Gotowe bibliografie tematyczne / Music aptitude

Gotowa bibliografia na temat „Music aptitude”

Autor: Grafiati
Data publikacji: 4 czerwca 2021
Data aktualizacji: 20 lutego 2023

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Artykuły w czasopismach na temat "Music aptitude"

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Zdzinski, Stephen F. "Relationships Among Parental Involvement, Music Aptitude, and Musical Achievement of Instrumental Music Students". Journal of Research in Music Education 40, nr 2 (lipiec 1992): 114–25. http://dx.doi.org/10.2307/3345561.

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This study examined relationships among selected aspects of parental involvement, music aptitude, musical achievement, and performance achievement. Subjects were 113 wind instrumentalists from four north-central Pennsylvania middle schools. Variables were defined through a researcher-constructed measure of parental involvement (PIM), the tonal and rhythmic imagery subtests of the Music Aptitude Profile (Gordon, 1965), selected sub-tests of the Music Achievement Tests (Colwell, 1969), and the Watkins-Farnum Performance Scale (Walkins & Farnum, 1954). Data were analyzed through correlation and MANOVA procedures. Results indicated (1) no significant relationship between parental involvement (as measured by student responses) and performance achievement; (2) a relationship of little practical significance between parental involvement and both musical achievement and musical aptitude; (3) a strong relationship between music aptitude and both musical achievement and performance achievement; and (4) a significant three-way interaction for performance achievement among parental involvement, music aptitude, and gender.
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Schellenberg, E. Glenn. "Music training, music aptitude, and speech perception". Proceedings of the National Academy of Sciences 116, nr 8 (29.01.2019): 2783–84. http://dx.doi.org/10.1073/pnas.1821109116.

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Salafiyah, Nafik, Slamet Haryono i Mochammad Usman Wafa. "Development Of Music Aptitude Test Instruments For The Student Of Music Education Departement". Jurnal Seni Musik 11, nr 2 (31.12.2022): 206–9. http://dx.doi.org/10.15294/jsm.v11i2.63713.

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It is necessary to develop a music aptitude test instrument as students, basic music knowledge is not optimally developed yet. Due to the inavailability of such instruments in the music education department, this study saimed to design and develop music aptitude test. The tests in used to measure students skills in understanding basic musical skills. This study used experimental quantitative approach. The findings resulted in 40 test items covering 8 teaching goals and 35 indicators aligned to the Semester Learning Plan (RPS) of solfeggio class. Further, the future research will focus on music aptitude test in audio form for the students.
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Weaver, Aurora J., Matthew Hoch, Lindsey Soles Quinn i Judith T. Blumsack. "Across-Channel Auditory Gap Detection". Music Perception 38, nr 1 (wrzesień 2020): 66–77. http://dx.doi.org/10.1525/mp.2020.38.1.66.

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In studies of perceptual and neural processing differences between musicians and nonmusicians, participants are typically dichotomized on the basis of personal report of musical experience. The present study relates self-reported musical experience and objectively measured musical aptitude to a skill that is important in music perception: temporal resolution (or acuity). The Advanced Measures of Music Audiation (AMMA) test was used to objectively assess participant musical aptitude, and adaptive psychophysical measurements were obtained to assess temporal resolution on two tasks: within-channel gap detection and across-channel gap detection. Results suggest that musical aptitude measured with the AMMA and self-reporting of music experiences (duration of music instruction) are both related to temporal resolution ability in musicians. The relationship between musical aptitude and/or duration of music training is important to music educators advocating for the benefits of music programs as well as in behavioral and neurophysiological research.
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Lim, H. A. "Music Therapy Career Aptitude Test". Journal of Music Therapy 48, nr 3 (1.09.2011): 395–417. http://dx.doi.org/10.1093/jmt/48.3.395.

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Reynolds, Alison M., i Kyungsil Hyun. "Understanding Music Aptitude: Teachers' Interpretations". Research Studies in Music Education 23, nr 1 (grudzień 2004): 18–31. http://dx.doi.org/10.1177/1321103x040230010201.

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Hanson, Josef. "Meta-Analytic Evidence of the Criterion Validity of Gordon’s Music Aptitude Tests in Published Music Education Research". Journal of Research in Music Education 67, nr 2 (17.01.2019): 193–213. http://dx.doi.org/10.1177/0022429418819165.

