Dissertations / Theses on the topic 'Musical ability'
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1
Gudmundsdottir, Helga Rut. "Children's ability to identify two simultaneous melodies." Thesis, McGill University, 1996. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=26735.
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The present study examined 1st, 3rd, and 5th graders' ability to hear two simultaneous melodies. Two familiar ("Frere Jacques" and "The Barney song") and one unfamiliar melody were used as the stimuli. The pairs of simultaneous melodies were presented in different registers and timbre combinations. The children were asked to press specially labeled keys on a computer keyboard to indicate which song(s) they heard. Responses were recorded by a computer. The older children identified two simultaneous melodies faster (df = 2, F = 12.803, p $<$.01) and more accurately (df = 2, F = 13.098, p $<$.01) than the younger ones. While 70% of the 1st graders reported hearing two melodies and identified them with 75% accuracy, over 95% of the 5th graders reported hearing two melodies and identified them with 97% accuracy. Children who were able to correctly identify two simultaneous melodies did not tend to identify the melody in the upper or the lower register in any particular order when the timbre was the same in both registers. When the melodies were played with contrasting timbres (trumpet and piano) they tended to identify the trumpet melody before they identified the piano melody. However, in terms of response-speed they identified the upper melody faster than the lower melody. Children who were only able to identify one melody tended to focus on the upper melody when the timbre was the same in both registers but when the melodies were played with contrasting timbres they would attend to the trumpet melody regardless of register.
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DeGraffenreid, George M. "The efficacy of pre-1965 and post-1965 musical aptitude and achievement tests for use with diverse groups /." Thesis, Connect to this title online; UW restricted, 1995. http://hdl.handle.net/1773/11332.
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Gratton, Martine. "The effect of three vocal models on uncertain singers' ability to match and discriminate pitches /." Thesis, McGill University, 1989. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59242.
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The purpose of this study was to investigate the effect of three different vocal timbres on uncertain singers' ability to match and discriminate pitches. Fifty-six children between six and eight year old were randomly assigned to one of four groups.In the Own Voices group, subjects were training in pitch matching using subjects' own voices. They trained in pitch discrimination using a model child voice as stimuli. In the Model Child group, subjects were training in pitch matching and pitch discrimination using a model child voice of the same sex and age as that of the subject. Subjects in the Female Adult group were training in pitch matching and pitch discrimination using a female adult voice as stimuli. Subjects in the control group had no training.
It was found that timbre affected uncertain singers' ability to match and discriminate pitches. Pitch matching to one's own voice was more accurate than pitch matching to a child's voice.
The discrimination of high and low pitches was more accurate when a model child's voice was used than when an adult voice was used.
4
Descombes, Valérie. "Discrimination of pitch direction : a developmental study." Thesis, McGill University, 1999. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=30159.
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The purpose of this study was to determine whether the ability to perceive pitch direction across a variety of melodic contours differs across grade levels. In addition, differences between responses to ascending versus descending patterns and between responses to two- versus three- versus four-note patterns were examined.The main study involved two experiments; Experiment 1 examined children's ability to identify pitch direction using a visual aid; Experiment 2 examined children's spontaneous notations of the same melodic contours.
The results showed a subsequent increase in mean scores from grades 1 to 6 across both tests. The clearest increase in ability occurred within the first three grades with a plateau reached by grade four. Same-pitch patterns received the highest overall means. The ability to identify direction using a visual aid was easier for children than to write spontaneous notations. Melodic contours with larger intervals were more easily perceived.
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Mauney, Lisa M. "Individual Differences in Cognitive, Musical, and Perceptual Abilities." Thesis, Georgia Institute of Technology, 2006. http://hdl.handle.net/1853/13972.
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The increasing use of auditory graphs and sonifications in technology is leading to a wider variety of system users, which, in turn, suggests a need for research in how differences between individual listeners affect sound interpretation. As a first step in this arena, the current study investigates the question of whether or not cognitive abilities and musical experience predict frequency and tempo discrimination in individuals. Participants in the study were 30 undergraduate students from Georgia Institute of Technology and 20 adults from the Atlanta, Georgia community. In the cognitive ability session, participants completed the Operation Span (Ospan) task as a measure of working memory capacity and the Ravens Progressive Matrices task as a measure of spatial reasoning. In the auditory discrimination session, participants performed a tempo and a frequency discrimination task. Demographics on age, gender, handedness, years of playing a musical instrument, and years of formal musical training were also collected.
A correlational analysis of all variables was performed. Paired-samples t-tests on the Weber fractions of the six threshold means were also performed to determine if there were any significant differences between the frequency thresholds and the tempo thresholds. Lastly, multiple hierarchical regressions were performed on each of the six dependent variables to identify significant predictors of frequency and tempo discrimination. The paired samples t-tests show a significant difference between 250 Hz and 840 Hz and between 250 Hz and 1600 Hz, a violation of Webers Law. However, this violation of Webers Law may be explained by the small sample size used in the study. The t-tests also show a significant difference between the means of 150 ms and 250 ms and between the means of 250 ms and 350 ms. The results of the regression analyses show that good performance on Ravens seems to predict lower thresholds at 1600 Hz. The results also show that good scores on Ospan appear to predict lower thresholds at 350 ms ICI. In addition to these significant predictors from the regression analyses, there are many significant correlations that provide further support that cognitive abilities are related to frequency and tempo discrimination.
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Simon, Lothar. "Komplexitätsgrad von Musikstücken und Stufen der Spielfertigkeit Versuch einer mathematisch und empirisch gestützen Bestimmung /." München : Selbstverlag, 1985. http://books.google.com/books?id=HyFGAAAAMAAJ.
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Rother, Sarah. "The correlation of music aptitude scores with mathematical achievement scores for high school seniors." Online version, 2000. http://www.uwstout.edu/lib/thesis/2000/2000rothers.pdf.
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Johnston, Dennis A. (Dennis Alan). "Trained Musical Performers' and Musically Untrained College Students' Ability to Discriminate Music Instrument Timbre as a Function of Duration." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc935621/.
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The purpose of this study was to investigate the ability of trained musicians and musically untrained college students to discriminate music instrument timbre as a function of duration. Specific factors investigated were the thresholds for timbre discrimination as a function of duration, musical ensemble participation as training, and the relative discrimination abilities of vocalists and instrumentalists. Under the conditions of this study, it can be concluded that the threshold for timbre discrimination as a function of duration is at or below 20 ms. Even though trained musicians tended to discriminate timbre better than musically untrained college students, musicians cannot discriminate timbre significantly better then those subjects who have not participated in musical ensembles. Additionally, instrumentalists tended to discriminate timbre better than vocalists, but the discrimination is not significantly different. Recommendations for further research include suggestions for a timbre discrimination measurement tool that takes into consideration the multidimensionality of timbre and the relationship of timbre discrimination to timbre source, duration, pitch, and loudness.
9
Ho, Kit-chun. "Development of pitch discrimination in preschool children." Hong Kong : University of Hong Kong, 1990. http://sunzi.lib.hku.hk/hkuto/record.jsp?B18035723.
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Hickok, Stephen Clyde Walls Kimberly C. "The relationships of parental involvement, motivating factors, and socioeconomic status to high school all-state choir and band membership." Auburn, Ala, 2009. http://hdl.handle.net/10415/1587.
