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Title: Adult community bands in the southeastern United States: An investigation of current activity and background profiles of the participants.
Creator: Bowen, Charles Kevin., Florida State University
Abstract/Description: Purposes were (1) to identify all current adult community band activity in the states of Alabama, Georgia, and Florida, and (2) to develop a profile of participants in community bands, to include educational level, personal and musical characteristics, other current musical activities, family influence on participation, and employment information., Identification of community bands was accomplished primarily through mail response from members of professional music organizations. The study...
Show morePurposes were (1) to identify all current adult community band activity in the states of Alabama, Georgia, and Florida, and (2) to develop a profile of participants in community bands, to include educational level, personal and musical characteristics, other current musical activities, family influence on participation, and employment information., Identification of community bands was accomplished primarily through mail response from members of professional music organizations. The study verified twelve community bands in Alabama, twenty-six in Georgia, and forty-four in Florida., A 60-item questionnaire was developed and distributed to the membership of fourteen community bands selected as a sample of small, medium, and large cities. Five hundred twenty-eight surveys were completed for a return rate of 74.6%., Responses revealed twice as many men as women playing in community bands, and a very low rate of participation by minorities. More than half of respondents held a college degree, and half had majored in music at some time during college., High school band was the most active level of school music participation, and positive indicators of continued adult activity were solo and small ensemble activity, private lessons, keyboard lessons, choir, and honor bands., Three-fourths of respondents were recently active in another instrumental ensemble. Most participants had played in the community band for five years or less. Family influence was not a positive indicator of continued activity. Half of respondents were employed in professional occupations, and one-third currently or had formerly taught music.
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Date Issued: 1995, 1995
Identifier: AAI9526740, 3088605, FSDT3088605, fsu:77407
Format: Document (PDF)

Title: Algorithms and criteria for a computer simulation of the evaluation of student sight singing ability by college music faculty.
Creator: Lorek, Mary Jo., Florida State University
Abstract/Description: A need was determined for a computer program which could evaluate sight singing performance with melodies of four or more measures and tempi established by the student. The present study was undertaken to provide algorithms for such a computer program, and to compare those algorithms to human evaluation., A computer program to record pitch and rhythmic errors in sight singing examples was written for use with the Roland VP-70 Voice Processor, a hardware device which converts real-time audio...
Show moreA need was determined for a computer program which could evaluate sight singing performance with melodies of four or more measures and tempi established by the student. The present study was undertaken to provide algorithms for such a computer program, and to compare those algorithms to human evaluation., A computer program to record pitch and rhythmic errors in sight singing examples was written for use with the Roland VP-70 Voice Processor, a hardware device which converts real-time audio input to MIDI information. Forty-six subjects sang a total of 249 test melody samples. Cassette recordings of 51 of these examples were evaluated by the researcher and two other college sight singing instructors. MIDI recordings of the same samples were processed through the computer evaluation program. Reliability coefficients were calculated for the instructors with each other and the computer. Comparisons of the human and computer evaluations were made for discrepancies which were studied in detail, and incorporated into the program so as to effectively simulate human evaluation., It was noted that instructors did not categorize as incorrect, intervals performed less than 60 cents sharp or flat; subsequently, the allowable cent deviation was increased from 50 cents to 59 cents. Durations of the last note performed as short as 20% and as long as 180% of the correct value were evaluated as correct by the instructors. The computer program was revised to reflect that judgment. The original fifteen percent deviation allowance for judgment of rhythm was increased to twenty percent for half notes, upon discovery that these notes were performed consistently short and not marked incorrect by the judges., Of 45 internal (excluding first and last) half notes sung, 32 (71%) were performed short when measured against surrounding quarter notes. In addition, of 110 groups of two eighths, 79 second notes (72%) were performed longer than first notes. These differences were not perceived by the human judges, but study of these phenomena might reveal some valuable insight into rhythmic performance.
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Date Issued: 1990, 1990
Identifier: AAI9024100, 3162070, FSDT3162070, fsu:78268
Format: Document (PDF)

Title: AN ANALYSIS AND DOCUMENTATION OF THE PROCESSES INVOLVED IN AN ATTEMPT BY THE DIVISION OF CULTURAL AFFAIRS TO OBTAIN LEGISLATIVE APPROPRIATIONS TO IMPLEMENT AND OPERATE STATE ORCHESTRA, OPERA, AND DANCE PROGRAMS IN FLORIDA.
Creator: GRAUER, MARGARET ANN CHAMBERLAIN., Florida State University
Abstract/Description: The purpose of this dissertation was to analyze and document the processes involved in the Division of Cultural Affairs' attempt to obtain legislative appropriations for the Florida State Orchestra, Opera, and Dance Programs from October 1, 1980, to September 1, 1981. This documentation includes a summary of the history of arts activities and funding of music programs in Florida, the reporting and analysis of methods and procedures used in researching and writing the Report, the reporting of...
Show moreThe purpose of this dissertation was to analyze and document the processes involved in the Division of Cultural Affairs' attempt to obtain legislative appropriations for the Florida State Orchestra, Opera, and Dance Programs from October 1, 1980, to September 1, 1981. This documentation includes a summary of the history of arts activities and funding of music programs in Florida, the reporting and analysis of methods and procedures used in researching and writing the Report, the reporting of legislative processes involved in gaining consideration and support for the proposed programs, and a discussion of the insights acquired from the experiences of the past year with future considerations for Florida and for arts agencies in other states., The study is divided into five chapters. Chapter I is an introduction and review of literature. Chapter II is a background of arts activities in Florida from 1959 to 1981 with emphasis on the Florida Arts Commission, the Florida Arts Council, the Fine Arts Council of Florida, the Division of Cultural Affairs, and orchestra and opera organizations. Chapter III contains methods and procedures used in preparation of the Report on Florida State Orchestra, Opera, and Dance Programs. Chapter IV concerns the Report and the consequential legislative process. Chapter V is a summary and discussion., The Appendix section of this study is unusual in nature and quite lengthy. Material contained within this section includes statistical information, the Report on Florida State Orchestra, Opera, and Dance Programs, a cover letter and survey sent to arts agencies, Florida documents, laws, and statutes, and a history of funding for music individuals and organizations by the Division of Cultural Affairs.
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Date Issued: 1981, 1981
Identifier: AAI8205720, 3085147, FSDT3085147, fsu:74642
Format: Document (PDF)

Title: An analysis of time usage, rehearsal activity, and student off-task behavior during the initial minutes of high school choral rehearsals.
Creator: Brendell, Janna Kay., Florida State University
Abstract/Description: The study investigated how high school choral music educators begin choral rehearsals. Utilization of rehearsal time from the sound of the tardy bell to the rehearsal of the first selection of choral literature (i.e., what is considered by many as the warm-up time) was examined. Data included the elapsed seconds prior to the conductors statement to begin, percentage of elapsed time prior to the rehearsal of the first selection of literature, time spent in rehearsal activities, and student off...
Show moreThe study investigated how high school choral music educators begin choral rehearsals. Utilization of rehearsal time from the sound of the tardy bell to the rehearsal of the first selection of choral literature (i.e., what is considered by many as the warm-up time) was examined. Data included the elapsed seconds prior to the conductors statement to begin, percentage of elapsed time prior to the rehearsal of the first selection of literature, time spent in rehearsal activities, and student off-task during these activities., Thirty-three high school choral directors were audio tape recorded and observed during one mixed ensemble rehearsal. Interval observation techniques were utilized in collecting student off-task data and in coding rehearsal activities. The start of each rehearsal and the percentage of time spent in each rehearsal activity were examined and timed during ex post facto tape analysis. Interobserver agreement averaged.93 for student off-task,.88 for activity coding, and.85 for rehearsal timing., Conductors averaged 43.45 elapsed seconds from the tardy bell to the first verbal statement to begin. Elapsed seconds ranged from 0 to 230 seconds. Conductors averaged 859.64 seconds or 14 minutes 19 seconds of elapsed time prior to the rehearsal of the first selection of choral literature. The range of elapsed time averaged from one minute 10 seconds to 32 minutes 32 seconds., Percentages of rehearsal time allotted to initial activities were: Sightreading, 22.23%; Vocal Warm-Up, 9.63%; Getting Ready, 6.75%, Physical Warm-Up, 3.37%; Lit/Instruction, 1.84%; and Other, 1.46%. Student off-task behavior during rehearsal activities averaged: Getting Ready, 26.14%; Physical Warm-Up, 18.48%; Other, 16.53%; Lit/Instruction, 16.27%; Vocal Warm-Up, 15.07%; and Sightreading, 9.22%., Results indicated that the highest percentages of off-task occurred during activities requiring less active participation. Off-task behavior appeared to be a function of the activity rather than the percentage of time spent in the activity.
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Date Issued: 1992, 1992
Identifier: AAI9234208, 3087851, FSDT3087851, fsu:76661
Format: Document (PDF)

Title: An annotated bibliography of trios for clarinet, one string instrument and piano composed between 1978 and 1990 by composers active in the United States.
Creator: Dannessa, Karen L., Florida State University
Abstract/Description: An Annotated Bibliography of Trios for Clarinet, One String Instrument and Piano Composed Between 1978 and 1990 by Composers Active in the United States is a collection of available published and unpublished trios. The treatise is a continuation of research completed by Thomas Montgomery Osborne and Sherrick Hiscock, III. Montgomery's lengthy monograph, Sixty Years of Clarinet Chamber Music: A Survey of Music Employing Clarinet with Stringed Instruments Composed 1900-1960 for Two to Five...
Show moreAn Annotated Bibliography of Trios for Clarinet, One String Instrument and Piano Composed Between 1978 and 1990 by Composers Active in the United States is a collection of available published and unpublished trios. The treatise is a continuation of research completed by Thomas Montgomery Osborne and Sherrick Hiscock, III. Montgomery's lengthy monograph, Sixty Years of Clarinet Chamber Music: A Survey of Music Employing Clarinet with Stringed Instruments Composed 1900-1960 for Two to Five Performers (D. M. A. Dissertation, University of Southern California, 1964) and Sherrick Hiscock's An Annotated Bibliography of Selected, Published Mixed Trios for one Clarinetist and two other Musicians. (D. M. A Dissertation, The University of Miami, 1977), include and annotate available trio material dating from 1900 to 1978. Trios composed before 1978, which were not included in either document, are included in this treatise. Some trios were written before 1978 and published later or were trios discovered in research that were simply not included in either document., Research for this treatise included a questionnaire sent to all composition teachers listed in the College Music Society Directory, an OCLC search for trios, visits to the Library of Congress-Music Division and the New York Public Library-Performing Arts, as well as visits to various music school libraries. Research also included visits to Luyben Music Company in Kansas City, Missouri and a search of all their catalogues, as well as special assistance from Eble Music Company of Iowa City, Iowa. All available music catalogues were also examined. The American Music Center and the American Composers Alliance of New York City assisted greatly by lending unpublished and published scores at no cost. In addition, notices or calls for trios fitting the treatise description were included in various composer's newsletters across the country, thanks to the American Music Center. Composers readily contacted me, called, sent scores, tapes and program notes., The treatise is divided into four sections: (1) a brief chapter of historical information on the clarinet in chamber music involving strings, (2) extensive annotated bibliographies of the 100 trios, (3) a summary chapter describing style, compositional techniques, and extended techniques used in the trios, and (4) an appendix, listing all trios by instrumentation., The treatise is a wealth of detailed information on the trios included. The majority of trios written between 1978 and 1990 were for clarinet, violin and piano, comprising 63%. 27% of the trios were for clarinet, cello and piano, 9% for clarinet, viola and piano and 1% was for clarinet, string bass and piano.
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Date Issued: 1994, 1994
Identifier: AAI9612458, 3088832, FSDT3088832, fsu:77631
Format: Document (PDF)

