Relevant bibliographies by topics / Music performance assessment

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Music performance assessment'

Author: Grafiati
Published: 4 June 2021
Last updated: 11 February 2022

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Journal articles on the topic "Music performance assessment"

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DeLuca, Christopher, and Benjamin Bolden. "Music Performance Assessment." Music Educators Journal 101, no. 1 (August 25, 2014): 70–76. http://dx.doi.org/10.1177/0027432114540336.

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Wesolowski, Brian C., Stefanie A. Wind, and George Engelhard. "Examining Rater Precision in Music Performance Assessment." Music Perception 33, no. 5 (June 1, 2016): 662–78. http://dx.doi.org/10.1525/mp.2016.33.5.662.

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The use of raters as a methodological tool to detect significant differences in performances and as a means to evaluate music performance achievement is a solidly defended practice in music psychology, education, and performance science research. However, psychometric concerns exist in raters’ precision in the use of task-specific scoring criteria. A methodology for managing rater quality in rater-mediated assessment practices has not been systematically developed in the field of music. The purpose of this study was to examine rater precision through the analysis of rating scale category structure across a set of raters and items within the context of large-group music performance assessment using a Multifaceted Rasch Partial Credit (MFR-PC) Measurement Model. Allowing for separate parameterization estimation of the rating scale for each rater can more clearly detect variability in rater judgment and improve model-data fit, thereby enhancing objectivity, fairness, and precision of rating quality in the music assessment process. Expert judges (N = 23) rated a set of four recordings by middle school, high school, collegiate, and professional jazz big bands. A single common expert rater evaluated all 24 jazz ensemble performances. The data suggest that raters significantly vary in severity, items significantly vary in difficulty, and rating scale category structure significantly varies across raters. Implications for the improvement and management of rater quality in music performance assessment are provided.
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Wesolowski, Brian C. "Understanding and Developing Rubrics for Music Performance Assessment." Music Educators Journal 98, no. 3 (March 2012): 36–42. http://dx.doi.org/10.1177/0027432111432524.

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A primary difficulty with music performance assessment is managing its subjective nature. To help improve objectivity, rubrics can be used to develop a set of guidelines for clearly assessing student performance. Moreover, rubrics serve as documentation for student achievement that provides music teachers with a written form of accountability. This article examines the complexities of music performance assessment and provides an argument for the benefit of rubrics in the assessment process. In addition, discussion includes an overview of the various types of rubrics as well as suggestions for choosing and writing rubrics to assess musical performances.
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Elliott, David. "Assessing Musical Performance." British Journal of Music Education 4, no. 2 (July 1987): 157–84. http://dx.doi.org/10.1017/s026505170000591x.

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The arts pose some particular problems in the field of assessment. In the study reported here, we examined some of the problems performance presents to assessors especially in the context of the GCSE examination, and with reference to the model for assessment given in the APU Report on Aesthetic Development.A small-scale experiment was devised with the aim of investigating the reliability and different perceptions of judges of musical performances. As well as assessment by professional musicians, we investigated self assessment and assessment by peer-group members. There was a generally high measure of agreement between judges, both in terms of their individual comments and the rank order they each devised. This suggests that there were some objective criteria at work in their assessments. Self-assessments proved very realistic, although those of the peer-group were slightly less so.
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Tsang, Joshua K. C., and Kyle J. Wilby. "Construction of Ideal Remote Assessment Environments and the Impact of Self-Selected Music on Student Performance." INNOVATIONS in pharmacy 12, no. 3 (June 23, 2021): 1. http://dx.doi.org/10.24926/iip.v12i3.3624.

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Background: Remote online assessments require students to construct their own assessment environments, including selection of strategies (such as the use of music) to reduce stress. This study aimed to determine the impact of self-selected music on student performance during a remote online assessment and to identify factors important for constructing ideal assessment environments. Methods: Final year students were randomized to complete a voluntary remote online 2-hour care plan test. Those randomized to ‘music’ were required to play self-selected music during the assessment and those randomized to ‘non-music’ were asked not to play music. Prior to the assessment, perceived stress and resilience were measured. Performance between groups was compared and associations between stress, resilience, and performance determined. A post-survey identified music preferences/acceptability, and factors identified for ideal remote assessment environments. Results: A total of 79 students completed the study (n=40 music, n=39 non-music). The median assessment score in the music group was 90% (range 58 to 99%) and 88% (range 58 to 99%) in the non-music group (not significant). No associations were found between scores and perceived stress or resilience. The majority of students randomized to music (62.5%) found it helpful. Thirteen categories of factors were identified to contribute to an ideal remote assessment environment with the most common being lighting, location, quietness, distractions, and seating/set-up. Conclusion: Findings support the notion that remote online assessment environments should not come as ‘one size fits all’ and many factors (including self-selected music) may influence a student’s ability to perform to a high standard.
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Payne, Phillip D., Frederick Burrack, Kelly A. Parkes, and Brian Wesolowski. "An Emerging Process of Assessment in Music Education." Music Educators Journal 105, no. 3 (March 2019): 36–44. http://dx.doi.org/10.1177/0027432118818880.

