Journal articles: '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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THOMPSON, SAM, and AARON WILLIAMON. "Evaluating Evaluation: Musical Performance Assessment as a Research Tool." Music Perception 21, no. 1 (2003): 21–41. http://dx.doi.org/10.1525/mp.2003.21.1.21.

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Much applied research into musical performance requires a method of quantifying differences and changes between performances; for this purpose, researchers have commonly used performance assessment schemes taken from educational contexts. This article considers some conceptual and practical problems with using judgments of performance quality as a research tool. To illustrate some of these, data are reported from a study in which three experienced evaluators watched performances given by students at the Royal College of Music, London, and assessed them according to a marking scheme based on that of the Associated Board of the Royal Schools of Music. Correlations between evaluators were only moderate, and some evidence of bias according to the evaluators' own instrumental experience was found. Strong positive correlations were found between items on the assessment scheme, indicating an extremely limited range of discrimination between categories. Implications for the use of similar assessment systems as dependent measures in empirical work are discussed, and suggestions are made for developing scales with greater utility in such work.

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Prichard, Stephanie. "A Profile of High-Stakes Assessment Practices in Music Teacher Education." Journal of Music Teacher Education 27, no. 3 (January 3, 2018): 94–105. http://dx.doi.org/10.1177/1057083717750079.

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The purpose of this study was to identify and describe high-stakes assessment practices in the field of music teacher education. Furthermore, I sought to compare institutional capstone assessment practices with state licensure requirements. Research questions involved the status of high-stakes assessments of general, content, and pedagogical knowledge, as well as high-stakes teacher performance assessments (e.g., edTPA). Participants in this study included faculty representatives ( N = 274) from National Association of Schools of Music–accredited music teacher education programs across all 50 states. The majority of participants indicated that preservice candidates were required to pass a test of general knowledge as a gatekeeper to acceptance into the music teacher licensure program, as well as a variety of other examinations prior to graduation. More than one half of participants reported that their institution required music teacher candidates to complete a teacher performance assessment (e.g., edTPA). Alignment between state and institution requirements was varied.

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Hunter, Desmond, and Michael Russ. "Peer assessment in performance studies." British Journal of Music Education 13, no. 1 (March 1996): 67–78. http://dx.doi.org/10.1017/s0265051700002953.

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The purpose of this paper is to outline the background to the introduction of peer assessment at the University of Ulster and to report on how the project has operated and developed over the past three years. Initially assessors were drawn from the same student year group as the performers (BMus, year 2). The process was monitored by the authors who subsequently met with each assessment panel to discuss the performances before marks and reports were finalised. In the following years the assessment of second-year performances was conducted by panels of final-year students; this resulted in more objective reporting.

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Johnson, Christopher M. "Musicians' and Nonmusicians' Assessment of Perceived Rubato in Musical Performance." Journal of Research in Music Education 44, no. 1 (April 1996): 84–96. http://dx.doi.org/10.2307/3345415.

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The purpose of this study was to investigate musicians' and nonmusicians' assessment of perceived rubato in musical performance. Music majors ( n = 48) and nonmusic majors ( n = 48) listened to four different soloists' performances of the development section of Mozart's Concerto for Horn and Orchestra No. 2, movement 1. Subjects evaluated the degree of appropriateness/inappropriateness of each soloist's use of rubato using the Continuous Response Digital Interface (CRDI), an instrument that allows ongoing evaluation of specified performance variables. Using a Likert-type scale, subjects also assessed soloists with regard to musicianship, expression, tone quality, and tempo. Results indicated significant differences for musicians compared to nonmusicians regarding rubato assessments. Musicians agreed with expert assessments, whereas non-musicians' scores seemed haphazard. When musicians were separated into two groups based on musical skill level, results from the “more proficient” musicians were in direct agreement with the panel of experts' evaluations. The “less proficient” musicians were much less discriminating across all dependent measures; rubato assessments disagreed substantially with those of experts. This study suggests that rubato is an extremely subtle musical nuance. Though nonmusicians and less proficient musicians seem to be able to assess performances on somewhat more obvious variables, it seems that only the most proficient musicians can evaluate the usage of rubato in performance. Based on the data from this study, it appears that a relationship exists between musicianship and the use of rubato and that use of rubato might well be one element that separates the very finest performance from the simply ordinary.

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Hewitt, Michael P., and Bret P. Smith. "The Influence of Teaching-Career Level and Primary Performance Instrument on the Assessment of Music Performance." Journal of Research in Music Education 52, no. 4 (December 2004): 314–27. http://dx.doi.org/10.1177/002242940405200404.

