Listeners’ Perceptions of Choral Performances With Static and Expressive Movement

2021 ◽  
pp. 002242942098383
Author(s):  
Jessica Nápoles ◽  
John M. Geringer ◽  
Kari Adams ◽  
D. Gregory Springer
Keyword(s):  
Significant Interaction ◽  
The Other ◽  
Music Majors ◽  
Written Responses ◽  
Tone Quality ◽  
Expressive Movement ◽  
Main Effect ◽  
Nonmusic Majors

We examined how movement impacted listeners’ perceptions of choral performances. Participants ( N = 115; n = 60 nonmusic majors, n = 55 music majors) viewed excerpts of Moses Hogan’s “Didn’t My Lord Deliver Daniel” under four conditions: good tone/expressive movement (GT/EM), good tone/static movement (GT/SM), poor tone/expressive movement (PT/EM), and poor tone/static movement (PT/SM). They rated tone quality and overall expressivity for each excerpt. We found a significant multivariate main effect for the examples. For both tone quality and expressivity, participants rated the examples in the following order from highest to lowest: GT/EM, GT/SM, PT/SM, and PT/EM. There was a significant interaction between the examples and participants’ major. Music majors rated the GT/EM example higher than the nonmusic majors but rated the other three examples lower than the nonmajors. Expressive movement seemed to enhance ratings of expressivity when performed with good tone but detracted when the tone was poor. In written responses, majors distinguished between expressive movement and tone consistently, while nonmajors could not consistently separate what they were seeing from what they were hearing.

Locus of Control and Field Dependence as Factors in Students' Evaluations of Applied Music Instruction

1991 ◽  
Vol 73 (1) ◽  
pp. 131-136 ◽  
Author(s):  
Charles P. Schmidt ◽  
Robert Stephans
Keyword(s):  
Locus Of Control ◽  
Field Dependence ◽  
Significant Interaction ◽  
Rating Scale ◽  
Music Instruction ◽  
Music Majors ◽  
Music Teaching ◽  
Applied Music ◽  
Main Effect ◽  
Applied Music Instruction

This study examined students' evaluations of applied music teaching as a function of the students' attributes of locus of control and field dependence/independence. 70 undergraduate music majors listened to an audiotape of an applied piano lesson taught by one of two teachers, Subjects evaluated the teacher by means of (a) the Applied Teaching Rating Scale and (b) the Favorable and Unfavorable Scales of the Adjective Checklist. The former ratings and the ratio of favorable to unfavorable adjectives were examined by means of 3 × 3 factorial multivariate analysis of variance. A significant effect of locus of control was found for the adjective ratio, with externally oriented subjects rating teachers significantly less favorably than relatively internally oriented subjects. No significant main effect for field dependence was found. A significant interaction was noted for both the ratings and the adjective ratio, with 19% and 15% of the variance, respectively, explained.

Preferences for Single Tone Stimuli

1974 ◽  
Vol 22 (2) ◽  
pp. 136-142 ◽  
Author(s):  
Steven K. Hedden
Keyword(s):  
Analysis Of Variance ◽  
Factorial Analysis ◽  
Wave Form ◽  
Music Majors ◽  
Single Tone ◽  
Main Effect ◽  
Pure Tones ◽  
Nonmusic Majors ◽  
Tonal Stimuli ◽  
Frequency Intensity

This research used a factorial analysis of variance to examine preferences for tonal stimuli that differed in frequency, intensity, or wave form. For the sample of music majors, wave form appeared to have the greatest effect on preferences; pure tones were most preferred. The main effect for intensity also was significant, as was the interaction of intensity and wave form. For the sample of nonmusic majors, the predominant influence on preferences seemed to be intensity. The nonmusic majors preferred the softer of the two levels. In addition, the main effect for wave form was significant, as were the interactions of wave form with intensity and frequency with intensity.