Title: An annotated international bibliography of doctoral dissertations/treatises/essays/theses/documents pertaining to the clarinet.
Creator: Cholka, Lynn Ann., Florida State University
Abstract/Description: This treatise presents a comprehensive annotated bibliography of 300 doctoral dissertations concerning all aspects of the clarinet and the clarinet family. It includes the completed and "in progress" research by doctoral students of universities and conservatories of the United States, Canada, and Europe through March 1994, regardless of discipline or degree title. It also includes doctorial dissertations that are not registered with University Microfilms, thus providing a list more complete...
Show moreThis treatise presents a comprehensive annotated bibliography of 300 doctoral dissertations concerning all aspects of the clarinet and the clarinet family. It includes the completed and "in progress" research by doctoral students of universities and conservatories of the United States, Canada, and Europe through March 1994, regardless of discipline or degree title. It also includes doctorial dissertations that are not registered with University Microfilms, thus providing a list more complete than previous bibliographies of this nature., The bibliography consists of the following subject areas: (1) Pedagogy, (2) Solo Literature, (3) Chamber Literature, (4) History, (5) Acoustics and Construction, (6) Contemporary Performance Techniques, (7) Biographies, (8) Bibliographies, and (9) Discographies. Entries that apply to more than one subject area are listed in each appropriate section of the bibliography and have a cross reference to the location of the annotated reference., Each entry includes the author's name, complete title, degree awarded, granting institution, date the degree was granted, number of pages, the source from which the document may be obtained, and an annotation summarizing the contents of the dissertation. An author index and an index of cited composers are provided., The final chapter presents a summary discussion of the status of clarinet research in the subject areas noted.
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Date Issued: 1994, 1994
Identifier: AAI9514093, 3088503, FSDT3088503, fsu:77305
Format: Document (PDF)

Title: AN APPLICATION OF INSTRUCTIONAL TASK ANALYSIS AND BIOMECHANICAL MOTION ANALYSIS TO ELEMENTARY COGNITIVE AND PSYCHOMOTOR PIANO LEARNING AND PERFORMANCE. (VOLUMES I AND II).
Creator: MCARTHUR, VICTORIA HOLLOWAY., Florida State University
Abstract/Description: The purpose of this study was to analyze the cognitive and psychomotor parameters of the task of learning and performing a selected elementary level piano piece chosen from a widely used piano instructional series., This descriptive process entailed the application of instructional task analysis techniques as developed by Robert M. Gagne. In attempting to diagram all of the cognitive and motor components (i.e., knowledge and skills) which a student ideally should possess in order to learn and...
Show moreThe purpose of this study was to analyze the cognitive and psychomotor parameters of the task of learning and performing a selected elementary level piano piece chosen from a widely used piano instructional series., This descriptive process entailed the application of instructional task analysis techniques as developed by Robert M. Gagne. In attempting to diagram all of the cognitive and motor components (i.e., knowledge and skills) which a student ideally should possess in order to learn and perform the piano piece, flow chart diagrams were devised which presented the requisite knowledge and skills in a sequence believed to be appropriate for instructional use. Included in the flow charts are categories of knowledge and/or skills relating to note reading and performance, rhythm and metric reading and performance, the performance of musical symbols, dynamic performance, the proper performance of balance and tone production, motor integration, and musical integration., The second element of this musical description involved the application of biomechanical motion analytical techniques to the investigation of particular movement patterns in skilled pianists. Two highly skilled pianists were selected as subjects by piano faculty and were videotaped as they played the selected elementary piano piece. Anatomical markers, placed at designated points on the hand and arm of each subject, were tracked and digitized for computer analysis of movement parameters. Specifically, calculations were performed relating to linear and angular displacements and angles. Pearson r correlations were calculated both between and within subjects in order to ascertain patterns of similarity and differences in subject movements., Although this study found little similarity between the movement patterns of the two subjects, striking similarities were found to exist within each subject's performances of the same musical material (repeated phrases). Otto Ortmann cited similar results in a study utilizing two skilled pianists playing excerpts from the concert piano literature (The Physiological Mechanics of Piano Technique, 1929/1962).
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Date Issued: 1987, 1987
Identifier: AAI8721851, 3086644, FSDT3086644, fsu:76119
Format: Document (PDF)

Title: AN APPROACH FOR A KEYBOARD HISTORY/LITERATURE MINICOURSE FOR PERFORMING ADOLESCENT STUDENTS IN SUMMER KEYBOARD MUSIC PROGRAMS.
Creator: GRANVILLE-PRICE, PAULINA DELP., Florida State University
Abstract/Description: The purpose of this study was to develop a comprehensive musicianship approach for a keyboard history/literature mini-course for performing adolescent students in summer keyboard music programs., Reasons justifying the study were found in (1) reported literature which noted an imbalance between the teaching of performance skills and comprehensive musicianship; (2) summer camp literature which illustrated this imbalance; and (3) a lack of sufficient research into the above concerns directed...
Show moreThe purpose of this study was to develop a comprehensive musicianship approach for a keyboard history/literature mini-course for performing adolescent students in summer keyboard music programs., Reasons justifying the study were found in (1) reported literature which noted an imbalance between the teaching of performance skills and comprehensive musicianship; (2) summer camp literature which illustrated this imbalance; and (3) a lack of sufficient research into the above concerns directed specifically to the summer music program., Since there did not appear to be a mini-course which specifically addressed the aforementioned needs in summer music programs, this study sought to develop an approach for such a course. A five-step procedure was used. Step one was the identification of the problem, based on the purpose and need for the study., Step two was the critical review of related literature for collection of data in light of the above identified problem., Step three was the presentation of a rationale stated as twelve principles of comprehensive musicianship developed from the review of related literature, and the application of this rationale to development of an instructional goal, course objectives, content components, instructional objectives, overall instructional strategy, and lesson strategies for a mini-course approach., Step four was an examination by a panel of five outstanding music educators and performers of the mini-course's consistency with comprehensive musicianship rationale, and an analysis of the panelists' responses., Step five was a statement of conclusions and recommendations for further study., According to the panelists' responses, the researcher's approach for a mini-course was effective in addressing a persisting need to find additional ways to instruct adolescent keyboardists in comprehensive musicianship., Recommendations for further study included continuing revisions and testing of the course in an appropriate setting, and constructing similar courses for other musical groups.
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Date Issued: 1987, 1987
Identifier: AAI8802827, 3086714, FSDT3086714, fsu:76189
Format: Document (PDF)

Title: AURAL PERCEPTION OF TONALITY IN AVANT GARDE MUSIC AND ITS RELATIONSHIP TOPREFERENCE.
Creator: BURNS, MARY MARGUERITE TEACHEY., Florida State University
Abstract/Description: Junior high students' aural perception ability and musical preference are of vital importance to music educators. Effective curriculum development is dependent upon knowledge of the students' perceptual competency and openness to different types of music. While many research studies are available on children and adults' musical perception, none exist which deal with junior high students' aural perception of tonality in avant garde music and its relationship to preference for that music. The...
Show moreJunior high students' aural perception ability and musical preference are of vital importance to music educators. Effective curriculum development is dependent upon knowledge of the students' perceptual competency and openness to different types of music. While many research studies are available on children and adults' musical perception, none exist which deal with junior high students' aural perception of tonality in avant garde music and its relationship to preference for that music. The purpose of this study was to (a) examine junior high students' perception of tonality by use of information theory in quantifying the strength of tonality (perception of tonal centers) in selected avant garde compositions, (b) determine differences between junior high students' and adults' perception of tonality, (c) examine the relationship between perception and preference, and (d) examine junior high students' preference for electronic and nonelectronic music., Eighty-six subjects participated in this study: 56 were junior high students at Casa Grande Junior High School in Casa Grande, Arizona, and 30 were undergraduate music majors at Florida State University. Subjects were selected to participate on the basis of their ability to vocalize a mentally held pitch which was determined by Taylor's (1971) melodic perception test, part II, thinking melodies., Materials used in the experiment consisted of two perception and preference test tapes, one primary and one randomized order of musical selections, and a preference response sheet. Music recorded on tape consisted of nine electronic and nine nonelectronic 20 second excerpts of avant garde music. Each excerpt was presented in the following sequence: Example 1 (20 seconds music, 6 seconds silence); example 1 repeated (20 seconds music, 6 seconds silence). Students were randomly assigned to the tapes and an equal number of students heard each tape., The task consisted of listening to each excerpt twice. After the first hearing subjects sang the pitch perceived as the tonal center; after the second hearing, subjects indicated their preferences on a rating scale from 1 to 5 (1 = strongly like). All vocal responses were tape recorded, stroboscopically analyzed and assigned a pitch name., A formula based on information theory, TS = (SIGMA)p log 1/p, was used to calculate tonal strength for each selection and Chi Square analysis was used to compare tonal strength responses. Pearson Product Moment Correlation was chosen to test the relationship between tonal strength response and preference. The Mann Whitney U Test served to determine preference for electronic and nonelectronic music and a t Test was selected to test differences between tonal strength values of junior high students and adults., On the basis of results of this study, it was concluded that (1) there are significant differences in perception of tonality (tonal strength) among the avant garde pieces used in this study as perceived by junior high students ((alpha) = .05); (2) no significant relationship exists between perception of tonality (tonal strength) in avant garde music and preference for avant garde music expressed by junior high students; (3) no significant difference exists in the preference responses for electronic music as compared to preference responses for nonelectronic music expressed by junior high students; (4) there is significant difference in perception of tonality in avant garde music by junior high students and the adult undergraduate college music majors ((alpha) = .05)., Preference for the compositions used in this study seemed to be based on musical parameters other than tonality and electronic versus nonelectronic structure.
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Date Issued: 1980, 1980
Identifier: AAI8101956, 3084718, FSDT3084718, fsu:74219
Format: Document (PDF)

Title: BASIC AURAL DISCRIMINATION: THIRD GRADE CHILDREN'S PERCEPTION OF CHANGESIN MUSIC.
Creator: MONTGOMERY, WILLIAM BRUCE., The Florida State University
Date Issued: 1978, 1978
Identifier: AAI7822195, 2988954, FSDT2988954, fsu:73461
Format: Document (PDF)

Title: BEHAVIOR CHECKLISTS AND VIDEOTAPES VERSUS STANDARD INSTRUCTOR FEEDBACK IN THE DEVELOPMENT OF A MUSIC TEACHING COMPETENCY.
Creator: FURMAN, CHARLES E., Florida State University
Abstract/Description: The purpose of the study was to evaluate the effects of four feedback conditions on the development of a single competency: leading group singing using guitar accompaniment. Seventy-four university students, enrolled in eight beginning guitar classes, participated in the study., The feedback conditions were implemented after weekly "checkups," performance examinations during which students led classmates in singing folk songs while accompanying on guitar. The four conditions were: Checklist...
Show moreThe purpose of the study was to evaluate the effects of four feedback conditions on the development of a single competency: leading group singing using guitar accompaniment. Seventy-four university students, enrolled in eight beginning guitar classes, participated in the study., The feedback conditions were implemented after weekly "checkups," performance examinations during which students led classmates in singing folk songs while accompanying on guitar. The four conditions were: Checklist Only, Videotape Only, Videotape and Checklist, and Contact Control (Standard Instructor Feedback). The performances were evaluated using: a Behavior Checklist, i.e., 15 pinpointed accompanying skills; a Music Score, percent of intervals musically accurate; and a Songleading Score, percent of intervals of correct songleading. A questionnaire assessed students' attitudes toward videotaping and self-perceptions of their guitar accompanying skills. Students rated the course and instructor using a standardized form., Pretest analyses revealed no significant differences among groups. Posttest analyses indicated that the Checklist Only and the Videotape and Checklist Groups attained significantly higher scores on the Behavior Checklist and on Songleading Scores. No significant differences were evident among groups on the Music Scores. Two follow-up checkups were reported, with similar results, but lower scores overall., A summary of attitude items from the questionnaire indicated positive student attitudes toward videotape feedback. In evaluating their own accompanying skills, students in the Checklist Only group outscored all other groups and mentioned significantly more checklist behaviors than any other group. The students' ratings of the course and instructor were uniformly favorable, with no significant differences among groups., Findings indicated that the use of the Behavior Checklist alone was as effective as its use in conjunction with videotape feedback in improving the guitar accompanying skills of the students. Additional investigation should seek to verify those variables which are the most crucial for successful accompanied songleading in applied settings.
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Date Issued: 1984, 1984
Identifier: AAI8427300, 3085891, FSDT3085891, fsu:75378
Format: Document (PDF)