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The purpose of this investigation was to examine the influence of teaching-career level and primary instrument on music teachers' assessment of music performance. The main and interaction effects of three career-level conditions (in-service teachers, upper-division undergraduate students, and lower-division undergraduate students) were examined, along with two primary instrument conditions (brass, not brass), on tone, intonation, melodic accuracy, rhythmic accuracy, tempo, interpretation, and technique/articulation. Participants ( N=150) listened to performances of six junior high trumpet players of various abilities and rated them using the Woodwind Brass Solo Evaluation Form (Saunders & Holahan, 1997). No statistically significant differences were found for the vast majority of interactions or main effects for either career level or instrument condition, suggesting that no relationship exists between teaching-career level and primary performance instrument on the evaluation of music performances. June 1, 2004 October 27, 2004.

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Wesolowski, Brian C., and Stefanie A. Wind. "Investigating rater accuracy in the context of secondary-level solo instrumental music performance." Musicae Scientiae 23, no. 2 (June 13, 2017): 157–76. http://dx.doi.org/10.1177/1029864917713805.

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In any performance-based musical assessment context, construct-irrelevant variability attributed to raters is a cause of concern when constructing a validity argument. Therefore, evidence of rater quality is a necessary criterion for psychometrically sound (i.e., valid, reliable, and fair) rater-mediated music performance assessments. Rater accuracy is a type of rater quality index that measures the distance between raters’ operational ratings and an expert’s criterion ratings on a set of benchmark, exemplar, or anchor musical performances. The purpose of this study was to examine the quality of ratings in the context of a secondary-level solo music performance assessment using a Multifaceted Rasch Rater Accuracy (MFR-RA) measurement model. This study was guided by the following research questions: (a) overall, how accurate were the rater judgments in the assessment context? (b) how accurate were the rater judgments across each of the items of the rubric?, and (c) how accurate were the rater judgments across each of the domains of the rubric? Results indicated that accuracy scores generally matched the expectations of the MFR-RA model, with rater locations higher than the average student performance, item, and domain locations, indicating that the student performances, items, and domains were relatively easy to rate accurately for the sample of raters examined in this study. Overall, rater accuracy ranged from 0.54 logits ( SE = 0.05) for the most accurate rater to 0.24 logits ( SE = 0.04) for the least accurate rater. Difficulty of rater accuracy across items indicated a range of 0.91 logits ( SE = 0.08) to -1.83 logits ( SE = 0.17). Difficulty of rater accuracy across domains ranged from 0.25 logits ( SE = 0.08) to -0.68 logits ( SE = 0.17). Implications for the improvement of music performance assessments with specific regard to rater training are discussed.

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Johnson, Peter. "Performance as Experience: the problem of assessment criteria." British Journal of Music Education 14, no. 3 (November 1997): 271–82. http://dx.doi.org/10.1017/s0265051700001248.

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Examination criteria, as distinct from guidelines regulating content and presentation, are problematic as applied to musical performance. Given the epistemological gap between musical and conceptual thought, forms of words are not readily available to distinguish objectively between the good and the mediocre performance. Criteria need therefore to be designed to complement the examiner's subjective response rather than substitute for it, and analytical concepts prove to be less reliable than ‘aesthetic terms’ (Sibley). In the context of Western art-music, the ‘good’ musical performance will be one that proposes its own ‘possible world’ (Bruner), situated within the larger ‘world’ of culturally contingent aesthetic values. Aesthetic terms provide the best means we have of access to the experiential world of performed music.

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Wu, Chih-Wei, and Alexander Lerch. "Assessment of Percussive Music Performances with Feature Learning." International Journal of Semantic Computing 12, no. 03 (September 2018): 315–33. http://dx.doi.org/10.1142/s1793351x18400147.

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The automatic assessment of (student) music performance involves the characterization of the audio recordings and the modeling of human judgments. To build a computational model that provides a reliable assessment, the system must take into account various aspects of a performance including technical correctness and aesthetic standards. While some progress has been made in recent years, the search for an effective feature representation remains open-ended. In this study, we explore the possibility of using learned features from sparse coding. Specifically, we investigate three sets of features, namely a baseline set, a set of designed features, and a feature set learned with sparse coding. In addition, we compare the impact of two different input representations on the effectiveness of the learned features. The evaluation is performed on a dataset of annotated recordings of students playing snare exercises. The results imply the general viability of feature learning in the context of automatic assessment of music performances.

