Dissertations / Theses on the topic 'Music ability'
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1
Holmes, Ivan. "Studio music teachers and public music examinations : the quality interface." Thesis, James Cook University, 2006. https://researchonline.jcu.edu.au/1834/1/01front.pdf.
Full textAbstract:
The research focuses on quality issues within the private music teaching
industry and the public music examination system (PMES).
It is clear that there is a schism between the formalized structures and
accountabilities of music in the school system and the lack of such structures
and accountabilities with the private studio music teaching industry. The
Thesis traces the literature documenting the rise of the private music teacher
and the accountability rationale implicit in the development of the public
music examination system. The dual aims of the research focus on the need to
profile the private music teaching industry in Australia and to probe the extent
to which the public music examination system might, in practice, afford a
window of accountability on to this industry.
The literature foregrounding this study derives from three areas: the historical
development of the private music teaching industry; the concomitant need for
certification - and the resultant development of the public music examination
system; finally the issue of performance assessment across the relevant
disciplines is explored to provide research direction for music.
A limited profile of the private music teacher emerged from the first phase of
the study. While the respondent sample was smaller than was originally
envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the
findings from the current study were consistent. The second phase focussed
specifically on the public music examination system and its tangible outcomes
in the form of the examination report.
Five examiners were male and three female. Reports were analyzed in terms
of the relevant examination sections with a primary focus on the Technical and
Performance lists sections. In each section reports were segmented into idea
units as the basic unit for analysis. Categories were derived from the data and
each idea unit was categorized accordingly. Examiners’ use of categories was
analyzed in each section and comparisons made between examiners.
Considerable examiner variability was identified.
A discussion of gender differences in accessing categories generates
hypotheses for further research. Discussion of marks awarded by examiners
leads to hypotheses about the implications of exposure to one examiner rather
than another.
While this is but a small scale study and possibly the first in the music genre,
its implications for further research are far-reaching. Implications for the
discipline are also explored.
2
Holmes, Ivan. "Studio music teachers and public music examinations : the quality interface." James Cook University, 2006. http://eprints.jcu.edu.au/1834/1/01front.pdf.
Full textAbstract:
The research focuses on quality issues within the private music teaching
industry and the public music examination system (PMES).
It is clear that there is a schism between the formalized structures and
accountabilities of music in the school system and the lack of such structures
and accountabilities with the private studio music teaching industry. The
Thesis traces the literature documenting the rise of the private music teacher
and the accountability rationale implicit in the development of the public
music examination system. The dual aims of the research focus on the need to
profile the private music teaching industry in Australia and to probe the extent
to which the public music examination system might, in practice, afford a
window of accountability on to this industry.
The literature foregrounding this study derives from three areas: the historical
development of the private music teaching industry; the concomitant need for
certification - and the resultant development of the public music examination
system; finally the issue of performance assessment across the relevant
disciplines is explored to provide research direction for music.
A limited profile of the private music teacher emerged from the first phase of
the study. While the respondent sample was smaller than was originally
envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the
findings from the current study were consistent. The second phase focussed
specifically on the public music examination system and its tangible outcomes
in the form of the examination report.
Five examiners were male and three female. Reports were analyzed in terms
of the relevant examination sections with a primary focus on the Technical and
Performance lists sections. In each section reports were segmented into idea
units as the basic unit for analysis. Categories were derived from the data and
each idea unit was categorized accordingly. Examiners’ use of categories was
analyzed in each section and comparisons made between examiners.
Considerable examiner variability was identified.
A discussion of gender differences in accessing categories generates
hypotheses for further research. Discussion of marks awarded by examiners
leads to hypotheses about the implications of exposure to one examiner rather
than another.
While this is but a small scale study and possibly the first in the music genre,
its implications for further research are far-reaching. Implications for the
discipline are also explored.
3
Bates, Charles Norman. "Developing the ability to recognize microtones /." The Ohio State University, 1992. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487777901657859.
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4
Clark, Terry William. "Mental skills in music : investigating use, ability, and training." Thesis, Royal College of Music, 2010. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.576934.
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5
McCabe, Melissa Christine Parisi Joseph. "Learning together online an investigation of the effect of collaborative instruction on students' demonstrated levels of cognition and self-reported course satisfaction in an online music appreciation course /." Diss., UMK access, 2007.
Find full textAbstract:
Thesis (Ph. D.)--Conservatory of Music and School of Education. University of Missouri--Kansas City, 2007."A dissertation in music education and education." Advisor: Joseph Parisi. Typescript. Vita. Title from "catalog record" of the print edition Description based on contents viewed Jan. 2, 2008. Includes bibliographical references (leaves 132-176). Online version of the print edition.
6
Simon, Lothar. "Komplexitätsgrad von Musikstücken und Stufen der Spielfertigkeit Versuch einer mathematisch und empirisch gestützen Bestimmung /." München : Selbstverlag, 1985. http://books.google.com/books?id=HyFGAAAAMAAJ.
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7
Kirchhubel, Julie, and n/a. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training." Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040427.122927.