Title: CAREER DEVELOPMENT PATTERNS OF MALE AND FEMALE MUSIC EDUCATION MAJORS AT THE FLORIDA STATE UNIVERSITY.
Creator: PLOUMIS-DEVICK, EVELYN., Florida State University
Abstract/Description: The purpose of this study was to investigate the career development patterns of male and female music education majors at The Florida State University. Factors such as parental influence, role model influence, peer influence, music related experiences and career counseling were examined. The Music Educator's Career Development Survey (MECDS) developed by the investigator was used for data collection., The population consisted of all undergraduate music education majors enrolled at the Florida...
Show moreThe purpose of this study was to investigate the career development patterns of male and female music education majors at The Florida State University. Factors such as parental influence, role model influence, peer influence, music related experiences and career counseling were examined. The Music Educator's Career Development Survey (MECDS) developed by the investigator was used for data collection., The population consisted of all undergraduate music education majors enrolled at the Florida State University during the 1982 spring semester. The responding sample consisted of 140 (70%) of the 201 undergraduates., The research questions were: (1) Are there differences in the career development patterns of instrumental and choral music education majors? (2) Are there differences in the career development patterns of male and female music education majors? (3) Are there differences in the career development patterns of male and female instrumental and choral music education majors?, The following conclusions were drawn: (1) Significant differences were found to exist between male and female music education majors in the following areas: (a) Preference of teaching level; (b) Preference for teaching or performing; (c) Confidence in the personal success expected to be gained from the music education profession; (d) Confidence that the music education profession would provide a desired level of social status; (e) Number of years private music instruction had been received before entering college. (2) No significant difference was found between the factors which affect the career development patterns of music education majors when categorized as instrumental or choral majors.
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Date Issued: 1983, 1983
Identifier: AAI8324928, 3085641, FSDT3085641, fsu:75133
Format: Document (PDF)

Title: The choral accompanist: Perceptions of competencies and attributes.
Creator: Johnson, Terrence Alan., Florida State University
Abstract/Description: The purpose of this study was (a) to assemble a list of competencies and attributes considered important in college choral accompanying, (b) to investigate opinions concerning these competencies among college choral conductors and their accompanists, and (c) to combine their perceptions in order to infer a hierarchy of accompanying competencies., The sample included 400 randomly selected college choral conductors who are members of the American Choral Directors Association. Conductors who...
Show moreThe purpose of this study was (a) to assemble a list of competencies and attributes considered important in college choral accompanying, (b) to investigate opinions concerning these competencies among college choral conductors and their accompanists, and (c) to combine their perceptions in order to infer a hierarchy of accompanying competencies., The sample included 400 randomly selected college choral conductors who are members of the American Choral Directors Association. Conductors who participated were asked to give the accompanists' survey instrument to their accompanists. Of conductors surveyed, 175 responded, and 148 of their accompanists returned the questionnaire., A list of competencies and attributes was derived through a review of literature related to accompanying and through a pilot study. Survey instruments were designed to solicit opinions concerning the "desirability" and the "frequency of use" for listed skills and attributes., Results of the survey indicated that the skill considered "most desirable" and "most frequently used" was "alertness during rehearsal." The skill considered "least desirable" and "least frequently used" was "ability to read music written in "C" clef." Of attributes rated only in terms of "desirability", first in rank order was "congeniality with chorus members." Last in rank order was "concurrent study of conducting.", Participants generally agreed that all of the skills listed in the questionnaire were desirable, with few respondents calling any of the skills "not desirable.", In both groups of respondents most competencies listed seemed to fall into one of two extreme categories of "seldom used" or "frequently used", suggesting that some skills which are seldom used are still desirable.
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Date Issued: 1993, 1993
Identifier: AAI9318518, 3088048, FSDT3088048, fsu:76855
Format: Document (PDF)

Title: The Choral Journal: an annotated index to volumes 19-24 and a comparison of subject material published in volumes 1-18 and volumes 19-24.
Creator: Hammett, Thomas Foster
Abstract/Description: The purpose of this study was to create an annotated index to volumes 19-24 of The Choral Journal and to investigate trends in subject material interest as reflected by articles throughout twenty-four volumes. Chapter Two is a subject index containing 404 annotated articles and reviews. A general index comprises Chapter Three. The index was designed to coincide and extend Dr. Gordon Paine's index to volumes 1-18 of The Choral Journal. Chapter Four compares subject matter contained in the...
Show moreThe purpose of this study was to create an annotated index to volumes 19-24 of The Choral Journal and to investigate trends in subject material interest as reflected by articles throughout twenty-four volumes. Chapter Two is a subject index containing 404 annotated articles and reviews. A general index comprises Chapter Three. The index was designed to coincide and extend Dr. Gordon Paine's index to volumes 1-18 of The Choral Journal. Chapter Four compares subject matter contained in the index of volumes 1-18 and that contained in volumes 19-24. A chart was prepared which displays subject classifications, article frequency, relative frequency, and variance of relative frequency. These data allow more accurate comparison of unequal sample sizes. One subject emerged as a new interest. Thirty-three subjects are of continuing interest throughout the twenty-four volumes. Twenty-nine categories are represented by minimal interest, and fourteen subjects fluctuated slightly in frequency. Twelve subjects display a statistically significant increase, and seven subjects show significant decrease. A response to Robert Piper's "An Evaluation of the A.C.D.A. Choral Journal" appears in Chapter Four. Chapter Five reports that 75% of nearly all articles in the 24 volumes are listed under eight major subject classifications. These eight classifications which represent primary interests, as represented by article frequency, are: 2 (Composers and their choral music), 3-17 (Choral conducting and technique), 34 (Histories of choral performance, histories of choral organizations, and biographies of conductors), 44-45 (Literature on, and music for various types of choruses), 57 (Educational techniques and philosophy), 58-65 (Performance practice, style and interpretation), 66 (A.C.D.A. activities and other professional news), and 71-73 (Reviews). Appendix A contains thirty-one bar graphs representing cumulative frequency and actual article count per year. The author of this study hopes the index will be a useful research tool for students and music educators, and that apparent publication trends may be helpful to the editorial board of The Choral Journal.
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Date Issued: 1985
Identifier: AAI8509842, 3086028, FSDT3086028, fsu:75514
Format: Document (PDF)

Title: The choral music of Judith Lang Zaimont.
Creator: Baird, Sara Lynn., Florida State University
Abstract/Description: The purpose of this dissertation is to provide a summary of the life and achievements to date of Judith Lang Zaimont and to examine her repertoire for chorus which includes an oratorio, cantatas, music for children, and secular octavos., Chapter 1 introduces the composer and discusses briefly the need for continued research in the area of women in music., Chapter 2 provides a biographical sketch of Zaimont, enumerating the composer's many awards and activities., Chapter 3 discusses Zaimont as...
Show moreThe purpose of this dissertation is to provide a summary of the life and achievements to date of Judith Lang Zaimont and to examine her repertoire for chorus which includes an oratorio, cantatas, music for children, and secular octavos., Chapter 1 introduces the composer and discusses briefly the need for continued research in the area of women in music., Chapter 2 provides a biographical sketch of Zaimont, enumerating the composer's many awards and activities., Chapter 3 discusses Zaimont as composer and champion of women musicians. Following a brief description of the composer's compositional style and work as an editor, is the text of a portion of an interview between the author and Mrs. Zaimont., The examination of the choral compositions incorporates information about the circumstances of each work's inception or commission, any pertinent information about the compositional processes, and details of performances. The composer's selection and setting of text, incorporation of dramatic or emotional elements, use of musical elements, and any performance difficulties are included in the discussion., Chapter 4 covers Zaimont's earliest choral compositions written while a student at Queens College and Columbia University., Chapter 5 presents the composer's smaller choral works written between 1969 and 1980., The discussion of the oratorio, Sacred Service for the Sabbath Evening, composed in 1975 comprises Chapter 6. This monumental work is one of the composer's most important choral pieces., Chapter 7 discusses the more recent works beginning with Serenade: To Music from 1981 and concluding with Parable: A Tale of Abram and Isaac of 1985. These works represent a more mature style development., The final chapter summarizes the composer's compositional style and already planned, future compositions. Appendices include a summarized list of choral compositions, complete list of compositions to date, texts of the choral works, and publisher information., This writer feels with certainty that this vivacious, youthful musician has a great deal more to offer the musical world.
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Date Issued: 1991, 1991
Identifier: AAI9132965, 3087608, FSDT3087608, fsu:76424
Format: Document (PDF)

Title: Clayton Henry Krehbiel: Musician/educator.
Creator: Griffin, Philip Wayne., Florida State University
Abstract/Description: The purpose of this study was to order the events of Clayton Henry Krehbiel's life from 1920 through 1988; in an attempt to gain insight into his life as a professional singer; to explore influences which formed his musical personality; to research events pertaining to the significance of Robert Lawson Shaw's contribution to the choral art from the perspective of Krehbiel who was singer, soloist, and assistant conductor to Shaw; and to investigate and analyze the philosophical structure or...
Show moreThe purpose of this study was to order the events of Clayton Henry Krehbiel's life from 1920 through 1988; in an attempt to gain insight into his life as a professional singer; to explore influences which formed his musical personality; to research events pertaining to the significance of Robert Lawson Shaw's contribution to the choral art from the perspective of Krehbiel who was singer, soloist, and assistant conductor to Shaw; and to investigate and analyze the philosophical structure or pragmatic guides which governed Krehbiel's musical conduct and teaching style., The study reveals that Krehbiel was a model of musicianship. He introduced thousands of students to excellent choral literature, and championed outstanding twentieth-century compositions. Krehbiel was responsible to a great extent for the growth and development of choral music education at The University of Kansas and The Florida State University. Krehbiel helped produce several generations of choral/orchestral musicians who later held important positions in colleges and universities and in professional organizations associated with choral music education. Krehbiel exhibited energy and enthusiasm for musical excellence through his insistence upon pragmatic rather than strictly theoretical concepts. He was an example of humanity that embodied humility, meekness, and an absence of personal vanity; his gentleness, kindness, and optimistic attitude were attested by students and colleagues who participated in this study., Conclusions ascertained from the study of Krehbiel's life suggested there was no substitute for basic skills of music; that musical talent alone may not be enough to guarantee success in the music profession; that interest in performance through participation diminished during Krehbiel's lifetime while interest in authoritative performance increased, although with fewer participants; that all phases of touring college choirs changed following the 1960's: touring style, length, environments for concert performances, programmed literature, monetary gain, and recruitment tactics were affected. Further, the study affirms that a job description and realignment of the description can aid faculty expectations and morale, and that greater emphasis should be placed on institutional and faculty planning for desired goal outcomes.
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Date Issued: 1988, 1988
Identifier: AAI8827882, 3091115, FSDT3091115, fsu:77772
Format: Document (PDF)

Title: A COMPARATIVE STUDY OF PERCEIVED ROLE RESPONSIBILITIES IN THE MUSIC PROGRAMS OF THE TWO-YEAR COLLEGES IN THE STATE OF GEORGIA.
Creator: WILLIAMS, JOEL EDGAR., Florida State University
Abstract/Description: The purpose of this study was to examine the role of the music program in the two-year colleges in the state of Georgia as perceived by the four reference groups responsible for that role. The reference groups consisted of: (1) College Presidents, (2) Academic Deans, (3) Chairpersons responsible for the music program, and (4) Music Faculty. The study proposed that differential role perception on the part of the reference groups could result in role conflict and dysfunction for the music...
Show moreThe purpose of this study was to examine the role of the music program in the two-year colleges in the state of Georgia as perceived by the four reference groups responsible for that role. The reference groups consisted of: (1) College Presidents, (2) Academic Deans, (3) Chairpersons responsible for the music program, and (4) Music Faculty. The study proposed that differential role perception on the part of the reference groups could result in role conflict and dysfunction for the music programs within these two-year colleges., The evolution of the two-year college philosophy in a comprehensive direction was proposed as a source of differential role perception. This speculation provided the framework for the analysis of the data. The problem assumed by this research was to determine if differential role perception existed among the reference groups, and, if so, the problem was related to misconceptions among the reference groups as to the focus of the music program within a comprehensive philosophy., The data for the comparative analysis of role perception were collected via a questionnaire survey instrument. Questionnaires were delivered to all members of each reference group in twenty-three private and public two-year colleges in the state of Georgia. A total usable response rate of 80% was achieved. Descriptive statistical procedures were applied to the data and the results were presented in tabular form., Among the findings of the study were the following: (1) Differential role focus is evident among and within reference groups concerning the role of the music program in the two-year colleges; (2) Potential role conflict exists among the reference groups with the propensity for such conflict being the greatest between the Presidents' Group and the Faculty Group; (3) The primary concerns of those responsible for music program role are low student enrollments in music programs, high-cost budget considerations, and the focus of the existing music program. The data reveal, however, that the four reference groups basically agree on the responsibilities of music members in achieving role satisfaction., In the final chapter, conclusions were presented and suggestions were made for future research. Recommendations for the music programs in the two-year colleges in the state of Georgia were also offered.
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Date Issued: 1986, 1986
Identifier: AAI8708203, 3086516, FSDT3086516, fsu:75994
Format: Document (PDF)

