In music education, aesthetic education and praxial music education serve as two major, guiding philosophical frameworks, yet supporters of each often conflict with one another. Furthermore, both are slightly problematic with respect to the specific context of the public school. Each framework is primarily music-based, however, music education has existed in the wider context of general education since the 1830s. Given the recent core-status designation for music education, as part of all fine arts, in the reauthorization of the Elementary and Secondary Education Act, a framework from general education that supported music education could offer benefits for the domain. However, the wider context of general education is messy as well. Two groups occupy most of the space there, and remain locked in a fundamental disagreement over the purpose of a formal education. The progressive educators, historically framed by Dewey and Thorndike, contend that education functions as societal improvement. In contrast, the essentialists contend that education functions as cultural transmission. Therefore, a more specific need for music education involves selecting a framework from general education that resolves this conflict. The writings of William Chandler Bagley indicate that he balanced both considerations of a formal education while also advancing his notion of essentialism. Bagley differed from the progressive educators predominately associated with Dewey over definitions and ideas surrounding a democratic education. Emergent points of contrast with Thorndike include distinctions between social efficiency and Bagley's alternative idea of social progress. Bagley also diverged from other essentialists over definitions concerning liberal and cultural education. To make these viewpoints of Bagley explicit, I describe characteristics of a progressive education, and an essentialist education separately, before introducing Bagley. Finally, I apply Bagley's ideas into the domain of music education. Ultimately, I contend that through common outcomes of creativity, competition, and literacy, the domain of music education ...
The purpose of the meta-analysis was to address the varied and somewhat stratified study results within the area of singing ability and instruction by statistically summarizing the data of related studies. An analysis yielded a small overall mean effect size for instruction across 34 studies, 433 unique effects, and 5,497 participants ranging in age from 5- to 11-years old (g = 0.43). The largest overall study effect size across categorical variables included the effects of same and different discrimination techniques on mean score gains. The largest overall effect size across categorical moderator variables included research design: Pretest-posttest 1 group design. Overall mean effects by primary moderator variable ranged from trivial to moderate. Feedback yielded the largest effect regarding teaching condition, 8-year-old children yielded the largest effect regarding age, girls yielded the largest effect regarding gender, the Boardman assessment measure yielded the largest effect regarding measurement instrument, and song accuracy yielded the largest effect regarding measured task. Conclusions address implications for teaching, research pedagogy, and research practice within the field of music education.
The purpose of this descriptive study was to discover Texas middle school choir directors’ perceptions and applications of multicultural education in their classrooms. Three research questions guided this investigation: (1) What were middle school choir director’s perceptions about multicultural music education?; (2) How did middle school choir directors apply multicultural music pedagogy in their classrooms?; and (3) How did middle school choir directors perceive professional development opportunities in multicultural music education? Texas middle school choir directors perceived that the purpose of multicultural music was to expose students to different cultures and diverse worldviews through music. Teachers listed several social and musical benefits of studying multicultural music including broadening musical horizons, cultural appreciation, and expansion of student worldviews. Teachers consciously programmed multicultural music for most of their concerts, and some chose literature based on their students’ cultural backgrounds. Although most teachers tried to make multicultural music experiences genuine for students, authenticity was the foremost pedagogical concern regarding multicultural music pedagogy. Teachers tended to utilize a combination of music concept and sociocultural approaches when teaching multicultural music by comparing multicultural music to Western music and using classroom discussions to discuss social issues that lend context to the music. Professional development opportunities in multicultural music education were available through the state music organization (TMEA), but rarely at the district or the campus level. Teachers also reported opportunities at the national level for professional development.
This study examines the phenomenon of contemporary a cappella music making found in high school settings as curricular and extra-curricular offerings. Past music and music education literature has focused exclusively on contemporary a cappella at the collegiate level. Through application of a descriptive phenomenological method and incorporation an educational-sociological lens, this study advances an understanding of the educational benefit and social value of membership in contemporary a cappella at the high school level. Six recent members from three regions of the United States provided data through individual open-form interviews in which questions were derived from the participants’ own speech. I incorporated phenomenological reductions and processes to negate researcher bias during data collection, analysis, and the formation of a general structure and constituent meanings of membership in high school contemporary a cappella. Participants utilized traditional music skills, individual talents, conceptions of popular culture and music, and in-group socialization to facilitate music making and reify membership. Expressing the value of group membership, individuals acted to benefit the group by cultivating social bonds, developing and fostering personal/shared connections to songs, identifying and purposing individual talents and skills, and gaining an understanding of each members’ unique contribution to membership. Discussion includes implications for music education and suggestions for future research.
