Effects of Tonic Drone Accompaniments on the Intonation of Collegiate Wind Instrumentalists

2020 ◽  
pp. 002242942097438
Author(s):  
D. Gregory Springer ◽  
Brian A. Silvey ◽  
Jessica Nápoles ◽  
Victoria Warnet
Keyword(s):  
Music Educators ◽  
Just Intonation ◽  
Instructional Tools ◽  
Wind Instrumentalists ◽  
Performance Differences ◽  
Equal Temperament ◽  
Intonation Accuracy ◽  
Multiple Reference

The purpose of this study was to examine the effects of tonic drone accompaniments on the intonation of collegiate wind instrumentalists. Participants ( N = 68) played an excerpt of the melody “Long, Long Ago” in three conditions: a mono drone (tonic note only), dyad drone (tonic plus fifth), and a control condition (no drone). Results indicated no significant effects on intonation performance due to drone condition. However, participants’ ratings of their own intonation accuracy differed significantly based on drone condition. The majority of the performances of the melody aligned more closely with equal temperament ( n = 159), and fewer aligned more closely with just intonation ( n = 45). Most participants believed the dyad drone (59.74%) resulted in their best intonation accuracy, followed by the mono drone (28.57%) and the control condition (11.68%). In response to open-ended questions, participants cited reasons why they preferred particular drone conditions, with the most common themes being “easier to hear and match,” “multiple reference pitches,” and “focused/directed listening.” Given that participants expressed preferences regarding drone use in the absence of performance differences, music educators may consider the role of comfort and familiarity with these instructional tools.

A Computer-Based Training Program for Developing Harmonic Intonation Discrimination Skill

1992 ◽  
Vol 40 (2) ◽  
pp. 139-152 ◽  
Author(s):  
Bruce F. Dalby
Keyword(s):  
Training Program ◽  
Matched Control ◽  
Control Group ◽  
Music Majors ◽  
Just Intonation ◽  
Computer Based Training ◽  
Equal Temperament ◽  
Computer Based ◽  
Experimental Subjects ◽  
Experimental Group

The purpose of this study was to determine the effectiveness of a computer-based training program for improving students' ability to make judgments of harmonic intonation. Twenty members of two undergraduate conducting classes participated in the Harmonic Intonation Training Program (HITP). An equivalent matched control group was selected from 156 other undergraduate music majors who had also taken the investigator-developed Harmonic Intonation Discrimination Test (HIDT). The HITP consisted of a body of drill-and-prac-tice exercises using intervals, triads, and brief three- and four-part musical passages. The exercises were played in both equal temperament and just intonation by a 16-voice digital synthesizer. After a 9-week treatment period, a two-way ANOVA on posttest HIDT scores revealed a difference (p= .005) in favor of the experimental group. Results of a questionnaire administered after the training to the experimental subjects indicated that attitudes toward the training program were mostly positive.

scholarly journals The theory of the division of the octave, and the practic treatment of the musical systems thus obtained. Revise version of a paper entitled 'on just intonation in music with a description of a new instrument for the easy control systems of tuning other than the equal temperament of 1 divisions in the octave

1875 ◽  
Vol 23 (156-163) ◽  
pp. 390-408
Keyword(s):  
Control Systems ◽  
Royal Society ◽  
Just Intonation ◽  
New Instrument ◽  
Equal Temperament ◽  
Musical Systems ◽  
Revise Version

The mode of expressing Intervals . In the original paper presented by the writer to the Royal Society logarithms were employed as the measure of intervals, as they have been commonly employed by others. Great advantages have been found, however, to result from the adoption of the equal temperament (E. T.) mitone, which is 1/12 of an octave, as the unit of interval. It is the unit most familiar to musicians, and has been found to admit of the expression of the theory of cyclical systems by means of formulæ of the simplest character. The writer therefore devised the following rules for the transformation of ratios into E. T. semitones and vice versâ , and subsequently found that De Morgan had given rules for the same purpose which are substantially the same (Camb. Phil. Trans, vol. x. p. 129). The rules obviously depend on the form of log 2. The form of the first e affords a little more accuracy than De Morgan’s.