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An effective assessment process can improve student performance, guide instructional decisions, and advocate for a music program. Strategies include designing and administering reliable and valid measures of student learning and using assessments to enhance feedback, longitudinal documentation of assessment results for accountability, and a transparency of assessment processes and findings for increased advocacy. An emerging process of assessment is inherent through the Model Cornerstone Assessments and contributes to an evolving assessment culture within K–12 music education.
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Daniel, Ryan. "Self-assessment in performance." British Journal of Music Education 18, no. 3 (October 26, 2001): 215–26. http://dx.doi.org/10.1017/s0265051701000316.

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This article examines the issue of self-assessment of musical performance and the role of the learner in this process, with particular reference to the Australian context. Initially, traditional methods of assessment are discussed and references made to alternative methodologies in action. Following this, the rationale for and structure of a new method of self-critical assessment is outlined. The initial trial is discussed along with the evaluative questionnaire. The resultant data are then analysed and discussed, as are the implications for adopting and for developing this method.
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Ghonim, Alzahraa, Sameh Napoleon, and Mahmoud Attia. "Performance assessment for MUSIC-based DoA estimators." International Journal of Engineering & Technology 5, no. 4 (October 22, 2016): 120. http://dx.doi.org/10.14419/ijet.v5i4.6551.

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Direction of arrival estimation is a popular technique used for localization and tracking. Many techniques were developed to detect it even in a multipath environment. In this paper we introduce an assessment for four techniques that are based on the MUSIC algorithm. They are the Toeplitz, modified virtual SVD (MV-SVD), Virtual array extension (VSS) and the Modified VSS (MVSS). Two assessment metrics are employed for evaluating these techniques under several conditions such as various SNR vales and numbers of samples. These metrics are RMSE and the success rate.
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Pellegrino, Kristen, Colleen M. Conway, and Joshua A. Russell. "Assessment in Performance-Based Secondary Music Classes." Music Educators Journal 102, no. 1 (August 28, 2015): 48–55. http://dx.doi.org/10.1177/0027432115590183.

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Payne, Phillip, and Jeffrey Ward. "Admission and Assessment of Music Degree Candidates." Journal of Music Teacher Education 29, no. 2 (October 4, 2019): 10–21. http://dx.doi.org/10.1177/1057083719878388.

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The purpose of this survey study was to examine current admissions processes and assessment practices for music programs of National Association of Schools of Music member institutions. Representatives from 95 institutions responded to a researcher-designed questionnaire. Music education programs were perceived as being comparable to performance programs on admissions standards. We describe the current state of candidate assessment practices from matriculation through degree conferral, consider a range of assessment measures including gateway or barrier instruments, and pose critical questions about the use of such assessments to determine whether music education candidates are appropriately qualified to become P–12 music educators.
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Dissertations / Theses on the topic "Music performance assessment"

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McVeigh, Matt. "Standards-based performance assessment in the comprehensive music classroom." Thesis, The University of Wisconsin - Milwaukee, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=1546867.

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The purpose of this study was to examine the effectiveness of standards-based assessment practices within a music performance curriculum. This pre-survey, post-survey experimental treatment included 169 students, 97 parents, and 3 teachers from 3 school districts across Wisconsin. The results from this study indicated that music teachers rely on a variety of assessment strategies to monitor student achievement regardless of if they are using standards-based assessment practices; however, teachers who used standards-based assessment were more likely to use formal assessments to determine student achievement and were more likely to assess students both formally and informally on a regular basis. Furthermore, when standards-based practices were implemented students' awareness of the learning target increased. Students also became less reliant on teacher feedback in determining their success but valued the feedback that was received at a higher level. Finally, parents relied on both online gradebooks, and conversations with their child regarding student achievement.