The purpose of this study was to investigate the effects of three different levels of skill training in musical timbre discrimination on alphabet sound discrimination in pre-kindergarten and kindergarten children. The findings of prior investigations indicated similarities between aural music and language perception. Psychoacoustic and neurological findings have reported the discrimination of alphabet quality and musical timbre to be similar perceptual functions and have provided, through imaging technology, physical evidence of music learning simultaneously stimulating non-musical areas of the brain. This investigator hypothesized that timbre discrimination, the process of differentiating the characteristic quality of one complex sound from another of identical pitch and loudness, may have been a common factor between music and alphabet sound discrimination. Existing studies had not explored this relationship or the effects of directly teaching for transfer on learning generalization between skills used for the discrimination of musical timbre and alphabet sounds. Variables identified as similar from the literature were the discrimination of same- different musical and alphabet sounds, visual recognition of musical and alphabet pictures as sound sources, and association of alphabet and musical sounds with matching symbols. A randomized pre-post test design with intermittent measures was used to implement the study. There were 5 instructional groups. Groups 1, 2,and 3 received one, two and three levels of skill instruction respectively. Groups 4 received three levels of skill training with instruction for transfer; Group 5 traditional timbre instruction. Students were measured at the 5th (Level 1), 10th (Level 2), 14th (Level 3), and 18th (delayed re-test), weeks of instruction. Results revealed timbre discrimination instruction had a significant impact on alphabet sound-symbol discrimination achievement in pre-kindergarten and kindergarten children. Different levels of timbre instruction had different degrees of effectiveness on alphabet sound discrimination. Students who received three levels of timbre discrimination instruction and were taught to ...
The purpose of the study was to investigate the leadership role of the Texas Bandmasters Association (1920-1997) in the development of the band program in Texas. It sought to determine TBA's effect on the band movement in Texas, and ascertain how the TBA has contributed to the emphasis on performance focus that is associated with the Texas band tradition. In doing so, the study also provided information regarding the association's goals, purposes, activities, and contributions during the time period under investigation. The historical data for the study was compiled from documentary sources and personal interview. Documentary sources included minutes of meetings from 1920-1997, information contained in various periodicals including the Southwestern Musician combined with the Texas Music Educator, and a nearly complete set of clinic-convention programs. Historical data from past researchers, including several masters theses and doctoral dissertations, and tapes and transcripts of interviews conducted by past researchers, as well as interviews conducted by this researcher, were also utilized. Much of the historical data for the study was located at the Texas Music Educators Association archives, housed at the association headquarters in Austin, Texas. The researcher identified five periods of the association's history. In addition to developing a historical chronology, the study identified prominent leaders for each historical period and explored how these individuals shaped the development of the association, which has grown from a small group of municipal bandmasters in 1920, into the largest state band association in the world, with over 2,200 active members. The researcher chronicles the events that led up to the first annual clinic-convention in 1948, and continues through the fiftieth clinic-convention in 1997. Although the first clinic-conventions focused on new music and the marching band exclusively, over the years this original concept has expanded and now encompasses virtually every aspect of band work. The ...
To look at the effect of free play on the musical improvisations of first, second and third grade children, 108 children were randomly assigned to either a control or treatment group. Subjects were tested using a researcher-designed instrument to elicit an improvisatory response. The control group then received regular music instruction (120 minutes every 2 weeks) and the treatment group received regular music instruction in conjunction with musical free play (100 minutes of instruction and 20 minutes of free play every 2 weeks). The treatment lasted 14 weeks. At the end of the treatment, all students were tested with the same testing instrument used for the pre test. Videotapes of the improvisations were submitted to three independent judges to rate for quality on a 5-point Likert scale. The change in ratings between pre and post tests were analyzed with an analysis of variance to determine if there were significant differences between the control and treatment groups. The analysis of the data revealed no significant difference in the change of ratings between control and treatment groups for the group as a whole, or for any particular grade level within the total group.