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Michels, Patricia E. "Developing the pre-school child's musical intelligence by means of a comprehensive music programme focused on age-controlled auditive development." Pretoria : [s.n.], 1996. http://upetd.up.ac.za/thesis/available/etd-07262002-151835.
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Emmett, Daniel Warren. "Individual Ability to Learn a Parallel Processing Technique and Musical Aptitude." ScholarWorks, 2018. https://scholarworks.waldenu.edu/dissertations/5325.
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Correlations between music training and psychosocial skills, sensory abilities, and aspects of intelligence, are sorted into primary or secondary effects. Correlations between these areas of human development and music training lack support pertaining to the underlying cognitive networks that these processes rely on. Thus, this study was based on the work of Baddeley and Hitch's model of working memory, and implemented a test of parallel processing (Articulatory Suppression Task, AST), which measures proficiency of working memory systems. Individual differences therein, were compared with music aptitude. Participants were gathered throughout urban and rural regions of the state of Oregon. Half the participants received specific training on how to excel on AST, the other half received no training. The training was based on research showing musicians to be more proficient in rhythm, the phonological loop, and mental imagery. Group AST pretest/posttest scores and the Drake Musical Aptitude test scores were analyzed using 2-tailed t test and regression models for within-group and between-group variation. No significant difference between musical aptitude and participant ability to increase proficiency with parallel processing was found, however, the results indicated that music training influences proficiency with parallel processing in general, and there were indicators that a ceiling effect may have confounded the pretest-posttest range in scores. This supports findings of previous research that musical training has beneficial influences on mathematics, socio-emotional awareness, motor skills, language, and general intelligence, highlighting that positive social change may result if music were a core class in K-12 education.
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Riegle, Aaron. "The pitch matching ability of high school choral students." Muncie, Ind. : Ball State University, 2009. http://cardinalscholar.bsu.edu/621.
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Creswell, Megan. "A Study Comparing Musical Abilities of Stutterers and Nonstutterers." PDXScholar, 1995. https://pdxscholar.library.pdx.edu/open_access_etds/5250.
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Rhythm is a feature of both music and speech that has been successfully used in the treatment of speech disorders, particularly stuttering, for many years. The successful use of rhythm in the treatment of dysf luencies of speech may be due to stutterers' perceptual deficiencies in music and rhythm abilities. Research supports the view that there are differences between stutterers and nonstutterers in timing and rhythmic capabilities. This study, therefore, sought to determine whether there was a difference between the perceptual musical abilities of stutterers versus nonstutterers as measured by the Seashore Measures of Musical Talents, Revised (1960). Data collected were from two groups of subjects consisting of 10 stutterers and 10 nonstutterers. Groups were matched according to age and gender. Subjects were examined using the Seashore, a test which measures levels of musical ability in the areas of pitch, time, timbre, rhythm, tonal memory and loudness. Subjects listened to recorded tones on a cassette tape player while marking their answers on IBM answer sheets. For example, in the pitch test, fifty pairs of tones on a cassette tape were presented. The subject determined whether the second tone presented was higher (H) or lower (L) than the first. A mark was made in either the column headed H or L. Each subtest proceeded in a similar manner. A total score of level of musical function was then determined from the scores of each subtest. Total scores and individual subtest scores were compared using the Wilcoxon Signed Ranks Test for Paired Observations (.05 level of significance) to determine whether there were overall differences between groups or differences between groups in specific areas. Results show stutterers scoring significantly lower in the rhythm subtest (P=.0077) and in total scores (P=.0244). Other significant differences were not found. These results might suggest that further support should be given to the study of actual treatment(s) using rhythmic concepts. Since no studies exist that investigate the theory that stutterers have perceptual rhythmic/timing deficiencies, studies such as this would provide normative data on musical abilities of stutterers, with emphasis on rhythm and timing abilities.
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Murray, Keelin Margaret. "Music, language and the signalling of cognitive ability : an empirical investigation." Thesis, University of Edinburgh, 2013. http://hdl.handle.net/1842/17899.
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First systematically discussed by Darwin (1871), theories of a musical precursor to language have seen a revival in recent years, with researchers such as Tecumseh Fitch, Stephen Brown, and Stephen Mithen invigorating the field. The view that language and music have an evolutionary relationship has been discussed in light of recent comparative, musicological, and biological findings. However, little empirical data have been presented to support such theories. This thesis aims to address this oversight, by presenting a novel experimental paradigm, which tests the prediction of a novel hypothesis for the evolution of language from a musical precursor. The aim of this thesis is to encourage discussion and provide a framework for the empirical investigation of music’s role in the evolution of language. As a first step to addressing this relative dearth of empirical research, a hypothesis is outlined which describes a stable system of signalling cognitive ability through the transmission of culturally-learned, complex, music-like sequences. This is not hypothesised to have been semantically meaningful, rather a system which supported the honest transmission of information about the abilities of potential allies. Such a learned sequential precursor (LSP) to language would require both increased cognitive capacity and an investment of time and energy in learning. These requirements ensured the honesty of signalling, and so perceivers of the LSP could use it as a reliable indicator of the cognitive ability of producers. This was a necessary stage in evolution, prior to protolanguage, in which individuals exhibited a complex learned, culturally-transmitted, music-like signalling system. Such a learned sequential precursor may have arisen through a pressure for the reliable indication of cognitive ability, brought about by environmental and social changes with the advent of Homo erectus. These social changes included a new urge to cooperate, and so this precursor is proposed to have emerged and developed through collaborative partner choice. Perceivers of the system used cues within the musical sequences in order to determine the quality of a producer as a collaborative partner. Empirical tests are presented, which support the hypothesised LSP. The first study tested the complexity aspect of the hypothesis, asking participants to rate complex and non-complex pieces of music according to how much they liked the piece, how familiar it sounded, how attractive and intelligent they found the person who created it, and how likely they were to choose to collaborate with this individual. It was found that complexity was preferred under all measures but one, that of familiarity. The second, main, study predicted that a correlation should be found between measures of cognitive ability that are relevant to musical learning (processing speed and intelligence) and measures of musical learning (ability to replicate and recall target pieces, and make creative pieces). This prediction was upheld, supporting the hypothesis that a learned sequential precursor could have acted as an honest signal of cognitive ability. No correlations were found between these abilities and a measure of physical quality, supporting the hypothesis that this system may have undergone social selection. The third study further tested the question of selection and choice, predicting that collaborative partner choice was key to the selection of this learned sequential precursor. Raters were asked to rate the sexual or collaborative ability of performers of pieces of music, based solely on their musical output. This study has yielded interesting tendencies, but no statistical support of the hypothesis that collaborative partner choice was more important than mate choice in this system. Taken together, these empirical studies support the hypothesis of a musical, learned sequential system of signalling cognitive ability. At the moment, the question of the selection of this precursor remains open, with hopes that further studies can address this question. The methodology used here draws together approaches from birdsong research, evolutionary psychology, and musicological research, in an attempt to prompt further interdisciplinary investigation into the role of music in the evolution of language.
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Pinard-Welyczko, Kira. "Does Training Enhance Entraining? Musical Ability and Neural Signatures of Beat Perception." Oberlin College Honors Theses / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=oberlin1495617848085978.