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Winter, Neal, and n/a. "A study of music performance assessment : the effects of training and experience on criteria used by music examiners." University of Canberra. Education, 1991. http://erl.canberra.edu.au./public/adt-AUC20061110.163509.

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Music is both an art and a science involving emotional appreciation and intellectual understanding. When music performances are assessed, appropriate criteria should be used by examiners who appreciate the art and understand the science. This study examined the effects of training and experience on the judgements made by individuals who possessed an understanding of music performance (i.e. qualified musicians and music educators), from observations on videotape of three piano performances (by the same pianist). The thirty three participants were required to observe the videotape and complete a separate music performance assessment (MPA)sheet for each piece, and then rank the three pieces in order of preference. The MPA sheet contained (a) thirty three descriptive statements, under five headings, to which the examiner responded on a . six point Likert scale, and (b) a section for recording an overall impression mark, with provision for comment. There were four examiner categories: (1) untrained and inexperienced, (2) trained and inexperienced, (3) untrained and experienced, and (4) trained and experienced. The term 'experience' was applied to those participants who had previous involvement as examiners in any formal music performance assessment situation. The term 'trained' was applied to those participants who attended a short preparation course presented as part of the study. The responses of the four categories of examiner were tested for significant difference (.05 level) through the use of multivariate analysis of variance with repeated measures. One of the performances (piece 1) was recorded digitally by computer (using MIDI and the 'Vision' program) which provided a printout of what occurred during the performance. A comparison of the subjective analysis of the 'Vision' printout results with the examiner responses for piece 1, revealed that there was a link between the judgements made by examiners and the actual performance by the pianist. Results of the study indicate that (a) experience and training effects the criteria used by music examiners in the assessment of music performances, (b) training influenced the examiner responses more than experience, (c) in the 'best' performance, the effects of examiner training and experience were negligible, and (d) in the area of 'global' and 'specific' assessment of music performance, all examiners divorced the two approaches, however judgements of the untrained examiners were more obvious in their disparity. The results of this study suggest that the training a music examiner receives prior to the performance assessment session may be more important in producing consistent and accurate reports than the amount of previous examining experience. The criteria used by the music examiner should be clearly presented with appropriate dimensions for the musical instrument on which the student performs.
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Durst, Melissa Anne. "Assessment of Ohio Music Teachers: Challenges and Implications." University of Dayton / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1335757438.

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Russell, Brian Eugene. "The Empirical Testing of Musical Performance Assessment Paradigm." Scholarly Repository, 2010. http://scholarlyrepository.miami.edu/oa_dissertations/387.

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The purpose of this study was to test a hypothesized model of aurally perceived performer-controlled musical factors that influence assessments of performance quality. Previous research studies on musical performance constructs, musical achievement, musical expression, and scale construction were examined to identify the factors that influence assessments of performance quality. A total of eight factors were identified: tone, intonation, rhythmic accuracy, articulation, tempo, dynamics, timbre, and interpretation. These factors were categorized as either technique or musical expression factors. Items representing these eight variables were chosen from previous research on scale development. Additional items, along with researcher created items, were also chosen to represent the variables of technique, musical expression and overall perceptions of performance quality. The 44 selected items were placed on the Aural Musical Performance Quality (AMPQ) measure and paired with a four-point Likert scale. The reliability for the AMPQ measure was reported at .977. A total of 58 volunteer adjudicators were recruited to evaluate four recordings that represented one of each instrumental category of interest: brass, woodwind, voice, and string. The resulting performance evaluations (N = 232) were analyzed using statistical regression and path analysis techniques. The results of the analysis provide empirical support for the existence of the model of aurally perceived performer-controlled musical factors. Technique demonstrated significant direct effects on overall perceptions of performance quality and musical expression. Musical expression also demonstrated a significant direct effect on overall perceptions of performance quality. The results of this study are consistent with hypothesized model of performer-controlled musical factors.
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Philbeck, Nancy K. "Remediating the Transient Music Student Using Hypermedia and Finale Performance Assessment™ : A Recorder Based Model." Digital Commons @ East Tennessee State University, 2005. https://dc.etsu.edu/etd/2260.