The purposes of this descriptive survey research study were (a) to describe novice band directors' perceptions of the importance of skills/knowledge used n effective music teaching, (b) to describe novice band directors' perception of the difficulty of acquiring each skill or knowledge component, (c) to compare novice band directors' perceptions of the importance and difficulty of the skills/knowledge used in their classrooms, (d) to describe ways that novice band directors perceived university coursework as helpful in acquiring teaching skills/knowledge, and (e) to describe improvements to university coursework that novice band directors perceived could help future band directors. The personal skills/knowledge category (M = 4.64) was rated highest for importance, followed by the teaching (M = 4.60) and musical (M = 4.29) categories. Additionally, participants rated the personal skills/knowledge category (M = 3.57) as the easiest to acquire, followed by musical (M = 3.14), and teaching (M = 3.09) categories. There was a statistically significant difference between teaching importance ratings and teaching acquisition ratings, with the teaching importance category rated higher by participants. Participants perceived secondary instrument instruction, teaching experiences, core music curriculum, and practical skills/knowledge as positive aspects of university coursework. Finally, secondary instrument instruction, field experiences, non-instructional aspects of teaching, and musical pedagogy were reported by participants as areas for possible improvement.
Music performance anxiety is an issue that affects musicians at all levels but can begin in early adolescence. The researcher investigated three variables and their ability to predict music performance anxiety: catastrophization, self-regulation, and goal-setting style. Catastrophization is a negative thought that amplifies perceived criticism. Self-regulation is a metacognitive skill that allows students to plan strategies and evaluate learning. Goal-setting style refers to a student's framework when establishing learning objectives – whether they are focused on mastering the subject matter, or only trying to avoid being the worst in the class. A sample of adolescent wind musicians (n = 68) were administered four self-reporting measures for the predictor variables and music performance anxiety. Catastrophization, self-regulation, and goal-setting style were all statistically significant in predictor music performance anxiety, with catastrophization alone explaining 69% of the variance in the predictor variable. Overall, the whole model was able to explain 46% of the variance in music performance anxiety.
Positive adaptations experienced in spite of challenges faced is known as resilience. Comparatively little research has focused on in-depth descriptions regarding how resilience is manifested in children. The purpose of this study was to add to previous research in the identification of characteristics of resilience in students, and to determine the extent to which band membership has aided their resilience in other domains. Data was collected from a random sample of band seniors from the class of 2011 (n = 3) who attended a large high school in the South. Specific research questions were: (1) What characteristics of resilience are present in the talk of participants in a high school instrumental music program? (2) To what extent has this population perceived that membership in band aided their resilience in other domains? A descriptive study design was chosen that used qualitative data. Following data analysis that included category matrices, prominent themes emerged from the participants’ responses. These included self-improvement, forward thinking, optimism, inner drive, increased achievement, determination, development of relationships to peers and adult mentors, and development of connectedness to the school. The findings of this study complemented previous research on characteristics of resilient students, and suggested that the participants derived positive benefits from group membership and from positively contributing to the school. Recommendations based on these findings for researchers included the need for resilience to be studied across other subject areas in school, and across different populations of students. Recommendations for teachers and administrators included varied opportunities for extra-curricular and co-curricular student engagement.
Secondary choral directors often demonstrate a wide variety of organizational, instructional, and musical skills to promote and nurture thriving programs. Among the many tasks executed, choosing repertoire might be viewed as one of the most important duties performed. Material chosen for study is often the vehicle through which curricular concepts are taught. Multiple factors might influence middle school choral directors’ beliefs about repertoire choices. Ironically, repertoire choices might or might not reflect educators’ actual teaching philosophies; nevertheless, these decisions could influence student learning. This study surveyed a stratified random sampling of Texas middle school choral directors who participated in the 2010 University Interscholastic League Concert and Sight-reading competition (n = 209). Seventy middle school choral directors participated in the study. Each director took an online survey and indicated the degree to which they agreed or disagreed with 14 statements concerning repertoire choice. Many of the belief statements showed teachers were overwhelmingly in concordance with their beliefs (92.9%). Results indicated that beliefs were similar, regardless of who chose the curriculum or the amount of discussion perceived in undergraduate training. The only belief statement that continually showed differences between teachers concerned students’ ability to vote on repertoire.