Full textAbstract:
The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.
8
Kirchhubel, Julie. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367185.
Full textAbstract:
The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Cognition, Language and Special Education
Faculty of Education
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9
Pinard-Welyczko, Kira. "Does Training Enhance Entraining? Musical Ability and Neural Signatures of Beat Perception." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495617848085978.
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10
Murray, Keelin Margaret. "Music, language and the signalling of cognitive ability : an empirical investigation." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/17899.
Full textAbstract:
First systematically discussed by Darwin (1871), theories of a musical precursor to language have seen a revival in recent years, with researchers such as Tecumseh Fitch, Stephen Brown, and Stephen Mithen invigorating the field. The view that language and music have an evolutionary relationship has been discussed in light of recent comparative, musicological, and biological findings. However, little empirical data have been presented to support such theories. This thesis aims to address this oversight, by presenting a novel experimental paradigm, which tests the prediction of a novel hypothesis for the evolution of language from a musical precursor. The aim of this thesis is to encourage discussion and provide a framework for the empirical investigation of music’s role in the evolution of language. As a first step to addressing this relative dearth of empirical research, a hypothesis is outlined which describes a stable system of signalling cognitive ability through the transmission of culturally-learned, complex, music-like sequences. This is not hypothesised to have been semantically meaningful, rather a system which supported the honest transmission of information about the abilities of potential allies. Such a learned sequential precursor (LSP) to language would require both increased cognitive capacity and an investment of time and energy in learning. These requirements ensured the honesty of signalling, and so perceivers of the LSP could use it as a reliable indicator of the cognitive ability of producers. This was a necessary stage in evolution, prior to protolanguage, in which individuals exhibited a complex learned, culturally-transmitted, music-like signalling system. Such a learned sequential precursor may have arisen through a pressure for the reliable indication of cognitive ability, brought about by environmental and social changes with the advent of Homo erectus. These social changes included a new urge to cooperate, and so this precursor is proposed to have emerged and developed through collaborative partner choice. Perceivers of the system used cues within the musical sequences in order to determine the quality of a producer as a collaborative partner. Empirical tests are presented, which support the hypothesised LSP. The first study tested the complexity aspect of the hypothesis, asking participants to rate complex and non-complex pieces of music according to how much they liked the piece, how familiar it sounded, how attractive and intelligent they found the person who created it, and how likely they were to choose to collaborate with this individual. It was found that complexity was preferred under all measures but one, that of familiarity. The second, main, study predicted that a correlation should be found between measures of cognitive ability that are relevant to musical learning (processing speed and intelligence) and measures of musical learning (ability to replicate and recall target pieces, and make creative pieces). This prediction was upheld, supporting the hypothesis that a learned sequential precursor could have acted as an honest signal of cognitive ability. No correlations were found between these abilities and a measure of physical quality, supporting the hypothesis that this system may have undergone social selection. The third study further tested the question of selection and choice, predicting that collaborative partner choice was key to the selection of this learned sequential precursor. Raters were asked to rate the sexual or collaborative ability of performers of pieces of music, based solely on their musical output. This study has yielded interesting tendencies, but no statistical support of the hypothesis that collaborative partner choice was more important than mate choice in this system. Taken together, these empirical studies support the hypothesis of a musical, learned sequential system of signalling cognitive ability. At the moment, the question of the selection of this precursor remains open, with hopes that further studies can address this question. The methodology used here draws together approaches from birdsong research, evolutionary psychology, and musicological research, in an attempt to prompt further interdisciplinary investigation into the role of music in the evolution of language.
11
Rother, Sarah. "The correlation of music aptitude scores with mathematical achievement scores for high school seniors." Online version, 2000. http://www.uwstout.edu/lib/thesis/2000/2000rothers.pdf.
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12
Swinehart, Timothy Edward. "The effect of timbral variance on the score-reading ability of novice conductors." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1232126076.
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13
McCabe, Melissa Christine Fredrickson William E. "The effect of movement-based instruction on the beginning instrumentalists ability to sight-read rhythm patterns." Diss., UMK access, 2004.
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Thesis (M.M. Ed.)--Conservatory of Music. University of Missouri--Kansas City, 2004."A thesis in music education." Typescript. Advisor: William E. Fredrickson. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 66-74). Online version of the print edition.
14
Emmett, Daniel Warren. "Individual Ability to Learn a Parallel Processing Technique and Musical Aptitude." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5325.