Title: A COMPARISON OF RHYTHMIC RESPONSIVENESS IN NORMAL AND HEARING IMPAIRED CHILDREN AND AN INVESTIGATION OF THE RELATIONSHIP OF RHYTHMIC RESPONSIVENESS TO THE SUPRASEGMENTAL ASPECTS OF SPEECH PERCEPTION.
Creator: DARROW, ALICE-ANN., Florida State University
Abstract/Description: The study had two major objectives: (1) To compare the rhythm responsiveness of hearing and hearing impaired students on six subtests designed to measure beat identification, tempo change, accent as a factor in meter discrimination, melodic rhythm duplication, rhythm pattern duplication, and rhythm pattern maintenance; and (2) To investigate the relationship of rhythmic responsiveness in hearing impaired children to the suprasegmental aspects of speech perception that involve rhythm...
Show moreThe study had two major objectives: (1) To compare the rhythm responsiveness of hearing and hearing impaired students on six subtests designed to measure beat identification, tempo change, accent as a factor in meter discrimination, melodic rhythm duplication, rhythm pattern duplication, and rhythm pattern maintenance; and (2) To investigate the relationship of rhythmic responsiveness in hearing impaired children to the suprasegmental aspects of speech perception that involve rhythm discrimination., Sixty-two hearing impaired and normal hearing public school students served as subjects. Ages ranged from nine to sixteen with a mean age of twelve. Speech reception thresholds (SRT) for hearing impaired subjects better ear ranged from 35 dB to dB levels beyond the limits of the audiometer. The Test of Rhythm Responsiveness, recorded on a specially prepared tape, was used in conjunction with the TAP MASTER, a stereo cassette tape player with the capacity to provide a quantitative measurement of student response. The test tape was administered to hearing impaired subjects over a portable audiometer at 35 dB above subjects' SRT., Results indicated that hearing impaired subjects performed as well or better than normal hearing subjects on subtests I, II, III, and V with regard to beat identification, tempo change, accent as a factor in meter discrimination, and rhythm pattern maintenance. However, a significant difference was found between the two groups on Subtest IV Parts A and B concerning melodic rhythm duplication, and rhythm pattern duplication. No significant difference was found among age levels or between males and females. The specific degree of hearing loss was not related to test performance of hearing impaired subjects with the exception of those subjects designated profoundly hearing impaired., Two additional speech perception tests were administered to hearing impaired subjects, the Children's Auditory Test and the Auditory Numbers Test. These tests evaluated subjects' ability to discriminate suprasegmental (i.e. nonlinguistic) features of speech. Correlations were found between the rhythmic responsiveness subtests intended to measure beat identification, melodic rhythm duplication, and beat maintenance performance, and both of the suprasegmental speech perception tests.
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Date Issued: 1983, 1983
Identifier: AAI8329413, 3085674, FSDT3085674, fsu:75166
Format: Document (PDF)

Title: Comparisons of attained ratings to instructional behaviors and techniques exhibited by band directors in sight-reading performance situations.
Creator: Harris, Brian P., Florida State University
Abstract/Description: The study attempted to identify correlations between festival sight-reading (SR) ratings and types of instructional behaviors and techniques exhibited by band directors in the SR room. Subjects (N = 84) included 25 middle, 5 junior high, 4 junior/senior high, and 50 senior high school bands from four Florida Bandmasters Association districts. Data were gathered via real-time observation techniques. During the SR event, instructions given by the directors were annotated on a specially designed...
Show moreThe study attempted to identify correlations between festival sight-reading (SR) ratings and types of instructional behaviors and techniques exhibited by band directors in the SR room. Subjects (N = 84) included 25 middle, 5 junior high, 4 junior/senior high, and 50 senior high school bands from four Florida Bandmasters Association districts. Data were gathered via real-time observation techniques. During the SR event, instructions given by the directors were annotated on a specially designed observation form., Analysis indicated that junior high/middle school (J/M) directors whose ensembles received a superior sight-reading rating (SR=S) tended to (a) allow fewer student questions, (b) give fewer instructions to individuals, and (c) use less silent study time than directors whose ensembles received less than superior (SR$<$S). Directors of SR=S high school (HS) ensembles evidenced (a) more use of ensemble singing, (b) more use of "expressive" instructions, and (c) gave more instructions than directors of SR$<$S bands, who tended to give more "general" and "individual" instructions. Non-instruction related correlations indicated that HS SR=S bands had (a) greater percentages of students taking private lessons, (b) greater percentages of 12th- and 11th-graders, and (c) lower percentages of 9th-graders than SR$<$S bands. Both J/M and HS directors of SR=S ensembles tended to (a) use fewer individual instructions, (b) use more student tasking (fingering, singing, etc.), and (c) attain better concert ratings than directors whose bands were rated SR$<$S., Differences between instructions given and school type indicated that SR=S J/M directors tended to (a) give more "pedagogical" instructions, (b) use more section-targeted instructions, and (c) make greater use of "simulation" techniques than HS SR=S directors. SR=S HS directors tended to use more (a) group-targeted instructions, (b) ensemble singing, (c) individual study time, and (d) have a greater percentage of members taking private lessons than SR$<$S HS directors.
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Date Issued: 1991, 1991
Identifier: AAI9202299, 3087635, FSDT3087635, fsu:76451
Format: Document (PDF)

Title: CONTEMPORARY MARCHING CONCEPTS AS APPLIED BY SELECTED COLLEGE AND UNIVERSITY BANDS IN THE UNITED STATES.
Creator: WHITE, JULIAN EARL., The Florida State University
Date Issued: 1979, 1979
Identifier: AAI7926835, 2989228, FSDT2989228, fsu:73735
Format: Document (PDF)

Title: Current academic problems facing public high school bands in the United States: Survey, analysis, and comparisons.
Creator: Miles, Richard B., Florida State University
Abstract/Description: The purpose of this study was to obtain census information and to identify the current academic problems concerning public high school bands in the United States., A national survey was created with support from the College Band Directors National Association, the National Band Association, the American Bandmasters Association, the Texas Music Educators Association, and the American School Band Directors Association. The survey contained 30 questions which reflected 126 variables. The...
Show moreThe purpose of this study was to obtain census information and to identify the current academic problems concerning public high school bands in the United States., A national survey was created with support from the College Band Directors National Association, the National Band Association, the American Bandmasters Association, the Texas Music Educators Association, and the American School Band Directors Association. The survey contained 30 questions which reflected 126 variables. The population was stratified by national geographic region, state, and by school size. Respondents represented 759 schools from all states and the District of Columbia., Responses revealed that 14.99% of students from the high school population play an instrument in band. Directors averaged 13.65 years experience and more than 57% had earned above the bachelor's degree., Seventy-four percent of the bands averaged more than 42 performances a year. The concert band averaged 12.6% of the total performances. The top four areas affected the most by education reform were: job responsibilities, scheduling, retention, and recruitment., Teaching discipline, self-esteem, self-worth, responsibility, and leadership was evaluated as the most important of six values and priorities for instruction. Teaching with an emphasis on aesthetic awareness was found to be the sixth rated value., Discussions with colleagues, observing other directors, attending conference conventions, audio or video taping rehearsals, attending workshops and clinics, and reading journal articles were reported to be the six most effective areas for helping solve problems encountered., Current and previous studies suggest: (a) band participation and director teaching experience has increased; (b) the role of funding has shifted from the school to parents, students and the community; (c) concert performances have declined while marching band and festival/contest performances have increased; (d) current academic problems appear to be similar to the past but have escalated and become more complex as they have interrelated.
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Date Issued: 1993, 1993
Identifier: AAI9324549, 3088098, FSDT3088098, fsu:76905
Format: Document (PDF)

Title: The current status and future implications of obtaining follow-up data from graduates of specialized schools of the arts in the United States.
Creator: Gordon, Daniel Allan., Florida State University
Abstract/Description: This study examined procedures for obtaining post-graduation data from graduates of specialized arts high schools in the United States. Only schools with music majors and membership in the International Network of Performing and Visual Arts Schools participated in the study., Thirty-seven public schools and seven private schools completed a questionnaire designed to obtain data on each school's student population, objectives, and post-graduation information. Most schools served students in...
Show moreThis study examined procedures for obtaining post-graduation data from graduates of specialized arts high schools in the United States. Only schools with music majors and membership in the International Network of Performing and Visual Arts Schools participated in the study., Thirty-seven public schools and seven private schools completed a questionnaire designed to obtain data on each school's student population, objectives, and post-graduation information. Most schools served students in grades nine through twelve. Arts schools ranged in size from approximately 105 to 840 students with an enrollment of two to 300 music students. Although nearly half (47.7%) of the schools reported no geographic recruiting restrictions, 27.3% could not recruit outside their school district and 50% were limited to statewide recruiting., Missions of arts schools were divided nearly evenly among pre-professional training institutions, schools with a college preparatory emphasis, and schools seeking to provide the best general education possible. Audition was the primary determinant for admission to a school's music department. Eight-seven percent of the pre-professional college preparatory schools used auditions as a primary admission criterion., Eighty-six percent of the schools sought proposed career or college course of study information from students, but only 34% sought follow-up information after graduation. A majority of schools responded positively on the questionnaire to categories of information that might be requested from graduates. These suggestions were used to create a model survey designed to procure long-term follow-up data which could be used to evaluate specialized arts schools and the value of arts education for all students.
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Date Issued: 1993, 1993
Identifier: AAI9332303, 3088114, FSDT3088114, fsu:76921
Format: Document (PDF)

Title: A DESCRIPTIVE ANALYSIS OF DEVELOPMENT IN ADOLESCENT MALE VOICES DURING THE SUMMER TIME PERIOD.
Creator: GROOM, MARY DANKER., The Florida State University
Date Issued: 1979, 1979
Identifier: AAI8006263, 2989353, FSDT2989353, fsu:73860
Format: Document (PDF)

Title: A DESCRIPTIVE ANALYSIS OF MUSICAL EXPERIENCES, EMPLOYMENT PATTERNS, CAREER ASPIRATIONS, CURRICULAR CONTENT, AND ATTITUDES OF DOCTORAL ASPIRANTS IN MUSIC (DEGREES, PERFORMERS, MUSIC EDUCATORS).
Creator: HOLLOWAY, ALEXANDRIA JOCELYN., Florida State University
Abstract/Description: The purpose of this study was to assess differences in precollegiate music training, employment experiences, career aspirations, curricular content and attitudes of doctoral music students. Specifically, contrasts were examined between Doctor of Musical Arts and Doctor of Philosophy degree programs in music as well as among doctoral performers, music educators, and those categorized as others: musicologists, composers, theorists, and ethnomusicologists. A survey questionnaire with a response...
Show moreThe purpose of this study was to assess differences in precollegiate music training, employment experiences, career aspirations, curricular content and attitudes of doctoral music students. Specifically, contrasts were examined between Doctor of Musical Arts and Doctor of Philosophy degree programs in music as well as among doctoral performers, music educators, and those categorized as others: musicologists, composers, theorists, and ethnomusicologists. A survey questionnaire with a response rate of 49% (N = 413 doctoral students) was used to obtain data., Results of the study revealed no significant differences among doctoral music students in precollegiate music training or career aspirations. A majority of performers (68%) and those in the other category (13%) indicated that unemployment was the pirmary motivation for doctoral pursuit. Eighty-four percent of all doctoral students desired to become college music professors., More music educators (94%) had held full-time music employment than both performers (51%) or those in the other category (45%). No differences in degree selection were found among students who had been employed primarily as concert artists. Nor were there differences in the students who held primary employment as teachers., Few doctoral students except music educators had taken courses in music education, pedagogy, or methods. Performers and music educators agreed that an applied music course should be required of students who intend to teach on the college level, whereas, doctoral students in the other category disagreed. Both performers and persons identified as others strongly disagreed that at least one music education course should be required for students who intend to teach at the college level., The study findings indicated that students enrolled in doctoral performance programs did not necessarily anticipate a performing career, but rather a career in teaching. Similarly, students in the other category expected to obtain teaching positions. It appeared that the traditional core of courses required within the specialized doctoral curricula for performers and others does not include music education courses despite the fact that 83% of them aspire to teach.
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Date Issued: 1984, 1984
Identifier: AAI8427306, 3085896, FSDT3085896, fsu:75383
Format: Document (PDF)