Comma 32 805/32 768

1998 ◽  
Vol 06 (03) ◽  
pp. 295-305 ◽  
Author(s):  
Ján Haluška
Keyword(s):  
Just Intonation ◽  
Equal Temperament ◽  
The One

We find a fifth approximation of the Just Intonation which generalizes Equal Temperament. The intervals causing a dilemma are the second and the minor seventh and the tritone because they are unambiguous in Just Intonation (the relative frequencies 10/9, 9/8, 8/7 and 7/4, 16/9, 18/10 and 45/32, 64/45, respectively). If we do not consider the second and seventh with the relative frequencies 8/7 and 7/4, respectively, all the music intervals in this approximation either coincide with he Just Intonation interval values (the octave, fifth, fourth, second (9/8) and the minor seventh (16/9)) or are exactly the one comma distant from the corresponding Just Intonation intervals. This comma is 32 805/32 768 ≈ 1.00112915, which is less than the ratio of frequencies of the perfect and the equal tempered fifths (≈ 1.00112989).

The Role of the In-and-About Music Educators Clubs

1958 ◽  
Vol 44 (3) ◽  
pp. 70
Author(s):  
E. Arthur Hill
Keyword(s):  
Music Educators

Commentary: Music Learning and Teaching During Adolescence: Ages 12–18

2012 ◽  
pp. 435-440
Author(s):  
Gary Spruce ◽  
Oscar Odena
Keyword(s):  
Young People ◽  
Teaching And Learning ◽  
Music Educators ◽  
Music Teaching ◽  
Music Learning ◽  
Learning And Teaching ◽  
Key Issues ◽  
The Way

This article focuses on music teaching and learning during the adolescent years by identifying and exploring key issues, concepts, and debates that particularly impact on, or are significant for, the musical experiences and development of young people during this period of their lives. A number of key themes emerge from the discussions that cause us to question assumptions about the role of music in the lives of adolescents, including how young people use and relate to music, and the way music educators can best meet the challenges of addressing young people's musical and wider needs in the range of contexts in which their musical learning and experiences take place.

Jazz Drums

2019 ◽  
pp. 219-230
Author(s):  
Gregory Evans
Keyword(s):  
Music Educators ◽  
Drum Set ◽  
Sound Sources

It is no secret that music educators are faced with unique challenges when engaging young musicians who play drum sets. Many educators aren’t drummers themselves, which can create fear and uncertainty and ultimately lead them to avoid, rather than embrace, the wonderful and exciting world of jazz percussion. This chapter provides conceptual and technical approaches to understanding the role each component of the drum set contributes to the ensemble, as well as the role of the drum set in its entirety. It also touches on how dynamics can change the function and style of a groove as well as creative ways to encourage students to move beyond pattern playing. In particular, discussion and examples are provided regarding setup, sound sources, keeping time, functioning within the rhythm section, transitioning from timekeeping to improvising, and various rhythms and grooves.

Eurhythmics, Sufficient Space, and the Role of Environment in the Child’s Development

2019 ◽  
Vol 105 (4) ◽  
pp. 37-44
Author(s):  
Bonnie Schaffhauser Jacobi
Keyword(s):  
Classroom Environment ◽  
Educational Philosophy ◽  
Music Educators ◽  
Theoretical Background ◽  
Reggio Emilia ◽  
Music Instruction ◽  
Music Learning ◽  
Learning Space ◽  
Sufficient Space

Sufficient space is integral to high-quality music instruction, but what makes our space “sufficient”? This article provides historical and theoretical background about the role of space in learning and the use of movement as a tool for learning music. When their input is sought, children order space as a high priority within a school and frequently reference aesthetic aspects of the environment. The structure of the educational philosophy of Reggio Emilia (a municipality in northern Italy) is proposed as a model for ways that music educators can envision learning space. By elevating the classroom environment to the level of a “third educator” and inviting input from the child, we may be able to better address challenges of space and build music-learning environments that exceed “sufficiency.”

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