Full textAbstract:
Correlations between music training and psychosocial skills, sensory abilities, and aspects of intelligence, are sorted into primary or secondary effects. Correlations between these areas of human development and music training lack support pertaining to the underlying cognitive networks that these processes rely on. Thus, this study was based on the work of Baddeley and Hitch's model of working memory, and implemented a test of parallel processing (Articulatory Suppression Task, AST), which measures proficiency of working memory systems. Individual differences therein, were compared with music aptitude. Participants were gathered throughout urban and rural regions of the state of Oregon. Half the participants received specific training on how to excel on AST, the other half received no training. The training was based on research showing musicians to be more proficient in rhythm, the phonological loop, and mental imagery. Group AST pretest/posttest scores and the Drake Musical Aptitude test scores were analyzed using 2-tailed t test and regression models for within-group and between-group variation. No significant difference between musical aptitude and participant ability to increase proficiency with parallel processing was found, however, the results indicated that music training influences proficiency with parallel processing in general, and there were indicators that a ceiling effect may have confounded the pretest-posttest range in scores. This supports findings of previous research that musical training has beneficial influences on mathematics, socio-emotional awareness, motor skills, language, and general intelligence, highlighting that positive social change may result if music were a core class in K-12 education.
15
Michels, Patricia E. "Developing the pre-school child's musical intelligence by means of a comprehensive music programme focused on age-controlled auditive development." Pretoria : [s.n.], 1996. http://upetd.up.ac.za/thesis/available/etd-07262002-151835.
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16
Riegle, Aaron. "The pitch matching ability of high school choral students." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/621.
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Wang, Renee Hester. "A Preliminary Investigation of the Relationship between Music-Reading Ability and English Language Learner Status." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460930878.
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18
Tsangari, Victoria. "An interactive software program to develop pianists' sight-reading ability." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3393.
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19
Patston, Lucy. "Balanced brains: an investigation of visuospatial ability and lateralization in musicians." Thesis, University of Auckland, 2007. http://hdl.handle.net/2292/2367.
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Musicians comprise a unique population whereby persistent musical practice involving complex cognitive and motor tasks dates back to childhood when the potential for neural plasticity is at its highest. Accordingly, it has been speculated that musical training results in neural structural and functional differences between musicians and non-musicians. In particular, there is evidence to indicate parietal regions are more equally lateralized in musicians, but research investigating visuospatial abilities and lateralization in musicians is scarce. Studies 1 and 2 aimed to assess the visuospatial ability and cognitive processing speed of adult musicians versus demographically and educationally matched non-musicians. Musicians performed more quickly and more accurately than non-musicians in two tasks of visuospatial ability, and completed more items than non-musicians in three tasks of processing speed, suggesting musicians had better visuospatial ability and a faster speed of processing. Studies 3 and 4 aimed to investigate visuospatial attention in these groups using a line-bisection task and a visual discrimination task. On both tasks musicians demonstrated more balanced visuospatial attention with a slight bias to the right hemispace, which was in contrast to the non-musicians’ bias to the left hemispace, a natural phenomenon known as ‘right pseudoneglect’. In Study 5, the laterality of visual processing in musicians and non-musicians was further investigated by comparing electrophysiological interhemispheric transfer time (IHTT) of lateralized visual stimuli across the corpus callosum. Non-musicians had faster right-to-left than left-to-right IHTT consistent with previous research, whilst musicians had more balanced IHTT in both directions and faster left-to-right transfer than non-musicians. Absolute latency patterns revealed similar results and consistently demonstrated more balanced visual processing in musicians. The behavioural data, analysed in Study 6, revealed a tendency (n.s.) for the musician group to respond more quickly to stimuli presented in the right visual field than to stimuli presented in the left visual field, whilst non-musicians did not show this pattern. Overall, the results indicate that musicians have enhanced visuospatial ability and are less lateralized for visuospatial attention and perception than non-musicians. The results are discussed in relation to plastic developmental changes that may be caused by extended musical training from childhood. Specifically, it is proposed that musical training in early life may elicit a process of myelination that is more bilaterally distributed than myelination in non-musicians.
20
Kinney, Daryl Wayne. "The Effect of School Performing Ensemble Participation on the Ability to Perform and Perceive Expression in Music." The Ohio State University, 2001. http://rave.ohiolink.edu/etdc/view?acc_num=osu1392813859.
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Kielczewski, Nicole M. "The Effect of Music Learning Theory on Sight-Singing Ability of Middle School Students." University of Toledo / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1302292848.
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22
Garberich, Mark David. "The nature of inspiration in artistic creativity." Diss., Connect to online resource - MSU authorized users, 2008.
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23
Holliger, Yolanda Margaret. "An investigative study on developing divergent thinking responses in children using a cognitive approach in music education /." Access Digital Full Text version, 1987. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10742050.
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Berke, Melissa Kay. "The ability of preschool children to recognize chord changes and audiate implied harmony." Diss., The University of Arizona, 2000. http://hdl.handle.net/10150/289135.