Effects of Ensemble Size and Repertoire Difficulty on Ratings of Concert Band Performances

2020 ◽  
Vol 68 (2) ◽  
pp. 138-155
Author(s):  
Jason M. Silveira ◽  
Brian A. Silvey
Keyword(s):  
Concert Band ◽  
Music Majors ◽  
Ensemble Size ◽  
Tone Quality ◽  
Audiovisual Stimulus ◽  
Test Pieces ◽  
Main Effect ◽  
Concert Bands ◽  
Mean Differences ◽  
Main Effects

The purpose of this study was to examine effects of ensemble size and repertoire difficulty on listeners’ perceptions of concert band performances. Undergraduate music majors ( N = 210) viewed an audiovisual stimulus consisting of various images of large and small concert bands paired with identical audio performances of either an easy or difficult composition. Participants rated each ensemble’s tone quality/intonation, musicianship/expression, and rhythm/articulation using a 10-point Likert-type scale. Results indicated no main effects for ensemble size or order. There was a significant main effect for repertoire difficulty, with difficult repertoire being evaluated more positively than easier repertoire. We also found a significant Ensemble Size × Repertoire Difficulty × Order interaction, indicating that results were moderated based on order. Within the four orders, the largest mean difference in scores occurred in Order 3 (small/difficult, large/easy, small/easy, large/difficult), with the smallest mean differences occurring in Order 2 (large/difficult, small/easy, large/easy, small/difficult). The small/easy and large/easy videos and the small/difficult and large/difficult videos resulted in positive changes in ratings only when seen first and last, respectively. We recommend blind evaluation and the use of required “test pieces” in concert band festivals as ways to possibly mitigate effects of repertoire difficulty and ensemble size.

Effects of Excerpt Duration, Tempo, and Performance Level on Musicians' Ratings of Wind Band Performances

2007 ◽  
Vol 55 (4) ◽  
pp. 289-301 ◽  
Author(s):  
John M. Geringer ◽  
Christopher M. Johnson
Keyword(s):  
High School ◽  
Significant Interaction ◽  
Wind Band ◽  
Performance Level ◽  
School Level ◽  
Music Majors ◽  
High School Level ◽  
Main Effect ◽  
University Level ◽  
And Performance

This study investigated effects of listening example duration on the musical evaluation of wind band performances. In it, 96 music majors rated wind band performances that varied in performance level (high school, university, and professional), tempo (fast and slow), and duration (approximately 12, 25, and 50 seconds). Results showed no main effect for duration; however, there was a significant interaction between duration, tempo, and performance level. Listener ratings were higher for the medium and long durations of the professional and university level performances than for short performances. In contrast, medium and long durations were rated lower than the short examples for high school performances. The slow excerpt was rated higher than the fast excerpt only for professional performances. Analysis of features most noticed by listeners showed that intonation was associated with the relatively low ratings of high school level performances and musical expression was associated with the professional recordings.

Comparing Continuous versus Static Measurements in Music Listeners' Preferences

1995 ◽  
Vol 43 (1) ◽  
pp. 36-46 ◽  
Author(s):  
Ruth V. Brittin
Keyword(s):  
20Th Century ◽  
Significant Interaction ◽  
Rating Scale ◽  
Art Music ◽  
Music Majors ◽  
Digital Interface ◽  
Western Art ◽  
Continuous Response ◽  
Preference Ratings ◽  
Nonmusic Majors

In this investigation, we compared listeners' preferential ratings of art music, derived by conventional static ratings taken through 10-point Likert-type scales, and continuous ratings taken throughout the duration of each excerpt with a Continuous Response Digital Interface (CRDI). Music majors (n = 100) and non-music majors (n − 100) rated twelve excerpts of Western art music, including three substyles (Baroque, Romantic, and 20th-century) and three performance media (strings, keyboard, and winds). Music majors' preference ratings were significantly higher than were nonmusic majors' preference ratings. Although no significant effect was found due to using the CRDI or static rating scale, there was a significant interaction between type of measurement and major. Music majors' static and continuous ratings were similar; however, nonmusic majors' continuous ratings were noticeably higher than were static ratings. Nonmusic majors using the CRDI averaged almost one Likert-scale rating higher than those using the static measure.