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Holmes, Ivan. "Studio music teachers and public music examinations : the quality interface." Thesis, James Cook University, 2006. https://researchonline.jcu.edu.au/1834/1/01front.pdf.
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The research focuses on quality issues within the private music teaching
industry and the public music examination system (PMES).
It is clear that there is a schism between the formalized structures and
accountabilities of music in the school system and the lack of such structures
and accountabilities with the private studio music teaching industry. The
Thesis traces the literature documenting the rise of the private music teacher
and the accountability rationale implicit in the development of the public
music examination system. The dual aims of the research focus on the need to
profile the private music teaching industry in Australia and to probe the extent
to which the public music examination system might, in practice, afford a
window of accountability on to this industry.
The literature foregrounding this study derives from three areas: the historical
development of the private music teaching industry; the concomitant need for
certification - and the resultant development of the public music examination
system; finally the issue of performance assessment across the relevant
disciplines is explored to provide research direction for music.
A limited profile of the private music teacher emerged from the first phase of
the study. While the respondent sample was smaller than was originally
envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the
findings from the current study were consistent. The second phase focussed
specifically on the public music examination system and its tangible outcomes
in the form of the examination report.
Five examiners were male and three female. Reports were analyzed in terms
of the relevant examination sections with a primary focus on the Technical and
Performance lists sections. In each section reports were segmented into idea
units as the basic unit for analysis. Categories were derived from the data and
each idea unit was categorized accordingly. Examiners’ use of categories was
analyzed in each section and comparisons made between examiners.
Considerable examiner variability was identified.
A discussion of gender differences in accessing categories generates
hypotheses for further research. Discussion of marks awarded by examiners
leads to hypotheses about the implications of exposure to one examiner rather
than another.
While this is but a small scale study and possibly the first in the music genre,
its implications for further research are far-reaching. Implications for the
discipline are also explored.
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Holmes, Ivan. "Studio music teachers and public music examinations : the quality interface." James Cook University, 2006. http://eprints.jcu.edu.au/1834/1/01front.pdf.
Full textAbstract:
The research focuses on quality issues within the private music teaching
industry and the public music examination system (PMES).
It is clear that there is a schism between the formalized structures and
accountabilities of music in the school system and the lack of such structures
and accountabilities with the private studio music teaching industry. The
Thesis traces the literature documenting the rise of the private music teacher
and the accountability rationale implicit in the development of the public
music examination system. The dual aims of the research focus on the need to
profile the private music teaching industry in Australia and to probe the extent
to which the public music examination system might, in practice, afford a
window of accountability on to this industry.
The literature foregrounding this study derives from three areas: the historical
development of the private music teaching industry; the concomitant need for
certification - and the resultant development of the public music examination
system; finally the issue of performance assessment across the relevant
disciplines is explored to provide research direction for music.
A limited profile of the private music teacher emerged from the first phase of
the study. While the respondent sample was smaller than was originally
envisaged, comparison with other studies (e.g., Gibbs 1999) suggested that the
findings from the current study were consistent. The second phase focussed
specifically on the public music examination system and its tangible outcomes
in the form of the examination report.
Five examiners were male and three female. Reports were analyzed in terms
of the relevant examination sections with a primary focus on the Technical and
Performance lists sections. In each section reports were segmented into idea
units as the basic unit for analysis. Categories were derived from the data and
each idea unit was categorized accordingly. Examiners’ use of categories was
analyzed in each section and comparisons made between examiners.
Considerable examiner variability was identified.
A discussion of gender differences in accessing categories generates
hypotheses for further research. Discussion of marks awarded by examiners
leads to hypotheses about the implications of exposure to one examiner rather
than another.
While this is but a small scale study and possibly the first in the music genre,
its implications for further research are far-reaching. Implications for the
discipline are also explored.
19
Moreno, Sala María Teresa. "The influence of perceptual shift, cognitive abilities and environmental factors on young children's development of absolute and relative pitch perception /." Thesis, McGill University, 2005. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=85941.
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The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment.The results indicate that a shift from absolute to relative perception occurs between the ages of 5 and 7. Children younger than six demonstrated limited ability to perform relational tasks such as ordering bells, identifying transposed intervals, and comparing pitches. However, they memorized target pitches better than the older children, matched target tones on the xylophone and sang newly learned songs in their original key more often than did the older children. Older children benefited to a larger extent from the training on relative pitch. Cognitive and spatial abilities were related to absolute pitch development: children who identified pitches better had a more sequential and a less simultaneous way of processing information. Family musical environment seems to have influenced the development of absolute pitch. Implications for the acquisition of absolute pitch are discussed.
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Ruddock, Eve. "Ballad of the never picked : a qualitative study of self-perceived non-musicians' perceptions of their musicality." University of Western Australia. School of Music, 2008. http://theses.library.uwa.edu.au/adt-WU2008.0103.
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Humans are a musical species and every culture has its music. However, twenty individuals out of a cohort of twenty-nine participants in this study judged themselves to be 'not musical'. Through their words, silences and responses, the story of music in the lives of these self-perceived non-musicians uncovered a musical world where concepts of performance, judgment and talent dominate. My investigation into individuals' perceptions of their musicality revealed a pervasive societal belief that individuals were either born 'musical' or they were not; their everyday reality was one where music was perceived as a performance, an object, something that only talented people can 'do'. I planned conversations with participants that aimed to reveal clues that could help to unravel a paradox that lies within music in our Western culture: every young human is intrinsically musical but only some are born with a gift to be musical. Participant convictions that they were not musical deterred some individuals from active engagement in music making. They felt as if they had been left out of the 'musical ballpark'. Details from conversations illustrated a constricting cultural imposition on individuals; this was perpetuated in many schools and also in private music teaching. Data revealed that current educational practice contributed to a denial of a natural birthright and alienated some individuals from being part of a musical community. As their stories revealed failed attempts to engage in music making, iterative contacts created a daunting quantity of data. But there was poetry in participant data. These self-perceived non-musicians simultaneously demonstrated their musicality in the rhythms of their narrative as they denied that they were musical; this emerged as a means to report the research whereby participants' words combined to tell a non-musician's tale. Compelling narrative revealed a society where educational practice does little to address individual musical development. While each story alone was specific and complex, once the stories became woven together as a complex and contradictory whole, the ballad of the never picked captured the essence of a distanced musicality in our Western society. Narrative drove towards meaning. Through interpretation and detailed qualitative analysis, understandings began to emerge from depths of experience and from friction existing within contradictions. Deep within narrative which evolved over a period of five years were perceptions that led to understandings of our cultural reality. Active involvement in this research became part of an emancipatory process for several participants where mutually reflective acts exposed unnecessary impositions from societal expectations. Participant voices uncover a bifurcated reality wherein the musical development of many individuals is undermined through an ignorance of holistic human potential; this musical-unmusical divide is perpetuated in educational practice.
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Paiva, Ana Clara de Souza. "Padrão perceptivo-motor em tarefas psicoacústicas de estruturação rítmica : efeitos da experiência musical /." Rio Claro, 2017. http://hdl.handle.net/11449/149953.