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The purpose of this study was to determine if preschool children, specifically three- and four-year olds, were able to demonstrate recognition of chord changes and identify implied tonic-dominant chord changes as a result of age-appropriate instruction focusing on harmony. Sixteen preschool children (7, three-year-olds; 9, four-year-olds) were given 10, 15-minute lessons that consisted of activities designed to enhance their awareness of harmony. Following instruction, students were given a test that measured their ability to recognize chord changes with regular and irregular harmonic rhythm. Furthermore, subjects were asked to demonstrate audiation of the implied harmony in three unaccompanied melodies by performing chord changes on an electronic keyboard. Results indicated that preschool children (94%) could recognize tonic-dominant chord changes, especially when they occurred in a regular harmonic rhythm. A majority of students (69%) also showed mastery when chords were played in an irregular harmonic rhythm. Students were unable to demonstrate mastery in any of the audiation tasks. Following the 10-week treatment, eight of the original subjects continued for an additional 10 sessions. Instructional and testing procedures remained the same. The scores from the 10- and 20-week tests were compared using a repeated-measures ANOVA. Students showed significant improvement in their ability to recognize chord changes that were played in an irregular harmonic rhythm. A moderate correlation was found to exist between age and this same task.
25
Adams, Kari A. "Adolescent Self-Theories of Singing Ability within the Choral Hierarchy." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1703368/.
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The purpose of this study was to explore adolescent self-views of singing ability through both implicit theories and self-concept meaning systems. A secondary purpose of this study was to examine these self-views specifically in the context of a choral hierarchy. Using a researcher-designed survey instrument, I gathered data from middle- and high-school students currently enrolled in a choir program organized in a hierarchical structure. I analyzed descriptive statistics of survey responses to items designed to measure implicit theories of singing ability, singing self-concept, and goal orientation. I also examined differences among participants by ensemble placement in implicit theory and self-concept scores, correlation between implicit theory and self-concept, and whether implicit theory, self-concept, goal orientation, or current enrollment could predict future enrollment decisions. In addition to these quantitative measures, I coded open-ended responses to two failure scenarios and examined participant responses by ensemble and gender. Both implicit theory and self-concept scores were higher for participants at the top of the choral hierarchy than at the bottom. Open-ended responses, however, did not align with the implicit theory scale and a number of students presented a false growth mindset. Open-ended responses also indicated that failure scenarios were likely to result in an altered view of the self and shame in placement in an ensemble at the bottom of the choral hierarchy. The means scores for participants in the middle- and high-school ensembles in both implicit theory and self-concept were significantly different, with participants in the high-school ensembles having higher scores in both constructs. Implicit theory and self-concept were significantly related, and self-concept, goal orientation, and current enrollment significantly predicted future enrollment decisions.
26
Hardy, Dianne B. "The construction and validation of an original sight-playing test for elementary piano students /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.
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27
Taetle, Laurie Daniels. "The effect of active and passive music instruction on the spatial ability of kindergarten children." Diss., The University of Arizona, 1999. http://hdl.handle.net/10150/288984.
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This study expands prior research demonstrating a relationship between electronic piano keyboard instruction and increased spatial ability in preschoolers (Rauscher, F. et al., 1993, 1994, 1997). Spatial ability was assessed after active music instruction using Orff xylophones, active singing instruction, or a passive listener-oriented approach. Kindergartners (N = 68) from 3 intact classrooms, stratified for gender, were randomly assigned to 3 groups: (1) xylophone (n = 28), (2) singing (n = 26), and (3) passive music (n = 14). The lessons for active groups 1 and 2 were identical except for the variable of xylophone instruction. Children learned the same songs, movements, unpitched instrument accompaniments, and read the same simple iconic musical notation. However, during part of the lesson group 1 used xylophones as accompaniments and to sight-read iconic notation, while group 2 (singing) continued to use unpitched instruments as accompaniments and Kodaly hand-signals to sight-read the same iconic notation. Passive group 3 did no singing, playing, moving, or music reading but listened to and talked about music. The instructor taught bi-weekly 30-minute music classes for 4 months; IQ's were measured using 5 subtests (Performance Scale) of the Weschler Primary and Preschool Intelligence Scale - Revised (WPPSI - R) (1989) by a school psychometrist. To control for WPPSI - R practice effects, half of group 1 (n = 14) and group 2 (n = 14) were pre-tested while half of group 1 ( n = 14) and group 2 (n = 12), and all of group 3 (n = 14) were not pre-tested. All were post-tested six months later. There were no practice effects. To compare groups raw scores were used as there were no significant age differences among groups. No significant differences were found. However, consistent with other studies a trend (p < .06) towards enhanced performance on the xylophone group's Object Assembly (OA) subtest was found when compared with the passive music group. A similar trend (p < .06) was found on Block Design, the subtest that most highly correlates with OA. A ceiling effect may have constrained growth due to music instruction as 21% of the xylophone group's OA scores were perfect or near perfect.
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Callahan, Gary L. "The measurement of finger dexterity in woodwind and brass instrumentalists : a developmental study /." The Ohio State University, 1986. http://rave.ohiolink.edu/etdc/view?acc_num=osu1340907240.
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Thomas, James Earl Jr. "Use of music learning readiness skills in the musical development of beginning instrumental music students." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1336.
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Kotwal, Shernaz. "The effects of background music on the learning of a motor skill." Thesis, McGill University, 1995. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35201.
