A Predictive Study of an Experimental College Version of the Musical Aptitude Profile with Certain Music Achievement of College Music Majors

1983 ◽  
Vol 11 (1) ◽  
pp. 32-36 ◽  
Author(s):  
Stanley L. Schleuter
Keyword(s):  
Music Majors ◽  
Music Achievement ◽  
Musical Aptitude ◽  
Experimental College ◽  
College Music ◽  
Predictive Study

Use of Standardized Tests of Musical Aptitude with University Freshmen Music Majors

1974 ◽  
Vol 22 (4) ◽  
pp. 258-269 ◽  
Author(s):  
Stanley L. Schleuter
Keyword(s):  
Standardized Tests ◽  
Achievement Test ◽  
Music Majors ◽  
Music Achievement ◽  
Aptitude Test ◽  
Music Literacy ◽  
Musical Aptitude ◽  
Wide Range ◽  
College Music ◽  
Musical Literacy

This investigation compared the reliabilities, intercorrelations, and appropriateness of use of three standardized music tests when administered to entering university freshman music majors. The three tests compared were Aliferis Music Achievement Test, Musical Aptitude Profile, and Iowa Tests of Music Literacy, Levels 5 and 6. All tests functioned with adequate reliability. Intercorrelations within and among tests revealed some overlapping between achievement tests, but little relationship with aptitude test content. Each test is basically multidimensional. It was concluded that a wide range of information could best be obtained by administering the Musical Aptitude Profile, and a music achievement test with suitable content. Although the Aliferis Test was the only one of the three tests originally designed for entering college music majors, the Musical Aptitude Test and the Iowa Test of Musical Literacy may also be appropriately employed.

Analysis of Listening Preferences of High School and College Musicians

1994 ◽  
Vol 42 (4) ◽  
pp. 331-342 ◽  
Author(s):  
Dianne Gregory
Keyword(s):  
High School ◽  
Music Education ◽  
Classical Music ◽  
Sixth Grade ◽  
The United States ◽  
Music Majors ◽  
Digital Interface ◽  
Continuous Response ◽  
College Music ◽  
High School Musicians

Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.

Examining College Music Majors’ Perceived Barriers and Motivation to Exercise

2020 ◽  
Vol 35 (4) ◽  
pp. 181-187
Author(s):  
Matthew W. Seitz ◽  
Jacob J. Levy ◽  
Barbara A. Murphy
Keyword(s):  
Physical Exercise ◽  
Self Efficacy ◽  
Self Determination Theory ◽  
Music Students ◽  
Music Majors ◽  
Exercise Motivation ◽  
Music Culture ◽  
Demographic Questionnaire ◽  
Barriers To Exercise ◽  
College Music

Previous research has revealed music majors, in general, do not identify as exercisers, subjecting them to various health risks. Influenced by self-determination theory, the current study examined exercise motivation and self-efficacy in overcoming barriers to exercise in relation to number of times per week collegiate music majors reported they engaged in physical exercise. One hundred six college music majors completed a demographic questionnaire regarding their participation in marching music activities and how many days per week they engaged in physical exercise. They also completed two standardized questionnaires that assessed their motivation to exercise (i.e., Behavioural Regulation in Exercise Questionnaire-2) and their confidence in overcoming barriers to exercise (i.e., Barriers Specific Self-Efficacy Scale). Results indicated that music majors who espoused a stronger identified motivation to exercise and had greater self-efficacy in their perceived ability to overcome barriers to exercise reported a greater frequency of exercise engagement. Sex difference were also found, with female music students being less confident (than their male counterparts) in their ability to overcome barriers to exercise. These findings highlight the motivations, obstacles, and perceptions of exercise in the music culture, providing a helpful start for comprehending what drives individuals in this domain.

Constructing a Representation of a Melody: Transforming Melodic Segments into Reduced Pitch Patterns Operated on by Modifiers

1991 ◽  
Vol 9 (2) ◽  
pp. 251-265 ◽  
Author(s):  
Yoko Oura
Keyword(s):  
Long Term Memory ◽  
Music Majors ◽  
Harmonic Progression ◽  
Progression Model ◽  
Recall Data ◽  
Pitch Pattern ◽  
College Music ◽  
Competing Models ◽  
Pitch Patterns

A reduced-pitch-pattern model for melodic processing is proposed. The model assumes that experienced listeners divide a melody into segments, derive a reduced pitch pattern from each segment, and then try to match each pattern to one of the prototypes stored in long-term memory. As a result, the melody is memorized accurately and quickly. This model and two competing models (the contour model and the harmonic progression model) make different predictions concerning what aspects of a melody would be preserved and what types of error in recall would appear. Recall data of a tonal melody of 12 measures in length were used to examine these predictions. The data were gathered from eight college music majors. Analysis of erroneous reproductions showed that reduced pitch patterns and harmonic progressions were preserved well and that errors predicted by the reduced-pitch-pattern model occurred more often than those predicted by the two competing models. It is concluded that the reduced-pitch-pattern model is the most tenable of the three.