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Sundari, Sinta Siti, and Hendri Julian Pramana. "Perancangan Sistem Informasi Penilaian Kinerja Instruktur Musik dengan Metode Analytical Hierarchy Process." Creative Information Technology Journal 3, no. 2 (September 22, 2016): 126. http://dx.doi.org/10.24076/citec.2016v3i2.71.

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Purwa Caraka Musik Studio Cabang Tasikmalaya merupakan sebuah lembaga pendidikan nonformal yang bergerak di bidang musik. Penilaian kinerja instruktur di Purwa Caraka Music Studio Cabang Tasikmalaya saat ini dirasakan belum optimal dan belum didokumentasikan dengan baik. Sehingga diperlukan sebuah sistem untuk melakukan penilaian kinerja instruktur musik. Penilaian kinerja instruktur menggunakan metode AHP didasarkan pada 5 kriteria yaitu kehadiran (absensi) dan kompetensi untuk penilaian kinerja seorang guru meliputi kompetensi pedagogik, kepribadian, professional dan sosial. Metode perancangan program aplikasi yang digunakan adalah waterfall. Sedangkan teknik pengumpulan data yang penulis gunakan yaitu observasi, wawancara dan studi pustaka perancangan program atau aplikasi dengan menggunakan bahasa pemrograman PHP dan Mysql sebagai databasenya. Hasil dari proses ini berupa nilai dari kinerja instruktur pada periode penilaian tertentu, laporan penilaian kinerja instruktur yang terdokumentasi dengan baik dapat untuk dijadikan bahan pendukung bagi kepala cabang untuk berbagai keperluan, seperti rapat evaluasi kinerja dan proses pengambilan kebijakan.Purwa Caraka Music Studio Tasikmalaya Branch is a non-formal educational institutions engaged in musik. Performance assessment of instructor in Purwa Caraka Music Studio Branch Tasikmalaya this time had not been optimal and have not been documented with baik. So needed a system to assess the performance of instructors musik. Performance assessment of instructor using AHP is based on five criteria: presence (absence) and the competence to assess a teacher's performance include pedagogical, personality, professional and social. Application program design method used is the waterfall. While data collection techniques that writers use that observation, interview and literature study design or an application program using the programming language PHP and MySQL as the database. The result of this process is the value of the performance of instructors at a certain assessment period, the performance assessment reports are well documented instructors can to be used as a support for the head of the branch for a variety of purposes, such as meeting performance evaluation and decision-making processes.

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Hyun Kyungsil. "A Survey of Performance Assessment in Middle School Music." Journal of Research in Curriculum Instruction 16, no. 4 (December 2012): 981–99. http://dx.doi.org/10.24231/rici.2012.16.4.981.

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Taebel, Donald K. "An Assessment of the Classroom Performance of Music Teachers." Journal of Research in Music Education 38, no. 1 (1990): 5. http://dx.doi.org/10.2307/3344826.

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Stanley, Michael, Ron Brooker, and Ross Gilbert. "Examiner Perceptions of Using Criteria in Music Performance Assessment." Research Studies in Music Education 18, no. 1 (June 2002): 46–56. http://dx.doi.org/10.1177/1321103x020180010601.

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Bergee, Martin J. "Faculty Interjudge Reliability of Music Performance Evaluation." Journal of Research in Music Education 51, no. 2 (July 2003): 137–50. http://dx.doi.org/10.2307/3345847.

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Assessment of music performance in authentic contexts remains an underinvestigated area of research. This study is an examination of one such context, the inter-judge reliability of faculty evaluation of end-of-semester applied music performances. Brass (n = 4), percussion (n = 2), woodwind (n = 5), voice (n = 5), piano (n = 3), and string (n = 5) instructors evaluating a recent semester's applied music juries at a large university participated in the study. Each evaluator completed a criterion-specific rating scale for each performer and assigned each performance a global letter grade not shared with other evaluators or with the performer. Interjudge reliability was determined for each group's rating scale total scores, subscale scores, and the letter-grade assessment. All possible permutations of two, three, and four were examined for interjudge reliability, and averaged correlations, standard deviations, and ranges were determined. Full-panel interjudge reliability was consistently good regardless of panel size. All total score reliability coefficients were statistically significant, as were all coefficients for the global letter-grade assessment. All subscale reliabilities for all groups except Percussion (which, with an n of 2, had a stringent significance criterion) were statistically significant, with the exception of the Suitability subscale in Voice. For larger panels (ns of 4 and 5), rating scale total score reliability was consistently but not greatly higher than reliability for the letter-grade assessment. There was no decrease of average reliability as group size incrementally decreased. Permutations of two and three evaluators, however, tended on average to exhibit more variability, greater range, and less uniformity than did groups of four and five. No differences in reliability were noted among levels of experience or between teaching assistants and faculty members. Use of a minimum of five adjudicators for performance evaluation in this context was recommended.