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The purpose of this study was to investigate the effects of easy listening popular music on the learning of a perceptual motor task by elementary school aged children. Specifically, forty nine grade four children were analyzed on learning five variables of a dribbling task either with or without background music.The students' social behaviour for the nonmusic and music groups was also observed and analyzed. Finally, the subjects completed a written questionnaire which helped determine their personal preferences with respect to learning with background music.
A Group (2) by Trial (2) by Dribbling Variables (5) ANOVA with repeated measures on Trial was conducted on the dribbling performance scores. Results showed that there was no significant difference between the nonmusic and the music groups on these dribbling performances for four out of the five dribble variables. However, scores of the music group increased more than those of the nonmusic group for three of the five variables. Subjects in the music group demonstrated a more desirable social behaviour than the subjects in the nonmusic group. In addition, the subjects' responses to the questionnaire showed that an overwhelming number of subjects in both groups preferred to have background music played during activity. Therefore, background music may have an important place in the learning environment in terms of behaviour and attitude, which might ultimately enhance learning.
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Chen, Hsiao-Shien. "Effectiveness of the special music programs in Taiwan for educating talented and gifted young musicians /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120615.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 250-260). Also available for download via the World Wide Web; free to University of Oregon users.
32
Jonsson, Ann-Sofie. "Functionally oriented Music Therapy (FMT) as a method of improving children’s ability to function at school." Thesis, Karlstads universitet, Institutionen för konstnärliga studier, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-31988.
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In a school system with fewer teachers, larger groups, and less resources, functionally oriented music therapy (FMT) could be a useful method of helping children function better at school. In what way can FMT help improve children’s ability to deal with the challenges facing them at school? During a project that lasted for 26 weeks, two children from a Swedish preschool class were offered individual FMT once a week. The group as a whole was divided in two and offered group music (according to the Music in preparation for school (MUISC) programme) every second week. There was an interview with the teacher, along with an assessment of function for the two individuals, at the beginning and at the end of the project. The two individuals receiving regular FMT functioned better at school at the end of the project. FMT could be an effective resource to help improve children’s ability to deal with the challenges facing them at school.
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Doran, Kirk. "A descriptive study of the assessment of music aptitude in students with mental retardation /." This electronic address not available when searched on Jan. 25, 2005, 1998. http://www.isr.bucknell.edu/catlinks/kdwebthesis.html.
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Brodhead, Daniel A. "Effects of instruction on first, second and third grade children's ability to decenter when assessed on discrimination between contrasting musical characteristics." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1812.
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This experimental study sought to determine the effect of instruction on the abilities of first through third grade children to single and double discriminate contrasting musical characteristics. Six samples were used.
The experimental variable consisted of four sessions designed to teach children to distinguish between fast/slow and smooth/choppy musical excerpts. Subjects were tested on their single/double discrimination abilities following the treatment sessions. Results show that first and second grade experimental groups scored significantly higher on single discrimination items than their control groups. On the double discrimination accuracy section the experimental second, third and control first graders were significantly higher than their counter-groups.
These findings demonstrated that the four treatment sessions have a profound effect on first and second grade children's abilities to make single discriminations. They also show that success in making double discriminations may depend more on the individual subjects. Further investigation would be beneficial.
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Martin, Michael David. "The Relationship of Teacher Role and Teachers’ Opinions of Their Ability to Implement the Benchmarks of The Ohio Fine Arts Academic Content Standards in Music." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1314624177.
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Kwak, Eunmi Emily. "An exploratory study of the use of music therapy in teaching mathematical skills to individuals with Williams syndrome." Diss., Connect to online resource - MSU authorized users, 2008.
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Johnston, Dennis A. (Dennis Alan). "Trained Musical Performers' and Musically Untrained College Students' Ability to Discriminate Music Instrument Timbre as a Function of Duration." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935621/.
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The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.
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Weng, Sheng-Ying Isabella. "Pitch processing and learning ability of the tone language Chinese : A correlational study of music and language." Thesis, Kungl. Musikhögskolan, Institutionen för musik, pedagogik och samhälle, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1650.
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As evidence of intimate music-language relations grow, a certain connection between the use of tone language and the ability of absolute pitch has been found. Genesis of absolute pitch has long been a controversial topic among scientists. While interest of learning the tone language Chinese increases, it is, from a pedagogical perspective, relevant and engaging to specifically study this connection. The purpose of this essay is to study a small group of young beginners in Chinese at close quarters. By implementing a pitch-based hearing test, their pronunciation skills in Chinese were compared with sense of pitch shown in the test. The findings point to complex interactions between several factors, and show for instance a significant importance of musical training and learning motivation.Samtidigt som vetenskapliga bevis för en intim relation mellan musik och språk växer, har ett visst samband mellan användning av tonspråk och absolut gehör också upptäckts. Uppkomsten av absolut gehör har länge varit ett kontroversiellt forskningsämne. När intresset att lära sig tonspråket kinesiska ökar globalt, är det ur ett pedagogiskt perspektiv motiverat att studera just detta samband. Syftet med föreliggande uppsats är att på nära håll studera en liten grupp elever i nybörjarkinesiska. Genom ett gehörstest, baserat på förmågan att uppfatta tonhöjder, har dessa testresultat jämförts med de tidigare observerade uttalsförmågor hos eleverna. Studien pekar på komplexa interaktioner mellan många faktorer, och visar till exempel musikträning och studiemotivation som avgörande faktorer.
