Dissertations / Theses on the topic 'Music performance assessment'

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.

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.

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.

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.

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.

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.

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.

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.

This dissertation presents a categorization of existing methodologies of upper register development for euphoniumists with evaluation of effectiveness and current use of these methodologies. The purpose of this study is to provide euphonium musicians as well as educators with essential references and guides to applicable methods for developing the upper register more effectively with greater efficacy. The assessments of current methodologies include three steps: categorization, summarization, and evaluation. To support the significance why it could be more beneficial than the methodology alone, the dissertation will include the examination of the aspect of biomechanics and ergonomics, suggestions, and discussion of particular issues of the upper register.

碩士
國立臺灣師範大學
翻譯研究所
97
Interpreter assessment is a complicated subject faced by many interpretation training schools. On one hand, the assessment must clearly evaluate student performance and educational attainment, yet, at the same time, it must not ignore the expectations of the marketplace while actively striving to meet professional standards. However, past research into this topic has been scant and research methods lacking. As such, this present study will use an interdisciplinary approach in hopes of finding an assessment model that may be used within the context of interpreter educational training. This study first compares two activities: musical performance and interpretation. Their respective general characteristics, performance processes, and role of agents are compared. Results show both activities share some commonalities, which serve as ground for further comparisons – regarding performance assessment. Developments in interpretation and musical performance assessments are then analyzed and compared. Results indicate that the two fields occupy common ground on several issues, from assessment judges, performance criterion, to training of judges and assessment procedures. This study also finds that research into music performance assessment has been taken to a greater depth than corresponding research in the filed of interpretation. Based on above findings, this study proposes the following suggestions for future development in interpretation assessment: 1. Based on the music performance assessment process model, an interpretation assessment model can be established. This model is comprehensive enough to take into account the many factors that might influence assessment results. 2. Research methods and statistical tools used in musical performance assessment are tools that can be used in the field of interpretation assessment in future experiments and studies. 3. Discussions concerning the selection of criterion in interpretation assessment often parallel their counterparts in the filed of music performance. Interpretation research can look into whether factors affecting assessment results are similar to that of a musical performance, i.e. whether there exists influences outside of purely technical factors – such as individual characteristics and styles – which influence judges’ perception and performance assessment.

The purpose of this study was to develop a valid and reliable measure and attendant rating scale for the assessment of the sight-reading skills of classical guitarists at the beginning of collegiate study. This study sought to answer the following questions: 1. What musical components and their ranges of values should be measured in a sight-reading assessment for entry-level collegiate classical guitarists? 2. Can a valid and reliable sight-reading assessment for classical guitarists be constructed? 3. Can a rating scale or other scoring mechanism be constructed that would be easy to use and promote a high degree of objectivity and reliability? Tentative standards were drawn from data acquired by means of an electronic survey questionnaire sent to collegiate guitar teachers throughout North America (N = 1,193) which yielded 241 responses. Musical elements that emerged from the survey results were validated by comparison with specific works from the guitar’s literature that were recommended by survey respondents as appropriate for testing sight-reading skills at the college-entry level, as well as with published sample sight-reading exams. The emergent elements were constructed into six short musical exams and a rating sheet for each, loosely patterned after the scoring mechanism of the Watkins-Farnum Performance Scale. These exams constituted the pilot test, which was administered to 14 student volunteers by their college guitar instructors. Internal reliability coefficients were obtained using several methods, all of which were strong (generally in the .82 to .98 range). Interrater reliability coefficients were also strong (.91 to .99). Based on analysis of the pilot results and suggestions from teachers, one of the original assessments was slightly modified, a new assessment was constructed, and rating sheets developed. The same procedures used in the pilot test were followed in the field test, which was administered to 28 volunteer students. Internal reliability using several methods resulted in coefficients generally in the .90 to .96 range, and interrater reliabilities ranged from .87 to .98.