The purpose of this study was two-fold: 1) to compare the effects of three different composition tasks with varying degrees of structure on pre-service music teachers’ creative self-efficacy as composers and their instructional self-efficacy as pedagogues of composition; and 2) to describe through pre-service music teachers’ talk perceptions of composition and their experiences completing the three composition tasks. Participants (N = 29) were music education majors from three different sized universities in the northern-central region of the United States. At the beginning of the study, the participants answered a researcher-design self-efficacy questionnaire that measured (a) their self-efficacy as composers and (b) their self-efficacy as teachers of composition. Next, they composed three compositions of various task structures (unstructured, poem, and rhythm). Immediately after completing each task they again completed the self-efficacy questionnaire. Statistically significant mean differences between the pre-task administration of the measuring instrument and all three composition tasks were found for the pre-service teachers’ compositional self-efficacy. Statistically significant mean differences were also found between the unstructured task and the rhythm task, but not between the rhythm and poem tasks or the unstructured and poem tasks. For the pre-service teachers’ self-efficacy as pedagogues of composition question, the results were also statistically significant between the pre-task administration of the measuring instrument and all three composition tasks. Statistically significant mean differences were also found between the unstructured task and the rhythm task as well as the poem and rhythm tasks, but not between the unstructured and poem tasks. Additional data were gathered through semi-structured one-on-one interviews. Through their talk the pre-service music teachers commented that they enjoyed the overall composition process. This experience also seemed to challenge the participants’ assumptions about composition and appeared to make creative experiences more tenable and relevant to their future classroom experiences. The results of this study suggest ...
The purpose of the study was to compare two instructional methodologies designed to improve the intonation accuracy of seventh grade violin and viola instrumentalists. The collection of data was in regard to (1) instructional methodology: aural and aural/visual, (2) performance tasks: A, B, and C; (3) individual pitches (seven from each of the music tasks), and (4) differences between instrument groups: violin and viola. Sixty-eight seventh grade string students from three string classes of two middle schools were randomly assigned to two experimental groups: (a) aural and (b) aural/visual. The instructional period was implemented daily in ten-minute sessions during twenty days by the orchestra instructors of each school. A pretest-posttest format was used to determine if there were any changes in the subjects' intonation accuracy from prior to after the instructional phase was implemented, and if these changes could be attributed to any of the methodologies. The testing material used on both testing sessions included three performance tasks composed of seven notes each. Subjects were recorded on both testing occasions. The data were the scores of absolute pitch deviation, measured in cents from equal temperament, from the pre- and postest; these were treated with analysis of variance. The ANOVA on the posttest scores indicated a non-significant difference between the instructional methodologies in their effectiveness to improve the subjects' ability to play in tune.
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.
This study investigated whether fifth-grade students would sing more accurately when responding to pitch stimuli presented to the right ear as compared to left and both ears. Students were also classified as either strongly right-handed or other (left-handed or mixed) to see if ear treatment responses would differ with handedness. Sixty-six students were tested on their attempts to match 12 model pitches. Identical tests were given to each subject on 3 different days, with a different ear treatment each day. Vocal response scores were significantly better for both-ear presentation than for left-ear. No significant difference was found between right and both ears, right and left ears, or between handedness groups.
This investigation sought to identify sound levels potentially harmful to directors' hearing, and examine the effects of band size, instrumentation, bandroom and playing ability on sound levels. The subjects were 2 elementary, 2 middle, and 4 high school bands, in 7 rooms, 10 to 66 members, and 26 students, beginning and advanced. A sound level meter was used. Sounds were measured in flat and A-weighted decibels. Sounds measured were steady state (>.5 sec.) and impulse (<.5 sec.). Results were compared with safety limits of OSHA, EPA and Baughn's study of safety limits (1966). Results show exceedences of limits used for comparison. Small rehearsal areas and younger players seemed to cause high levels in the tests. Further testing may prove potential hazards.
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.
Mental imagery is a common theme in research that clarifies how musical thought relates to musical performance. Unfortunately, minimal information exists regarding mental imagery and singers. The purpose of this study was to probe the role, if any, mental imagery plays in the conceptualization of pitch and vowel. By interviewing singers at differing levels of expertise, basic information was obtained about the mental processes used by singers. Through evaluations of the singers' mental processes, it was concluded that 95% of the singers in the study employed mental imagery. All singers described using kinesthetic imagery, while the majority implemented sensory and auditory imagery. Viso-spatial imagery was implemented among the more experienced singers. The majority of singers also reported: imaging pitch and vowel interactively; imaging from an internal perspective; and utilizing mental rehearsal. Less than half of the singers described using methods other than mental imagery to conceptualize pitch and vowel.
The reasons given by thirty-three junior high school band directors for success and failure at the University Interscholastic League Concert/Sightreading Contest were studied using the methodology of Attribution Theory. All of the subjects attended the same contest and were members of a region which included urban and suburban schools. The subjects responded to a questionnaire which evaluated their attitudes towards the contest, allowed them to make judgments about other directors in hypothetical contest situations, and finally asked them to list the five most important reasons for their success or failure at the contest in an open-response format.