提要：随着越来越多的研究证明音乐与语言之间的密切关系，也有证据显示声调语言的使用与绝对音高感之间有着一定的互动关系。绝对音高感的成因一直是一个科学上有争议的话题，如今，学习声调语言普通话的兴趣已是国际性，从教学的角度来看，这两者之间的互动关系是个值得研究的话题。 此研究对一小群中文初学者做了近距离的观察，并对她们进行了音高感的听力测试。通过比较测试数据和她们已表现的中文发音能力及敏感性，本文发现了多种因素之间的复杂关系，比如音乐培训以及学习积极性的关键性。
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Ruddock, Eve. "Ballad of the never picked : a qualitative study of self-perceived non-musicians' perceptions of their musicality." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0103.
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Humans are a musical species and every culture has its music. However, twenty individuals out of a cohort of twenty-nine participants in this study judged themselves to be 'not musical'. Through their words, silences and responses, the story of music in the lives of these self-perceived non-musicians uncovered a musical world where concepts of performance, judgment and talent dominate. My investigation into individuals' perceptions of their musicality revealed a pervasive societal belief that individuals were either born 'musical' or they were not; their everyday reality was one where music was perceived as a performance, an object, something that only talented people can 'do'. I planned conversations with participants that aimed to reveal clues that could help to unravel a paradox that lies within music in our Western culture: every young human is intrinsically musical but only some are born with a gift to be musical. Participant convictions that they were not musical deterred some individuals from active engagement in music making. They felt as if they had been left out of the 'musical ballpark'. Details from conversations illustrated a constricting cultural imposition on individuals; this was perpetuated in many schools and also in private music teaching. Data revealed that current educational practice contributed to a denial of a natural birthright and alienated some individuals from being part of a musical community. As their stories revealed failed attempts to engage in music making, iterative contacts created a daunting quantity of data. But there was poetry in participant data. These self-perceived non-musicians simultaneously demonstrated their musicality in the rhythms of their narrative as they denied that they were musical; this emerged as a means to report the research whereby participants' words combined to tell a non-musician's tale. Compelling narrative revealed a society where educational practice does little to address individual musical development. While each story alone was specific and complex, once the stories became woven together as a complex and contradictory whole, the ballad of the never picked captured the essence of a distanced musicality in our Western society. Narrative drove towards meaning. Through interpretation and detailed qualitative analysis, understandings began to emerge from depths of experience and from friction existing within contradictions. Deep within narrative which evolved over a period of five years were perceptions that led to understandings of our cultural reality. Active involvement in this research became part of an emancipatory process for several participants where mutually reflective acts exposed unnecessary impositions from societal expectations. Participant voices uncover a bifurcated reality wherein the musical development of many individuals is undermined through an ignorance of holistic human potential; this musical-unmusical divide is perpetuated in educational practice.
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Lucas, Jennifer R. "Attempting to Develop Healthy Self-Esteem Through Public Demonstrations of Musical Competence: Debunking Misconceptions and Calling for Value-Based Enhancement Programs." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206035483.
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Cairns, Robert J. "A test of selected aspects of Peter Webster's conceptual model of creative thinking in music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28544.pdf.
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Michels, Patricia. "The role of the musical intelligence in whole brain education." Diss., Pretoria : [s.n.], 2001. http://upetd.up.ac.za/thesis/available/etd-06142002-125955.
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Jong, Jacqueline B. de. "Collective talent : a study on improvisational group performance in music /." [Amsterdam] : Vossiuspers UvA, 2006. http://dare.uva.nl/document/33052.
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Pursell, Anthony F. "The effectiveness of iconic-based rhythmic instruction on middle school instrumentalists' ability to read rhythms at sight." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1325987.
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The purpose of this study was to investigate the effectiveness of iconic-based rhythmic instruction on middle school instrumentalists' ability to read rhythms at sight in the preparation of music for sight-reading. One hundred thirty-one middle school students from 12 randomly assigned bands in the Midwestern United States provided data for a pretest-posttest control-group design. Of the 12 participating middle schools, four schools served as the control group (n= 42), four schools delivered rhythmic instruction using iconic-based methods (n= 42), and four schools delivered isolated rhythmic training using symbolic-based methods (n= 47).Using adjusted pretest scores from a researcher-constructed rhythm test (Rhythm Sight-Reading Performance Ability), the Musical Aptitude Profile (1995), and the Wechsler Abbreviated Scale of Intelligence (1999), results of an analysis of covariance (ANCOVA) revealed that no group obtained a significant difference on the posttest mean scores from the rhythmic performance test (F= 1.940, df= 1, 107, p= .149). Because results from individual schools showed considerable variation, other variables were observed to see if they were significant. Findings from an ANCOVA revealed that the individual school was significant (F= 3.141, df= 9, 107, p= .002).To verify the relationship found between the individual school and the posttest measurement, an analysis of covariance (ANCOVA) was run with the pretest and posttest scores serving as repeated measures. The results indicate that a significant interaction between the individual school and the pretest to posttest measurement exists. In light of these findings, it is speculated that the key to improving a student's rhythm-reading ability may be dependent not only on the method, but also on the quality of instructional delivery.School of Music
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Pascoe, Beverley J. "The measurement of classroom music learning using an outcomes framework in Western Australian schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1233.