Os processos de avaliação do ensino são um objeto de estudo das ciências da educação, e as ideias e conceitos que têm sido produzidos e desenvolvidos, por investigadores nacionais e internacionais, gradualmente, têm transformado o contexto da educação atual. Conforme a literatura crítica consultada, parece ser, para a generalidade dos professores, uma área que desperta dificuldades. Vários autores referem que na avaliação da performance artística, particularmente na música, assim como em qualquer tipo de julgamento ou avaliação, é verificada a presença de um certo grau de subjetividade. Esta subjetividade imanente ao indivíduo, e neste caso, ao músico/professor, resulta de influências sofridas ao longo da sua formação e desenvolvimento pessoal, académico e profissional. De que forma podemos conviver com esta subjetividade nas práticas de avaliação realizadas nas escolas profissionais de música? Que ferramentas se podem utilizar para clarificar e auxiliar os processos de avaliação? Seguindo a estratégia metodológica de um estudo de caso numa abordagem qualitativa, partimos da observação de um exemplo particular, para construir uma noção sobre a avaliação da performance musical e a sua subjetividade. Esta dissertação tenta promover o encontro da arte e do conhecimento: a música, a filosofia (estética) e as ciências da educação (teorias da avaliação).
Assessment is an investigation object in educational sciences, and the ideas and concepts that have been produced and developed, by national and international researchers, gradually have transformed the context of current education. According to the consulted literature, it seems to be, for most teachers, an area that arouses some difficulties. As stated by several authors, the evaluation of artistic performance, particularly in music, as in any kind of judgment or assessment, is verified the presence of subjectivity. This subjectivity inherent to the individual, and in this case, the musician / teacher, is the result of influences suffered throughout his training and personal, academic and professional growth. How can we get along with this subjectivity in the evaluation practices in music schools? Which tools can be used by teachers, to clarify and help the evaluation processes? Following the methodological strategy and qualitative approach of the study case, we start from the observation of a particular example, to build an notion on the assessment of musical performance and its subjectivity. This dissertation and his subject, attempts to promote the meeting of art and knowledge: music, philosophy (aesthetics) and educational sciences (evaluation theories).

Music Education as part of the learning area Arts and Culture is far from satisfactory in South African schools. Reasons for this include a highly sophisticated and complex curriculum (the revised National Curriculum Statement, 2002); the integration of four discrete arts forms into one learning area; and teacher training which is not always reflective of the teaching profession’s demands. The study was based on a mixed method design, investigating how teachers in best scenario schools implement music as part of the integrated learning area Arts and Culture. Interviews were held with various stakeholders in Music Education, including teachers currently involved with the presentation of the Arts and Culture learning area, lecturers at universities training students for Music Education, and policy makers such as subject advisors in the Arts and Culture learning area. Data was also collected by analysing commercially available resources for this learning area. Analysis of the data obtained revealed that few teachers in the Arts and Culture learning area are qualified in more than one art form. A major concern is that music is often omitted from regular classroom activities in the Foundation Phase due to teachers feeling pressurised by multiple assessment standards in learning areas such as Literacy and Numeracy. Another finding in all primary school phases was that the time spent on Music Education was far less than that spent on Visual Arts. Learners are often involved in projects collecting knowledge about music, but seldom involved in active music making experiences. Aspects such as different ways to integrate the arts into one learning area, generalist/specialist teacher training, as well as issues concerning product, process and performance during the delivery of the arts, were also investigated. The researcher drew from all the data to design a course for teacher training in Music Education as part of the learning area Arts and Culture. Recommendations include regular in-service teacher training courses; nationwide co-ordination of teacher training programmes and the establishment of a national council for Music Education. An urgent need for appropriate lesson material in Arts and Culture was also identified, including CDs with songs and backtracks.
Thesis (DMus)--University of Pretoria, 2009.
Music
unrestricted