Title: Developing a string research agenda by identifying the components of a string education: A qualitative study of selected members of the Philadelphia Orchestra string section.
Creator: Heaney, Michael Francis., Florida State University
Abstract/Description: The purpose of this study was to lay the foundation for a string research agenda, that is, to develop a model for string research. This study represents a qualitative investigation of the question, what are the component variables of a string education that produce outstanding string orchestral performers? A detailed pilot investigation of an outstanding orchestral performer provided an initial model followed by a comprehensive investigation of selected members from The Philadelphia Orchestra...
Show moreThe purpose of this study was to lay the foundation for a string research agenda, that is, to develop a model for string research. This study represents a qualitative investigation of the question, what are the component variables of a string education that produce outstanding string orchestral performers? A detailed pilot investigation of an outstanding orchestral performer provided an initial model followed by a comprehensive investigation of selected members from The Philadelphia Orchestra string section. A taxonomy for undertaking a qualitative study in music education was formulated followed by an identification of the researcher's personal biases resulting in a learning theory called The Developmental Learning Theory For String Education. Intrinsic and extrinsic variables responsible for developing the capabilities of a string orchestral performer were identified as well as the antecedent educational and environmental processes that, in whole or in part, seemed responsible for producing such a high level of competence. The study specified models for string learning and for string education and concluded by establishing a model for a string research agenda., The models regarding a string education, string learning, string research, and the data information regarding the component variables of a string education are geared towards developing and identifying the professional string performer and represent the conditions necessary for developing such a player. Information presented in this study does not necessarily relate to the non-professional player even though many of the component variables may be in common.
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Date Issued: 1994, 1994
Identifier: AAI9422463, 3088306, FSDT3088306, fsu:77110
Format: Document (PDF)

Title: DEVELOPMENT AND EVALUATION OF AN APPROACH TO INCREASING PITCH ERROR DETECTION SKILLS IN CHORAL MUSIC EDUCATION STUDENTS.
Creator: MALONE, PATRICK RICHARD., Florida State University
Abstract/Description: The purpose of this study was to develop and evaluate an approach to increasing pitch error detection skills in choral music education students. This approach was intended to serve as self-teaching supplementary instruction for students in choral conducting classes., The Systems Approach Model was employed in the development of instructional materials. Systematically designed teaching materials included an Entry Behavior Test, a Pitch Error Detection Pretest/Posttest, and six instructional...
Show moreThe purpose of this study was to develop and evaluate an approach to increasing pitch error detection skills in choral music education students. This approach was intended to serve as self-teaching supplementary instruction for students in choral conducting classes., The Systems Approach Model was employed in the development of instructional materials. Systematically designed teaching materials included an Entry Behavior Test, a Pitch Error Detection Pretest/Posttest, and six instructional modules consisting of printed booklets and adjunct audio tapes., Pitch errors included in the approach were determined following investigations in three areas: research studies, sightsinging tests, and interviews with students and experienced choral music educators. Pitch errors were related to perfect fourths and perfect fifths, keys, chromatic pitches, and intonation of sustained notes, repeated notes, and major-thirds-of-chords., Musical compositions exemplifying these potential problems were selected; excerpts were subsequently prepared and performed by a small choral ensemble. Performances included predetermined pitch errors and were tape recorded to facilitate students' practice in error detection. Students observed notation for the examples while listening to recorded performances., Instructional materials were evaluated in three settings: one-to-one, small group, and large group. Results of the one-to-one and small group evaluative phases indicated that instructional materials were a viable means of increasing pitch error detection skills of students tested. Minor revisions were made following the one-to-one and small group evaluative phases., Questionnaire results of the large group evaluative phase indicated that students responded favorably toward instruction. Posttest results indicated that students participating in the study achieved stated behavioral objectives as follows: (1) P4/P5 85%; (2) Keys 56%; (3) Chromatics 44%; (4) Repeated Notes 32%; (5) M3-of-Chord 32%; (6) Sustained Notes 12%. Statistical analysis of pretest-posttest data indicated that posttest scores were significantly higher than pretest scores., Based on results of pretest-posttest measurements of pitch error detection skills, it was concluded that the instructional materials designed for this study were effective. Choral music education students whose skills were measured by the Pitch Error Detection Test achieved improved scores as a result of their experience with the study materials.
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Date Issued: 1985, 1985
Identifier: AAI8602871, 3086212, FSDT3086212, fsu:75695
Format: Document (PDF)

Title: DEVELOPMENT AND EVALUATION OF PROGRAMMED INSTRUCTIONAL MATERIALS DESIGNED TO TEACH FUNDAMENTALS OF CHORAL ARRANGING.
Creator: ENTSMINGER, DEEN EDWARD., Florida State University
Abstract/Description: Since the professional arranger has been responsible for providing most of the choral literature currently available, the individual choral director who might encounter a special need presented by singers in the classroom has not necessarily learned the skill of arranging. There would appear to be a need for investigation into developing instructional materials in choral arranging for prospective choral directors., The purpose of this study was to develop and test a programmed instructional...
Show moreSince the professional arranger has been responsible for providing most of the choral literature currently available, the individual choral director who might encounter a special need presented by singers in the classroom has not necessarily learned the skill of arranging. There would appear to be a need for investigation into developing instructional materials in choral arranging for prospective choral directors., The purpose of this study was to develop and test a programmed instructional component which could present fundamentals of choral arranging in conjunction with an existing college course. Eleven integrated units of instruction were developed for use by college students who had completed the theory requirement. The Systematic Design of Instruction (Dick and Cary, 1985) served as a guide for the development and evaluation of instructional materials., The researcher sought to answer the following questions: (1) Will there be any difference in students' pre- and posttest choral arrangement scores resulting from implementing programmed instruction in choral arranging? (2) Will students express favorable attitudes toward programmed instruction in choral arranging after completing the instructional units?, Materials were subjected to one-to-one, small-group, and field-trial evaluations. The first two evaluations aided in the process of revision, while the final phase served as the means by which effectiveness of instruction was evaluated., Thirty-one students were involved in the field-trial. Subjects were enrolled in a choral conducting class (n = 9) and a choral techniques class (n = 24). Following administration of a pretest, each student studied programmed materials and followed instruction over a four-week period. At the end of that time students completed a posttest and an attitude questionnaire. Pre- and posttests required the student to arrange a folk melody for unison and two-part voices., Data gathered from assessment of pre- and posttest choral arrangements indicated that subjects performed significantly better on posttests. Eighty-seven percent of the subjects reported that they would arrange another melody after completing the program: eighty-one percent of the subjects reported that they enjoyed taking the program, and ninety percent of the subjects considered themselves better able to arrange music as a result of the programmed instruction.
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Date Issued: 1987, 1987
Identifier: AAI8711717, 3086543, FSDT3086543, fsu:76018
Format: Document (PDF)

Title: THE DEVELOPMENT AND TESTING OF AUTO-TUTORIAL INSTRUCTIONAL MATERIALS FOR CHORAL CONDUCTING STUDENTS.
Creator: WYATT, LARRY DOUGLAS., The Florida State University
Date Issued: 1974, 1974
Identifier: AAI7500984, 2987689, FSDT2987689, fsu:72196
Format: Document (PDF)

Title: THE DEVELOPMENT OF A VERBAL ANALYSIS SYSTEM FOR SELF-EVALUATION OF PRESERVICE MUSIC TEACHERS.
Creator: HEDRICK, GARY LEE., The Florida State University
Date Issued: 1976, 1976
Identifier: AAI7708590, 2988409, FSDT2988409, fsu:72916
Format: Document (PDF)

Title: The development of an affective behavior assessment instrument for use with third-grade children in a music class situation.
Creator: Miller, Marie C., Florida State University
Abstract/Description: The purpose of this study was to develop an assessment instrument through which affective responsiveness of third-grade children to music could be measured., Three sources provided the foundation for the present study: (a) the Taxonomy of Educational Objectives. The Classification of Educational Goals. Handbook II: Affective Domain (Krathwohl, Bloom, & Masia, 1964) which outlines five levels of affective behavior and suggests possible behaviors indicative of each level (receiving, responding,...
Show moreThe purpose of this study was to develop an assessment instrument through which affective responsiveness of third-grade children to music could be measured., Three sources provided the foundation for the present study: (a) the Taxonomy of Educational Objectives. The Classification of Educational Goals. Handbook II: Affective Domain (Krathwohl, Bloom, & Masia, 1964) which outlines five levels of affective behavior and suggests possible behaviors indicative of each level (receiving, responding, valuing, organization, and characterization by a value); levels I and II were determined pertinent to the present study; (b) the studies of Piaget which provide cognitive characteristics of the school-age child; and (c) the works of Erikson which explore the emotional and social development of the school-age child., These three sources combined with a synthesis of selected literature resulted in the selection and definition of three behaviors indicative of affective response to music: attentiveness, physical response, and unsolicited response., An initial affective behavior assessment instrument was designed to record student observations and to test the procedure. Subsequently, a fourth behavior--verbal response--was added and operational definitions were redefined upon analysis of the pilot instrument by music experts., The study used the final Affective Behavior Assessment Instrument Form in evaluating ten observations edited from five videotaped third-grade music classes. Observations were made across three separate music settings of desk work, bell playing, and board work., Results indicate that third-grade children's behavior representative of affective responsiveness to music can be observed and charted.
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Date Issued: 1990, 1990
Identifier: AAI9103105, 3162105, FSDT3162105, fsu:78303
Format: Document (PDF)

Title: THE DEVELOPMENT OF AN INSTRUCTIONAL LANGUAGE ASSESSMENT INSTRUMENT BASED UPON THE HISTORICAL PERSPECTIVES OF QUINTILIAN, ERASMUS, AND HERBART, AND ITS USE IN ANALYZING THE LANGUAGE BEHAVIORS OF PRE-SERVICE ELEMENTARY AND MUSIC EDUCATION MAJORS (DESIDERIUS ERASMUS).
Creator: DENICOLA, DIANE NOEL., Florida State University
Abstract/Description: The purpose of this study was to investigate aspects of instructional language from three historical perspectives in order to operationally define elements of teacher language behavior and to develop an instructional language assessment instrument which might be useful in evaluating the language behaviors of pre-service elementary and music education majors., An investigation of the educational treatises of Quintilian, Erasmus, and Herbart revealed a number of views regarding teacher language...
Show moreThe purpose of this study was to investigate aspects of instructional language from three historical perspectives in order to operationally define elements of teacher language behavior and to develop an instructional language assessment instrument which might be useful in evaluating the language behaviors of pre-service elementary and music education majors., An investigation of the educational treatises of Quintilian, Erasmus, and Herbart revealed a number of views regarding teacher language behaviors and what was considered to be appropriate. The Instructional Language Assessment instrument (ILA) and corresponding operational definitions were developed from these historical instructional language views. The definitions for verbal interaction, subject matter vocabulary, general vocabulary, speech speed, voice pitch, and articulation were refined following a pilot study., The quality of the instructional language of 143 elementary and music education majors from two large state universities was evaluated, utilizing the ILA. Video or audiotaped five to ten minute lessons, based upon assigned musical concepts, were time-sampled., The language assessment results for each of the six ILA categories were descriptively presented. In the final chapter, implications for teacher education were discussed and suggestions made for future research.
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Date Issued: 1986, 1986
Identifier: AAI8626793, 3086426, FSDT3086426, fsu:75906
Format: Document (PDF)