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This meta-analytic study examined the validity of Gordon’s music aptitude tests as predictors of other musical variables. The four tests analyzed were the Music Aptitude Profile (1965), Primary Measures of Music Audiation (1979), Intermediate Measures of Music Audiation (1982), and Advanced Measures of Music Audiation (1989). Separate analyses were performed for tonal, rhythm, and composite constructs of music aptitude. From 47 music education journal articles that met requirements for inclusion, 215 independent data points representing 6,086 participants were collapsed into an overriding set of five criterion categories: (a) aural perception, (b) achievement, (c) creativity, (d) affective outcomes, and (e) musical engagement. Moderators potentially affecting validity included audiation type, sampling method, grade level, criterion test type, and year of publication. Results revealed estimated true criterion-related validities of .45 (tonal), .46 (rhythm), and .53 (composite). Gordon’s music aptitude tests were consistently but not always strongly associated with many desirable musical outcomes. Analysis of correlations by subtest and criterion category produced mixed results, and high levels of between-study heterogeneity could not be explained through meta-regression moderator analysis.
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Degé, Franziska, Hanne Patscheke i Gudrun Schwarzer. "Associations between two measures of music aptitude: Are the IMMA and the AMMA significantly correlated in a sample of 9- to 13-year-old children?" Musicae Scientiae 21, nr 4 (15.09.2016): 465–78. http://dx.doi.org/10.1177/1029864916670205.

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The aim of this study was to correlate musical aptitude scores derived from two tests based on the same structural model for musical aptitude in a sample of 9- to 13-year-old children. We controlled for the influences of socioeconomic status (SES; measured by parents’ education), the amount of music lessons, and general cognitive abilities (i.e., IQ). The sample comprised 89 (46 girls) 9- to 13-year-old children. We applied two different tests by Edwin Gordon: Intermediate Measures of Music Audiation (IMMA) and Advanced Measures of Music Audiation (AMMA) to measure musical aptitude. As control variables, IQ, socioeconomic status, and amount of music training were assessed. A hierarchical multiple regression analysis revealed that the total score of the IMMA together with the control variables could not predict the total score of the AMMA. Furthermore, regression models for each of the subtests were also not significant. With respect to the control variables, we revealed an association between the IMMA and socioeconomic status as well as amount of music training. We conclude that even tests that are based on the same structural model of musical aptitude were not associated significantly. This might indicate problems of validity. Additionally, it seems to be difficult to assess musical aptitude independently of influences from music training and SES. Ultimately, this may support the notion that we still need valid musical aptitude tests for this particular age group.
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Culp, Mara E. "The Relationship Between Phonological Awareness and Music Aptitude". Journal of Research in Music Education 65, nr 3 (20.09.2017): 328–46. http://dx.doi.org/10.1177/0022429417729655.

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The purpose of this study was to investigate the relationship between phonological awareness and music aptitude. I administered the Intermediate Measures of Music Audiation (IMMA) to second-grade students in a rural school in Pennsylvania ( N = 17). Speech-language specialists administered a hearing screening and The Phonological Awareness Test 2 (PAT-2) individually to participants and scored the measures. Findings indicated a moderate, positive relationship between PAT-2 standardized composite scores and IMMA raw Tonal subtest scores ( r = .485). A linear regression indicated IMMA raw Tonal subtest scores predicted PAT-2 standardized composite scores. The relationship between music aptitude and phonological awareness has implications for students, music teachers, and professionals who may remediate literacy skills, such as reading specialists, speech-language pathologists, and music therapists.
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Webster, Peter R. "New perspectives on music aptitude and achievement." Psychomusicology: A Journal of Research in Music Cognition 7, nr 2 (1988): 177–94. http://dx.doi.org/10.1037/h0094169.

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Rozprawy doktorskie na temat "Music aptitude"

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Fuentes, Patricia D. "An investigation of the relationship between musical aptitude and bilingualism". FIU Digital Commons, 2010. http://digitalcommons.fiu.edu/etd/3424.

