Effect of conductor expressivity on ensemble evaluations by nonmusic majors

2015 ◽  
Vol 34 (2) ◽  
pp. 135-142 ◽  
Author(s):  
Harry E. Price ◽  
Alison Mann ◽  
Steven J. Morrison
Keyword(s):  
Nonmusic Majors

Discrimination and Interference in the Recall of Melodic Stimuli

1983 ◽  
Vol 31 (1) ◽  
pp. 15-31 ◽  
Author(s):  
Clifford K. Madsen ◽  
Myra J. Staum
Keyword(s):  
Stimulus Presentation ◽  
High Accuracy ◽  
Initial Test ◽  
College Age ◽  
Trial Stimulus ◽  
Nonmusic Majors ◽  
Diatonic Scale

Two studies were designed to investigate the nature of forgetting in regard to melodic stimuli; specifically, the degree to which 400 college-age subjects were able to discriminate identical melodies when extremely similar melodies were interpolated between test and recall melodies. Additionally, an attempt was made to investigate differences that might be attributed to either modal (major-minor) or meter (simple-compound) presentations. In each experiment, nonmusic majors were given a 16 trial stimulus presentation consisting of nine 10-sec. melodies per trial. In each trial, the initial test melody was presented followed by 8 additional melodies. After each of the melody presentations, subjects indicated whether that particular melody was identical to or different from, the first test melody. All 144 melodies for the 16 trials were extremely similar in that they represented 4 alterations of 4 similar original melodies. The original melodies were based on a descending diatonic scale with modal and meter alterations. The first experiment attempted to isolate simple-compound alterations; the second experiment, major-minor alterations. Results indicated that subjects were able to discriminate effectively throughout the stimulus presentations with extremely high accuracy for those specific melodies that were identical to the test melody. In addition, when melodies were identical except for slight modifications, melodies presented in duple meter appeared less susceptible to interference than melodies in triple meter or than melodies having modal changes. As would be expected, accuracy declined across time and across interpolated melodies; however, even after 8 interpolated melodies, subjects recalled the test melody with at least 43% accuracy.

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.

Undergraduate Nonmusic Majors' World Music Preference and Multicultural Attitudes

1994 ◽  
Vol 42 (1) ◽  
pp. 45-57 ◽  
Author(s):  
C. Victor Fung
Keyword(s):  
Undergraduate Students ◽  
Preference Score ◽  
World Music ◽  
Correct Identification ◽  
Music Preference ◽  
Musical Style ◽  
Attitude Inventory ◽  
Identification Score ◽  
Nonmusic Majors ◽  
The Relationship

The purpose of this study was to determine the relationship between world music preferences and multicultural attitudes of nonmusic-major undergraduate students. The World Music Preference Inventory (WMPI) and the Multicultural Attitude Inventory (MAI) were administered to 50 undergraduate nonmusic majors. Two scores were determined from the WMPI (composite preference and composite correct identification) for eight world music style categories: Africa, China, India, Indonesia, Japan, Korea, Middle East, and Thailand. No significant correlations were found between the composite preference score and composite correct identification score. There was, however, a significant correlation between the composite preference score and the composite MAI score. Furthermore, significant correlations were found among the preference subscores of all style categories, indicating that subjects' preferences for the eight world musical style categories were similar. Analyses revealed that there was a significantly higher degree of preference for instrumental excerpts than for vocal excerpts.

Internal Consistency of Performance Evaluations as a Function of Music Expertise and Excerpt Familiarity

2009 ◽  
Vol 56 (4) ◽  
pp. 322-337 ◽  
Author(s):  
Daryl W. Kinney
Keyword(s):  
High School ◽  
Internal Consistency ◽  
Performance Evaluations ◽  
Music Majors ◽  
Music Ensembles ◽  
Two Factors ◽  
School Music ◽  
Nonmusic Majors ◽  
Music Faculty ◽  
High School Music

The purpose of this study was to examine the effects of music experience and excerpt familiarity on the internal consistency of performance evaluations. Participants included nonmusic majors who had not participated in high school music ensembles, nonmusic majors who had participated in high school music ensembles, music majors, and experts (graduate music majors and music faculty). Participants listened to 45 piano performances of two familiar stimuli and one unfamiliar stimulus and rated each for accuracy and musical expression. Fifteen excerpts were repeated within the presentation of stimuli so that internal consistency could be calculated. Results indicated that both expertise and familiarity significantly affected internal consistency and that these two factors interacted significantly. Internal consistency means reflected linear trends, with more experienced groups demonstrating greater internal consistency for both accuracy and expression evaluations. Greater internal consistency was also evidenced for familiar excerpts, although the effect size associated with this variable was modest. Findings suggest that expertise is a salient influence on the consistency of performance evaluations.

Perception of Choral Blend Among Choral, Instrumental, and Nonmusic Majors Using the Continuous Response Digital Interface

2007 ◽  
Vol 55 (4) ◽  
pp. 313-325 ◽  
Author(s):  
Janice N. Killian ◽  
Lynn Basinger
Keyword(s):  
Group Differences ◽  
Future Research ◽  
Digital Interface ◽  
Continuous Response ◽  
Voice Matching ◽  
Choral Blend ◽  
Nonmusic Majors ◽  
Pearson Correlations

The concept of choral blend is often adjudicated but seldom researched. Voice matching to achieve choral blend (placing specific voices next to one another to achieve a blended sound within a section) is frequently recommended. The authors asked participants ( N = 55) comprised of vocal, instrumental, and nonmusic majors to move a continuous response digital interface dial to indicate judgment of blend quality while listening to voice-matched choral groupings. Graphic analyses indicated general agreement in judgments of good blend and bad blend among all three groups especially within alto and bass excerpts. Less agreement appeared for soprano and tenor excerpts. Pearson correlations between repeated excerpts were highly positive for vocalists but less consistent for others. Vocalists listened longer before making a judgment. Few group differences in judgment magnitude appeared, but general tendencies toward good blend judgments were evident. Discussion included future research implications and applications for educators.

A Comparison of Music Majors' and Nonmajors' Perceptions of Tension for Two Selections of Jazz Music

2003 ◽  
Vol 51 (3) ◽  
pp. 259-270 ◽  
Author(s):  
William E. Fredrickson ◽  
John C. Coggiola
Keyword(s):  
Order Effect ◽  
Music Majors ◽  
Aesthetic Response ◽  
Digital Interface ◽  
Continuous Response ◽  
Jazz Music ◽  
Nonmusic Majors ◽  
Definition Of ◽  
Musical Context ◽  
Musical Selection

The present study allowed music majors (n = 40) and nonmajors (n = 30) to record their perceptions of tension in two selections of jazz music using the Continuous Response Digital Interface (CRDI). Both musical stimuli were recorded versions of “St. Louis Blues” by W. C. Handy, The first was a popular, stylized version sung by Nat King Cole, and the second, which included an extensive improvisatory section, was performed by Ella Fitzgerald. In comparing these results to earlier studies dealing with music majors' and nonmajors' perceived tension and aesthetic response, there are certain factors that remain constant Music majors' responses did not seem to differ markedly in overall contour from nonmusic majors' responses, which is consistent with previous research. Graphs of perceived tension responses are much more highly differentiated than are graphs of perceived aesthetic response. These graphs produce a pattern that is unique to that musical selection (or in this case, a highly stylized performance). Subjects had no trouble performing the task or using an existing internal definition of musical tension. This existing internal definition is probably applied to a variety of musical styles, including jazz. This study also seemed to indicate a definite order effect in the presentation of the stimuli, which may relate to the way listeners put what they hear into a musical context.

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