Para atingir um elevado nível na performance, um músico deve estar bem em todos os aspetos da saúde (físico, mental e social). A ansiedade na performance aparece pelo fato desta necessitar de um grande nível de coordenação e habilidade, e quando tal acontece pode afetar alguns elementos como a concentração, a memória, a coordenação e o relaxamento motor. Muitos estudos têm constatado um número elevado de instrumentistas com problemas no seu desempenho devido à ansiedade, sendo que muitas pesquisas nessa área têm desenvolvido trabalho com a introdução de instrumentos específicos para abordar a ansiedade na performance musical, como é o caso da Music Performance Anxiety Inventory (MPAI-A). A presente dissertação apresenta dois estudos distintos mas que se complementam. O primeiro estudo teve como objetivo traduzir, adaptar e validar a MPAI-A para língua portuguesa. Após a autorização da autora, a escala MPAI-A foi traduzida e validada. A escala em língua portuguesa foi aplicada a 161 alunos, de ambos os sexos, de uma escola profissional de música. Para a validação concorrente, foi utilizado o State-Trait Anxiety Inventory for Children (STAIC C-2) versão validada na língua portuguesa. As análises psicométricas realizadas (análise fatorial exploratória, análise da consistência interna e avaliação da validade concorrente com o STAIC C-2) permitiram concluir que a versão portuguesa do MPAIA-A apresenta níveis elevados de validade e fidelidade. O segundo estudo, de cariz exploratório, baseou-se num processo de investigação experimental que visa treinar a ansiedade na performance num contexto de estudo em salas adaptadas onde existe o controlo de alguns fatores extrínsecos ao momento da performance. O estudo, desde a recolha de dados e intervenção do plano de melhoria, com o treino da ansiedade no contexto das aulas de TI (Trabalho Individual), decorreu na primeira parte do semestre do ano letivo de 2013-2014. As aulas de TI são ministradas num conceito novo e único, idealizado e desenvolvido na instituição onde foi realizado o estudo, sendo que as referidas aulas são dadas em cabines isoladas com tecnologia digital avançada que permite um contato permanente entre o professor e o aluno. Os indivíduos que constituem a amostra, num total de quatorze alunos, de ambos os sexos, de uma escola profissional de música na faixa etária dos doze anos, completaram duas baterias de questionários para a avaliação da ansiedade-traço e da ansiedade na performance. Estes questionários foram realizados antes e depois da intervenção. Não se registaram, no estado geral da ansiedade na performance, decréscimos significativos. No entanto existiram casos isolados, que apresentaram decréscimos significativos pós-intervenção, apresentando níveis de ansiedade mais baixos. Apesar de não se obter resultados significativos, na globalidade dos resultados do estudo, verificou-se que este tipo de estudo evidencia potencialidade para ser reproduzido no contexto académico musical.
To achieve a high standard in performance, a musician must be well in all aspects of health (physical, mental and social). Anxiety in performance appears because this requires a high level of coordination and skill, and when this happens, it can affect some elements such as concentration, memory, motor coordination and relaxation. Many studies have found a large number of musicians with problems in its performance due to anxiety, and many researches have developed work in this area with the introduction of specific tools to address anxiety in musical performance, such as the Music Performance Anxiety Inventory (MPAI -A). This dissertation presents two distinct but complementary studies. The first study aimed to translate, adapt and validate a MPAI into Portuguese. After permission of the author, the MPAI scale was translated and validated. The scale in Portuguese was applied to 161 students, of both sexes, of a professional music school . For concurrent validation, we used the State- Trait Anxiety Inventory for Children (Staic C - 2) validated in the Portuguese language. The study allows us to consider the sample with high degrees of reliability and reproducibility, which translates this study as coming from a sample not inclinedand replicable to other populations. The second study was based on an experimental research process that seeks to train anxiety on performance in the context of study adapted rooms where there is some control of extrinsic factors to the moment of performance. The study, from data collection to intervention of the improvement plan, with training of anxiety in the context of IT classes (Individual Work), took part in the first semester of the academic year 2013-2014. Classes are taught IT in a new and unique concept, designed and developed in the institution where the study was conducted, and those classes are conducted in isolated booths with advanced digital technology that allows a permanent contact between teacher and student. Individuals in the sample, a total of fourteen students, of both sexes, at the age of twelve, from a professional music school, replied two complete questionnaires for the assessment of trait anxiety and anxiety on performance. These surveys were conducted before and after the intervention. Respecting to anxiety on performance, in overall, there were no significant decreases. However there have been isolated cases, which showed significant decreases post-intervention, with lower levels of anxiety. Although no significant results in the global results of the study, it was found that this type of study shows potential to be played in the musical academic context.