Training Music Majors in College to Think Creatively with Sounds and Words

1972 ◽  
Vol 30 (1) ◽  
pp. 105-106 ◽  
Author(s):  
Joe Khatena ◽  
Richard L. Barbour
Keyword(s):  
Transfer Of Training ◽  
Creative Thinking ◽  
Positive Transfer ◽  
Music Students ◽  
Music Majors ◽  
Treatment Groups ◽  
Thinking Strategies ◽  
College Music

72 college music majors were randomly assigned to 4 treatment groups of equal numbers. Some were exposed to 3 creative thinking strategies and encouraged to brainstorm in their groups for a period of 400 min. Positive transfer of training supports the use of the procedures to encourage music students to think creatively with sounds and words.

The Multidimensional Anxiety Theory: An Assessment of and Relationships Between Intensity and Direction of Cognitive Anxiety, Somatic Anxiety, and Self-confidence over Multiple Performance Requirements among College Music Majors

2004 ◽  
Vol 19 (1) ◽  
pp. 12-20
Author(s):  
Staci Renee Miller ◽  
Kris Chesky
Keyword(s):  
Music Performance ◽  
Performance Anxiety ◽  
Assessment Tools ◽  
Music Majors ◽  
Somatic Anxiety ◽  
Self Confidence ◽  
Performance Requirements ◽  
Cognitive Anxiety ◽  
College Music ◽  
Multidimensional Anxiety Theory

This study applied the multidimensional anxiety theory to musicians by examining the intensity and direction of cognitive anxiety, somatic anxiety, and self-confidence over multiple performance requirements among college music majors. This study assessed and compared teacher and student perceptions of the student’s performance anxiety and its subsequent impact on several studio lessons and jury performances. Seventy-one college musicians (39 females, 32 males) from the University of North Texas College of Music volunteered to participate in this study. Four different assessment tools were employed in this study: a demographic questionnaire, a modified version of the Competitive Trait Anxiety Inventory-2 (CTAI-2), a modified version of the Competitive State Anxiety Inventory-2 (CSAI-2), and a subjective self-assessment of performance. The results showed that of the 71 subjects initially assessed, 59 subjects (83.1%) reported experiencing performance anxiety. This study supports the application of the multidimensional anxiety theory by highlighting the existence of two distinct, yet related dimensions of performance anxiety; how these dimensions change in response to changing stress levels associated with changing demands; and the probable interaction with levels of self-confidence. This study underscores the challenges associated with how teachers may or may not recognize the existence and subsequent impact of performance anxiety among college students. Additional studies are needed to determine what educational variables, including psychosocial values, are associated with the development and fluctuation of self-confidence. Further research designs should implement the CTAI-2 and the CSAI-2 for the assessment of competitive performance anxiety experienced by musicians associated with music performance.

The Effects of a Tinnitus Awareness Survey on College Music Majors’ Hearing Conservation Behaviors

2001 ◽  
Vol 16 (4) ◽  
pp. 136-143
Author(s):  
Mark C Zeigler ◽  
Jack A Taylor
Keyword(s):  
Extended Period ◽  
Hearing Protection ◽  
Music Majors ◽  
Hearing Conservation ◽  
Music Department ◽  
School Of Music ◽  
Small College ◽  
College Music ◽  
Frequent Response

The purpose of the study was to investigate the effects of a tinnitus awareness survey on the hearing conservation behaviors of freshman music majors (as measured 30 weeks later with a follow-up survey). The surveys were distributed to students at a large school of music in a public university (n = 200) and a small music department in a private university (n = 48). More than half the students (58.9%) claimed to have tinnitus at some level. The most frequent response to what caused their tinnitus was “not sure,” followed by “exposure to noise over an extended period of time.” Most students (64.2% to 95%) did not wear hearing protection during rehearsals, concerts, or loud non-performance-related activities. In the follow-up survey, the majority (86.0%) said they did not change their use of hearing protection devices (including those students with tinnitus), but the students in the small college claimed to use significantly more protection than the students in the large college. Since the students in the small college received additional specific examples of tinnitus problems when completing the preliminary survey, it was concluded that more examples might be necessary to raise the awareness of factors leading to tinnitus. The result could be a positive change in the students’ use of hearing protection.

Social Support and Performance Anxiety of College Music Students

2011 ◽  
Vol 26 (3) ◽  
pp. 157-163 ◽  
Author(s):  
Erin Schneider ◽  
Kris Chesky
Keyword(s):  
Social Support ◽  
Perceived Social Support ◽  
Performance Anxiety ◽  
Music Students ◽  
Music Majors ◽  
Analog Scale ◽  
College Music ◽  
And Performance ◽  
Practical Implications ◽  
Measures Of Performance

This study characterized perceived social support and performance anxiety of college music students, compared characteristics to those of non-music majors, and explored the relationships between social support and performance anxiety. Subjects (n = 609) completed a questionnaire that included demographics, the Multidimensional Scale of Perceived Social Support (MSPSS), and visual analog scale measures of performance anxiety. Results showed that music majors perceived significantly lower levels of social support from significant others when compared to non-music majors. Perceived social support was significantly correlated with measures of performance anxiety. Students with greater perceived social support reported less frequent anxiety and lower levels of impact of anxiety on ability to perform. These findings may have practical implications for schools of music and conservatories.

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