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The purpose of this study was to develop, implement and test a tool designed to help transient students gain the basic musical knowledge and skills needed to successfully complete a fourth-grade unit of recorder study. The project resulted in the development of a hypermedia-based application. The seven-week study consisted of 49 fourth-grade students. Students were given pitch reading and rhythm pattern identification pre-tests and post-tests. Students participated in weekly tests and tutorial sessions via the hypermedia-based application. At the conclusion of the study, the students were given post-tests and a performance test. The pre-test and post-test scores for the transient and established populations were analyzed. A t-test analysis revealed a significant improvement in the scores of the established and transient populations. It appears that the hyper-media application may be an effective tutorial for transient students.
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Zelenak, Michael S. "Self-Efficacy in Music Performance: Measuring the Sources Among Secondary School Music Students." Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3419.

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The purpose of this study was to develop a greater understanding of self-efficacy in music performance. I sought to (a) contribute to fundamental knowledge of self-efficacy in music performance, (b) determine whether scores from the Music Performance Self-Efficacy Scale (MPSES) were valid and reliable, and (c) provide insights for developing self-efficacy among secondary school music students. Participants (N = 290) were middle and high school students in band, chorus, and string orchestra ensembles from 10 schools in the southeast and western regions of the United States. Participants completed four online questionnaires: (a) Music Performance Self-Efficacy Scale, (b) Sources of Middle School Mathematics Self-Efficacy Scale, (c) Self-Esteem of Musical Ability, and (d) Advanced Measures of Music Audiation. Teachers provided 5-point Likert-type ratings of their student's music self-efficacy. Data from the MPSES demonstrated good fit with Bandura's proposed self-efficacy model (SRMR = .06, RMSEA = .06). The strength of the relationships between the sources and composite construct were consistent with theory and findings from other studies. Mastery experience was strongest, followed by verbal/social persuasion, physiological state, and vicarious experience. No differences in responses were found between middle and high school students, or among band, chorus, and string orchestra students. Items on the MPSES were also found to assess participants equally across grade levels. Music aptitude was found to predict self-efficacy in music performance (â = .16) and accounted for 3% of the variance in self-efficacy. This finding raises questions about the role of self-efficacy in mediating the relationship between music aptitude and music achievement. The Music Performance Self-Efficacy Scale was found to be a valid and reliable measure of self-efficacy in music performance. Evidence of validity was based on test content, response process, and internal structure, along with convergent, discriminant, and multi-method relationships. Evidence of reliability was based on test-retest correlation (r = .87) and internal consistency (á = .88). Recommendations for researchers were to link the sources of self-efficacy to performance achievement; explore self-efficacy's relationship with aptitude and achievement; and expand the investigation to other populations. Recommendations for educators focused on improving understanding of self-efficacy and interpreting MPSES results.
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Scavella, Arthur J. N. "The Relationship Between District Concert Band Music Performance Assessment Participation and Student Achievement in Miami-Dade County Public Middle Schools." FIU Digital Commons, 2018. https://digitalcommons.fiu.edu/etd/3638.

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Since the implementation and achievement score pressures of the No Child Left Behind Act of 2001, elective course offerings such as music have been drastically reduced, especially in the middle school setting. A great deal of correlational research has shown a positive correlation between music education in school and students’ overall academic achievement. This study examined the correlation between those middle school students that participated in the District Concert Band Music Performance Assessment (MPA) versus those middle school students that did not regarding their achievement scores on the 2016 English language arts (ELA) and mathematics subtests of the Florida Standards Assessments (FSA). The theoretical framework of this study was undergirded by Howard Gardner’s theory of multiple intelligences. The researcher used a non-experimental ex post facto research design for the collection of the study’s data. The results indicated that there was a positive, statistically significant difference between both the ELA and mathematics achievement scores of those students that participated in the MPA and those that did not. There was also a positive, statistically significant difference between both the ELA and mathematics achievement scores of those students that participated in the MPA and the level of music their band performed. However, there was not a statistically significant difference between both the ELA and mathematics achievement scores of those students that performed at the MPA and the final overall rating that their band received. School administrators are charged with the responsibility of ensuring that effective programs are instituted in their schools so their students can be successful. The results of this quantitative non-experimental ex post facto study could provide administrators additional research-based evidence suggesting that band on the middle-school level, which is a branch of music education, could be a program to include in the school’s curriculum because it might positively contribute to the school’s ELA and mathematics achievement and academic culture. Additional research can also be conducted to observe the effects of music study on student achievement for students of all grade levels and socioeconomics. This would lead school administrators to continue practicing the notion of educating the whole child while making administrative decisions, which should be the sine qua non of education.
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Pagán, Joel E. "Behavioral, Affective, and Cognitive Engagement of High School Music Students: Relation to Academic Achievement and Ensemble Performance Ratings." Scholar Commons, 2018. https://scholarcommons.usf.edu/etd/7347.

