes among the attributes being studied; seven factors were identified among the subjects' belief systems as Professional Actions, Satisfaction, Quality Control, Professionalism, Compliance, Autonomy, and Focus on Student. These factors accounted for almost half of the total variance in the data. The study concluded that: (a) independent piano teaching was a female-dominated, subsidized occupation, and (b) the piano teachers' professional self-image seemed to be an evaluation of themselves and their work, rather than the …
The Beginnings of Music in the Boston Public Schools: Decisions of the Boston School Committee in 1837 and 1845 in Light of Religious and Moral Concerns of the Time: The research problems of this dissertation were: 1) A description of the perceived value of music in light of political undercurrents in Boston prior to and during the years under investigation, and 2) the profile of the constituency of the Boston School Committee and Committee on Music in 1837 and 1845. Questions addressed the effect of religious and moral concerns of the day on the decision by the School Committee in 1837 to try music in the curriculum, and the possible effect of religious politics on Lowell Mason's dismissal from the schools in 1845. In the minds of mid-nineteenth century Bostonians, religious and moral values were intrinsic to the very nature of music. Key members on the School Committee portrayed music as being spiritual yet nonsectarian in its influence. Therefore, the findings suggest that music was believed to provide common ground between opposing and diverse religious sects. Reasons given for Mason's dismissal by John Sargent, a member of the Committee on Music, showed parallels to H. W. Day's accusations in the press a year earlier that Mason had managed his position in a sectarian manner. Sargent's background supports the theory that religious politics were at work in Mason's dismissal. Although members of the School Committee of 1845 were religious, only isolated cases support the proposition that any of them would have opposed Mason strictly on the basis of religious issues. Evidence suggests that their passivity to the action by the Committee on Music was probably due to concurrent public criticism of attempts at school reform within the Committee. While under such scrutiny, Committee members' inaction regarding Mason's dismissal may have reflected a desire not to jeopardize their own positions as a political body.

UNT Libraries - 151 Matching Results

Search Results

Add Filters

Applied Filters