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Orientador: Eliane Mauerberg de CastroBanca: José Lino Oliveira Bueno
Banca: Silvia Deutsch
Banca: Afonso Antonio Machado
Banca: Yara Aparecida Couto
Resumo: Diferentes experiências rítmicas podem influenciar funções psicoacústicas durante a reprodução de estruturas rítmicas. A periodicidade do pulso é um elemento básico, presente no ritmo musical, unido ao agrupamento de eventos sucessivos e que é essencial à compreensão e interpretação de estruturas de sequências sonoras. O objetivo deste estudo foi avaliar os efeitos da experiência musical no campo da dança e da música no padrão perceptivo-motor de reprodução de estruturas rítmicas monotônicas e musicais organizadas em tarefas com crescente complexidade. Foram selecionados previamente 60 adultos jovens para compor três grupos: 1) grupo com experiência com ritmo constituído por músicos (MU; n = 20); 2) grupo com experiência com ritmo constituído de dançarinos (DA; n = 20); e 3) grupo sem experiência profissional com música e dança (SE; n = 20). Os três grupos realizaram dois testes psicoacústicos rítmicos: o primeiro, um teste de percepção e reprodução de estruturas rítmicas monotônicas que consistia em ouvir a um estímulo rítmico e reproduzi-lo imediatamente, e o segundo, um teste de percepção e reprodução de estruturas rítmicas musicais, em que a sequência rítmica apresentada é reproduzida simultaneamente à escuta. As variáveis analisadas incluíram frequência de acertos (FA) para ambos os testes, regularidade temporal (RT) do tempo de início da resposta (s), duração (s) dos pulsos e pausas de cada estrutura rítmica para o teste monotônico. E no teste musical a variável sincronismo (SINC) foi verificada pela diferença relativa (%) entre a estrutura temporal do teste e a estrutura temporal da resposta. Os valores SINC foram subdivididos em desvio temporal do pulso e desvio temporal da pausa (componentes psicoacústicos rítmicos). Os resultados ... (Resumo completo, clicar acesso eletrônico abaixo)
Abstract: Different rhythmic experiences can influence psychoacoustic functions during the reproduction of rhythmic structures. The frequency of the pulse is a basic element in the musical rhythm and the grouping of successive events are essential to the understanding and interpretation of sound sequences. The purpose of this study was to evaluate the effects of musical experience in the field of dance and music on perceptive-motor pattern of monotonic rhythm and musical rhythm with structures organized into tasks with increasing complexity. Sixty young adults were selected to comprise three groups: 1) group with experience with rhythm consisting of musicians (MU; n = 20); 2) group with experience with rhythm consisting of dancers (DA; n = 20); and 3) group without experience with music or dance (SE; n = 20). The three groups performed two tests: the first test of perception and reproduction of monotonic rhythmic structures that were responded immediately after their presentation; the second test required perception and synchronization of tapping to musical rhythmic structures. The variables we examined included frequency of correct performance (FA) in both tests, temporal regularity (RT) of initiation of the response, duration of pulses and pauses of each rhythmic structure for monotonic test. In the musical test timing (SINC) was verified using the relative difference (%) between the temporal structure of the test and the temporal structure of the response. The values SINC were subdivided into temporal deviation of pulse and pause (psychoacoustic rhythmic components). The results were divided in: 1- Effects of musical experience and nature of monotonic rhythm and musical rhythm tests on rhythm perception, 2 - Memory effects on temporal rhythmic regularity, and 3 - Perceptual-motor pattern of rhythm synchronization. The results showed differences between the groups with and without ... (Complete abstract click electronic access below)
Doutor
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Hardy, Dianne B. "The construction and validation of an original sight-playing test for elementary piano students /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.
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23
Ollen, Joy E. "A criterion-related validity test of selected indicators of musical sophistication using expert ratings." Columbus, Ohio : Ohio State University, 2006. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1161705351.
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Cairns, Robert J. "A test of selected aspects of Peter Webster's conceptual model of creative thinking in music." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp01/MQ28544.pdf.
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Michels, Patricia. "The role of the musical intelligence in whole brain education." Diss., Pretoria : [s.n.], 2001. http://upetd.up.ac.za/thesis/available/etd-06142002-125955.
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Hornstein, Daniel L. (Daniel Lather). "Relationships Between Selected Musical Aural Discrimination Skills and a Multivariate Measure of Intellectual Skills." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331803/.
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This study attempted to explore the strength and nature of relationships between specific intellectual information processing skills included in a multi-dimensional model conceived by Guilford, and measured by Meeker's Structure of Intellect - Learning Abilities Test, and specific musical aural discrimination skills as measured by Gordon's Musical Aptitude Profile. Three research questions were posed, which involved determining the strength and the nature of the relationship between MAP melodic, rhythmic, and aesthetic discrimination abilities and the intellectual information processing skills comprising the SOI - LA. Both instruments were administered to 387 fourth, fifth, and sixth graders from schools in the Dallas area. After a pilot study established the feasibility of the study and reliability estimates of the test instruments, multiple regression analysis determined that 10% to 15% of the variance between intellectual information-processing skills and the individual musical aural discrimination abilities was in common (r = +.32 to r = +.39). It was further determined that only six specific SOI intellectual dimensions, all involving the skills of "Cognition" and "Evaluation", were significantly related to the musical aural discrimination abilities. Through the use of the Coefficient of Partial Correlation, the strength of each individual information-processing skill's unique contribution to that covariance was determined. The study indicated that "Semantic" mental information processing skills, involving the ability to recall an abstract meaning or procedure given an external stimulus, play an extremely important part within this relationship. Skills of a "Figural" nature, which involve comprehending either a physical object or an non-physical idea and separating it from other impinging stimuli also enter into the relationship, although not to so high an extent. Finally, it was observed that the dimensions involving an understanding of "Systems", those mental skills which deal with groupings of figures, symbols, or semantic relationships, also was important to the relationship.
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Waggoner, Dori T. Sims Wendy L. "The effects of listening conditions, error types, and ensemble textures on the error detection skills of undergraduate instrumental music education majors." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/7022.
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Title from PDF of title page (University of Missouri--Columbia, viewed on March 1, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy Sims. Vita. Includes bibliographical references.
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Park, Jeongmin English Media & Performing Arts Faculty of Arts & Social Sciences UNSW. "Talent development in music: a comparative study between Sydney (Australia) and Seoul (Korea) on the emergence of talent, especially the interface between giftedness and talent." Publisher:University of New South Wales. English, Media, & Performing Arts, 2009. http://handle.unsw.edu.au/1959.4/43522.
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The purpose of this study is to investigate factors which can influence the emergence of high musical ability during the developmental process of musical talent achievement, comparing students in Seoul (Korea) and those in Sydney (Australia). The main focuses of the investigation concern the comparison of musical giftedness demonstrated in early childhood, the developmental process, and various factors, such as the environmental and intrapersonal, which can affect the emergence of talent, especially in those of different cultural backgrounds. For this purpose, Gagn????s Differentiated Model of Giftedness and Talent (DMGT, Gagn??, 2003) was adopted as an analytical tool for the present study, in particular for empirical research. A total number of 137 students and 88 parents participated in this research. Student participants consisted of two groups: young musicians aged below 10 who show high musical achievements; and teenage students who are musically superior. All students completed a questionnaire, and their parents also completed a questionnaire. Data showed some significant differences between students in the two countries. Three research instruments are employed based on Harnischmacher (1997). SCI (the Self-Concept Scale of Instrumental Abilities), GOP (Goal Orientation of Practice) and EAD (External Action Distraction) were included in the student questionnaire in order to examine intrapersonal catalysts (motivation) which can affect the developmental process of musical talent. A significant difference was found in SCI between countries. Self-concept of student groups in Sydney was significantly higher than that of students in Seoul among all age groups concerning musical abilities. However, there were no significant differences in GOP and EAD between students in Seoul and Sydney. Other differences emerged concerning the role of parents, expenditure on music lessons, time spent on practice, and environmental factors. In particular, cultural milieu was revealed as one of important environmental factors in the present study.