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The purpose of this study was to determine whether there is a relationship between musical aptitude and the ability to speak more than one language. The sample size of 50 participants consisted of six-year-old students without prior formal music training. Participants' bilingual ability was determined by their English for Speakers of Other Languages (ESOL) Levels, as documented by their school district. Musical aptitude was assessed using the Primary Measures of Music Audiation (PMMA). A one-way analysis of variance (ANOVA) was conducted. Bilinguals' mean scores in the PMMA were significantly higher at the p< .oi level than their monolingual counterparts. The study found no interaction between bilingual and monolingual groups. Results point to the existence of a relationship between musical aptitude and the number of languages spoken by individuals. The researcher suggests that music teachers screen students for bilingual abilities to identify those who may have increased musical aptitude correlated with their linguistic diversity.
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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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Cheston, Sharon Brown. "Relationships among harmonic complexity preference, musical training and experience, and music aptitude in high school music students". Case Western Reserve University School of Graduate Studies / OhioLINK, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=case1057865886.

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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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Wojcik, Jennifer M. "Sociocultural Bias Concerning Musical Aptitude in New England Boarding Schools| A Case Study". Thesis, Northcentral University, 2016. http://pqdtopen.proquest.com/#viewpdf?dispub=10165697.

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Within this qualitative multiple case study the ways in which music education specialists construct meaning out of their attitudes and beliefs concerning student musical aptitude and ability while assessing American-born and international students in the New England boarding school population were explored and explained. A phenomenological approach to data analysis was used in order to understand better the experiences of music education specialists within New England Boarding Schools and their attitudes and beliefs concerning musical aptitude and ability concerning the culturally and ethnically diverse students that they teach.

Eight overarching themes emerged during the process of analyzing data: (a) formative factors and influences, (b) acquisition of beliefs, (c) musical mastery and student needs, (d) music mastery and flexibility, (e) instructional approaches. (f) experience valued over formal education, (g) the benefits of autonomy, and (h) international student musical aptitude were identified as contributing to the process in which the participants constructed meaning out of their attitudes and beliefs concerning student musical aptitude and ability. The implication of this study for practice illustrates the need to create opportunities for music education specialists in which they can reflect and become more self-aware about the unconscious biases that they bring to their educational context particularly due to the diverse nature of the music programs within New England Boarding Schools. Recommendations for future research are: (a) whether the music programs in specific nation-states foster higher levels of musical aptitude and ability among students who participate in them; (b) exploration of the methods that school leaders in New England Boarding Schools utilize to better support teachers of diverse students in the adoption of inclusive, intercultural instructional strategies; (c) the policies that school leaders in New England Boarding Schools utilize to better support teachers of diverse students in the adoption of inclusive, intercultural instructional strategies, and; (d) the benefits of offering undergraduate music performance majors coursework focused on the literature and pedagogy of the instrument that they are studying in their degree program.

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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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Alexander, Dina. "An investigation of the relationship between the music aptitude and the music achievement of beginning instrumental students who are taught according to the principles of Gordon's music learning theory /". Digitized version, 1989. http://hdl.handle.net/1802/7560.

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Thesis (M.A.)--University of Rochester, 1989.
Includes bibliographical references (leaves 33-35). Digitized version available online via the Sibley Music Library, Eastman School of Music http://hdl.handle.net/1802/7560
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Zelenak, Michael S. "Self-Efficacy in Music Performance: Measuring the Sources Among Secondary School Music Students". Scholar Commons, 2011. http://scholarcommons.usf.edu/etd/3419.

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

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PCAT, preparation for the pop-culture aptitude test: Rad '80s version. Boston, Mass: Back Bay Books, 1998.

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Rutkowski, Joanne. The effect of restricted song range on kindergarten children's use of singing voice and developmental music aptitude. [S.l: s.n.], 1986.

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Swanner, Diana Lee. Relationships between musical creativity and selected factors, including personality, motivation, musical aptitude, and cognitive intelligence as measured in third grade children. [Cleveland, Ohio: s.n.], 1985.

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The music miracle: The scientific secret to unlocking your child's full potential. [Newbury]: Earnest House Publishing, 2014.

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Boyle, J. David. Measurement and evaluation of musical experiences. New York: Schirmer Books, 1986.

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Boyle, J. David. Measurement and evaluation of musical experiences. New York: Schirmer Books, 1986.

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E, Radocy Rudolf, red. Measurement and evaluation of musical experiences. New York: Schirmer Books, 1987.

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Holahan, John Michael. The effects of four conditions of "same" and "different" instruction on the developmental music aptitudes of kindergarten children receiving tonal pattern training. Ann Arbor, Michigan: University Microfilms International, 1985.