The purpose was to measure any statistically significant differences in pitch-matching skills among three classes of third grade students when using either adult male voice, piano, or resonator bells as melodic models for rote instruction of classroom singing. Each class was randomly assigned one of the three melodic models for a ten week treatment phase. Results indicated no significant differences in pitch matching skills between any of the three groups. No significant differences in pitch matching skills were found according to gender of subjects or among class piano students and non-piano students. Findings indicated overall improvement in pitch matching skills of subjects from pre-test to post-test phase.
The purpose of the study was to explore the effects that individual vs. collective structured creative musical problem solving tasks had on students' compositional products. Subjects in a convenience sample of 32 fourth-graders and 32 fifth-graders were randomly assigned to either the individual or collective condition. The 3 treatment sessions were characterized by an open-ended creative problem solving task, which included questions intended to guide subjects through 3 stages of the creative problem solving process: Understanding the Problem, Generating Ideas, and Planning for Action. Subjects participated in the pre- and posttest individually. Three experienced music educators assessed the compositional products in terms of pattern use, cohesiveness, and creativity. The originally intended MANCOVAs could not be carried out because the data did not meet the necessary assumptions. Pretest and posttest scores were explored with individual ANOVAs. The Bonferroni technique was used to adjust the alpha level. The statistical analyses showed that subjects exposed to the individual condition obtained higher scores than subjects exposed to the collective condition on six of the eight explored subtests, but these differences were not significant. The level of interjudge reliability decreased at each of the three measurements of the study: pilot test, pretest, and posttest. The study's results suggest that music educators interested in observing specific characteristics of individual students' compositional products, such as the levels of cohesiveness, creativity, and pattern use, could do so regardless of the condition under which students were exposed to compositional tasks, either individually or collectively. Recommendations for future research include the use of a measurement instrument specifically designed for open-ended tasks, and the exploration of the current study's measurement instrument with closed-ended tasks. The study highlights the need for appropriate measurement instruments designed for the compositional tasks at hand, and the need for research results reported clearly, so that more ...
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 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.
Examination of the relationship of musicianship and educatorship of teacher and students as interacting partners in a specific musical context proceeded with investigation of how formal, informal, impressionistic, and supervisory musical and educational knowledge were evidenced in rehearsal. Attention was also given to how the teaching strategies of modeling, coaching, scaffolding, fading, articulating, reflecting comparatively, and exploring were used to develop student musicianship. The research methodology may best be described as an inductive analytical case study approach. Multiple data sources included: videotaped observations of 19 bi-weekly rehearsals, audio taped interviews of the 12 participants, supplemental materials, (a published interview, journal articles, rehearsal schedules), and member checking with the teacher and David Elliott. Rehearsal data were initially organized into categories identified in David J. Elliott's (1995) model. The relationship of teacher and student musicianship, and teacher educatorship emerged during analysis. Musical details of problem finding, reducing and solving were also identified. Three themes emerged from the student interviews: their perceptions of the teacher's musicianship, general rehearsal strategies, and the teacher's use of specific teaching strategies. Interviews with the teacher illuminated his perception of musicianship and teaching strategies employed in the context. The findings confirmed that as music making transpired in the rehearsals, the kinds of knowing present in the musicianship of teacher and students and the teacher's educatorship were not only intertwined but were utilized at the same time. The level of student musicianship was allied to the relationship of the teacher's musicianship and educatorship. The intricate relationship between the kinds of procedural knowledge that Elliott identifies as integral to music making and music teaching are illustrated in a set of diagrams. Additionally, they show the wide range of technical and musical problems the teacher and students solved together in order for the multifarious nature of the vocal jazz repertoire to ...