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Blom, Diana, and Kim Poole. "Peer assessment of tertiary music performance: opportunities for understanding performance assessment and performing through experience and self-reflection." British Journal of Music Education 21, no. 1 (March 2004): 111–25. http://dx.doi.org/10.1017/s0265051703005539.

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This paper discusses a project in which third-year undergraduate Performance majors were asked to assess their second-year peers. The impetus for launching the project came from some stirrings of discontent amongst a few students. Instead of finding the assessment of their peers a manageable task, most students found the breadth of musical focus, across a diverse range of musical styles on a wide range of instruments, daunting and difficult. Despite this, students and staff believed the task had proved valuable for learning about the assessment process itself and for understanding the performance process.

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Stern, Judith RS, Sat Bir S. Khalsa, and Stephan G. Hofmann. "A Yoga Intervention for Music Performance Anxiety in Conservatory Students." Medical Problems of Performing Artists 27, no. 3 (September 1, 2012): 123–28. http://dx.doi.org/10.21091/mppa.2012.3023.

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Music performance anxiety can adversely affect musicians. There is a need for additional treatment strategies, especially those that might be more acceptable to musicians than existing therapies. This pilot study examined the effectiveness of a 9-week yoga practice on reducing music performance anxiety in undergraduate and graduate music conservatory students, including both vocalists and instrumentalists. The intervention consisted of fourteen 60-minute yoga classes approximately twice a week and a brief daily home practice. Of the 24 students enrolled in the study, 17 attended the post-intervention assessment. Participants who completed the measures at both pre- and post-intervention assessments showed large decreases in music performance anxiety as well as in trait anxiety. Improvements were sustained at 7- to 14-month follow-up. Participants generally provided positive comments about the program and its benefits. This study suggests that yoga is a promising intervention for music performance anxiety in conservatory students and therefore warrants further research.

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Brittin, Ruth V. "Instrumentalists' Assessment of Solo Performances with Compact Disc, Piano, or No Accompaniment." Journal of Research in Music Education 50, no. 1 (April 2002): 63–74. http://dx.doi.org/10.2307/3345693.

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Middle school and high school instrumentalists listened to 12 instrumental performances: four with no accompaniment, four with piano accompaniment, and four with compact disc accompaniment. Listeners (N = 188) judged the soloist's performance quality and indicated the performance's best feature and aspect needing most improvement. Listeners also rated their preference for each accompaniment. Materials were taken from popular beginning band method books. Results showed that accompaniment condition significantly affected performance quality ratings, with CD accompaniments rated highest and piano accompaniments lowest. Significant interactions revealed that younger students were swayed most by the accompaniment condition; certain popular music styles appeared most influential. There was a significant but modest relationship between greater preference for the accompaniment style and higher performance quality ratings. For preference, girls and boys responded significantly differently to the accompaniment styles. Overall, students consistently assigned the best feature and aspect needing most practice across accompaniment conditions.

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Iusca, Dorina. "The Effect of Evaluation Strategy and Music Performance Presentation Format on Score Variability of Music Students’ Performance Assessment." Procedia - Social and Behavioral Sciences 127 (April 2014): 119–23. http://dx.doi.org/10.1016/j.sbspro.2014.03.224.

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Namba, Seiichiro, Sonoko Kuwano, Tadasu Hatoh, and Mariko Kato. "Assessment of Musical Performance by Using the Method of Continuous Judgment by Selected Description." Music Perception 8, no. 3 (1991): 251–75. http://dx.doi.org/10.2307/40285502.

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Newly developed methods for evaluating subjective impressions of musical performances are introduced. Performances of the Promenades in "Pictures at an Exhibition," played by three musicians, were used as stimuli. In Experiment 1, the impressions of each performance were judged by the method of selected description. Three major factors concerning adjectives used to describe the subjective impression of musical performances became apparent. These were "dynamics," "tranquility," and "sadness." In Experiment 2, instantaneous impressions were judged by the method of continuous judgment by selected description, and its relation to the overall impression was examined.

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Warner, Timothy. "“I'll give it five”: The Assessment of Popular Music Performance." Journal of Popular Music Studies 9-10, no. 1 (September 1997): 37–42. http://dx.doi.org/10.1111/j.1533-1598.1997.tb00104.x.

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Wind, Stefanie A., Pey Shin Ooi, and George Engelhard. "Exploring decision consistency and decision accuracy across rating designs in rater-mediated music performance assessments." Musicae Scientiae 23, no. 4 (March 5, 2018): 465–85. http://dx.doi.org/10.1177/1029864918761184.