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Ho, Kit-chun, and 何結珍. "Development of pitch discrimination in preschool children." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1990. http://hub.hku.hk/bib/B31955915.
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Dorothy, Wayne F. "Relationships between ensemble placement, musical independence, gender, and instrument family, among band students at three regional universities." Virtual Press, 1996. http://liblink.bsu.edu/uhtbin/catkey/1019475.
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Little is known about post-secondary band students' growth in musical independence, nor have the relationships between ensemble placement, year in school, gender, and instrument family been documented. Little research is available regarding the effects of instrument family (on which the student performs) or gender on the development of musical independence among music majors. Additionally, previous studies have identified a drop in music achievement test scores for college music majors as they progress from their freshman to sophomore or sophomore to junior years. This study attempts to address and evaluate these issues.The introduction presents a brief overview of the purpose and importance of the study. The review of related literature explores musical independence and the assessment of musical independence, as well as relationships between musical independence, ensemble placement, related listening skills, gender, and instrument family.Richard Colwell's Music Achievement Test 3 and Music Achievement Test 4 were administered to 354 band students at Ball State University, Florida State University, and Wichita State University. Test scores and demographic data including school, student identification number (usually a social security number), top ensemble in which the student participated (1st, 2nd, or 3rd), college major (music major or non-music major), year in school (freshman through graduate student), gender (male or female), and instrument family (woodwind, brass, or percussion) were collected. Data was entered into Statview II, a statistical analysis program for the Macintosh computer. Data was analyzed using ANOVA, Scheffe, and permutation analysis. Conclusions were drawn and recommendations for additional research were made.School of Music
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Chadwick, Felicia School of Education Studies UNSW. "An Australian perspective on talent development in music: The influence of environmental catalysts upon the provision of opportunities for learning, training and practice in the musical domain." Awarded by:University of New South Wales. School of Education Studies, 2000. http://handle.unsw.edu.au/1959.4/17624.
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The study explored the influence of environmental catalysts, upon the provision of field specific opportunities for learning, training, and practice, for a sample population of musically involved young Australians. The findings enhance understandings of the conditions in which children's musical aptitudes are developed. Research bases in the fields of gifted education and music education were employed to support the investigation. Components of Gagn??'s Differentiated Model of Giftedness and Talent (1995a) provided the theoretical framework for this investigation. Two survey questionnaires, completed by Australian parents (N = 194 and N = 182 respectively), sought information pertaining to the subject child's musical involvements and undertakings. Some details of the musical interests and involvements of the child's parents and siblings were also obtained. Quantitative and qualitative data contribute to an extensive profile of the types of music programs and provisions which support the normative and expert development of Australian children's musical behaviours. Parents' musical interests and involvements appear to have strongly influenced the choice of home-based recreational pursuits for their children. The convincingly articulated, positive, field specific views espoused by Australian parents appear to have been translated into the provision of multiple, simultaneous opportunities for their children to engage with musical undertakings. Notable amongst the data are the structured involvements of young musicians with music composition engagements. The data also indicate that many of the sample of Australian children received high levels of support and encouragement for musical undertakings from parents who were themselves musically interested and knowledgeable. Parental involvements with their children's music lesson and practice related engagements, were found to be characterised by features of deliberate practice. The home-based environments of young Australian musicians were found to be characterised by opportunities for exposure to rigorous and challenging musical engagements, undertaken at an optimally early age, thereby enhancing normative musical development. Such engagements provided the necessary foundation for expert levels of musical skill acquisition. An ascending progression of musical skill development was demonstrated to correspond to increasing age further reinforcing the developmental perspective on the acquisition of musical expertise. Some parents indicate that musical engagement has been pursued as a means of appropriately challenging children exhibiting the cognitive and affective characteristics of giftedness.
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Carter, Bethany. "The Impact of Beginner Group Harp Learning on Self Efficacy and Musical/Harp Self Concept: Changes to Perceptions, Approaches and Behaviours in Non-Harp Settings." Thesis, The University of Sydney, 2022. https://hdl.handle.net/2123/29369.
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Ways in which young people’s positive self-development and maturation can be enhanced is of great interest to educators, parents and society alike. This study adopted a phenomenological approach to investigate the relationship between beginner group harp learning and self-efficacy and musical/harp self-concept, and the transferability of this relationship to academic contexts; using a combination of pedal, lever, non-lever and lap harps. Five female participants, all of whom attended a public secondary school in regional NSW, engaged in 20 beginner harp group learning sessions, 10 of which were filmed, and completed four questionnaires dispersed throughout the study. The role of the researcher, who also led the sessions, was considered through the process of ethnography. Findings revealed, from mostly qualitative data, that beginner group harp learning enhanced enjoyment, connectedness, and accessibility, and was perceived as a more relaxed form of learning. Self-efficacy was discovered to develop through the theme of confidence, and impacted participants’ perceptions of themselves as harpists. Ultimately, increasing levels of self-efficacy and a developed musical/harp self-concept was suggested to impact either participants’ achievements, perceptions of self-efficacy in academic settings, and/or their wellbeing.
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May, Brack M. (Brack Miles). "An Investigation into the Stability of Students' Timbre Preferences from the Sixth through the Tenth Grade." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277703/.
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The purpose of the study was to determine whether students' timbre preferences in the sixth grade remain stable through the tenth grade. The investigation also examined whether gender, band instruction, or musical home environment makes any difference in influencing the stability of students' timbre preferences from grade six through ten. Students' timbre preferences at the beginning of the study were compared to their preferences four years later. The students' timbre preferences were obtained by employing Gordon's Instrument Timbre Preference Test (ITPT). A questionnaire was also utilized at the conclusion of the study to determine which students had musical home environments and which did not. All sixth grade students enrolled in a single school district took the ITPT. Each student's scores were tallied and ranked in order to determine their timbre preferences; four years later they were retested and their scores were ranked again.
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Doran, Kirk. "A descriptive study of the assessment of music aptitude in students with mental retardation /." This electronic address not available when searched on Jan. 25, 2005, 1998. http://www.isr.bucknell.edu/catlinks/kdwebthesis.html.
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Lucas, Jennifer R. "Attempting to Develop Healthy Self-Esteem Through Public Demonstrations of Musical Competence: Debunking Misconceptions and Calling for Value-Based Enhancement Programs." Bowling Green, Ohio : Bowling Green State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=bgsu1206035483.
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Brodhead, Daniel A. "Effects of instruction on first, second and third grade children's ability to decenter when assessed on discrimination between contrasting musical characteristics." FIU Digital Commons, 2004. http://digitalcommons.fiu.edu/etd/1812.