This qualitative study investigated four monolingual, English-only speaking Caucasian elementary music teachers and their reflections regarding instruction of English language learners (ELL). The purpose of this multiple case study was to investigate the teaching practice and curricular decisions of elementary music teachers who instruct Hispanic ELL students. The investigation was conducted during a nine-week period, and data collection included classroom observations, phenomenological interviewing, and teacher audio journals. None of the teachers had prior education or pre-service preparation in teaching music to ELL students. The major theoretical base from which the study was developed was the reflective teaching theory of Donald Schön (1983). The main research question was: "What are the participating teachers' reflections about their curricular and pedagogical decisions when teaching ELL students?" Following a description of the elementary music teachers' reflections on practice with ELL students, the study revealed that the majority of elementary music teachers had a lack of preparation and ELL music curriculum, and negative perceptions of the placement program for ESL students. Despite these factors, the teachers made attempts to include ELL students in all music activities. This study showed that while one teacher accommodated specifically for the ELL students' learning, three out of four teachers did not. This study also suggests that music is a subject by which strong interactions between peers, opportunity for language expansion, and other factors occur which have positive correspondence to recommended ELL instructional strategies. A cross-case analysis revealed that the life history and experience of the elementary music teachers had an influence on the teachers' awareness of ELL students. The analysis suggests a relationship between teacher awareness and accommodation. The study also recognized the need for further inquiry regarding ELL students and issues related to their school placement. This study has implications for music education research including suggestions for music ...
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 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.
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.
The purpose of this study was to investigate constructions of choir identity among high school choir students in the United States public school classroom setting. The research questions were (a) what are the processes involved in construction of choir identity and (b) how are the processes related to the group identity of the choir. The data were collected through participant observations in one selected choir classroom and semi-structured interviews with students from the choir class. The results included six processes of identity construction as well as identification of the ways in which each process was related to the choir group’s identity. The processes and their links to the overall choir group identity provided further insight into the ways in which high school choir students construct their identities, and they also supported methods of teaching commonly used in high school choir settings.
A large segment of society is either preparing to enter the work force, or is already engaged in some chosen line of work. Preparing to enter the work force takes a considerable amount of time and effort. The decision to follow one career path over countless others may, on the surface, appear to be discretely individual. But when viewed from a sociological perspective, occupational choices are implicitly and explicitly reached through a consensus of contributing factors. Consequently, an occupational identity is not how an individual describes a personal work-related self, but is rather dialectic. It is the merging, albeit, negotiation of viewpoints which causes persons to view themselves in relationship with how others think of them. It is expected that students newly enrolled in music education degree programs will, with time, replace erroneous lay conceptions of music teaching with those presented in curricula and espoused by significant role models. However, the professional socialization process, characteristic of music education degree programs, has not always been successful in transforming students’ personal perspectives of music teaching. This transformation process is critical toward the development of occupational identities that are congruent with school music teaching positions. There has been an established line of research in music education that examines who school music teachers are from a sociological perspective. When pursuing this literature, however, it became evident that, over time, the term identity had been used under many different guises, incorporating mixed perspectives from among the social sciences. The studies that have dealt with occupational identity have done so for different purposes, employing different theories and methodologies. While any of these previous research protocols may be useful for particular purposes, the reality is that the terms identity and occupational identity have become interchangeable. The term identity is sometimes used to denote self-concept or role concept ...
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.
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.
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.
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.
The purpose of this study was to analyze the characteristics of teacher directed modeling evidenced in the practices of three experienced high school choral directors. Research questions were: 1. What modeling activities were exhibited in each teacher's rehearsals? 2. When viewing a 45-minute composite tape of each teacher's instructional activities representative of all rehearsals, what instructional behaviors did each choral director recognize and identify as modeling? 3. What instructional episodes on the composite tape not identified by the teachers contained elements of modeling? 4. What other episodes from the remainder of each choral director's rehearsal practice contributed to an understanding of modeling? Videotapes of three high school choral directors were recorded over the course of one semester. Excerpts from rehearsals were combined to form a 45-minute composite tape of each choral director. A text transcription was made of the composite tape. Participant directors viewed their tape and identified instructional episodes that they recognized as examples of modeling. Identifications were analyzed, and descriptive categories of modeling behaviors were established. Modeling was found to be a teacher generated or delegated act of demonstration. Demonstrations were musical or non-musical and belonging to either of three distinct categories: audible, visible, or process modeling. Subdivisions of each category were found further describing modeling in the high school choral rehearsal. In addition, types of modeling were noted in increasing cognitive complexity required on the part of students beginning with simple imitation and concluding with models as tools for musical problem solving. Research is recommended on a larger sample of participants, including junior high/middle school directors to confirm categories and levels and to develop an observation tool based on results for describing, assessing, and modifying instructional techniques of practicing and pre-service music educators.