Title: The development, implementation, and evaluation of a sequentially organized instrumental method of sightreading.
Creator: Laverty, John M., Florida State University
Abstract/Description: The purpose of this study was to investigate the effectiveness of an investigator designed sight-reading method (SRM) on the sight-reading skills of college music majors. The SRM concentrated on two factors relating to sight-reading: rhythmic accuracy and scanning., Freshmen and sophomore instrumental music majors (N = 29) were given a pretest using the Watkins-Farnum Performance Scale (1954) during the first week of Fall Semester 1994. Subjects were divided into two groups, experimental (n =...
Show moreThe purpose of this study was to investigate the effectiveness of an investigator designed sight-reading method (SRM) on the sight-reading skills of college music majors. The SRM concentrated on two factors relating to sight-reading: rhythmic accuracy and scanning., Freshmen and sophomore instrumental music majors (N = 29) were given a pretest using the Watkins-Farnum Performance Scale (1954) during the first week of Fall Semester 1994. Subjects were divided into two groups, experimental (n = 14, treatment with SRM) and control (n = 15, no treatment). The treatments consisted of weekly fifteen-minute lessons using the SRM for a period of twelve weeks., A posttest was given following the treatment period. Results of the pretest and posttest were compared in order to answer the following questions: Was there a significant difference in the pretest and posttest scores of the experimental group? Was there a significant difference in the pretest and posttest scores of the control group? Was there a significant difference in the experimental group's score change and the control group's score change? A two-tailed "t" test was utilized to analyze the data. It was concluded that both the experimental group and control group exhibited significant increases in sight-reading scores. However, there was no significant difference between the experimental group's increase and the control group's increase. It was concluded from these findings that the SRM did not produce any more of an increase in sight-reading scores than did the traditional activities of a music major.
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Date Issued: 1995, 1995
Identifier: AAI9526748, 3088613, FSDT3088613, fsu:77415
Format: Document (PDF)

Title: A diagnostic and analytical model of score preparation: A clinical approach to musical morphology.
Creator: Covington, David Lee., Florida State University
Abstract/Description: The purpose of this study was to create a diagnostic and analytical model of score preparation for choral-orchestral works formulated by a synthesis of methods and their components revealed in the literature. Research indicated that among the contributing authors there seemed to be a general consensus that the score preparation process involved a variety of procedures. This author determined that these procedures gravitated to at least four classified methods and degrees of preparation. The...
Show moreThe purpose of this study was to create a diagnostic and analytical model of score preparation for choral-orchestral works formulated by a synthesis of methods and their components revealed in the literature. Research indicated that among the contributing authors there seemed to be a general consensus that the score preparation process involved a variety of procedures. This author determined that these procedures gravitated to at least four classified methods and degrees of preparation. The four classified methods were: (1) Basal Methods, (2) Designated Systems, (3) Invasive Techniques, and (4) The Synthesis of Analysis: Perspectives on Stylistic Interpretation and Musical Expression. Selected components from these categories were integrated into the taxonomical design for the proposed model of score preparation. The four integrated processes were designed to identify and define the music's morphology from a clinical perspective. These four processes were classified as: (1) A Clinical Approach to Score Preparation, (2) A Diagnostic Examination of the Score, (3) Prescribed Analytical Techniques and Procedures, and (4) The Synthesis of Analysis: Musical Morphology., A clinical approach referred to the direct aural examination of music. The science of musical morphology implied the study of the way musical elements and structural units were organized, developed, governed, and functioned as formal designs. The objectives of the model were to (1) determine through the use of clinical diagnostic and analytical procedures the significant architectural elements, structural units, and forms that develop and function as the music's morphology; and (2) to identify significant relationships existing between musical elements, structural units, and forms that appear catalytic in re-creating and communicating musical expression. The model's objectives were accomplished in its applied preparation of "Versus I" from Christ lag in Todesbanden, BWV 4 by Johann Sebastian Bach, "Siehe, der Huter Israel's schlaft noch schlummert nicht" from Elijah, Opus 70 by Felix Mendelssohn, and "Movement III" of Apparebit repentina dies by Paul Hindemith.
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Date Issued: 1993, 1993
Identifier: AAI9402501, 3088183, FSDT3088183, fsu:76990
Format: Document (PDF)

Title: Differentiated modes of choral performance evaluation using traditional procedures and a continuous response digital interface device.
Creator: Robinson, Charles Rufus., Florida State University
Abstract/Description: One hundred twenty undergraduate nonmusicians, undergraduate musicians, and music educators evaluated audiotaped choral performances using both prescribed categories (written responses on adjudication form) and a free operant (continuous operant response using computer-interfaced device) conditions of evaluation. Orders of evaluation condition and performance stimuli were presented in a counterbalanced design with each subject as his own control. Analyses examined differences among (a)...
Show moreOne hundred twenty undergraduate nonmusicians, undergraduate musicians, and music educators evaluated audiotaped choral performances using both prescribed categories (written responses on adjudication form) and a free operant (continuous operant response using computer-interfaced device) conditions of evaluation. Orders of evaluation condition and performance stimuli were presented in a counterbalanced design with each subject as his own control. Analyses examined differences among (a) assigned performance ratings, (b) operant performance ratings, (c) categorical choices of "best" and "worst" performance aspects, and (d) use of music versus nonmusic vocabulary., Results indicated significant differences in assigned ratings of nonmusicians as compared with other groups, though all group means fell within one evaluative interval., Operant performance ratings were influenced by group membership, individual music selections, and order of evaluation condition. Nonmusicians' evaluations were generally more positive when compared with undergraduate musicians and music educators who exhibited near agreement across performances. Operant ratings of second pieces were more positive than those of first and third pieces of each three-piece program. Subjects using the free operant evaluation prior to using the prescribed evaluation generated slightly more positive operant ratings. Graphs pairing operant responses with musical events in time were used for descriptive discussion., Criteria selected as "best" and "worst" aspects of performances were not found to be significantly different between evaluation conditions, or between different performance stimuli (choir I/II). A significant difference among groups was noted with nonmusician responses clustered around "tone" as best aspect and "diction" as worst. Undergraduate musicians' and music educators' choices as best aspects showed a near even distribution between "tone" and "interpretation." Worst aspect choices were more disparate with undergraduate musicians most frequently choosing "intonation" and music educators evenly divided among the "tone," "balance," and "intonation" criteria., Nonmusicians were found to use significantly greater number of total words and a lower proportion of music terms in free operant written responses. No significant differences were found in written responses generated in the prescribed evaluation condition.
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Date Issued: 1988, 1988
Identifier: AAI8822469, 3161648, FSDT3161648, fsu:77848
Format: Document (PDF)

Title: The effect of a selected use of music instruction on the self-concept and academic achievement of elementary public school students.
Creator: Legette, Roy Mack., Florida State University
Abstract/Description: This investigation was comprised of two related studies designed to examine the effect of selected music instruction on (1) self-concept and (2) academic achievement of elementary public school students. In the first study, a pretest-posttest design consisting of intact experimental and control groups participating in school music activities over an eight month period was used. Students in the experimental group were provided music instruction using the Yamaha Music In Education (MIE) program...
Show moreThis investigation was comprised of two related studies designed to examine the effect of selected music instruction on (1) self-concept and (2) academic achievement of elementary public school students. In the first study, a pretest-posttest design consisting of intact experimental and control groups participating in school music activities over an eight month period was used. Students in the experimental group were provided music instruction using the Yamaha Music In Education (MIE) program. As a pretest-posttest measure of self-concept, all fourth grade students (N = 119) were asked to complete a modified version of the Piers-Harris Children's Self-Concept Scale, and to write paragraphs pertaining to how they felt about themselves. Report card data, district skills proficiency assessments and standardized test scores were used as measures of academic achievement. The effect of cross-age tutoring on self-concept and academic achievement was also examined using 20 fourth grade students working with 20 first grade students. Results indicated no significant difference between groups for cross-age tutors on any of the self-concept measures., With respect to academic achievement, mean gain score comparisons revealed a significant difference between groups in student tardies, with fewer tardies shown for the experimental group. Cross-age tutoring was not shown to have an effect on academic achievement., A partial replication of the first study was conducted across a fifteen week period with 154 third grade students. No significant difference between groups was found for any of the self-concept measures. Report card data were also compared to determine any significant difference in tardies, absences or academic achievement. Findings revealed a significant difference in attendance with a lower rate of absenteeism shown for the experimental group. No other significant differences were found. Future research was recommended.
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Date Issued: 1993, 1993
Identifier: AAI9332307, 3088118, FSDT3088118, fsu:76925
Format: Document (PDF)

Title: THE EFFECT OF AUTOMATED INTERRUPTED MUSIC ON HEAD POSTURING OF CEREBRAL PALSIED INDIVIDUALS.
Creator: WOLFE, DAVID EUGENE., The Florida State University
Date Issued: 1979, 1979
Identifier: AAI8007528, 2989404, FSDT2989404, fsu:73911
Format: Document (PDF)

Title: The effect of categorization on preference for popular music styles.
Creator: Brittin, Ruth V., Florida State University
Abstract/Description: This investigation was designed to examine the effect of stylistic categorization on preference for popular music styles. In the first study, non-musicians listened to musical excerpts purposely selected from "crossovers", i.e., selections from artists nominated for Grammy awards in more than one style per year. Subjects (N = 534) were assigned to three treatment groups and asked to rate preferences according to (a) a prescribed classification system limiting selection to jazz, pop, or rock, ...
Show moreThis investigation was designed to examine the effect of stylistic categorization on preference for popular music styles. In the first study, non-musicians listened to musical excerpts purposely selected from "crossovers", i.e., selections from artists nominated for Grammy awards in more than one style per year. Subjects (N = 534) were assigned to three treatment groups and asked to rate preferences according to (a) a prescribed classification system limiting selection to jazz, pop, or rock, (b) a free operant response where subjects decided their own classifications, or (c) a control condition where subjects were not required to overtly categorize selections. Preference ratings were performed via Likert-type scales., Results indicated no significant difference among groups. Musically experienced subjects responded significantly more positively than did those without formal musical instruction. Females' ratings were significantly more positive compared to males'., A subsequent study was undertaken investigating the prescribed classification system of pop, rock, and jazz in condition (a) above. This study used two Continuous Response Digital Interface (CRDI) devices. Each subject used these devices simultaneously, temporally quantifying categories with one hand and registering preferential responses with the other. Implementation of realtime evaluations allowed second by second analyses of listener answering patterns in relationship to both classification and preference., Results indicated non-music majors (N = 100) waited an average of 8.5 seconds before responding. Analyses indicated that preference for "jazz" was significantly, positively affected by musical experience, while "pop" was affected by gender, with females rating the pop classification higher. Rock, as labeled by subjects, did not appear to be influenced by either musical experience or gender., In comparing results of the combined studies, 68 pairs were constructed from the two studies, matched on the bases of musical experience, gender, and overall liking for selected styles. A significant difference was found between listener responses collected with the CRDI compared to the conventional "paper and pencil" test, with subjects using the CRDI rating selections significantly higher in preference. It was assumed this difference was due to the CRDI's realtime temporal assessment, suggesting the use of additional realtime measurement in music preference research.
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Date Issued: 1989, 1989
Identifier: AAI9002909, 3161836, FSDT3161836, fsu:78035
Format: Document (PDF)