O objetivo central deste estudo consiste na adaptação da escala Music Performance Anxiety Inventory for Adolescents (MPAI-A), a crianças em período escolar, a partir da versão traduzida para Português e validada por Batista e Dias (2013). Procedeu-se à adaptação da referida escala, tendo sido aplicada a alunos do curso de iniciação musical, envolvendo 100 participantes, de ambos os géneros, com idades compreendidas entre os 8 e os 10 anos. No estudo, foi ainda aplicada a State-Trait Anxiety Inventory for Children (STAIC C-2), na sua versão portuguesa, tendo em vista examinar a validade concorrente entre a MPAI-A e a STAIC C-2. A análise psicométrica realizada concluiu níveis elevados de fiabilidade e validade, suportando a futura utilização desta versão adaptada da MPAI-A a crianças mais novas em futuros trabalhos sobre a ansiedade na performance.
The purpose of this study is to adapt the scale of the Music Performance Anxiety Inventory for Adolescents (MPAI-A) to young learners in the field of teaching Musica in the 1st cycle of Primary schools from the Portuguese version by Batista and Dias (2013). The scale was adapted and applied to 100 young learners (aged between 8 and 10 years old) of the musical initiation course, both genders. The State-Trait Anxiety Inventory for Children (STAIC C-2) was also applied in its Portuguese version, in order to analyze the simultaneous validity between MPAI-A and STAIC C-2. The psychometric analysis has revealed high levels of reliability and validity, meaning the adapted version of MPAI-A is to be taken into account and applied to younger children in future assignments/projects on performance anxiety.

Thesis (M.M.E.) Florida State University, 2008.
Advisor: Kimberly VanWeelden, Florida State University College of Music. Title and description form dissertation home page (viewed 4-7-2009). Document formatted into pages; contains 103 pages.