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Music performance assessments frequently include panels of raters who evaluate the quality of musical performances using rating scales. As a result of practical considerations, it is often not possible to obtain ratings from every rater on every performance (i.e., complete rating designs). When there are differences in rater severity, and not all raters rate all performances, ratings of musical performances and their resulting classification (e.g., pass or fail) depend on the “luck of the rater draw.” In this study, we explored the implications of different types of incomplete rating designs for the classification of musical performances in rater-mediated musical performance assessments. We present a procedure that researchers and practitioners can use to adjust student scores for differences in rater severity when incomplete rating designs are used, and we consider the effects of the adjustment procedure across different types of rating designs. Our results suggested that differences in rater severity have large practical consequences for ratings of musical performances that impact individual students and group of students differently. Furthermore, our findings suggest that it is possible to adjust musical performance ratings for differences in rater severity as long as there are common raters across scoring panels. We consider the implications of our findings as they relate to music assessment research and practice.

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Iușcă, Dorina Geta. "11. “Seeing Is Believing”: The Importance of Visual Factors in Music Performance Assessment." Review of Artistic Education 20, no. 1 (April 1, 2020): 355–60. http://dx.doi.org/10.2478/rae-2020-0039.

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AbstractThe criteria recommended for the performance of internal assessment are the ones included in the national model for school inspection applied by the inspectors in the school inspectorate or the Ministry of Education (with subsequent names) who carry out internal assessments. Educational establishments can also decide on certain additional criteria - in line with the specific needs. All educational establishments must perform the annual assessment of activity, regarding school development, educational programs, curricular and extracurricular activities, quality of the teaching-learning process, human resources development, relations with the community and European dimension in the education offered. A tricky problem is represented by the specific assessment of Children Centres and Clubs that carry out non-formal activity, without school programs and handbooks approved by the Ministry of Education. Carrying out an analysis of the manner of assessing formal and non-formal educational units, the need to readjust the internal and external assessment was identified. At the level of school inspectorates, school inspection is carried out by a team consisting of specialised inspectors who know the specificity of those educational units. The main problem is represented by the external assessment carried out by ARACIP with the help of standard specific means: fields, indicators, reference descriptors and specific descriptors. Through the study performed, a series of proposals on the beneficial amendments for the quality assessment within Children Centres and Clubs is identified.

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Peacock, David. "Creative Performance Arts Degree Courses." British Journal of Music Education 4, no. 1 (March 1987): 71–80. http://dx.doi.org/10.1017/s0265051700005738.

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Young musicians wishing to study music in higher education now have a variety of options open to them. One of these, a relatively recent development, is Creative/Performing Arts degree courses, where students can study music in an interdisciplinary setting. This article sets out to trace the emergence of such courses and to present in a descriptive and informative way their philosophy, admissions procedures, general principles of organisation, curricular content and approach, assessment policies and graduate employment possibilities.

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COX, GORDON, and STEPHANIE PITTS. "Editorial." British Journal of Music Education 21, no. 1 (March 2004): 5–6. http://dx.doi.org/10.1017/s0265051704005595.

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This issue – the first of our 21st anniversary year – has two clear themes: the teaching and learning of world musics, and the assessment of musical performance and understanding. Within these themes, the papers present accounts of research at all levels of music teaching, from nursery to higher education, and range across diverse geographical contexts: Australia, China, the UK, the USA and Zambia. There is evidence here of a wide-ranging research community in music education, which would have been hard to imagine when the British Journal of Music Education was founded in 1984.

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Daniel, Ryan. "Peer assessment in musical performance: the development, trial and evaluation of a methodology for the Australian tertiary environment." British Journal of Music Education 21, no. 1 (March 2004): 89–110. http://dx.doi.org/10.1017/s0265051703005515.

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This article outlines the development and trial of peer assessment procedures for implementation within a music performance context in the Australian tertiary environment. An overview of the literature on peer assessment is presented, followed by reference to specific trials of peer assessment within a tertiary music student context. The paper then presents the rationale for and methodology applied in developing two forms of peer assessment of music performance, for trial across one academic year. Student evaluation data obtained via mid- and end-of-year questionnaires are analysed and discussed, as are implications for further research.

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Latimer, Marvin E., Martin J. Bergee, and Mary L. Cohen. "Reliability and Perceived Pedagogical Utility of a Weighted Music Performance Assessment Rubric." Journal of Research in Music Education 58, no. 2 (June 30, 2010): 168–83. http://dx.doi.org/10.1177/0022429410369836.