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Kivy, Peter. The possessor and the possessed: Handel, Mozart, Beethoven, and the idea of musical genius. New Haven: Yale University Press, 2001.

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Lorenzo, Adolfo Muñiz. Bases para una buena educación musical. Algete, Madrid: Mestas Ediciones, 2012.

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Części książek na temat "Music aptitude"

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Malzer, Daniel. "Making Music and Learning Languages – Musicality and Grammar Aptitude". W Exploring Language Aptitude: Views from Psychology, the Language Sciences, and Cognitive Neuroscience, 209–28. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91917-1_11.

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Saraei, Niloufar. "The Impact of Speaking a Tone Language on Music Aptitude". W Exploring Language Aptitude: Views from Psychology, the Language Sciences, and Cognitive Neuroscience, 195–208. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91917-1_10.

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Christiner, Markus. "Let the Music Speak: Examining the Relationship Between Music and Language Aptitude in Pre-school Children". W Exploring Language Aptitude: Views from Psychology, the Language Sciences, and Cognitive Neuroscience, 149–66. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-91917-1_8.

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Haroutounian, Joanne. "Talent as Music Aptitude". W Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0008.

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Several years ago, my husband called me into his studio as he was practicing for an upcoming solo violin concerto performance with the National Symphony. As I entered the room, I noticed three bows lying on the floor. Without a word, he motioned for me to be seated on the sofa. He picked up the first bow and began to play a passage of the music. He set this bow on the floor, picked up the second, and played the same passage. He repeated this process with the last bow. When he finished, he paused and looked at me. I motioned to the middle bow. He nodded in agreement. This was the bow he would use for the performance. Musicians communicate through sound. The wordless exchange of musical ideas described here exemplifies the fine-tuned discrimination of sound that is at the heart of music aptitude. While listening to the repeated musical passage, my husband and I were both aware of the subtle qualities of sound that each bow produced as it was drawn across the strings of the violin. The first had a gutsy, robust sound; the second a melancholy, sweet quality; the third a square cleanliness. We listened, interpretively reflected on these qualities, and decided that melancholy sweetness would best match the mood of the Armenian folk tunes within the solo concerto. Words were not necessary. Obviously, this level of musical communication is quite sophisticated. It relies on years of musical training, listening, and interpretive understanding. However, if you layer away the training and skills, we arrive at the underlying discrimination of differences in sound. The discrimination of sound, prior to any formal training, is where music aptitude begins. Music exists through sound. Sound develops into music through combinations of rhythm, loudness, pitch, and the different qualities of these sounds. Music psychologists define the capacity to sense these musical components as music aptitude. The more discriminately one senses subtle differences in these components, the higher one’s music aptitude. Music aptitude combines inherent musical capacities with listening skills that may develop without formal training or education.
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Boyle, J. David, i Rudolf E. Radocy. "Measuring Musical Aptitude and Ability". W Critical Essays in Music Education, 347–64. Routledge, 2017. http://dx.doi.org/10.4324/9781315095257-20.

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Conway, Colleen M. "Assessment and Grading in Music Courses". W Teaching Music in Higher Education, 31–46. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190945305.003.0002.

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Chapter 2 provides a detailed overview of approaches to assessing music teaching and learning in a higher education setting. The chapter begins with a discussion of music aptitude versus music achievement and clarifies the differences between these constructs as well as between assessment and grading. Types of measures such as multiple choice, essay tests, and performance assessments are provided with discussion of advantages and disadvantages of each. A focus on reliability and validity if assessments is included and sample student-generated rubrics for various music courses are provided. Performance rubrics are provided as well. The chapter concludes with discussion of departmental level assessment.
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Haroutounian, Joanne. "Reflections". W Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0013.