An Empirical Study Concerning Terminology Relating to Aesthetic Response to Music

1998 ◽  
Vol 46 (2) ◽  
pp. 303-319 ◽  
Author(s):  
John A. Lychner
Keyword(s):  
Emotional Response ◽  
Order Effect ◽  
Control Group ◽  
Music Majors ◽  
Aesthetic Response ◽  
Free Response ◽  
Response Condition ◽  
Written Responses ◽  
Significant Difference ◽  
Nonmusic Majors

This study was designed to determine if a relationship exists among the terms “aesthetic response, ” “felt emotional response, ” and “perceived tension ” when used by individuals to describe their personal response to music. Subject groups, music majors (n = 128) and nonmusic majors (n = 128), were randomly divided into three experimental groups, one for each term, and one control group for free response. Data were gathered as subjects manipulated the dial of the Continuous Response Digital Interface (CRDI) to indicate the magnitude of their response to the musk heard during four taped listening segments. Written responses were collected following each segment in a packet provided to each subject. The four pieces heard were “Nessun dorma” from Turandot by Giacomo Puccini, “Fugue” from Toccata and Fugue in D minor by J. S. Bach, “Scherzo” from Symphony No. 3 (“Eroica”) by Ludwig van Beethoven, and “The Stars and Stripes Forever” by John Philip Sousa. These selections were presented in four different orders in an attempt to control for a possible order effect. An analysis of variance (ANOVA) indicated no significant difference between the responses of music majors and nonmusic majors. However, a significant difference was found among the terms. Analysis of group graphs indicated a strong similarity between aesthetic-response and felt-emotional-response conditions. Surprisingly, the free-response condition, where subjects were given no instructions except to move the dial, demonstrated a remarkable similarity to the aesthetic-response and felt-emotional-response conditions. The perceived-tension condition showed marked differences to the other three conditions.

Musicians' and Nonmusicians' Assessment of Perceived Rubato in Musical Performance

1996 ◽  
Vol 44 (1) ◽  
pp. 84-96 ◽  
Author(s):  
Christopher M. Johnson
Keyword(s):  
Musical Performance ◽  
Music Majors ◽  
Digital Interface ◽  
Tone Quality ◽  
Performance Variables ◽  
Continuous Response ◽  
Development Section ◽  
Expert Assessments ◽  
Nonmusic Majors ◽  
Ongoing Evaluation

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

Neural Mobilization Short-Term Dose Effect on the Lower-Limb Flexibility and Performance in Basketball Athletes: A Randomized, Parallel, and Single-Blinded Study

2021 ◽  
pp. 1-7
Author(s):  
Andreia Pereira ◽  
Cátia Teixeira ◽  
Karla Pereira ◽  
Leandro Ferreira ◽  
Maria Marques ◽  
...  
Keyword(s):  
Lower Limb ◽  
Significant Interaction ◽  
Positive Impact ◽  
Vertical Jump ◽  
Knee Extension ◽  
The Other ◽  
Dose Effect ◽  
Blinded Study ◽  
Main Effect ◽  
And Performance

Context: Neural mobilization is commonly used in sports, and previous studies have suggested that it has a positive impact on lower-limb flexibility and performance. However, studies exploring the effect of neural mobilization dosage are almost nonexistent. Objectives: This study aimed to assess whether 2 distinct dosages of neural gliding mobilization (4 and 8 sets of 10 repetitions) impact the flexibility and performance of both the mobilized and nonmobilized lower limb in basketball athletes differently. Design: Randomized, parallel, and single-blinded study. Setting: Amateur and professional basketball clubs. Participants: Fifty-two basketball athletes (40 men and 12 women), who were distributed into 2 groups; one received 40 (n = 28) and the other 80 repetitions (n = 24) of neural gliding mobilization. Intervention: Neural gliding mobilization applied to a single limb (the dominant limb). Main Outcome Measures: Knee extension angle for hamstring flexibility; hop tests and single-leg vertical jump for performance. Results: There was a significant main effect of time (P < .001), a significant interaction between time and limb for flexibility (P = .003), and a significant interaction between time and limb for the single-leg hop test (P = .032). No other significant main effect for any of the remaining variables was found (P > .05). Conclusions: The application of both 40 repetitions and 80 of neural gliding significantly improved lower-limb flexibility, and one was not superior to the other. Neither one dosage nor the other positively or negatively impacted the lower-limb performance of basketball athletes.