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The purpose of this study was to investigate the reliability and perceived pedagogical utility of a multidimensional weighted performance assessment rubric used in Kansas state high school large-group festivals. Data were adjudicator rubrics ( N = 2,016) and adjudicator and director questionnaires ( N = 515). Rubric internal consistency was moderately high (.88). Dimension reliability ranged from moderately low ( W = .47) to moderate ( W = .77). Total score reliability was moderately high ( W = .80) and rating reliability was moderate ( W = .72). Findings suggested that reliability on the whole was within the range of previously researched music performance assessment tools. Questionnaire results suggested that the rubric provided a better instrument for justifying ratings and more detailed descriptions of what constituted acceptable performances than previously researched nonrubric forms; hence, adjudicators and directors perceived the rubric as possessing improved pedagogical utility.

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Wesolowski, Brian C., Myriam I. Athanas, Jovan S. Burton, Andrew S. Edwards, Kinsey E. Edwards, Quentin R. Goins, Amanda H. Irby, et al. "Judgmental Standard Setting: The Development of Objective Content and Performance Standards for Secondary-Level Solo Instrumental Music Assessment." Journal of Research in Music Education 66, no. 2 (April 12, 2018): 224–45. http://dx.doi.org/10.1177/0022429418765482.

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The purpose of this study was to describe the development of content and performance standards for a rubric to evaluate secondary-level solo instrumental music performance using a modified bookmark standard setting procedure. The research questions that guided this study include (1) What are the psychometric qualities of a rubric to evaluate secondary-level solo instrumental music performance? (2) What is the quality of ratings obtained for the standard-setting panel of subject matter expert judges? (3) What cut scores best categorize secondary-level solo instrumental performances into four performance levels across the latent performance achievement variable? and (4) What content mastery of items best categorizes achievement in secondary-level solo music performance at each of the four performance levels? A panel of eight subject matter experts participated in the study. A 30-item rubric was used to collect the judging panel’s observed responses. The collected responses were transformed to linear measures using the multifaceted Rasch partial credit model. The bookmark procedure resulted in the setting of three cut points representing minimum pass levels on a latent continuum differentiating between four performance achievement levels (rudimentary, emerging, proficient, and exemplary) with clearly defined content standards. Implications for opportunity to learn are discussed.

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Ciorba, Charles R., and Neal Y. Smith. "Measurement of Instrumental and Vocal Undergraduate Performance Juries Using a Multidimensional Assessment Rubric." Journal of Research in Music Education 57, no. 1 (April 2009): 5–15. http://dx.doi.org/10.1177/0022429409333405.

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Recent policy initiatives instituted by major accrediting bodies require the implementation of specific assessment tools to provide evidence of student achievement in a number of areas, including applied music study. The purpose of this research was to investigate the effectiveness of a multidimensional assessment rubric, which was administered to all students performing instrumental and vocal juries at a private Midwestern university during one semester ( N = 359). Interjudge reliability coefficients indicated a moderate to high level of agreement among judges. Results also revealed that performance achievement was positively related to participants' year in school (freshman, sophomore, junior, and senior), which indicates that a multidimensional assessment rubric can effectively measure students' achievement in the area of solo music performance.

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Stefanie A. Wind and Brian C. Wesolowski. "Evaluating Differential Rater Accuracy Over Time in Solo Music Performance Assessment." Bulletin of the Council for Research in Music Education, no. 215 (2018): 33. http://dx.doi.org/10.5406/bulcouresmusedu.215.0033.

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Bergee, Martin J. "Performer, Rater, Occasion, and Sequence as Sources of Variability in Music Performance Assessment." Journal of Research in Music Education 55, no. 4 (December 2007): 344–58. http://dx.doi.org/10.1177/0022429408317515.

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This study examined performer, rater, occasion, and sequence as sources of variability in music performance assessment. Generalizability theory served as the study's basis. Performers were 8 high school wind instrumentalists who had recently performed a solo. The author audio-recorded performers playing excerpts from their solo three times, establishing an occasion variable. To establish a rater variable, 10 certified adjudicators were asked to rate the performances from 0 (poor) to 100 (excellent). Raters were randomly assigned to one of five performance sequences, thus nesting raters within a sequence variable. Two G (generalizability) studies established that occasion and sequence produced virtually no measurement error. Raters were a strong source of error. D (decision) studies established the one-rater, one-occasion scenario as unreliable. In scenarios using the generalizability coefficient as a criterion, 5 hypothetical raters were necessary to reach the .80 benchmark. Using the dependability index, 17 hypothetical raters were necessary to reach .80.

