Effects of Certain Lateral Dominance Traits, Music Aptitude, and Sex Differences with Instrumental Music Achievement

1978 ◽  
Vol 26 (1) ◽  
pp. 22-31 ◽  
Author(s):  
Stanley L. Schleuter
Keyword(s):  
Sex Differences ◽  
Instrumental Music ◽  
Conclusive Evidence ◽  
Music Students ◽  
Music Aptitude ◽  
Music Achievement ◽  
Performance Achievement ◽  
Executive Skills ◽  
And Performance ◽  
Limb Dominance

The effects of music aptitude, sex, handedness, eyedness, and footedness on music achievement and executive skills of elementary instrumental music students was explored. Handedness was defined for the present study as the observed preferred hand used for a specific set of familiar tasks; eyedness refers to sighting dominance; and footedness was defined as the observed foot preferred to perform selected familiar tasks. A five-way multivariate analysis (2×2×3×2×3) was employed to analyze the data. No conclusive evidence was found to show that combinations of eye and limb dominance, sex differences, and music aptitude variables affect music achievement or executive skill variables. Only music aptitude levels when considered alone strongly affected tonal, rhythmic, and performance achievement

Relationships Among Parental Involvement, Music Aptitude, and Musical Achievement of Instrumental Music Students

1992 ◽  
Vol 40 (2) ◽  
pp. 114-125 ◽  
Author(s):  
Stephen F. Zdzinski
Keyword(s):  
Parental Involvement ◽  
Instrumental Music ◽  
Strong Relationship ◽  
Practical Significance ◽  
Music Aptitude ◽  
Performance Achievement ◽  
Wind Instrumentalists ◽  
Musical Achievement ◽  
And Performance ◽  
And Gender

This study examined relationships among selected aspects of parental involvement, music aptitude, musical achievement, and performance achievement. Subjects were 113 wind instrumentalists from four north-central Pennsylvania middle schools. Variables were defined through a researcher-constructed measure of parental involvement (PIM), the tonal and rhythmic imagery subtests of the Music Aptitude Profile (Gordon, 1965), selected sub-tests of the Music Achievement Tests (Colwell, 1969), and the Watkins-Farnum Performance Scale (Walkins & Farnum, 1954). Data were analyzed through correlation and MANOVA procedures. Results indicated (1) no significant relationship between parental involvement (as measured by student responses) and performance achievement; (2) a relationship of little practical significance between parental involvement and both musical achievement and musical aptitude; (3) a strong relationship between music aptitude and both musical achievement and performance achievement; and (4) a significant three-way interaction for performance achievement among parental involvement, music aptitude, and gender.

Assessment and Grading in Music Courses

2020 ◽  
pp. 31-46
Author(s):  
Colleen M. Conway
Keyword(s):  
Higher Education ◽  
Teaching And Learning ◽  
Reliability And Validity ◽  
Performance Assessments ◽  
Music Teaching ◽  
Music Aptitude ◽  
Music Achievement ◽  
Advantages And Disadvantages ◽  
And Performance ◽  
Essay Tests

Chapter 2 provides a detailed overview of approaches to assessing music teaching and learning in a higher education setting. The chapter begins with a discussion of music aptitude versus music achievement and clarifies the differences between these constructs as well as between assessment and grading. Types of measures such as multiple choice, essay tests, and performance assessments are provided with discussion of advantages and disadvantages of each. A focus on reliability and validity if assessments is included and sample student-generated rubrics for various music courses are provided. Performance rubrics are provided as well. The chapter concludes with discussion of departmental level assessment.