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The purpose of the study was to determine the relation between student engagement, academic achievement, and music ensemble performance ratings. The study was guided by two research questions: how do students’ varying degrees of student engagement relate to their academic achievement and their ensemble’s performance rating, and to what extent do behavioral, affective, and cognitive engagement predict ensemble performance ratings? Participants were 259 high school band students who completed the Classroom Engagement Inventory in Music. They were also asked to report their GPA, and the researcher recorded their ensemble’s performance rating. Results suggested that higher levels of student engagement were associated with higher levels of ensemble performance ratings (superior and excellent versus good), with a clear demarcation found between lower rated and higher rated ensembles. Although no significant correlation was found between academic achievement and student engagement, affective engagement was found to predict overall music performance outcomes.
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Compton, Karen R. "AN INVESTIGATION OF THE EFFECTIVENESS OF COOPERATIVE LEARNING AS A REHEARSAL TECHNIQUE FOR IMPROVING HIGH SCHOOL BAND PERFORMANCE." UKnowledge, 2015. http://uknowledge.uky.edu/music_etds/38.

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The purpose of the present study was to investigate the effectiveness of cooperative learning as a rehearsal technique on high school full-band performance compared to traditional rehearsal methods. Two intact high school bands from the same Kentucky Music Educators Association District participated in the study. One band served as the treatment group using cooperative learning rehearsal techniques and the other group served as the control group using traditional rehearsal methods in a quasi-experimental non-equivalent control group design. The study spanned six weeks in which both schools prepared the same performance piece, Variants by Jack Bullock. The groups were pre-tested using a recording of their recent Kentucky Music Educators Association (KMEA) concert festival performance to ensure no statistically significant difference existed in performance ability. The bands rehearsed the study piece for 15-20 minutes two times per week for a total of 12 rehearsals. The bands were also asked to play a researcher-composed warm-up prior to each rehearsal of the performance piece. At the end of the study, the groups recorded final performances of the piece and the warm-up. The full-band performances were measured using the Performance Evaluation Form. Recordings of all tests were sent to four independent judges for evaluation. Statistically significant differences were found between the two groups on both post-test recordings, with the treatment group scoring higher than the control group. Additionally, the within-group comparisons resulted in statistically significant differences for both groups. The treatment group scored higher on the study piece than the pre-test while the control group scored lower on the study piece than their pre-test. Descriptive and qualitative data were gathered on student self-assessment of performance and the implementation of cooperative learning into high school band. Results indicate that students in the cooperative learning treatment group varied greatly in ability to self-assess and that those abilities progressed over time. Students also engaged in the learning activities in a variety of ways. Factors that must be taken into consideration when implementing cooperative learning in a high school ensemble include the structure of the cooperative activities, the role of the band director, and the usage of time.
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Ferguson, Katherine. "HIGH SCHOOL BAND SIGHT READING IN THE UNITED STATES:PROCEDURES, PREPARATION, ATTITUDES, AND EXPERIENCES." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1492776380156841.

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Books on the topic "Music performance assessment"

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Barden, Wendy. Performance assessment in band. San Diego, Calif: Kjos, 2009.

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Performance assessment in orchestra. San Diego, Calif: Kjos, 2009.

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Shaw, Brian P. Music Assessment for Better Ensembles. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190603144.001.0001.

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Assessment is central to ensemble music. Yet, teachers do not always have the expertise to harness its potential to improve rehearsals and performances, and promote and document student learning. Written specifically for band, choir, and orchestra teachers at all levels, this book contains all of the information necessary to design and use assessment in a thriving music classroom. The first section addresses foundations such as learning targets, metacognition, and growth mindset. Assessment jargon such as formative assessment, summative assessment, Assessment for Learning, self and peer assessment, and authentic assessment is clarified and illustrated with music examples. Readers will learn practical strategies for choosing which concepts to assess, which methods to use, and how to use results to provide accurate and effective feedback to students. The second section brings assessment fundamentals into the music room. Filled with practical advice, each chapter examines a different facet of musicianship. Sample assessments in all performance areas are provided, including concert preparation, music literacy, fundamentals and technique, terminology, interpretation, evaluation and critique, composition and improvisation, beliefs and attitudes, and more. The final section is an examination of grading practices in music classes. Readers will gain information about ensemble grades that communicate what students know and are able to do. The book concludes with ways for music educators to take their first steps toward implementing these strategies in their own teaching, including the use of instructional technology. Assessing like an expert is possible, and this book is just what teachers need to get started.
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Brophy, Timothy S., ed. The Oxford Handbook of Assessment Policy and Practice in Music Education, Volume 2. Oxford University Press, 2019. http://dx.doi.org/10.1093/oxfordhb/9780190248130.001.0001.