Title: THE EFFECT OF DIFFERENTIAL FEEDBACK ON BEGINNING GUITAR STUDENTS' INTONATIONAL PERFORMANCE IN TUNING STRINGS (COMPUTER-ASSISTED INSTRUCTION (CAI)).
Creator: CODDING, PEGGY ANN., Florida State University
Abstract/Description: This study examined the effect of differential feedback on intonational accuracy. Additionally, the study sought to identify patterns in direction of subject deviation from normative pitch, and to determine the effects on intonation of tuning strings from above or below the established standard., Sixty-six college non-music majors enrolled in multiple sections of a beginning guitar course served as subjects. Class sections were paired at the beginning of the course on the basis of enrollment...
Show moreThis study examined the effect of differential feedback on intonational accuracy. Additionally, the study sought to identify patterns in direction of subject deviation from normative pitch, and to determine the effects on intonation of tuning strings from above or below the established standard., Sixty-six college non-music majors enrolled in multiple sections of a beginning guitar course served as subjects. Class sections were paired at the beginning of the course on the basis of enrollment and student performance on a pretest measure which involved individually tuning a guitar. Intact classes were then randomly assigned, to either a "training" or "no training" condition. Subjects in both groups participated in group lessons throughout the semester. Students in the experimental group, however, were given two individual training sessions designed to teach guitar tuning skills through a combination of computer-assisted instruction and teacher based methods. Subjects within the experimental group completed two sets of tuning trials first with visual-aural feedback, and then with verbal-aural feedback in an attempt to improve tuning skills. Cent deviation data were taken for all of the 11 trials allowing for direct comparisons concerning implementation of treatment. All subjects were then individually posttested near the completion of the course., Study results revealed no significant differences from pre to posttest in overall intonation accuracy between the two groups as a result of training; however, comparison of tuning accuracy for only the treatment trials indicated substantial feedback effects during treatment. Specifically, members of the experimental group tuned with far greater pitch acuity when provided with computer-assisted visual-aural feedback yet were not able to transfer this tuning skill to the posttest. Additionally, students demonstrated a tendency to tune in a flat direction and displayed significantly better intonation when tuning a string from above, as opposed to below, a standard pitch.
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Date Issued: 1985, 1985
Identifier: AAI8524601, 3086153, FSDT3086153, fsu:75636
Format: Document (PDF)

Title: THE EFFECT OF DIFFERENTIAL TEACHING TECHNIQUES ON ACHIEVEMENT, ATTITUDES,AND TEACHING SKILLS IN ELEMENTARY MUSIC EDUCATION.
Creator: MOORE, RANDALL SPENCER., The Florida State University
Date Issued: 1974, 1974
Identifier: AAI7507291, 2987791, FSDT2987791, fsu:72298
Format: Document (PDF)

Title: THE EFFECT OF GUIDED PRACTICE MATERIALS USED WITH THE VIDEOTAPE RECORDER IN DEVELOPING CHORAL CONDUCTING SKILL.
Creator: FLEMING, RHONDA JEANNE., The Florida State University
Date Issued: 1977, 1977
Identifier: AAI7724759, 2988610, FSDT2988610, fsu:73117
Format: Document (PDF)

Title: THE EFFECT OF HIGH VERSUS LOW TEACHER AFFECT AND PASSIVE VERSUS ACTIVE STUDENT ACTIVITY DURING MUSIC LISTENING ON PRESCHOOL CHILDREN'S ATTENTION, PIECE PREFERENCE, TIME SPENT LISTENING AND PIECE RECOGNITION.
Creator: SIMS, WENDY L., Florida State University
Abstract/Description: This study was designed to examine the effects of high versus low non-verbal teacher affect and active versus passive student activities during music listening on preschool children's attention, paired-comparison piece preference, time spent listening, and piece recognition. Three- through five-year-old subjects (N = 94) participated in four small-group listening lessons and subsequent individual posttests. Through the use of a modified multiple baseline design, each of four treatment...
Show moreThis study was designed to examine the effects of high versus low non-verbal teacher affect and active versus passive student activities during music listening on preschool children's attention, paired-comparison piece preference, time spent listening, and piece recognition. Three- through five-year-old subjects (N = 94) participated in four small-group listening lessons and subsequent individual posttests. Through the use of a modified multiple baseline design, each of four treatment conditions, representing different sequences of instructional events, was replicated three times. All lessons were videotaped on a split screen showing both teacher and students. Data obtained through observation of the videotaped lessons indicated that high teacher affect was associated with higher levels of group attending behavior than was low affect, and active listening activities elicited higher on-task behavior than passive activities. No significant effects concerning teacher affect during listening or piece familiarity were found in analyses of posttest piece preferences, time spent listening, or piece recognition, although some differences between older and younger children were evident. Implications for teachers were discussed and suggestions for further research provided.
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Date Issued: 1985, 1985
Identifier: AAI8524625, 3086173, FSDT3086173, fsu:75656
Format: Document (PDF)

Title: THE EFFECT OF INSTRUCTION IN VOCABULARY AND LISTENING ON NONMUSICIANS' DESCRIPTIONS OF CHANGES IN MUSIC.
Creator: FLOWERS, PATRICIA J., Florida State University
Abstract/Description: One hundred twenty-four undergraduate nonmusicians were randomly assigned to four instructional conditions: vocabulary-only, listening-only, vocabulary-plus-listening, and contact control. Following four weeks of differential instruction, pre-posttest differences were compared on (1) number of changes counted in a short music excerpt, (2) number of verbal descriptions, and (3) use of correct, incorrect and total music vocabulary., Results indicated no significant differences among groups on...
Show moreOne hundred twenty-four undergraduate nonmusicians were randomly assigned to four instructional conditions: vocabulary-only, listening-only, vocabulary-plus-listening, and contact control. Following four weeks of differential instruction, pre-posttest differences were compared on (1) number of changes counted in a short music excerpt, (2) number of verbal descriptions, and (3) use of correct, incorrect and total music vocabulary., Results indicated no significant differences among groups on pre-posttest difference scores for number of changes. All groups counted fewer changes on the posttest; however, only listening-only and vocabulary-plus-listening groups showed a significant decrease between pre- and posttest on number of changes., Group comparisons on number of verbal descriptions indicated that the vocabulary-plus-listening group gained significantly more than vocabulary-only and contact control, but was not significantly different from listening-only. Both listening-only and vocabulary-plus-listening groups increased in number of verbal descriptions between pre- and posttest; however, this gain was significant only for the vocabulary-plus-listening group. Vocabulary-only and contact control groups decreased in number of verbal descriptions, and this decrease was significant for contact control., Analyses of total music vocabulary revealed that vocabulary-plus-listening subjects gained significantly more than any other group between pre- and posttest; this group also evidenced a significantly greater gain than other groups on correct and incorrect use of vocabulary. It was further found that the gain in total vocabulary was significant for both vocabulary-only and vocabulary-plus-listening groups, and that use of correct vocabulary increased significantly for vocabulary-only, listening-only, and vocabulary-plus-listening groups. Vocabulary-plus-listening was the only group which also increased significantly in the incorrect use of vocabulary. Of additional note was that all groups used significantly more correct than incorrect music terms on both pretest and posttest. Further, vocabulary-plus-listening subjects were able to correctly implement 82% of their assigned vocabulary in written descriptions of music excerpts during instructional treatment.
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Date Issued: 1981, 1981
Identifier: AAI8125768, 3084969, FSDT3084969, fsu:74467
Format: Document (PDF)

Title: The effect of intensity and age on the perception of accent in isochronous sequences of a snare drum timbre.
Creator: Walls, Kimberly Kyle Curley., Florida State University
Abstract/Description: Musical expression is largely dependent upon accentuation, yet there have been few attempts to study the perception of dynamic accent in music or to relate the results of psychoacoustical research in intensity to realistic musical situations. The purpose of the experiment was to estimate the relationships among (a) the intensity increment in dB(A) required to meet an 80% correct criterion in the perception of one accented tone embedded within a seven-tone isochronous series of identical 87 dB...
Show moreMusical expression is largely dependent upon accentuation, yet there have been few attempts to study the perception of dynamic accent in music or to relate the results of psychoacoustical research in intensity to realistic musical situations. The purpose of the experiment was to estimate the relationships among (a) the intensity increment in dB(A) required to meet an 80% correct criterion in the perception of one accented tone embedded within a seven-tone isochronous series of identical 87 dB(A) snare drum timbre stimuli of 333 ms onsets (accent level, or AL), (b) the different limen (DL) for intensity increase to meet a 75% correct criterion in a 2AFC task for pairs for the stimuli, and (c) the age of the subjects, all of whom have normal audiograms., The 51 subjects (N = 51) were female nonmusicians ranging in age from 9 to 33 years (M = 17.98, SD = 5.21). The response tasks involved saying whether the second tone of each pair was louder or softer and circling the accented note in notated quarter notes. The stimuli production, the headphone calibration process, and their rationales were detailed. The global regression model was significant (F(2, 48) = 5.505, p =.007, $R\sp2$ =.187), and the relationship between AL and DL was not significant (F(1, 48) = 5.505, p =.197, $R\sp2$ change =.029), the relationship between AL and age was significant (F(1, 48) = 5.732, p =.021, $R\sp2$ change =.098) at an alpha level of.05 and power calculated at.66 for a medium ES., It was concluded that accented sounds are easier to perceive in tone pairs than they are in a musical setting and that subject maturation improves performance of intensity judgement tasks. Suggestions for further research include shortening the length of the experimental session for younger subjects and increasing the number of intensity increments as well as using smaller increments to accommodate individual differences in perception.
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Date Issued: 1992, 1992
Identifier: AAI9222432, 3087807, FSDT3087807, fsu:76617
Format: Document (PDF)

Title: THE EFFECT OF MUSICAL AND NON-MUSICAL MEDIA ON WORD-READING.
Creator: WOODERSON, DAWN CLAUDIA., The Florida State University
Date Issued: 1977, 1977
Identifier: AAI7801525, 2988773, FSDT2988773, fsu:73280
Format: Document (PDF)

Title: THE EFFECT OF PERFORMANCE SUCCESS ON THE MUSICAL ACHIEVEMENT OF HIGH SCHOOL BAND STUDENTS IN FOUR FLORIDA COUNTIES (TESTING).
Creator: WEST, JOHN THOMAS., Florida State University
Abstract/Description: The purpose of this study was to determine if performance success had an effect on the individual musical achievement of high school band students in a selected area of central Florida. The Long-Hoffer Musicianship Test was used to measure musical achievement and the scores from this instrument constituted the dependent variable. Only twelfth grade students were used as subjects in an attempt to control the factors of age and experience., Performance success was divided into two categories: ...
Show moreThe purpose of this study was to determine if performance success had an effect on the individual musical achievement of high school band students in a selected area of central Florida. The Long-Hoffer Musicianship Test was used to measure musical achievement and the scores from this instrument constituted the dependent variable. Only twelfth grade students were used as subjects in an attempt to control the factors of age and experience., Performance success was divided into two categories: (1) band success and (2) solo/ensemble participation and success. The levels of both of these factors were divided by ratings given at festival performances sponsored by the Florida Bandmasters Association. Band success was divided into five different levels and solo/ensemble success was divided into three different levels., A total of 284 band students from 20 high schools were used as subjects. Each student took the Musicianship Test and supplied the background information necessary for the analysis., Two null hypotheses were tested using a two-factor ANOVA design. These null hypotheses were: (1) There are no significant differences in the music achievement test scores among different levels of success in solo/ensemble festivals. (2) There are no significant differences in the music achievement test scores among students in bands which achieve different levels of success in terms of performance ratings., The analysis revealed that both of the factors were significant at the .05 level thus both null hypotheses were rejected. Subsequent Scheffe tests found three significant subgroups within the category of band success but no significant subgroups within solo/ensemble participation and success., A further testing using the (eta)('2) method revealed that the proportion of variance attributable to the factor of band success was .036. The corresponding proportion for solo/ensemble success was a more substantial .145.
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Date Issued: 1985, 1985
Identifier: AAI8513401, 3086077, FSDT3086077, fsu:75563
Format: Document (PDF)

