Effect of Musical Performance on Perception of Tension in Gustav Hoist's First Suite in E-flat

1999 ◽  
Vol 47 (1) ◽  
pp. 44-52 ◽  
Author(s):  
William E. Fredrickson
Keyword(s):  
High School ◽  
Performance Analysis ◽  
Wind Ensemble ◽  
Musical Performance ◽  
Research Protocol ◽  
Digital Interface ◽  
High School Band ◽  
Choral Ensemble ◽  
Continuous Response ◽  
Musical Selection

The purpose of the study was to examine whether musicians who rehearse and perform a musical selection perceive tension in the music differently than do listeners who have not had the performance experience. Students ( n = 32) in a university wind ensemble rehearsed and performed Gustav Hoist's First Suite in E-flat. Within 2 weeks of the performance, participants listened to a recording of the first movement (“Chaconne”) of that performance while registering their perceptions of tension in the music using a Continuous Response Digital Interface (CRDI) dial. Another group of students ( n = 32) from a university choral ensemble performed the same research protocol. Students in a high school band ( n = 60) also rehearsed and performed the selection. Participants listened to the recording of the musical selection, and registered their perceptions of tension, before rehearsals began and following their performance. Analysis indicated that the experience of performing the music did not seem to greatly affect perception of tension as measured in this study.

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.

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.

The Effect of Text Translation on Perceived Musical Tension in Debussy’s Noël des enfants qui n’ont plus de maisons

2010 ◽  
Vol 58 (2) ◽  
pp. 184-195 ◽  
Author(s):  
Rhonda S. Hackworth ◽  
William E. Fredrickson
Keyword(s):  
Choral Music ◽  
Digital Interface ◽  
Continuous Response ◽  
Group Data ◽  
Tension Curve ◽  
Primary Focus ◽  
The Impact ◽  
Musical Selection

The primary focus of the present study was to investigate the effect participants’ ( N = 100) knowledge of a text translation may have on their perceived musical tension while listening to a piece of choral music sung in another language. When examining the graphs that show the group mean responses of the participants, control (without text translation) versus experimental (with text translation), it is clear that there are many similarities between the groups. Any differences that may be attributable to an understanding of the text while tracking tension in this musical selection are minimal and most likely individualized by participant. A secondary goal of the study was to observe the impact of having half the participants begin recording their responses with the dial pointer of the Continuous Response Digital Interface (CRDI) positioned either at the left of the tension curve-continuum or positioned at middial. Group data for participants’ who started with their dials on the left, versus those who started with dials in the middle, also showed similarities sufficient to call into the question the idea that starting at a different place on this scale would affect recording of perceptions significantly.

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.

Use of the Continuous Response Digital Interface in the Evaluation of Live Musical Performance

1992 ◽  
Vol 20 (4) ◽  
pp. 261-271 ◽  
Author(s):  
Christopher M. Johnson
Keyword(s):  
Student Performance ◽  
Musical Performance ◽  
Musical Score ◽  
Digital Interface ◽  
Continuous Response ◽  
Specific Assessment ◽  
Recorded Data ◽  
Assessment Procedures ◽  
Ongoing Assessment ◽  
Field Setting

The present study was designed to assess the usefulness of the Continuous Response Digital Interface (CDRI) as a tool for assessing student performance in a field setting. Judges evaluated musical performance at a regional band festival using the conventional means of a musical score and orally taped comments, but also used a CRDI device to record ongoing assessment levels. CRDI dials were manipulated on a clockwise/counter-clockwise 250 degree continuum which recorded data, via a computer, three times per second. All three adjudicators indicated that the CRDI did not distract from any other assessment procedures and that the dial movement on the CRDI was a representative measure of their temporal assessment. Analysis of CRDI mean scores and final discrete ratings revealed a 92 percent rate of intrajudge reliability. Advantages of having the complete and specific assessment picture that is provided by the CRDI instrument are cited, as well as applications to other possible assessment environments are suggested.

High School Band Directors’ Perceptions and Applications of Democratic Rehearsal Procedures in Concert Band Rehearsals

2021 ◽  
pp. 875512332198929
Author(s):  
Alec D. Scherer
Keyword(s):  
High School ◽  
Music Education ◽  
Concert Band ◽  
Band Directors ◽  
School Level ◽  
High School Level ◽  
Classroom Dynamics ◽  
High School Band ◽  
Student Ownership ◽  
School Band

The purpose of this study was to examine inservice high school band directors’ perceptions and applications of democratic rehearsal procedures in concert band rehearsals. Respondents ( N = 216) were members of the National Association for Music Education who were currently teaching concert band at the high school level. Respondents indicated that “identify and describe opportunities for individual and ensemble performance improvement” and “student-led sectionals” were considered the most important democratic rehearsal procedures for their students to experience. These same procedures were also the most frequently used democratic rehearsal procedures. Analysis of open-ended responses revealed that respondents believed student ownership, student engagement, and student growth as musicians and leaders were advantages to implementing democratic rehearsal procedures. Potential disadvantages included issues related to student ability, rehearsal time limitations, unfamiliar classroom dynamics, and availability of classroom resources. Implications for music teachers are discussed.

An Exploratory Case Study of Mindfulness Techniques in a High School Band Program During the COVID-19 Pandemic

2021 ◽  
pp. 875512332110500
Author(s):  
Karen M. Koner ◽  
Abigayle Weaver
Keyword(s):  
High School ◽  
Instrumental Music ◽  
Mindfulness Practice ◽  
Action Research Project ◽  
High School Band ◽  
Exploratory Case Study ◽  
Band Students ◽  
Mindfulness Practices ◽  
School Band

The purpose of this study was to explore the effects of mindfulness practices on high school band students. This action research project took place in spring 2020, during the COVID-19 pandemic stay-at-home orders. Four students enrolled in the high school band participated in five weeks of mindfulness practice interventions over the virtual format alongside their instrumental music director. Mindfulness practices included diaphragmatic breathing, relaxation imagery, cued relaxation, and stretching. Throughout the five weeks, student participants discussed improved focus, improvement of stress management, and increased frequency of mindfulness practice. However, four months after data collection was complete, three of the four student participants continued to practice mindfulness techniques on their own time to assist with nervousness, anxiety, and stress.

Relationships between Motivation Variables and Selected Criterion Measures of High School Band Directing Success

1981 ◽  
Vol 29 (3) ◽  
pp. 183-198 ◽  
Author(s):  
Florentino J. Caimi
Keyword(s):  
High School ◽  
Teacher Effectiveness ◽  
Music Performance ◽  
Performance Criterion ◽  
Ethical Values ◽  
Band Director ◽  
High School Band ◽  
Ensemble Performance ◽  
School Band

The level of musicianship achieved by the high school band is often attributed to the director. The personality subcategory referred to as motivation is increasingly becoming recognized as an important factor in teacher effectiveness. Motivational characteristics that contribute to the success of the high school band director are unclear. The purpose of this study was to investigate relationships between eight motivational vari ables and three criteria of high school band directing success. The criteria of band directing success were: (1) ensemble musicianship, (2) ensemble music performance, and (3) students' ratings of their director. A combination of two motivational vari ables–conscious concern for security and subconscious concern for home and parents–were statistically significant predictors of the ensemble performance criterion, while subconscious concern with ethical values was a statistically significant predictor of the ensemble musicianship criterion. The number of students in the high school was also found to be a statistically significant predictor of band directing success.

Sign in / Sign up

Export Citation Format

Share Document