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This experimental study sought to determine the effect of instruction on the abilities of first through third grade children to single and double discriminate contrasting musical characteristics. Six samples were used.
The experimental variable consisted of four sessions designed to teach children to distinguish between fast/slow and smooth/choppy musical excerpts. Subjects were tested on their single/double discrimination abilities following the treatment sessions. Results show that first and second grade experimental groups scored significantly higher on single discrimination items than their control groups. On the double discrimination accuracy section the experimental second, third and control first graders were significantly higher than their counter-groups.
These findings demonstrated that the four treatment sessions have a profound effect on first and second grade children's abilities to make single discriminations. They also show that success in making double discriminations may depend more on the individual subjects. Further investigation would be beneficial.
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Thomas, James Earl Jr. "Use of music learning readiness skills in the musical development of beginning instrumental music students." CSUSB ScholarWorks, 1997. https://scholarworks.lib.csusb.edu/etd-project/1336.
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Chen, Hsiao-Shien. "Effectiveness of the special music programs in Taiwan for educating talented and gifted young musicians /." view abstract or download file of text, 2004. http://wwwlib.umi.com/cr/uoregon/fullcit?p3120615.
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Thesis (Ph. D.)--University of Oregon, 2004.Typescript. Includes vita and abstract. Includes bibliographical references (leaves 250-260). Also available for download via the World Wide Web; free to University of Oregon users.
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Rife, Nora Anne. "The relationship between psychological differentiation in field dependence-independence, cognitive flexibility-constriction, and performance anxiety in professional musicians /." Access Digital Full Text version, 1996. http://pocketknowledge.tc.columbia.edu/home.php/bybib/11975969.
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Thesis (Ed.D.)--Teachers College, Columbia University, 1996.Includes tables. Typescript; issued also on microfilm. Sponsor: Leah Blumberg Lapidus. Dissertation Committee: Harold F. Abeles. Includes bibliographical references (leaves 98-113).
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Pursell, Anthony F. "The effectiveness of iconic-based rhythmic instruction on middle school instrumentalists' ability to read rhythms at sight." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1325987.
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The purpose of this study was to investigate the effectiveness of iconic-based rhythmic instruction on middle school instrumentalists' ability to read rhythms at sight in the preparation of music for sight-reading. One hundred thirty-one middle school students from 12 randomly assigned bands in the Midwestern United States provided data for a pretest-posttest control-group design. Of the 12 participating middle schools, four schools served as the control group (n= 42), four schools delivered rhythmic instruction using iconic-based methods (n= 42), and four schools delivered isolated rhythmic training using symbolic-based methods (n= 47).Using adjusted pretest scores from a researcher-constructed rhythm test (Rhythm Sight-Reading Performance Ability), the Musical Aptitude Profile (1995), and the Wechsler Abbreviated Scale of Intelligence (1999), results of an analysis of covariance (ANCOVA) revealed that no group obtained a significant difference on the posttest mean scores from the rhythmic performance test (F= 1.940, df= 1, 107, p= .149). Because results from individual schools showed considerable variation, other variables were observed to see if they were significant. Findings from an ANCOVA revealed that the individual school was significant (F= 3.141, df= 9, 107, p= .002).To verify the relationship found between the individual school and the posttest measurement, an analysis of covariance (ANCOVA) was run with the pretest and posttest scores serving as repeated measures. The results indicate that a significant interaction between the individual school and the pretest to posttest measurement exists. In light of these findings, it is speculated that the key to improving a student's rhythm-reading ability may be dependent not only on the method, but also on the quality of instructional delivery.School of Music
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Pascoe, Beverley J. "The measurement of classroom music learning using an outcomes framework in Western Australian schools." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 1999. https://ro.ecu.edu.au/theses/1233.
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This study addresses the problem of a lack of reliable and systematic methodology for evaluating progress in classroom music, using an outcomes framework, in primary and secondary schools in Western Australia. An innovative range of assessment tasks was developed for use at system, school or classroom level in order to develop a Music Achievement Scale, so that in the future, meaningful reporting of student outcomes in music, in relation to The Arts Student Outcome Statements (Education Department of Western Australia, 1996), can occur. Music tasks were tested with a representative sample of 2191 government primary school students from Years 3 (946) and 7(921), and 324 secondary students from Year 10. The tests are designed to assess student progress in relation to outcome levels rather than for specific Year levels, thus making them useful for the collection of information on student achievement between Years 3, 7 and 10. The Music Achievement Scale is composed of two parts: an Analysis test and a Process test. The Analysis test is designed to address the two 'appreciating' strands of The Arts Student Outcome Statements (Education Department of Western Australia, 1996) and the Process test is designed to address the two 'expressing' strands of the statements. The Analysis test is a pencil and paper test in which individual students respond to excerpts of taped music. The Process test is a developmental process in which students respond to a stimulus by creating a short musical composition, which is developed, rehearsed and performed in a group situation, and which includes students' critical appraisal of their performance. The tests consist of a combination of multiple choice and extended answer questions types and where possible, tasks are open-ended in order to provide the opportunity for students to perform to the maximum of their abilities. Through the use of common items and common stimulus materials, tasks allow for the linking of items through Years 3, 7 and 10, thus providing valuable information on student progression through the outcome levels. The open-ended tasks are polychotomous, allowing for the partial credit of student responses, rather than being either 'right' or 'wrong.' The tests were administered, in school classrooms that reflected students' usual learning environments, by their usual teachers of music. In primary schools this was sometimes a specialist music teacher and sometimes their usual classroom teacher. In secondary schools, the specialist music teacher administered the tests. All teachers used explicit administration instructions, which included time allocations to be apportioned for specific sections of the tests. All tests were centrally marked by experienced specialist music teachers who underwent training in marking procedures that included processes of moderation. Markers used marking keys that addressed the complexities of open-ended and polychotomous items to allocate a raw score to each student on both the Analysis and the Process test. An extended logistic model of Rasch (Andrich, 1988a) through the use of the RUMM (Andrich, Sheridan & Luo, 1996) item analysis computer program, was employed to analyse the data. The Scale has good content validity and the tasks fit the measurement model, providing further evidence of validity. Reliability of the scale is high: the Person Separation Index is 0.900 and the Item Separation Index is 0.928. The Test-of-Fit Power is 'excellent,' indicating that a valid and reliable Scale of Music Achievement has been created. Results indicate that the mean level for each year group shows a clear pattern of student development in music appreciation and music expression. Around 80 per cent of year 3 students demonstrated skills associated with level 2 outcomes in classroom music, in excess of 55 per cent of year 7 students demonstrated skills associated with level 3 outcomes, and over 80 per cent of year 10 students demonstrated skills associated with level 4 outcomes. To increase the awareness of teachers and Principals in the differential performances in music of sub-groups, a collection of data was undertaken on the performances of boys and girls, Aboriginal Torres Strait Islander (ATSI) students and non-Aboriginal students, and English speaking background and non-English speaking background (NESS) students. There were significant differences in the performances of some of these sub-groups that raise issues to be addressed in the future. The study is of importance to Western Australian teachers and schools because, for the first time, specialist and generalist teachers will have access to reliable, authentic assessment materials that reflect exemplary classroom practice, as well as an instrument that allows for the mapping of student progress on a continuum of achievement related to the outcomes framework. Reporting to parents using the method of assessment developed in this study will provide more information on students' skills and abilities than in the past. Issues related to the differential performances of sub-groups as well as issues of access and inclusivity, will be important at the system level for future developers of curriculum, as well as future developers of music assessment materials. Now that baseline data has been gathered and new methods pioneered, the way has been paved for future, improved methods of assessment in the Arts, and music in particular.