This study used a semistructured interview schedule to identify the music career opportunities available to students who graduate with an undergraduate music degree, and the skills, interests, work values, and personal characteristics that may determine a person's suitability for these music careers. Six university faculty members from each of the 11 NASM-accredited undergraduate music degree fields participated in the study (n = 66). Fourteen professional musicians who were recommended by these faculty members also participated in the study. Concerning the musical and non-musical skills that may determine a person's suitability for a music career, participants consistently noted the importance of performance skills in their respective fields. Participants also consistently cited people skills, and noted that most musicians interact with people on a daily basis, and use people skills to build social networks that may lead to employment. When asked about the interests that may lead someone to a music career, participants commonly cited the importance of good high school ensemble experiences in students' music career decisions. Concerning the rewarding aspects of music careers, many participants noted that they were more rewarded by the ability to support themselves doing what they loved, than by fame or wealth. Concerning the personal characteristics that may determine music career compatibility, participants noted that tenacity is essential to contend with intense competition, extended periods of unemployment, and other common struggles of professional musicians. When asked about music career opportunities in their respective fields, participants reported numerous music careers, some of which were excluded from previous music career inventories. In addition, participants noted that there may be careers for non-musicians in some music career fields. Participants also noted that some music careers may be listed in more than one music career field, creating potential confusion for music career advisors. Finally, participants noted transitions in many music ...
The study sought to determine the relationships of preference responses to grade, gender, familiarity, musical training, peers'/parents' listening habits, music media use, and listening contexts. Grade six through nine Hong Kong students (N = 310) completed the audio preference test followed by verbal responses to training, peers'/parents' preferences, leisure/music media involvement, and listening context. Results indicated: The preferred genres, in descending order, were Western pop/rock, Cantopop/rock, Western classical; the disliked genres were jazz, Chinese, and non- Western/non-Chinese. Preference correlated strongly with genre familiarity. Pop genres were the most familiar to all adolescents. The students' preference toward Western pop/rock and Cantopop/rock associated with several listening contexts: solitary listening, having great freedom to choose one's desired music for listening, listening to music in one's room, and listening to music as background activity. The adolescents expressed that their leisure activities were spent with their family and friends. However, they made it clear that music listening was a personal activity that very likely was listened to alone. On all listening occasions, the girls exhibited a more positive response than the boys did. With four to five hours daily leisure time, the adolescents watched TV for three to four hours while spending less than two hours on listening to recorded music, and less than an hour on listening to radio music, MTV/karaoke, and music websites. Cantopop/rock was the most pursued music style in terms of the records bought, concerts attended outside of school, their peers', and parents' most-listened-to music. Some weak correlations of preference with grade and gender were identified: the grade six students showed more tolerance to Chinese and non-Western/non-Chinese music. Boys preferred jazz more than the girls did. Private music study and extracurricular musical experiences related to Western classical and non-Western/non-Chinese music preferences whereas school music training failed to show any association with ...
The purpose of the study was to determine whether students' timbre preferences in the sixth grade remain stable through the tenth grade. The investigation also examined whether gender, band instruction, or musical home environment makes any difference in influencing the stability of students' timbre preferences from grade six through ten. Students' timbre preferences at the beginning of the study were compared to their preferences four years later. The students' timbre preferences were obtained by employing Gordon's Instrument Timbre Preference Test (ITPT). A questionnaire was also utilized at the conclusion of the study to determine which students had musical home environments and which did not. All sixth grade students enrolled in a single school district took the ITPT. Each student's scores were tallied and ranked in order to determine their timbre preferences; four years later they were retested and their scores were ranked again.
The purpose of this study was to assess on a national level, high school band directors' reasons for their bands' participation in six different types of competitive music activities, identify important reasons for participation in competitive music activities, and examine if statistically significant differences existed between the magnitudes of importance reasons for participation when subjects' responses were grouped by type of competitive activity, frequency of participation in a competitive activity, and by groupings of U. S. states similar in terms of general participation in competitive music activities, emphasis upon ratings or rankings as an indication of a high school band directors' success, and emphasis upon participation in competitive music activities.
This study is a biography of the life experiences of Nathaniel Clark Smith (1877-1934), an African-American musician, music educator and composer who lived during the early part of America's music education's history. Smith became one of the first international bandmasters to organize bands, orchestras, and glee clubs in schools and industries in the United States. Smith was raised and attended school on a military post. He later received a B.S.M.A. from the Chicago Musical College and a Masters in Composition from the Sherwood School of Music. He taught music at five educational institutions: Tuskegee Institute, Western University, Lincoln, Wendell Phillips and Sumner High Schools. Some of his students became prominent musicians. They were Lionel Hampton, Nat "King" Cole, Milton Hinton, Bennie Moten and Charlie Parker. Smith also worked with industries. He conducted the newsboys band for the Chicago Defender Newspaper and he became the music supervisor for the porters of the Pullman Railroad Company. Smith was stated to have introduced the saxophone to African-Americans and he was considered as one of the first composers to notate spirituals. Smith published over fifty works in America. One of his compositions received a copyright from England. His Negro Folk Suite, published by the Lyon and Healy Publishing Company, was performed by the St. Louis Symphony Orchestra. It received a John Wanamaker Award. His Negro Choral Symphony received a copyright in 1934. Smith became co-owner of the first Music Publishing Company owned by African-Americans, the Smith Jubilee Music Company.