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This volume of the handbook addresses music education practice and technology in 37 chapters written by fifty three leading experts from across the world. The volume is divided into three sections and closes with an epilogue. Part 1, “Music Assessment in the United States,” presents a review of legislation and case law, national assessment trends, and state-level assessment programs in eight states. Part 2, “Assessment of Student Music Learning,” covers the practice of assessment in early childhood, special needs, primary, and secondary music classrooms and ensembles. Part 3, “Assessment and Music Technology,” covers policy and practice for technologically assisted music assessment, and details technical issues related to computerized assessment of music performance. The epilogue brings the handbook to a close with a review of the state of the art of music assessment, and introduces the International Principles of Assessment in Music Education.
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bell, adam patrick, ed. The Music Technology Cookbook. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780197523889.001.0001.

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The Music Technology Cookbook is a practitioner-oriented collection of lesson plans outlining step-by-step music-making activities with music technology. Featuring fifty-six lessons by forty-nine authors from around the world, The Music Technology Cookbook covers a broad range of music technology topics including: composition (with digital audio workstations such as Ableton, Soundtrap, GarageBand); production skills such as recording, editing, and equalization; creating multimedia (ringtones, soundscapes, audiobooks, sonic brands, jingles); beatmaking; DJing; programming (Minecraft, Scratch, Sonic Pi, P5.js); and, designing instruments (Makey Makey). The contributing authors of the lessons work in diverse educational contexts including universities and colleges, schools, community organizations, and online platforms. Each lesson is comprehensive, including a short description of the activity, keywords, materials needed, teaching context of the contributing author, time required, detailed instructions, modifications for learners, learning outcomes, assessment considerations, and recommendations for further reading. Divided into five sections (Beatmaking and Performance; Composition; Multimedia and Interdisciplinary; Production; Programming and Design), each section is scaffolded using the levels “beginner,” “intermediate,” and “advanced” to help educators gauge the appropriate level of difficulty for their students.
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Barrière, Jean-Baptiste, and Aleksi Barrière. When Music Unfolds into Image. Edited by Yael Kaduri. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199841547.013.39.

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The authors reflect on their own experience of developing a specific form of multimedia live performance: the visual concert. The various video projects they realized for works by Finnish composer Kaija Saariaho serve as examples illustrating a more general aesthetic question: what can video art bring to music within the concert ritual? Answers are suggested first in a general assessment of the scientific (perception and cognition research) and cultural roots and parameters of cross-media art forms, and second in an analysis of the contemporary technological tools that allow the visual concert to move beyond the antiquated paradigms of synesthesia, synchronization, or aleatory autonomy of juxtaposed media, and thus to meet the challenges of contemporary music. These mostly unexplored links between new musical techniques and video art open new opportunities that expand the listener’s experience of music and suggest a practice that can become an art form of its own.
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Tewinkel, Christiane. “Everybody in the Concert Hall should be Devoted Entirely to the Music”. Edited by Christian Thorau and Hansjakob Ziemer. Oxford University Press, 2018. http://dx.doi.org/10.1093/oxfordhb/9780190466961.013.7.

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This chapter discusses the extent to which representations of “improper” listening are found in popular and academic literature of German and U.S. origin, for the process of reception is highly susceptible to error and interference. Indeed, despite near-ideal conditions, concert-goers are as prone to molding their experience according to subjective predilections as any other type of listener. They may not even be listening at all, despite being physically present and dependent on the musical performance. This mode of behavior as a fact of (concert) life is sometimes mentioned in recent popular books on music but seldom appears in older books; nor has it been part of musicological accounts of symphonic concerts, although scholars such as James H. Johnson (1995) and Peter Gay (1995) speak extensively about disruptions in historical performances. The chapter considers changes in the assessment of such listening in recent years and contemplates causes for these shifts.
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Williamon, Aaron, Terry Clark, and Mats Küssner. Learning in the spotlight. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0014.