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Osborne, Margaret S., Dianna T. Kenny, and Richard Holsomback. "Assessment of music performance anxiety in late childhood: A validation study of the Music Performance Anxiety Inventory for Adolescents (MPAI-A)." International Journal of Stress Management 12, no. 4 (2005): 312–30. http://dx.doi.org/10.1037/1072-5245.12.4.312.

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Hewitt, Michael P., and Bret P. Smith. "The Influence of Teaching-Career Level and Primary Performance Instrument on the Assessment of Music Performance." Journal of Research in Music Education 52, no. 4 (2004): 314. http://dx.doi.org/10.2307/3345385.

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Navon, Joshua. "Pedagogies of Performance." Journal of Musicology 37, no. 1 (January 1, 2020): 63–93. http://dx.doi.org/10.1525/jm.2020.37.1.63.

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The development of modern styles of elite music education played a crucial role in entrenching Werktreue as the dominant practice within classical music performance. Focusing on Germany’s first conservatory, the Leipzig conservatory, which was founded in 1843, this article analyzes how Werktreue, understood as a set of tacit competencies and sensibilities that must be learned by musicians, was produced at a single historical site. Archival documents of the institution, as well as the correspondence and writings of teachers and students like Felix Mendelssohn, William Rockstro, and Ethel Smyth, show that the central objective of musical pedagogy was the faithful interpretation of musical works. Isolated as a discrete subject of training, performing musical works also functioned as the principal mode of student assessment through semesterly examinations. To transmit the necessary skills for this paradigm of performance, pupils’ bodily capacities (Technik) and ability to understand and interpret canonic compositions (Vortrag) became essential targets of conservatory pedagogy. Ubiquitous visibility among students, and the intense competition that this visibility engendered, went hand in hand with institutionalizing styles of musical expertise that continue to this day. In exploring these developments, this article asks how the productive power of modern conservatory training contributed not only to Werktreue’s rise over a wide geography, but also to the remarkable stability with which it has pervaded performance practice across multiple generations.

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Miller, Staci Renee, and Kris Chesky. "The Multidimensional Anxiety Theory: An Assessment of and Relationships Between Intensity and Direction of Cognitive Anxiety, Somatic Anxiety, and Self-confidence over Multiple Performance Requirements among College Music Majors." Medical Problems of Performing Artists 19, no. 1 (March 1, 2004): 12–20. http://dx.doi.org/10.21091/mppa.2004.1003.

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This study applied the multidimensional anxiety theory to musicians by examining the intensity and direction of cognitive anxiety, somatic anxiety, and self-confidence over multiple performance requirements among college music majors. This study assessed and compared teacher and student perceptions of the student’s performance anxiety and its subsequent impact on several studio lessons and jury performances. Seventy-one college musicians (39 females, 32 males) from the University of North Texas College of Music volunteered to participate in this study. Four different assessment tools were employed in this study: a demographic questionnaire, a modified version of the Competitive Trait Anxiety Inventory-2 (CTAI-2), a modified version of the Competitive State Anxiety Inventory-2 (CSAI-2), and a subjective self-assessment of performance. The results showed that of the 71 subjects initially assessed, 59 subjects (83.1%) reported experiencing performance anxiety. This study supports the application of the multidimensional anxiety theory by highlighting the existence of two distinct, yet related dimensions of performance anxiety; how these dimensions change in response to changing stress levels associated with changing demands; and the probable interaction with levels of self-confidence. This study underscores the challenges associated with how teachers may or may not recognize the existence and subsequent impact of performance anxiety among college students. Additional studies are needed to determine what educational variables, including psychosocial values, are associated with the development and fluctuation of self-confidence. Further research designs should implement the CTAI-2 and the CSAI-2 for the assessment of competitive performance anxiety experienced by musicians associated with music performance.

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Elm, Debra, Sharon Warren, and Helen Madill. "The Effects of Auditory Stimuli on Functional Performance among Cognitively Impaired Elderly." Canadian Journal of Occupational Therapy 65, no. 1 (February 1998): 30–36. http://dx.doi.org/10.1177/000841749806500104.

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Cognitively impaired elderly residents of a continuing care facility performed three tasks (getting a drink, folding laundry and setting a table) under three different auditory stimulus conditions (silence, conversation and music). Functional performance skills were assessed during execution of these tasks using the Assessment of Motor and Process Skills (AMPS). Scores for process functional performance skills were significantly better under the conversation and silence conditions than under the music condition, while scores for motor functional performance skills were significantly better under the conversation condition than the music condition. These results suggest that background music may have a detrimental effect on performance and that other forms of auditory stimuli which might be beneficial should be sought.