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The Grand Canyon scene from chapter one seems a distant memory now that we have examined the perspectives of musical talent from experts across different fields. A synthesis of the ideas gleaned from these opening chapters can be embodied once again in that scene and those four friends. The scientific examiner searches beneath the surface for answers. He analyzes the inner core, piece by piece. The psychometricians who systematically refine the measurement of the capacities of music aptitude believe in analyzing the sensory core of musical talent. From this scientific perspective, we learn that the talented musician listens carefully and can discriminate differences in sound. Music aptitude describes the basic capacities that provide this keen discrimination. A musically talented person is fine-tuned in awareness and differentiation of pitch, rhythm, dynamics, and timbre. Our environmental observer searches for answers revealed in surrounding influences and changes over the course of time. She is more concerned with examining how the ongoing flux and flow transforms the whole. The developmental psychologists who examine music intelligence agree that music aptitude is the sensory base of musical talent. However, there is much more to consider and explore. How do these sensory capacities function while engaged in real musical tasks? What tasks can instill metaperceptive functioning as the child develops? From the perspective of the cognitive developmental psychologist, we learn that musical intelligence is a perceptive/cognitive unique way of knowing. The musically talented student develops musical intelligence by solving challenging musical problems that inventively work across the dimensions of performance, composing, improvisation, listening, and critiquing musical work. Our photographer captures the scene through an artistic eye, ever searching for a personal way to interpret this experience to others through his art form. Many hours are spent in the darkroom working through this creative process. With persistence, time, and focus, that personal visual statement will emerge. The performer realizes musical talent through the same artistic process, with the same persistence, focus, and hours of practice.
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"Creating Computerized Adaptive Tests of Music Aptitude: Problems, Solutions, and Future Directions". W Innovations in Computerized Assessment, 165–90. Psychology Press, 1999. http://dx.doi.org/10.4324/9781410602527-14.

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Tu, Catherine M. "Correlations Among Music Aptitude, Singing Voice Development, and Singing Accuracy Achievement in Young Children". W The Routledge Companion to Interdisciplinary Studies in Singing, 345–56. Routledge, 2020. http://dx.doi.org/10.4324/9781315163734-26.

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Haroutounian, Joanne. "The Spark: Underpinnings of Musical Talent". W Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0017.

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The musical spark that I have discussed in theoretical terms, sought through research, and personally reflected on now requires simple definition. What are the basic underpinnings of musical talent that we can recognize, “kindle,” and develop? If we take away the technical intricacies of musical training, a set of talent criteria emerge that describe how one musically “knows” and the behaviors that develop this musical “knowing.” These musical underpinnings are the ability to be keenly aware of sounds, to inwardly sense and manipulate these sounds, and to communicate them to others through personal interpretation. These are the simple basics, from kindergarten to the Van Cliburn Competition. Take away the technical trappings, and there you have it. This chapter puts ideas gathered from earlier chapters into a simplified musical talent framework that can be used as a cohesive reference for musical talent identification. Each criterion is explained, with talent indicators and procedures to trigger this recognition. The criteria that describe the basic underpinning of musical talent consist of: • Musical awareness and discrimination perceptual awareness of sound rhythmic sense sense of pitch • Creative Interpretation metaperception • Dynamic of performance • Motivation and commitment To support active use of this chapter as a way to recognize musical talent, Sparkler Activities that highlight each talent criterion are offered throughout the chapter. Asterisks (*) indicate key talent behaviors, and there are follow-up activities to expand opportunities for identification. Musical “knowing” begins with the ability to listen. Musical awareness describes the perceptive sensitivity to sounds. Musical discrimination is the sensing of differences in sounds. These inherent sensory capacities are described as music aptitude by music psychologists and music intelligence by cognitive developmental psychologists. The capacity to sense musical components of rhythm, loudness, pitch, and the tonal quality of sounds may be psychometrically measured through the administration of a music aptitude test. These capacities can also be assessed through activities that focus on aural perception, rhythmic movement, and tonal memory of melodies or songs. Musical awareness and discrimination consists of three basic sensory components—the perceptual awareness of sound, a rhythmic sense, and a sense of pitch.
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Streszczenia konferencji na temat "Music aptitude"

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Hincu, Ionela. "Musical-interpretative skills and their role in teacher music education training". W Condiții pedagogice de optimizare a învățării în post criză pandemică prin prisma dezvoltării gândirii științifice. "Ion Creanga" State Pedagogical University, 2021. http://dx.doi.org/10.46728/c.18-06-2021.p274-277.

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This article reflects the professional and moral values of the Music Education teacher: abilities, skills, aptitudes, organisational skills, and abilities, etc. that have a special place in the formation of pedagogical mastery. Performing activity reinforces the teacher’s authority as a propagandist musician of all that is best, transforming him or her into a genuine teacher of the 21st century. Thus, in the training of the Music Education teacher, the mutual relationship between the vocal, instrumental, vocal-instrumental performance and musical-theoretical knowledge is of great importance.
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