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Alkenäs, Dan. "Får man spela fel? : Studier kring improvisationens betydelse i musikundervisning." Thesis, Växjö University, School of Education, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:vxu:diva-1765.
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Musical improvisation is an infinite artistic well. It helps the musician to make a personal performance and lets the music reflect the inner feelings. It is a language with which the performer can adapt the formulation to the specific situation. Yet so many have fear and respect when facing the phenomenon. In this study Dan Alkenäs discusses the advantages and disadvantages of using musical improvisation as a pedagogical method in school education. During a semester Alkenäs has, together with music teacher Bitten Löfgren and a group of pupils, studied what results are to be expected when teachers let musical improvisation have a leading role in music lessons. He discusses the creative working environment and the pupils’ ability to put theory into practice. One leading theme is the discussion of the common view of musicality. Alkenäs argues that it is important for a music teacher in a democratic school, with children from different kinds of cultures and backgrounds, to be flexible and adjust the lessons according to the individuals in the group. The study shows that this pedagogy, among other things, has a positive effect on interaction between students with different interest, levels of knowledge and potentials.
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Kirchhubel, Julie, and n/a. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training." Griffith University. School of Cognition, Language and Special Education, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20040427.122927.
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The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.
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Kirchhubel, Julie. "Adolescent Music Development and the Influence of Pre-Tertiary Specialised Music Training." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/367185.
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The study explores the music development, achievement and aspirations of adolescent students who participate in pre-tertiary specialised music programs. A theoretical model is developed for the study to investigate the role and influence of such training in the development of music skills, and explores relationships amongst music experience, music engagement, academic achievement, interpersonal and intrapersonal relationships, personal learning styles, and affective response to music. The data source for the study was the Young Conservatorium program (YCP) at Griffith University. Three sub-studies formed the investigation, two focussing on music development, and one, the program. The first sub-study involved 117 enrolled students, the second, 44 teachers and 112 former students, and the third, 15 case studies. Quantitative and qualitative data were obtained using surveys, tasks, tests, interviews, discussions, reflective journals, and practice logs. A large body of literature has identified a continued need for research that traces the music development of young musicians in adolescence, research that utilises both large and small sampling (particularly case studies), and is conducted at the time of training. The present study was conducted over two years, utilised a larger population than many previous studies, involved case studies, and combined contemporaneous and retrospective approaches. Research findings contribute to knowledge regarding young musicians' music training and learning in pre-tertiary specialised music programs, and the nature of pre-tertiary specialised music programs themselves: their rationale, methods of instruction, and overall effectiveness. They highlight the types of music programs and music training provisions available to young Australian musicians, and, though showing students to frequently engage in multiple music learning environments, confirm the need for individuals demonstrating above-average music ability to access specialised music tuition and opportunities, develop in a supportive learning environment, and interact with students of similar interests and abilities. Although also suggesting there to be a number of factors associated with pre-tertiary specialised music training that can deter some students, such factors tend to be non-musical in nature. In all, the study does show a trend for the families of young, above-average musicians to choose to provide for their children access to pre-tertiary specialised training, and for participants to gain from this experience. The study seeks to enhance understanding of the conditions though which music development is nurtured; it confirms the importance of exposure and opportunity, the collective efforts of the family and community, and the need for hard work and perseverance to usually be exercised by young musicians themselves. Common trends associated with the music development of young, above-average musicians pertained to music training and influences, characteristics, goals, and achievement. Early music exposure, guidance, and positive music experiences were found to be conducive to music learning. The establishment of a practice routine, increasing engagement with music, the formation of broad music preferences, demonstration of high music aptitude, musical and academic achievement, and goal-setting all characterised the experiences and marked the qualities of students sustaining their music interests in adolescence. Interpersonal support and developing intrapersonal attributes, personal learning styles and increasing affective response to music, together with developing cognitive and metacognitive skills, were generally shown to typify the music development of young, above-average musicians in adolescence.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Cognition, Language and Special Education
Faculty of Education
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Nabb, David B. "Music Performance Program Enrollment and Course Availability for Educationally Disadvantaged versus Non-Educationally Disadvantaged High School Students in Texas." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc277891/.
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The purpose of this study was to measure music performance program enrollments and course availability for educationally disadvantaged and non-educationally disadvantaged groups (grades 9-12) in Texas, and to further examine relationships which could help music educators understand the role which music performance programs play in the lives of educationally disadvantaged students. Data analyzed were collected by Texas' Public Education Information Management System (PEIMS). Educationally disadvantaged groups under consideration included economically disadvantaged, at risk (as defined by Texas Education Agency guidelines), limited English proficient, as well as Black and Hispanic students. Separate analyses were conducted for band, choir, and orchestra. Subjects included 907,327 students from 1,048 school districts.
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Jong, Jacqueline B. de. "Collective talent : a study on improvisational group performance in music /." [Amsterdam] : Vossiuspers UvA, 2006. http://dare.uva.nl/document/33052.
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Dimmick, Penny Gail. "Piano instruction in music methods classes for elementary education majors : a case study." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917840.
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This study was undertaken in an effort to determine the effects of piano instruction on attitudes and piano skills of elementary education majors enrolled in a music methods class. A class of nineteen elementary education majors at a private mid-western university served as subjects for the case study. They were given both written and oral pre and posttests, and extensive anecdotal data were recorded.As a result of the study, general conclusions and recommendations were as follows:1. Subjects' initial perceptions of their probable success in the piano laboratory were high. In addition, seventy-nine percent of the subjects accurately predicted their probable success (or failure) in the piano laboratory. It is recommended that instructors take time at the outset of the course to reassure and encouage the students in an effort to increase confidence and thereby the probability of success in the piano laboratory.2. Subjects' attitudes and skill development were negatively affected by perceived inadequacies when comparing themselves to other subjects in the class. As the more advanced students tested out of the piano laboratory, skills and attitudes of the slower subjects improved appreciably. This suggests that ability grouping in methods classes may improve students' perceptions and also performances in these lasses.3. Subjects' confidence in their ability to teach music increased, as indicated by pretest and posttest rankings. Since the sample size was adequately large, the Wilcoxin T value of 7.5 was standardized to a Z value = 2.66 (p <.01). Interpretation of a Z-value = 2.66 strongly suggests the posttest score has significantly increased over the pretest score.4. Subjects' perceptions of their ability to read and write music, their ability to sing songs with their students, and their piano playing ability significantly increased as shown by a series of paired comparisons t-test analyses on the pretest/ posttest data.It is recommended that additional case studies be conducted in the methods class in an effort to isolate and identify additional aspects of the class which influence the students' growth and/ or lack of growth in self confidence and musical skills.School of Music
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NOVELLA, FRANCESCA. "“Crescere con la musica” Migliorare le abilità di lettura a scuola: un laboratorio ritmico musicale." Doctoral thesis, Università degli studi di Padova, 2022. http://hdl.handle.net/11577/3449421.