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This study addresses the problem of a lack of reliable and systematic methodology for evaluating progress in classroom music, using an outcomes framework, in primary and secondary schools in Western Australia. An innovative range of assessment tasks was developed for use at system, school or classroom level in order to develop a Music Achievement Scale, so that in the future, meaningful reporting of student outcomes in music, in relation to The Arts Student Outcome Statements (Education Department of Western Australia, 1996), can occur. Music tasks were tested with a representative sample of 2191 government primary school students from Years 3 (946) and 7(921), and 324 secondary students from Year 10. The tests are designed to assess student progress in relation to outcome levels rather than for specific Year levels, thus making them useful for the collection of information on student achievement between Years 3, 7 and 10. The Music Achievement Scale is composed of two parts: an Analysis test and a Process test. The Analysis test is designed to address the two 'appreciating' strands of The Arts Student Outcome Statements (Education Department of Western Australia, 1996) and the Process test is designed to address the two 'expressing' strands of the statements. The Analysis test is a pencil and paper test in which individual students respond to excerpts of taped music. The Process test is a developmental process in which students respond to a stimulus by creating a short musical composition, which is developed, rehearsed and performed in a group situation, and which includes students' critical appraisal of their performance. The tests consist of a combination of multiple choice and extended answer questions types and where possible, tasks are open-ended in order to provide the opportunity for students to perform to the maximum of their abilities. Through the use of common items and common stimulus materials, tasks allow for the linking of items through Years 3, 7 and 10, thus providing valuable information on student progression through the outcome levels. The open-ended tasks are polychotomous, allowing for the partial credit of student responses, rather than being either 'right' or 'wrong.' The tests were administered, in school classrooms that reflected students' usual learning environments, by their usual teachers of music. In primary schools this was sometimes a specialist music teacher and sometimes their usual classroom teacher. In secondary schools, the specialist music teacher administered the tests. All teachers used explicit administration instructions, which included time allocations to be apportioned for specific sections of the tests. All tests were centrally marked by experienced specialist music teachers who underwent training in marking procedures that included processes of moderation. Markers used marking keys that addressed the complexities of open-ended and polychotomous items to allocate a raw score to each student on both the Analysis and the Process test. An extended logistic model of Rasch (Andrich, 1988a) through the use of the RUMM (Andrich, Sheridan & Luo, 1996) item analysis computer program, was employed to analyse the data. The Scale has good content validity and the tasks fit the measurement model, providing further evidence of validity. Reliability of the scale is high: the Person Separation Index is 0.900 and the Item Separation Index is 0.928. The Test-of-Fit Power is 'excellent,' indicating that a valid and reliable Scale of Music Achievement has been created. Results indicate that the mean level for each year group shows a clear pattern of student development in music appreciation and music expression. Around 80 per cent of year 3 students demonstrated skills associated with level 2 outcomes in classroom music, in excess of 55 per cent of year 7 students demonstrated skills associated with level 3 outcomes, and over 80 per cent of year 10 students demonstrated skills associated with level 4 outcomes. To increase the awareness of teachers and Principals in the differential performances in music of sub-groups, a collection of data was undertaken on the performances of boys and girls, Aboriginal Torres Strait Islander (ATSI) students and non-Aboriginal students, and English speaking background and non-English speaking background (NESS) students. There were significant differences in the performances of some of these sub-groups that raise issues to be addressed in the future. The study is of importance to Western Australian teachers and schools because, for the first time, specialist and generalist teachers will have access to reliable, authentic assessment materials that reflect exemplary classroom practice, as well as an instrument that allows for the mapping of student progress on a continuum of achievement related to the outcomes framework. Reporting to parents using the method of assessment developed in this study will provide more information on students' skills and abilities than in the past. Issues related to the differential performances of sub-groups as well as issues of access and inclusivity, will be important at the system level for future developers of curriculum, as well as future developers of music assessment materials. Now that baseline data has been gathered and new methods pioneered, the way has been paved for future, improved methods of assessment in the Arts, and music in particular.
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Chadwick, Felicia School of Education Studies UNSW. "An Australian perspective on talent development in music: The influence of environmental catalysts upon the provision of opportunities for learning, training and practice in the musical domain." Awarded by:University of New South Wales. School of Education Studies, 2000. http://handle.unsw.edu.au/1959.4/17624.