Self-Esteem, Source of Influence, and Orientation toward Freedom and Solidarity

1994 ◽  
Vol 75 (2) ◽  
pp. 827-832
Author(s):  
Serge Madhere
Keyword(s):  
Undergraduate Students ◽  
Social Desirability ◽  
Peer Influence ◽  
Significant Interaction ◽  
Self Esteem ◽  
The Self ◽  
The Other ◽  
Analysis Of Covariance ◽  
Main Effect ◽  
The Difference

With 98 undergraduate students the effects of four factors on orientation toward freedom and solidarity were examined. The four factors were self-esteem, source of influence, age, and social desirability. An analysis of covariance controlling for the effects of social desirability and age yielded a significant main effect only for the self-esteem factor. Subjects with high self-esteem scores rated freedom and solidarity higher than did those with lower self-esteem scores. The other factor contributed to a significant interaction. The difference due to self-esteem was salient among people who attributed their values to parental rather than peer influence.

scholarly journals A Sequential Multiple Assignment Randomized Trial (SMART) study of medication and CBT sequencing in the treatment of pediatric anxiety disorders

2021 ◽  
Vol 21 (1) ◽  
Author(s):  
Bradley S. Peterson ◽  
Amy E. West ◽  
John R. Weisz ◽  
Wendy J. Mack ◽  
Michele D. Kipke ◽  
...  
Keyword(s):  
Anxiety Disorder ◽  
Anxiety Disorders ◽  
Randomized Trial ◽  
The Other ◽  
Smart Study ◽  
Main Effect ◽  
Multiple Assignment ◽  
Stage 1 ◽  
Main Effects ◽  
Treatment Sequences

Abstract Background Treatment of a child who has an anxiety disorder usually begins with the question of which treatment to start first, medication or psychotherapy. Both have strong empirical support, but few studies have compared their effectiveness head-to-head, and none has investigated what to do if the treatment tried first isn’t working well—whether to optimize the treatment already begun or to add the other treatment. Methods This is a single-blind Sequential Multiple Assignment Randomized Trial (SMART) of 24 weeks duration with two levels of randomization, one in each of two 12-week stages. In Stage 1, children will be randomized to fluoxetine or Coping Cat Cognitive Behavioral Therapy (CBT). In Stage 2, remitters will continue maintenance-level therapy with the single-modality treatment received in Stage 1. Non-remitters during the first 12 weeks of treatment will be randomized to either [1] optimization of their Stage 1 treatment, or [2] optimization of Stage 1 treatment and addition of the other intervention. After the 24-week trial, we will follow participants during open, naturalistic treatment to assess the durability of study treatment effects. Patients, 8–17 years of age who are diagnosed with an anxiety disorder, will be recruited and treated within 9 large clinical sites throughout greater Los Angeles. They will be predominantly underserved, ethnic minorities. The primary outcome measure will be the self-report score on the 41-item youth SCARED (Screen for Child Anxiety Related Disorders). An intent-to-treat analysis will compare youth randomized to fluoxetine first versus those randomized to CBT first (“Main Effect 1”). Then, among Stage 1 non-remitters, we will compare non-remitters randomized to optimization of their Stage 1 monotherapy versus non-remitters randomized to combination treatment (“Main Effect 2”). The interaction of these main effects will assess whether one of the 4 treatment sequences (CBT➔CBT; CBT➔med; med➔med; med➔CBT) in non-remitters is significantly better or worse than predicted from main effects alone. Discussion Findings from this SMART study will identify treatment sequences that optimize outcomes in ethnically diverse pediatric patients from underserved low- and middle-income households who have anxiety disorders. Trial registration This protocol, version 1.0, was registered in ClinicalTrials.gov on February 17, 2021 with Identifier: NCT04760275.

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