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Rucsanda, Mădălina Dana, Ana-Maria Cazan, and Camelia Truța. "Musical performance and emotions in children: The case of musical competitions." Psychology of Music 48, no. 4 (November 19, 2018): 480–94. http://dx.doi.org/10.1177/0305735618810791.

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Emotion is a condition that facilitates or inhibits music performance. Our research aimed to explore emotions of young musicians performing in music competitions. We tried to highlight the possible differences in terms of emotions between young singers who obtained prizes in musical competitions and those who did not. Another aim of the study was to explore the relationship between pre-competition emotions and music performance, focusing on the mediating role of singing experience. The sample consisted of 146 participants in international music competitions for young musicians. A nonverbal pictorial assessment technique measuring the valence, arousal and dominance dimensions of emotions was administered just before and immediately after each participant’s performance in the competition. Our study revealed that negative emotions were associated with lower performance quality while positive emotions, low arousal and increased dominance were associated with higher performance quality. Experienced young singers reported more positive emotions, low arousal and high dominance. Our results also revealed that experience in music competitions could mediate the associations between emotions and music performance in competition. The implications of the results support the inclusion of psychological/emotional training in music education of young singers.

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Giménez, Alicia, Rosa María Cibrián, and Salvador Cerdá. "Subjective Assessment of Concert Halls: a Common Vocabulary for Music Lovers and Acousticians." Archives of Acoustics 37, no. 3 (November 1, 2012): 331–40. http://dx.doi.org/10.2478/v10168-012-0042-3.

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Abstract In recent years we have interviewed members of the audience after musical performances and asked them to evaluate the acoustics of the concert halls. A group of ‘music lovers’ (with a high level of musical training and experience) and ‘acousticians’ (with a wide knowledge of the physical characteristics of sound transmission) also attended each performance and answered the same questions as the general public. This group thereby served as a control group when evaluating surveys of the general public. In this paper, the results obtained when analyzing these control group surveys are presented. This analysis shows that a common vocabulary exists between music lovers and acousticians when rating a hall, although the grouping of the questions for each factor depends on the training of the respondents.

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Crochet, Lorrie S., and Susan K. Green. "Examining Progress across Time with Practical Assessments in Ensemble Settings." Music Educators Journal 98, no. 3 (March 2012): 49–54. http://dx.doi.org/10.1177/0027432111435276.

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This article provides the rationale for effective music assessment that tracks individual progress across time and offers examples to illustrate assessment of a range of music-learning goals. Gauging progress across time helps students become more mastery-oriented, while showing more effort and positive attitudes. As instruction and assessment become more focused on individual students, practices such as private lessons within the group setting and individual performance assessment emerge. Examples based on current strategies used by practicing teachers illustrate these practices.

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Wesolowski, Brian C. "Exploring rater cognition: A typology of raters in the context of music performance assessment." Psychology of Music 45, no. 3 (September 16, 2016): 375–99. http://dx.doi.org/10.1177/0305735616665004.

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This manuscript sought to investigate rater cognition by exploring rater types based upon differential severity and leniency associated with rating scale items, rating scale category functioning, and dimensions of music performance assessment. The purpose of this study was to empirically identify typologies of operational raters based upon systematic differential severity indices in the context of large ensemble music performance assessment. A rater cognition information-processing model was explored based upon two frameworks: a framework for scoring and a framework for audition. Rater scoring behavior was examined using a framework for scoring, where raters’ mental processes compare auditory images to the scoring criteria used to generate a scoring decision. The scoring decisions were evaluated using the Multifaceted Rasch Partial Credit Measurement Model. A rater typology was then examined under the framework of audition, where similar schemata were defined through raters’ clustering of differential severity indices related to items and compared across performance dimensions. The results provided three distinct rater-types: (a) the syntactical rater; (b) the expressive rater; and (c) the mental representation rater. Implications for fairness and precision in the assessment process are discussed as well as considerations for validity of scoring processes.

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Pope, David A., and James P. Mick. "An Analysis of Ratings Assigned to String Musicians’ Performances at Solo and Ensemble Music Performance Assessment Events." String Research Journal 6, no. 1 (July 2015): 37–54. http://dx.doi.org/10.1177/194849921500600003.

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Winter, Neal. "Music Performance Assessment: A Study of the Effects of Training and Experience on the Criteria Used by Music Examiners." International Journal of Music Education os-22, no. 1 (November 1993): 34–39. http://dx.doi.org/10.1177/025576149302200106.

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Journal articles on the topic 'Music performance assessment'

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