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The study explored the influence of environmental catalysts, upon the provision of field specific opportunities for learning, training, and practice, for a sample population of musically involved young Australians. The findings enhance understandings of the conditions in which children's musical aptitudes are developed. Research bases in the fields of gifted education and music education were employed to support the investigation. Components of Gagn??'s Differentiated Model of Giftedness and Talent (1995a) provided the theoretical framework for this investigation. Two survey questionnaires, completed by Australian parents (N = 194 and N = 182 respectively), sought information pertaining to the subject child's musical involvements and undertakings. Some details of the musical interests and involvements of the child's parents and siblings were also obtained. Quantitative and qualitative data contribute to an extensive profile of the types of music programs and provisions which support the normative and expert development of Australian children's musical behaviours. Parents' musical interests and involvements appear to have strongly influenced the choice of home-based recreational pursuits for their children. The convincingly articulated, positive, field specific views espoused by Australian parents appear to have been translated into the provision of multiple, simultaneous opportunities for their children to engage with musical undertakings. Notable amongst the data are the structured involvements of young musicians with music composition engagements. The data also indicate that many of the sample of Australian children received high levels of support and encouragement for musical undertakings from parents who were themselves musically interested and knowledgeable. Parental involvements with their children's music lesson and practice related engagements, were found to be characterised by features of deliberate practice. The home-based environments of young Australian musicians were found to be characterised by opportunities for exposure to rigorous and challenging musical engagements, undertaken at an optimally early age, thereby enhancing normative musical development. Such engagements provided the necessary foundation for expert levels of musical skill acquisition. An ascending progression of musical skill development was demonstrated to correspond to increasing age further reinforcing the developmental perspective on the acquisition of musical expertise. Some parents indicate that musical engagement has been pursued as a means of appropriately challenging children exhibiting the cognitive and affective characteristics of giftedness.
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Dorothy, Wayne F. "Relationships between ensemble placement, musical independence, gender, and instrument family, among band students at three regional universities." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019475.
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Little is known about post-secondary band students' growth in musical independence, nor have the relationships between ensemble placement, year in school, gender, and instrument family been documented. Little research is available regarding the effects of instrument family (on which the student performs) or gender on the development of musical independence among music majors. Additionally, previous studies have identified a drop in music achievement test scores for college music majors as they progress from their freshman to sophomore or sophomore to junior years. This study attempts to address and evaluate these issues.The introduction presents a brief overview of the purpose and importance of the study. The review of related literature explores musical independence and the assessment of musical independence, as well as relationships between musical independence, ensemble placement, related listening skills, gender, and instrument family.Richard Colwell's Music Achievement Test 3 and Music Achievement Test 4 were administered to 354 band students at Ball State University, Florida State University, and Wichita State University. Test scores and demographic data including school, student identification number (usually a social security number), top ensemble in which the student participated (1st, 2nd, or 3rd), college major (music major or non-music major), year in school (freshman through graduate student), gender (male or female), and instrument family (woodwind, brass, or percussion) were collected. Data was entered into Statview II, a statistical analysis program for the Macintosh computer. Data was analyzed using ANOVA, Scheffe, and permutation analysis. Conclusions were drawn and recommendations for additional research were made.School of Music
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Dimmick, Penny Gail. "Piano instruction in music methods classes for elementary education majors : a case study." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917840.
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This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy-nine percent of the subjects accurately predicted their probable success (or failure) in the piano laboratory. It is recommended that instructors take time at the outset of the course to reassure and encouage the students in an effort to increase confidence and thereby the probability of success in the piano laboratory.2. Subjects' attitudes and skill development were negatively affected by perceived inadequacies when comparing themselves to other subjects in the class. As the more advanced students tested out of the piano laboratory, skills and attitudes of the slower subjects improved appreciably. This suggests that ability grouping in methods classes may improve students' perceptions and also performances in these lasses.3. Subjects' confidence in their ability to teach music increased, as indicated by pretest and posttest rankings. Since the sample size was adequately large, the Wilcoxin T value of 7.5 was standardized to a Z value = 2.66 (p <.01). Interpretation of a Z-value = 2.66 strongly suggests the posttest score has significantly increased over the pretest score.4. Subjects' perceptions of their ability to read and write music, their ability to sing songs with their students, and their piano playing ability significantly increased as shown by a series of paired comparisons t-test analyses on the pretest/ posttest data.It is recommended that additional case studies be conducted in the methods class in an effort to isolate and identify additional aspects of the class which influence the students' growth and/ or lack of growth in self confidence and musical skills.School of Music
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Santelli, Cristina J. "An examination of students' ability to transfer rhythmic concepts taught in elementary general music classes to middle school beginning band instruction /." Connect to resource, 2007. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1208991892.
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Brown, Kyle Daniel. "Effects of fixed and movable sightsinging systems on undergraduate music students' ability to perform diatonic, modulatory, chromatic, and atonal melodic passages /." view abstract or download file of text, 2001. http://wwwlib.umi.com/cr/uoregon/fullcit?p3035562.
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Thesis (Ph. D.)--University of Oregon, 2001.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 216-224). Also available for download via the World Wide Web; free to University of Oregon users.