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The skills needed to perform music well and to communicate effectively as a performer are truly multifaceted. Increasingly, new methods and technologies are enabling a better understanding of how musicians perform and some of the reasons great performances are so compelling. Yet, optimizing performance skills can still be an elusive task for musicians. Implicit in this is the need for performers to attain a high level of self-awareness regarding their skills and behaviours, appropriate development of those skills and behaviours, and effective implementation of them within high-stress performance situations. This chapter provides an overview of self-regulated learning and examines its relevance to enhancing musical performance. To assist musicians in applying self-regulatory processes to their own assessment, development and review of performance skills, the authors introduce an approach widely used in sport—performance profiling—as a means of facilitating effective ‘self-regulated performing’.
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Lebler, Don, and Scott Harrison. Evaluating progress and setting directions. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780199346677.003.0006.

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The complexity of assessing musical performance as a nonverbal art form is well known within the field of professional practice. This chapter addresses key issues including the tension between assessing craftsmanship and artistry. It surveys the strong tradition of expert panel assessment that continues to be the hallmark of musical performance assessment in many contexts, in relation to both solo and ensemble performance. It also explores how such practices may intersect with the development of self-assessment and self-reflection as core professional skills for performers, as well as the processes of formative and summative assessment. Finally, it argues that the making of musicians is a lifelong process in which assessment and examination have an important role but are by no means the only factor in determining whether or not a music student’s eventual career will be successful.
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Hammel, Alice M., and Ryan M. Hourigan. Teaching Music to Students with Special Needs. Oxford University Press, 2011. http://dx.doi.org/10.1093/oso/9780195395402.001.0001.

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A practical guide & reference manual, Teaching Music to Students with Special Needs addresses special needs in the broadest possible sense to equip teachers with proven, research-based curricular strategies that are grounded in both best practice and current special education law. Chapters address the full range of topics and issues music educators face including parental involvement, student anxiety, field trips and performances, and assessment strategies. The book concludes with an up-to-date section of resources and technology information.
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Book chapters on the topic "Music performance assessment"

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Dybo, Tor. "Doctoral scholarship in popular music performance." In Perspectives on Research Assessment in Architecture, Music and the Arts, 101–13. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315526652-7.

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Stevenson, Ian. "Disciplinary perspectives on music performance through the lens of assessment criteria." In Teaching and Evaluating Music Performance at University, 199–210. [1.] | New York : Routledge, 2020. | Series: ISME global perspectives: Routledge, 2020. http://dx.doi.org/10.4324/9780429328077-14.

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Vella, Richard, and Helen English. "Embedding Creative and Critical Thinking in Performance Studies – The Challenge." In Assessment in Music Education: from Policy to Practice, 141–51. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10274-0_10.

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Blom, Diana, Ian Stevenson, and John Encarnacao. "Assessing Music Performance Process and Outcome Through a Rubric: Ways and Means." In Assessment in Music Education: from Policy to Practice, 125–39. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10274-0_9.

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Leong, Samuel. "Creative Arts Research Assessment and Research Training in Hong Kong." In Research and Research Education in Music Performance and Pedagogy, 151–67. Dordrecht: Springer Netherlands, 2013. http://dx.doi.org/10.1007/978-94-007-7435-3_11.

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Newsome, Eve. "A Search for Balance: The Development of a Performance Assessment Form for Classical Instrumental Music in the Tertiary Context." In Assessment in Music Education: from Policy to Practice, 153–70. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-10274-0_11.

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Boucher, Mathieu, Francis Dubé, and Andrea Creech. "The Effect of Video Feedback on the Self-Assessment of a Music Performance by Pre-university Level Classical Guitar Students." In Ipsative Assessment and Personal Learning Gain, 197–219. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-56502-0_10.

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Snodgrass, Jennifer. "Assessment." In Teaching Music Theory, 228–55. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.003.0008.

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Assessment is a vital part of the undergraduate experience, but there are more ways to be effective in gathering data on learning outcomes than just the traditional pencil-and-paper test. Assessment for the undergraduate music major begins well before the student arrives on the college campus in the form of auditions and performance juries. In many cases, this performance assessment begins at an early age. From placement exams to timed quizzes to final exams, college students are bombarded with assignments and tests. There are a multitude of other ways in which to gather information about student understanding, including low-stakes assessments, technology-based gaming, creative and collaborative projects, and even self-assessment. Standards-based grading also helps to shift the focus away from grades to a focus on mastering a set of level skills, which, in turn, gives students more ownership of their learning experiences and less anxiety than with traditional assessment methods.
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Conway, Colleen M. "Assessment and Grading in Music Courses." In Teaching Music in Higher Education, 31–46. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190945305.003.0002.