The purpose of this study was to investigate the kinetic structures or reinforcement schedules of metric temporal patterns (metric combination of note values within a measure) in five best-selling beginning piano method series. Based upon a survey mailed to 98 music dealers, the five best-selling beginning piano method series in 1992 and 1993 were identified as: the Alfred Basic Piano Library, Bastien Piano Basics, David Carr Glover Piano Library, John. W. Schaum Piano Course, and John Thompson Modern Course for Piano. A coding system was developed for identifying the numerical appearances and occurrences of various metric temporal patterns per learning piece within each method series. Several computer programs were written to compute the kinetic structures, scope, and pacing of metric temporal patterns for each method series. The derived data were then compared to delineate relationships between the three analytical variables.
The purpose of this study was to create and gain consensus of an essential curriculum for teaching score study in the undergraduate instrumental conducting class. Questions to be answered by this study were what methods, materials, and evaluations should be used to teach score study to undergraduate instrumental conducting students? Resolving the questions required the collection of information on the methods, materials, and evaluations used in teaching score preparation in the undergraduate instrumental conducting class and the opinions of conductors and teachers of conducting about those methods, materials, and evaluations.
The purpose of this study was to develop and test systematically a theoretical model that delineated the constructs and subsumed variables of jazz improvisation performance. The specific research questions were; what specific performance variables are related to single line jazz solo improvisation performance? and; what is the most cogent groupings of variables into underlying constructs which characterize single line jazz solo improvisation performances for all performers, student performers, and professional performers?
The purpose of this study was to examine the presence of Schön's concept of reflective conversation as a defining component in the applied studio music lesson. The research problems were (1) to determine the presence of complete and incomplete reflective conversations; (2) to determine the verbally exhibited knowledge base within complete conversations in relationship to conversation length; and (3) to establish an instructional profile of stable behaviors based on reflective conversation as a distinguishing characteristic among selected teachers. Videotapes of twenty-six applied studio music lessons of thirteen university teachers were analyzed according to problem solving, on-the-spot experimentation, and evaluation. An observation form was developed and was a reliable tool to collect information concerning number and type of reflective conversations, conversation length, and the teachers' verbally demonstrated knowledge base. Knowledge base was obtained by using the procedural model of Flanagan's critical incident technique. Reflective conversations existed and were a distinguishing characteristic of the teachers. With the exception of two teachers, a stable use of both number and length of reflective conversations, and knowledge base areas, was found. A discernible difference in the teachers' knowledge base within conversation length existed, and thus established instructional profiles for the teachers. Complete reflective conversations ranged from one-sixth to over half of total lesson time. Within instrument categories, teachers generally revealed a dissimilar knowledge usage. Some teachers exhibited fast-paced problem solving, in one minute or less, and named one or two knowledge areas. Others had longer conversations, up to five minutes, with more deliberate problem solving, and as many as twelve knowledge areas named. Results indicated that a practically significant situation can be examined by establishing teacher instructional profiles based upon reflective conversation. Methods employed in this study could be used to document teacher problem-solving and teacher knowledge in a variety of settings.
The purpose of this study was to investigate the interpersonal influences which Bohumil Makovsky, Director of Bands and Chairman of the Music Department at Oklahoma A&M College from 1915 to 1943, had on his students and peers, as confirmed through the perceptions of selected individuals, and to determine what personal characteristics and means he drew upon to induce changes in his students and peers.
The purpose of this study was to investigate the effects of trumpet playing upon the heart. A Holter monitor was used to record electrocardiograms (ECGs) to examine the heart's response during musical performances and practice sessions.
This study explored factors relating to participation in public school orchestra programs and the relationship and predictability of such factors in accordance with Maehr's theory of personal investment.
The purpose was to determine the relationship between high or low cultural mistrust and vocal characteristics in African-American adolescent females. The vocal characteristics were vocal self-identification, singing style, and singing range.
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