Parental Involvement, Selected Student Attributes, and Learning Outcomes in Instrumental Music

1996 ◽  
Vol 44 (1) ◽  
pp. 34-48 ◽  
Author(s):  
Stephen F. Zdzinski
Keyword(s):  
New York ◽  
Parental Involvement ◽  
Instrumental Music ◽  
Descriptive Analysis ◽  
Performance Outcomes ◽  
Music Students ◽  
Elementary Level ◽  
Affective Outcomes ◽  
And Performance ◽  
And Gender

This study examined relationships among selected aspects of parental involvement as they relate to the cognitive, affective, and performance outcomes of instrumental music students. Independent variables were music aptitude, parental involvement, grade level, and gender. Dependent variables were cognitive musical outcomes, performance outcomes, and affective outcomes. Subjects were instrumental music students ( N = 406) from five intact band programs located in rural New York and Pennsylvania. Wind and percussion volunteers from Grades 4 through 12 participated. Data were examined using descriptive analysis, correlational analysis, and analysis of variance. Major findings included: (1) Parental involvement was related to overall performance, affective, and cognitive musical outcomes. (2) For cognitive musical outcomes, parental involvement was only related at the elementary level. (3) For musical performance outcomes, parental involvement was only related at the elementary level. (4) For affective outcomes, the strength of the parental involvement relationship increased with student age. (5) Items concerning concert attendance, providing materials, participating in parent groups, and tape-recording student performances were related to all outcome areas.

Judgmental Standard Setting: The Development of Objective Content and Performance Standards for Secondary-Level Solo Instrumental Music Assessment

2018 ◽  
Vol 66 (2) ◽  
pp. 224-245 ◽  
Author(s):  
Brian C. Wesolowski ◽  
Myriam I. Athanas ◽  
Jovan S. Burton ◽  
Andrew S. Edwards ◽  
Kinsey E. Edwards ◽  
...  
Keyword(s):  
Subject Matter ◽  
Instrumental Music ◽  
Music Performance ◽  
Performance Standards ◽  
Secondary Level ◽  
Standard Setting ◽  
Partial Credit Model ◽  
Performance Levels ◽  
Performance Achievement ◽  
And Performance

The purpose of this study was to describe the development of content and performance standards for a rubric to evaluate secondary-level solo instrumental music performance using a modified bookmark standard setting procedure. The research questions that guided this study include (1) What are the psychometric qualities of a rubric to evaluate secondary-level solo instrumental music performance? (2) What is the quality of ratings obtained for the standard-setting panel of subject matter expert judges? (3) What cut scores best categorize secondary-level solo instrumental performances into four performance levels across the latent performance achievement variable? and (4) What content mastery of items best categorizes achievement in secondary-level solo music performance at each of the four performance levels? A panel of eight subject matter experts participated in the study. A 30-item rubric was used to collect the judging panel’s observed responses. The collected responses were transformed to linear measures using the multifaceted Rasch partial credit model. The bookmark procedure resulted in the setting of three cut points representing minimum pass levels on a latent continuum differentiating between four performance achievement levels (rudimentary, emerging, proficient, and exemplary) with clearly defined content standards. Implications for opportunity to learn are discussed.

“Little Trio” for clarinet, bassoon and piano

2018 ◽  
pp. 75-79
Author(s):  
N. Yakovchuk
Keyword(s):  
Chamber Music ◽  
Instrumental Music ◽  
Instrumental Ensemble ◽  
Interesting Phenomenon ◽  
Theoretical Understanding ◽  
Classical Traditions ◽  
And Performance ◽  
Instrumental Ensembles ◽  
Written Compositions ◽  
First Time