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Chapter 2 provides a detailed overview of approaches to assessing music teaching and learning in a higher education setting. The chapter begins with a discussion of music aptitude versus music achievement and clarifies the differences between these constructs as well as between assessment and grading. Types of measures such as multiple choice, essay tests, and performance assessments are provided with discussion of advantages and disadvantages of each. A focus on reliability and validity if assessments is included and sample student-generated rubrics for various music courses are provided. Performance rubrics are provided as well. The chapter concludes with discussion of departmental level assessment.
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Shaw, Brian P. "Why Assessment?" In Music Assessment for Better Ensembles, 2–16. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190603144.003.0001.

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This chapter explains foundations underpinning assessment in ensembles. Music educators need information about what their students know and are able to do in order to do their best teaching. However, such information is hard to obtain using traditional ensemble methods. Individual classroom assessment yields more information about student performance than standardized testing or regular rehearsals. Concepts such as metacognition, the Zone of Proximal Development, self-efficacy, social-emotional learning, and growth mindset can be productively incorporated into the design and use of assessments. Assessment alters the curriculum as tested topics are emphasized, and runs the risk of reductionism. Still, classroom assessment has untapped power to transform ensemble music education.
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Conference papers on the topic "Music performance assessment"

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Andaryani, Eka Titi, Fakhruddin, and Utsman. "Assessment Model of Music Art Performance." In International Conference on Science and Education and Technology (ISET 2019). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200620.082.

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Eremenko, Vsevolod, Alia Morsi, Jyoti Narang, and Xavier Serra. "Performance Assessment Technologies for the Support of Musical Instrument Learning." In Special Session on Computer Supported Music Education. SCITEPRESS - Science and Technology Publications, 2020. http://dx.doi.org/10.5220/0009817006290640.

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Kokkinidis, Kostas, Theodoros Mastoras, Athanasia Stergiaki, and Paraskevi Kritopoulou. "Gesture Recognition & Chanting Assessment For Byzantine Music Learning." In 2nd International Conference on Advanced Research in Education. Acavent, 2019. http://dx.doi.org/10.33422/2nd.educationconf.2019.11.806.

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Recent works related to digital self-instruction environments, present scarce efforts to provide combined instruction for gestural and vocal skills. Based upon a recently introduced learning and teaching method of vocal music, this research utilizes existing technologies to achieve the development of such a learning environment. The presented system administers the learning experience in order to improve the motion, sound and rhythm related skills of the student. Student performance is compared with a pre-recorded instructor performance in order to provide customized feedback that bespeaks the flaws of the former performance. Motion and sound-capturing technologies are combined, and related feature extraction algorithms are applied. The gestural and vocal features of the instructor performance are compared off-line to those of the student performance, in order to detect the differences, while the tempo is indicated through gestures. The system evaluates constantly the performances in order to provide visual feedback based on their differences. The aim is for the student to reproduce the instructor performance in an approximate manner. An assessment formula for the student performance is proposed and tested for its validity and accuracy. The selected musical genre on which this system was applied is Byzantine music, since its complexity and variety tests the existing sound recognition algorithms.
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Sephus, Nashlie H., Temiloluwa O. Olubanjo, and David V. Anderson. "Enhancing Online Music Lessons with Applications in Automating Self-Learning Tutorials and Performance Assessment." In 2013 12th International Conference on Machine Learning and Applications (ICMLA). IEEE, 2013. http://dx.doi.org/10.1109/icmla.2013.178.

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Brodsky, Warren, and Matan Ziv. "Car-aoke: Vocal Performances Indicate Distraction Effects of In-Car Music." In Driving Assessment Conference. Iowa City, Iowa: University of Iowa, 2015. http://dx.doi.org/10.17077/drivingassessment.1545.

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Wu, Chih-Wei, and Alexander Lerch. "Learned Features for the Assessment of Percussive Music Performances." In 2018 IEEE 12th International Conference on Semantic Computing (ICSC). IEEE, 2018. http://dx.doi.org/10.1109/icsc.2018.00022.

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