The live music performance industry is growing tremendously in South Africa, with more and more international artists performing on our shores year after year. Competition is growing and various companies are beginning to identify this as a business opportunity to make money. However, managing live music performances is a complex task which involves managing various aspects (critical success factors) of the event in order to ensure that it is a success. Apart from this, visitors attend these performances hoping that their expectations will be exceeded and the performance is something which can be treasured and is worth remembering once everything is over. This is referred to as a memorable experience. In order to ensure a memorable visitor experience, it is essential for managers to be aware of what the visitors regard as important critical success factors. These are aspects that management can control and improve. Thus, the critical success factors should be implemented effectively in order to ensure that the event is memorable for visitors attending the live music performance. While various critical success factors are familiar to event organisers, they differ from event to event. Thus, the critical success factors of one event cannot be implemented at another with the same expectation of success. This is due to the heterogeneous groups of people who attend these events and who cannot be regarded as being the same, as each individual will have different expectations of the same event. Therefore, it is also important for the managers of live music performances to determine how the visitors to the different genre events regard the various critical success factors that are vital for a memorable experience. This is significant, as various music genres attract different attendees who each have their own expectations of a music genre and which may differ from those of visitors to other music genres. For example, the expectations for a memorable experience of individuals attending a classical live music performance will differ from individuals attending a rock or pop live music performance. In addition, it is also important for management to compare those critical success factors identified by the visitors to their own ideas of what is important for a successful event in order to identify any shortcomings. Thus, it was expedient to seek answers to the questions of what visitors to live music performances regard as important critical success factors as well as what the managers consider to be important for a memorable experience. Therefore, the purpose of this study was to determine the critical success factors for managing a memorable visitor experience at live music performances from both the demand and supply sides. The said factors were subsequently compared in order to establish whether any shortcomings exist. This thesis comprises three articles. Firstly, the research was conducted from a demand (visitors) side. Thus, the aim of Chapter 3 was to determine what attendees at live music performances regard as being critical success factors for different music genres so as to enhance memorable visitor experiences. Surveys were conducted at various genres of live music performances which included classical music (Il Divo), R&B (Usher), rock (Sting), blues (Michael Buble), pop (Roxette) and Afrikaans music (Steve Hofmeyr). A total of 4 110 questionnaires were administered and a general profile of the visitors in terms of the different genres was compiled. A factor analysis was subsequently performed in order to determine the critical success factors for all six genres. Thereafter, an Analysis of variance (ANOVA) was applied in order to compare the critical success factors of the various genres with one another. The results indicated significant statistical differences amongst the different music genres with regard to that which the visitors to the different live music performances regard as being important for a memorable visitor experience. Secondly, the research was conducted from a supply (managers) side and the objective of Chapter 4 was to determine what the managers consider to be important critical success factors in ensuring a memorable visitor experience at a live music performance. A qualitative research method, by means of interviews, was used to obtain the relevant information from the selected participants. All the data collected in the process were transcribed into text and presented in a narrative form. The six step method formulated by Cresswell (2009:185-189) for data analysis and interpretation was used to analyse the data. Four major themes emerged from the analysis where each theme was differentiated in terms of various categories and subcategories. This process contributed greatly towards gaining detailed information regarding the main purpose of organising a live music performance; identifying the aspects that managers consider to be important when organising a live music performance and those aspects that are important in pre-, during- and post-event planning phases as well as how managers define a memorable experience. Lastly, in Chapter 5 a comparison was performed between the demand and supply sides of live music performances in order to establish whether any differences exist amongst the aspects that management consider to be important compared to the critical success factors that the visitors regard as being important to achieve a memorable visitor experience. Both qualitative (supply side) and quantitative (demand side) research methods were implemented in this research. The results of the critical success factors drawn from the first and second articles were used to conduct this research. The results of both the demand and supply sides were subsequently compared with one another where significant differences had been identified. This was the first time that research was conducted from both the demand and supply sides within the live music performance environment. The results of this research contribute greatly to literature and to the music industry. In addition, this was also the first time that both a qualitative and a quantitative research method were applied in research conducted at live music performances and which were subsequently compared with one another. Determining the differences between the critical success factors identified contributes towards event specific education and information for current as well as future live music performance managers. Therefore, results of this research can be employed to educate and inform current and future managers in the live music performance industry regarding important aspects relating to the enhancement of the important critical success factors that contribute to a memorable experience when individuals attend a live music performance.
PhD (Tourism Management), North-West University, Potchefstroom Campus, 2014

Musical ensembles’ attendance at competitive music performance events (CMPEs) is a mainstream characteristic of the music education paradigm in many states. One problem with this current system is that we do not know the extent to which the results of these events impact the musical self-beliefs of the individual participants and those of their ensemble as a group. A total of ninety-one students and three directors from three different high school band programs in Arkansas participated in this research. The purpose of this study was to (a) examine students’ perceptions of their musical self-beliefs as related to their ensemble’s ratings at competitive music performance events (CMPEs), (b) gain clarity into how the educational ideology of the director might affect the self-efficacy beliefs of his or her students, and (c) open a dialogue into potential discovery of the sources of group efficacy beliefs in a band setting as related to individual self-efficacy beliefs. More specifically, I sought to discover students’ and directors’ perceptions of the results of CMPEs through their own words and experiences in order to offer suggestions for music educators to benefit them and their students when they participate in CMPEs. I used a holistic, multiple case study design as detailed by Yin (2014). Analysis of participant statements about their experiences at and ensemble results from CMPEs yielded a greater understanding into how these particular participants from Arkansas view CMPE results in terms of their overall musical self-beliefs. Furthermore, through the analysis of data, I was able to posit the Framework for Understanding the Formation of Group Efficacy Beliefs of High School Band Students which included three criteria: (a) Unity, (b) Cognizance of Function, and (c) Introspection. In addition to the proposed framework, findings suggest that band directors may be able to foster positive efficacy beliefs in their students and their ensembles by (a) framing the CMPE as a part of the learning process, not a means to an end; (b) encouraging students to set and pursue their own personal musical goals; (c) develop a culture within their ensemble of shared values, beliefs, and goals, awareness of each individual’s role in the performance; and (d) foster the ability for individual students to reflect and improve their own performances for the benefit of the group.