The chamber-instrumental ensemble music in the Ukrainian musical culture of the last third of the 20th and the beginning of the 21st centuries occupies one of the leading places and is characterized by powerful processes in its development. Such circumstances caused the Ukrainian musicologist interests to the problems of chamber-instrumental music creativity and performance. There are appeared researches in the field of theory, history and performance problems covering the most important questions like chamber music definitions, specific genre issues, the growing function of piano in the Ukrainian chamber music, the increasing questions of technique and timbre importance of modern instrumental ensembles. In the significant multifaceted creative work of contemporary Ukrainian composer, Oleksandr Yakovchuk, the genre of chamber instrumental ensemble music represents a complex and interesting phenomenon. Original and skillfully written compositions reflect artistic world of the composer of postmodern time and gained recognition in music life of Ukraine and beyond. These works are highly appreciated in performing practice of our days. The purpose of the article is to analyze the work — “Little Trio” for clarinet, bassoon and piano (1980), which has the signs of neoclassical tendency in the composer’s style. The methodological basis of this research is a comprehensive approach in theoretical understanding of the subject of research (the methods of textology, source study as well as the method of interviewing the author were used). The scientific novelty of this article is in the priority of its main provisions, since the “Little Trio” entered the scientific circulation for the first time. The three-movement “Little Trio” (1980) is notable for the light feeling of timbre colours and the shape clarity. The Ist movement — Allegretto giocoso — is written in a sonata form following all classical traditions. Quite interesting are the two monologues of clarinet and bassoon from the IInd movement, they represent very modern line in Ukrainian chamber music — the possibility of sincere confession which comes through the solo cadence. In the IIIrd movement, the composer took advantage from the folk Ukrainian dance “hopak” using the rhythm of it and creating dance character of the Final.

Musical training improves memory for instrumental music, but not vocal music or words

2018 ◽  
Vol 48 (1) ◽  
pp. 150-159
Author(s):  
Jonathan M. P. Wilbiks ◽  
Sean Hutchins
Keyword(s):  
Instrumental Music ◽  
Musical Training ◽  
Vocal Music ◽  
Verbal Material ◽  
The Other ◽  
Musical Experience ◽  
Facilitative Effect ◽  
Musical Excerpts ◽  
And Performance ◽  
The Brain

In previous research, there exists some debate about the effects of musical training on memory for verbal material. The current research examines this relationship, while also considering musical training effects on memory for musical excerpts. Twenty individuals with musical training were tested and their results were compared to 20 age-matched individuals with no musical experience. Musically trained individuals demonstrated a higher level of memory for classical musical excerpts, with no significant differences for popular musical excerpts or for words. These findings are in support of previous research showing that while music and words overlap in terms of their processing in the brain, there is not necessarily a facilitative effect between training in one domain and performance in the other.

Approaches to and Treatment Strategies for Playing-Related Pain Problems Among Czech Instrumental Music Students: An Epidemiological Study

2015 ◽  
Vol 30 (3) ◽  
pp. 135-142 ◽  
Author(s):  
Christos I Ioannou ◽  
Eckart Altenmuller
Keyword(s):  
Instrumental Music ◽  
Transition Period ◽  
Treatment Strategies ◽  
Music Students ◽  
Additional Insight ◽  
Medical Treatments ◽  
Treatment Methods ◽  
Body Regions ◽  
Physical Exercises ◽  
Paper Questionnaire

The current study examined the severity of playing-related pain (PRP) problems among music students at the Prague State Conservatoire, as well as the various treatment methods used by these students and how they approach and deal with these phenomena while studying. In total, 180 instrumental students participated and completed a paper questionnaire. Of these, 88.9% reported that they had experienced PRP at least once in their lives, with 12.6% experiencing pain every time they play. The onset of PRP seemed to coincide with the transition period on entry to the conservatoire and was associated with the increase in hours of practice. Specific body regions associated with playing each particular instrument were most frequently affected, with females being more susceptible than males to the development of PRP. An alarming 35% of the affected students tended not to seek help at all, whereas those who did tended to seek advice first from their instrument tutor and second from medical doctors. Most students who visited doctors reported that medical treatments only partially helped them to overcome PRP problems. The most frequent treatment methods used were resting, gel or creams, and physical exercises. Students believed that inappropriate posture played a key role in the development of their PRP problems. Finally, students indicated a willingness to be aware of and educated about PRP issues during their studies. Further exploration of PRP problems among student musicians is warranted. Better understanding of differing attitudes toward, use of, and efficiency of various treatment methods after the occurrence of PRPs will provide additional insight for prevention and treatment.

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