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La ricerca qui presentata approfondisce il rapporto tra musica e movimento corporeo e come, insieme, possano essere un elemento fondamentale per i processi di apprendimento. Numerosi sono gli studi che hanno evidenziato la relazione esistente tra competenze linguistiche e musicali; in particolare, è possibile potenziare le competenze legate alla letto-scrittura dei bambini con attività centrate sul ritmo, sull’integrazione di schemi canzoni-ritmo-corpo e sul coordinamento delle capacità motorie.
A partire dalla letteratura didattica di riferimento e al “metodo attivo”, viene presentata l’attività di ricerca in merito all’approccio all’educazione musicale che ha dato forma al laboratorio “Crescere con la musica”: al centro dell’esperienza sono il corpo, il ritmo e il suono quali veicoli di apprendimento, con particolare riferimento alle abilità coinvolte nella lettura.
Il bambino, attraverso il corpo e il movimento, diventa protagonista dell’esperienza musicale: il suono ne orienta il movimento e sviluppa le capacità ritmiche che vengono apprese grazie al corpo. Quest’ultimo è inteso come un vero e proprio strumento musicale in grado di produrre un’infinità di suoni e, al tempo stesso, un luogo in cui nascono e si depositano esperienze, linguaggi, emozioni e sentimenti che permettono alla persona di relazionarsi con gli altri.
Dall’analisi delle evidenze empiriche e dalla lettura non si è inteso solamente rilevare i miglioramenti, effettivamente osservati, delle abilità ritmiche e funzionali alla lettura dei bambini, ma si è voluto andare a consolidare una tipologia di lavoro inserita in una prospettiva preventiva al fine sia di ridurre l’aumento di difficoltà di apprendimento dei bambini, sia di rendere più facile la scolarizzazione di tutti, rispondendo alle esigenze di una scuola che lavora per una buona integrazione e che è attenta sia ad andare incontro ai bisogni specifici, sia alla qualità educativa accompagnando, con la musica, la crescita dei suoi alunni.This study reflects on the relationship between music and body movement, and on the ways they can act jointly in order to facilitate pupils' learning. Numerous studies have explored the relations among language and music competences; it is possible to strengthen children's reading and writing competences by involving them in activities centred on rhythm, on integrated song-rhythm-body patterns, and on coordinating motor skills. We offer a literature review focusing on “active methods”, and we present the results of studying music education through the workshop "Growing up with music", centred on the body experience, rhythm, and sound as learning vehicles, paying specific attention to reading abilities. By moving and by making use of his/her body the child plays a key role in experiencing music: the sound guides the movements, and it contributes to enhancing rhythm skills that are learned through the body movement and experience. The body becomes a music instrument, able to produce countless sounds and at the same time a place where experiences are born and stored, eliciting language as well as feelings and emotions that allow the child to connect with the other children. Based on the analysis of the empirical evidence and on the literature review, the core idea that emerges goes beyond detecting the actual improvements in children's rhythmic and functional reading skills, in order to contribute to strengthen such interventions within a preventive frame finalized to reducing children learning difficulties as well as making schooling more accessible to everybody, responding to the needs of a school that works for good integration and is attentive both to meeting specific needs and to educational quality by accompanying, the growth of its pupils with music.
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Frisell, Lisa, and Cecilia Olsson. "Konstruktion och utprövning av datorbaserat test för intonation och rytm : Icke-språklig Testning Av Prosodi - ITAP." Thesis, Linköping University, Department of Clinical and Experimental Medicine, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-18813.
Full textAbstract:
Generally prosody is described as the rhythmic, dynamic and melodic features of language. Prosody is further often described as suprasegmental, since its properties go beyond vowels and consonants, which are segmental characteristics of language. A relationship between prosody and music has been noticed and described for several decades. At present, there are several studies proving relationship between prosodic and musical abilities.
The aim of the present study was to construct a test for prosodic non-linguistic perception and production regarding intonation and rhythm. The test was tried out on 16 children with typical language development aged 4;6-7;6 years.
Before testing of ITAP each participant were asked about musical experience. For formal assurance that the participants had typical language development a pretesting was performed.
The results demonstrate an even range and therefore the complexity of ITAP seems to be on a representative level. Furthermore, ITAP is viable and the design is advantageous. The results of the present study suggest that both phonological working memory and grammatical ability are related to the aspects of intonation tested in ITAP.
The study contributes to the knowledge about possible relations between prosodic and musical abilities, and it provides guidance on what children with typical language development are expected to achieve on ITAP.
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Edman, Mariana. "”Oj, vad händer nu?” : En självstudie om pianistens upplevelser av nervositet och oro vid olika uppspelstillfällen." Thesis, Karlstads universitet, Institutionen för konstnärliga studier (from 2013), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-68362.
Full textAbstract:
Syftet med studien är att med utgångspunkt i kroppens fenomenologi utforska vilka reaktioner som uppstår i kroppen när jag är nervös vid olika typer av framträdanden. Förutom det ska också undersökas mentalträningens betydelse för minskning av stress och nervositet och dess påverkan på min gestaltningsförmåga vid dessa spelningstillfällen. I bakgrundskapitlet presenteras bland annat begrepp som nervositet, stress, musikalisk prestationsångest, med fler. Förutom det i bakgrundkapitel redovisas relevant forskning inom området och studiens teoretiska perspektiv-kroppens fenomenologi. I metodkapitlet presenteras den huvudsakliga metoden för dokumentation av studien- loggboksskrivande samt komplementär metod-videoinspelning. Resultatet redovisas under rubriker: Nervositet och oro i olika uppspelstillfällen samtMentala träningens påverkan på nervositet och stressnivå samt gestaltningsförmåga. Under dessa teman redovisas hur negativa upplevelser av nervositet och oro vid olika uppspelstillfällen så småningom med hjälp av mental träning förändras till positiva. I diskussionen redovisas teman:Jämförelse mellan nervositet och oro innan, under och efter mentalträningsprojektet och Vikten av kontinuerlig övning samt ljudspårens effektivitet. I denna del beskrivs även mina reflektioner kring följande arbetets betydelse för mig själv och idéer om fortsatt forskning på området.The purpose of present study is to investigate from a phenomenology of body perspective what reactions occur in my body when I am nervous at different performance situations. Apart from that this study will investigate importance of mental training for decrease of stress and nervousness and its influence on my performance ability in this performance situations. In background chapter are definitions of nervousness, stress, musical performance anxiety and more presented. Apart from that in background chapter are earlier studies on this field and following studies theoretical perspective – phenomenology of body presented. In method chapter the methods of documentation - journal notes and video are presented. Result chapter is showed in themes: Nervousness and anxiety in different performance situations and Influence of mental training on nervousness and stress level and performance ability. In these chapters is shown how my negative feelings and experiences of nervousness and anxiety with mental trainings help transformed into positive. In discussion chapter following themes are showed: Comparison between nervousness and anxiety before, under and after mental trainingandImportance of continuous training and effectiveness of recordings. In this chapter, even my thoughts about following studies importance for myself and ideas about further research on the field are presented.