Title: THE EFFECT OF PROGRAMMED MATERIALS ON THE VOCAL DEVELOPMENT OF SELECTED CHILDREN'S CHORUSES (VOICE, CHORISTER).
Creator: TEN EYCK, STEPHEN GARY., Florida State University
Abstract/Description: The purpose of the study was to investigate the effect of programmed materials with adjunct listening examples on the vocal development of children's choruses. A programmed text was designed, tested, and revised in several pilot studies. The text, developed by means of the systems approach model was effective as measured by pretest to posttest gains by all subjects in summative and formative pilot testings., Phase two of the study represented a field extention concerning the amount of methods...
Show moreThe purpose of the study was to investigate the effect of programmed materials with adjunct listening examples on the vocal development of children's choruses. A programmed text was designed, tested, and revised in several pilot studies. The text, developed by means of the systems approach model was effective as measured by pretest to posttest gains by all subjects in summative and formative pilot testings., Phase two of the study represented a field extention concerning the amount of methods and material presented in the text which could be implemented under experimental conditions., Forty music teachers and their respective choruses served as subjects. All choruses were tape recorded singing the National Anthem as a pretest. Judges ratings of the performances were used as the main variable to match groups; other variables included length of rehearsal, grade levels included, and size of the chorus., Two matched groups were created; a no-contact control and an experimental group. Teachers in the experimental group were given copies of the programmed materials and alloted a ten week interval to implement materials of their choice during rehearsals. The posttest taping utilized the same song and another of the teacher's choice., Results of data analysis indicated that there was no significant difference in the overall choral sound between groups. Written posttests did indicate a significant gain by teachers in the experimental group of knowledge contained in the text. It was concluded that the lack of significance was attributed to an inability to transfer concepts from the text to the rehearsal setting.
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Date Issued: 1984, 1984
Identifier: AAI8427297, 3085890, FSDT3085890, fsu:75377
Format: Document (PDF)

Title: THE EFFECT OF SELF-MONITORING ON POSITIVE COMMENTS GIVEN BY MUSIC THERAPY STUDENTS' COACHING PEERS.
Creator: PRICKETT, CAROL A., Florida State University
Abstract/Description: This study examined the effect of self-monitoring and its associated reactivity on the number and ratio of positive comments given by a music therapy student to a peer, when serving as a coach for the development of clinical skills in a clinical simulation laboratory. Twenty-eight students in the final course prior to internship served as subjects. Each subject coached a classmate, using contracts and reviews of video tapes; coaching sessions were audio taped. Following a multiple baseline...
Show moreThis study examined the effect of self-monitoring and its associated reactivity on the number and ratio of positive comments given by a music therapy student to a peer, when serving as a coach for the development of clinical skills in a clinical simulation laboratory. Twenty-eight students in the final course prior to internship served as subjects. Each subject coached a classmate, using contracts and reviews of video tapes; coaching sessions were audio taped. Following a multiple baseline design across persons, students individually listened to the audio tape of each week's coaching session and counted the positive, negative, and neutral comments., Results of the study indicated that the proportion of positive to negative comments began and continued at a high rate, primarily because few negative comments were given. For 54% of the class, whose initial number of positive comments was five or fewer, the increase in the number of positive comments appeared marked. However, for students whose initial number of positive comments were 6 or more, the results of treatment were mixed. Statistical analysis yielded a difference between the average numbers of approvals given during baseline and the average number given during self-monitoring. Furthermore, a "reactive surge," i.e., an increase in the number of approvals immediately following the institution of treatment, was noted for many subjects., Accuracy of self-monitoring was poor and unrelated to the reactive effect. Final ratings on a five point scale of coaches' styles by their partners were consistently high. However, correlations of opinion ratings on the development of clinical skills, made by the coach and by the person coached, were weak, ranging from r = -.445 to r = .515., It was concluded that self-monitoring may be an efficient method for increasing a deficient behavior and that peer coaching appears to be useful in teaching therapists to work with colleagues.
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Date Issued: 1983, 1983
Identifier: AAI8325683, 3085655, FSDT3085655, fsu:75147
Format: Document (PDF)

Title: THE EFFECT OF TIMEOUT FROM PERFORMANCE ON ATTENTIVENESS AND ATTITUDE OF UNIVERSITY BAND STUDENTS.
Creator: SPRADLING, ROBERT LEDFORD., Florida State University
Abstract/Description: The purpose of this study was to determine the effect of duration and frequency of timeout (with instruction) from reinforcement (performance) on attentiveness and attitude of students in a university band. Sixteen music selections were presented during eight rehearsals across seven twelve-minute experimental conditions., Timeout periods were of fifteen, thirty or forty-five seconds duration and varied in frequency from three to eighteen randomly ordered stops during each of the six...
Show moreThe purpose of this study was to determine the effect of duration and frequency of timeout (with instruction) from reinforcement (performance) on attentiveness and attitude of students in a university band. Sixteen music selections were presented during eight rehearsals across seven twelve-minute experimental conditions., Timeout periods were of fifteen, thirty or forty-five seconds duration and varied in frequency from three to eighteen randomly ordered stops during each of the six experimental ratios under investigation. Experimental temporal ratios ranged from thirteen to seventy-five percent in the timeout conditions., Student attentiveness was defined as the percentage of students overtly on task. Data were collected across fifteen second intervals by two independent observers trained in behavioral techniques (average reliability .96) and tabulated on a form designed specifically for this study., Attitude was assessed on preference forms whereby students rank ordered selections performed., Results indicated a significantly higher offtask rate during timeout periods than during performance periods. Additionally, significant differences were found in off-task rates between the 0% and 13% timeout conditions and between the 25% and 38% conditions., No significant differences in student offtask rates were found among isolated fifteen, thirty or forty-five second instructional periods nor did offtask rates vary significantly across continuous temporal intervals., Graphic analysis indicated student offtask rates increased slightly as timeout frequency increased. In addition, elapsed performance time following conductors' cut-offs likewise increased with timeout frequency., Results of attitudinal measures indicated that students discriminated between selections prepared for performance and those perceived as sightreading., Students also expressed a preference for the experimental selections which required the fewest timeout periods.
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Date Issued: 1980, 1980
Identifier: AAI8100653, 3084714, FSDT3084714, fsu:74215
Format: Document (PDF)

Title: The effect of training in intensity on accuracy of instruction and effectiveness of delivery among preservice elementary education majors in a music setting.
Creator: Cassidy, Jane Weeks., Florida State University
Abstract/Description: R 65,T 5The purpose of this study was to examine the effects of intensity training on the ability of preservice elementary education majors to teach music with accurate, efficient presentation of subject matter and with an effective delivery style. Of additional interest were the impact of poor singing on high intensity teaching and the amount of lesson time devoted to active music-making., Preservice elementary education majors enrolled in a music methods course for nonmajors served as...
Show moreR 65,T 5The purpose of this study was to examine the effects of intensity training on the ability of preservice elementary education majors to teach music with accurate, efficient presentation of subject matter and with an effective delivery style. Of additional interest were the impact of poor singing on high intensity teaching and the amount of lesson time devoted to active music-making., Preservice elementary education majors enrolled in a music methods course for nonmajors served as subjects. All subjects completed five teaching presentations which were videotaped for subsequent analysis. During the first three presentations, subjects taught children's songs by rote to peers. The fourth and fifth presentations served as transfer tasks; including, respectively, a music concept lesson taught to peers and a preschool field teaching lesson. Experimental subjects (n = 26) received four training sessions in teacher intensity which alternated with the five presentations. Control subjects (n = 26) engaged in similar activities on treatment days but received no instruction in intensity., All videotaped sessions were observed and teacher behavior was recorded as high intensity or low intensity. Low intensity was further separated into poor information and/or ineffective delivery., Analysis of the three rote songs indicated that treatment had no effect on increasing high intensity teaching or on improving delivery. There was, however, a significant interaction between teaching task and treatment on accuracy and efficiency of instruction. During the music concept lesson the experimental group increased the instances of low intensity/instruction. During preschool field teaching, both groups significantly improved in the delivery aspect of teaching, and control subjects significantly increased the percentage of intervals of high intensity teaching., Since subjects were nonmusic majors it was theorized that poor singing ability might interfere with teaching effectiveness. Analysis of the impact of poor singing on high intensity revealed that poor singing by itself contributed relatively little to instructional problems. Further analyses indicated that experimental subjects learned to incorporate more interactive music activities into teaching presentations than control subjects.
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Date Issued: 1988, 1988
Identifier: AAI8822442, 3161619, FSDT3161619, fsu:77819
Format: Document (PDF)

Title: The effect of visual/aural conditions on the emotional response to music.
Creator: Adams, Bobby L., Florida State University
Abstract/Description: The purpose of this study was to examine the effect of visual/aural conditions on the emotional response to music of musicians and nonmusicians. Subjects, musicians (n = 90) and nonmusicians (n = 90), were randomly assigned to three experimental groups: visual only, aural only, and visual/aural. The stimulus used for the experimental conditions was a taped excerpt (the final 8 minutes, 22 seconds) of a commercially recorded "live" concert of Gustav Mahler's Symphony No. 2, "The Resurrection."...
Show moreThe purpose of this study was to examine the effect of visual/aural conditions on the emotional response to music of musicians and nonmusicians. Subjects, musicians (n = 90) and nonmusicians (n = 90), were randomly assigned to three experimental groups: visual only, aural only, and visual/aural. The stimulus used for the experimental conditions was a taped excerpt (the final 8 minutes, 22 seconds) of a commercially recorded "live" concert of Gustav Mahler's Symphony No. 2, "The Resurrection." Subjects were asked to indicate degrees of their felt emotional response by manipulating a Continuous Response Digital Interface (CRDI) dial during experimental conditions. Subject demographic data were collected by means of an exit questionnaire., Results indicated no significant difference between musicians and nonmusicians for the aural only and visual/aural conditions. A significant difference was found among musicians and nonmusicians for the visual only condition., A qualitative analysis of individual and collective response graphs revealed that all subjects differentiated across the music stimulus excerpt. Additionally, there were subtle differences among musicians and nonmusicians in response to listening to music and to listening/watching the video recording.
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Date Issued: 1994, 1994
Identifier: AAI9434127, 3088411, FSDT3088411, fsu:77216
Format: Document (PDF)

Theses and Dissertations (112)	+ -
Digitized Theses and Dissertations 1952-2002 (112)	+ -

Music (43)	+ -
Biography (4)	+ -
Education, Educational Psychology (3)	+ -
Education, Teacher Training (3)	+ -
Education, Elementary (2)	+ -

Education, Secondary (2)	+ -
Education, Tests and Measurements (2)	+ -
Physics, Acoustics (2)	+ -
Psychology, Experimental (2)	+ -
Education, Administration (1)	+ -
Education, Adult and Continuing (1)	+ -
Education, Curriculum and Instruction (1)	+ -
Education, Higher (1)	+ -
Education, History of (1)	+ -
Education, Religious (1)	+ -
Education, Technology (1)	+ -
Health Sciences, Audiology (1)	+ -
Health Sciences, Speech Pathology (1)	+ -
History, Black (1)	+ -
History, European (1)	+ -
Psychology, Developmental (1)	+ -
Sociology, Theory and Methods (1)	+ -
Women's Studies (1)	+ -

Florida State University (88)	+ -
The Florida State University (22)	+ -
Adams, Bobby L. (1)	+ -
Ainsworth, Steven Hanna. (1)	+ -
Ashmore, Catherine Leigh. (1)	+ -

BRINSON, BARBARA A. (1)	+ -
BRYSON, ELYNOR FRANCES. (1)	+ -
BURNS, MARY MARGUERITE TEACHEY. (1)	+ -
Baird, Sara Lynn. (1)	+ -
Barry, Nancy H. (1)	+ -
Bell, Michael Stephen. (1)	+ -
Bowen, Charles Kevin. (1)	+ -
Brendell, Janna Kay. (1)	+ -
Brittin, Ruth V. (1)	+ -
Bullock, Valerie Kadow. (1)	+ -
Byo, James Lawrence. (1)	+ -
Byrnes, Suzanne Rita. (1)	+ -
CALDWELL, WILLIAM MCCORD, JR. (1)	+ -
CODDING, PEGGY ANN. (1)	+ -
COFFMAN, WESLEY SURBER. (1)	+ -
CRABB, RICHARD PAUL. (1)	+ -
Carmichael, John Charles. (1)	+ -
Cassidy, Jane Weeks. (1)	+ -
Chestnutt, Rod Martin. (1)	+ -
Cholka, Lynn Ann. (1)	+ -
Cook-Koenig, Carol Ann. (1)	+ -
Covington, David Lee. (1)	+ -
DARROW, ALICE-ANN. (1)	+ -
DENICOLA, DIANE NOEL. (1)	+ -
DUKE, ROBERT ALAN. (1)	+ -

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