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Sims, W. L. — Wed, 30 Sep 2009 11:55:15 PDT

Piano Students' Conceptions of Musical Scores as External Representations: A Cross-Sectional Study

Bautista, A., Perez Echeverria, M. d. P., Pozo, J. I., Brizuela, B. M. — Wed, 30 Sep 2009 11:55:15 PDT

Musical scores are some of the most important learning tools for musicians’ acquisition of musical knowledge. However, despite their educational relevance, very little is known about how music students conceive of these cultural external representations. Given that these conceptions might act as mediators of students’ learning approaches, the importance of knowing these conceptions seems evident in order to eventually change them. The general aim of this investigation was to study the conceptions of piano students at Spanish music conservatories by adopting a developmental-instructional perspective. The participants were 215 students at intermediate and tertiary degree levels, representing three levels of the collapsed variable age— level of instruction. Data were collected by means of a written open-ended task and analyzed by means of descriptive, parametric, and nonparametric statistical methods.The findings suggested that (a) students’ conceptions were more sophisticated at higher age and education levels, (b) each developmental-instructional group typically focused on different musical aspects, which reflected an inclusive and hierarchical logic, and (c) five increasingly sophisticated conceptions could be identified among these students.

An Analysis of Tonal Patterns Used for Sight-Singing Instruction in Second-Grade General Music Class

Reifinger, J. L. — Wed, 30 Sep 2009 11:55:15 PDT

This research examined characteristics of a select group of tonal patterns to identify features that may affect the initial acquisition of skill in sight-singing pitch. Second graders (N = 193) individually read and sang 25 tonal patterns on a sight-singing pretest, posttest, and retention test. Between the pre- and posttest, the students practiced 15 of the patterns during general music classes, with one new pattern introduced and all previously presented patterns reviewed each session.Ten patterns not included in the instruction were read and sung only during tests. No pattern practice occurred for 8 weeks between the posttest and retention test. Sight-singing performance was assessed for pitch accuracy and contour accuracy. Pattern difficulty indices and difficulty rankings were determined on the basis of the results. Specific pattern features are considered in relation to these data, with some characteristics affecting accuracy with pitch and contour differently.

Development and Validation of a Rating Scale for Wind Jazz Improvisation Performance

Smith, D. T. — Wed, 30 Sep 2009 11:55:15 PDT

The purpose of this study was to construct and validate a rating scale for collegiate wind jazz improvisation performance. The 14-item Wind Jazz Improvisation Evaluation Scale (WJIES) was constructed and refined through a facet-rational approach to scale development. Five wind jazz students and one professional jazz educator were asked to record two improvisations accompanied by an Aebersold play-along compact disc. Sixty-three adjudicators evaluated the 12 improvisations using the WJIES and the Instrumental Jazz Improvisation Evaluation Measure. Reliability was good,with alpha values ranging from .87 to .95. Construct validity for the WJIES was confirmed through the analysis of a multitrait-multimethod matrix.The results of this study indicate that the facet-rational approach is an effective method of developing a rating scale for collegiate wind jazz improvisation performance.

Effects of Recorded Models on Novice Teachers' Rehearsal Verbalizations, Evaluations, and Conducting

Montemayor, M., Moss, E. A. — Wed, 30 Sep 2009 11:55:15 PDT

In this study, the authors investigated effects of aural model—supported rehearsal preparation on selected behavioral and evaluative elements of novice teachers’ rehearsals. Sixteen preservice music teachers conducted high school bands in four 15-minute rehearsals (two rehearsals on two different pieces).To prepare for their rehearsals on one piece, participants were given only the conductor score, while for the other piece, they were given both a score and a recorded model of the piece on an audio compact disc.Video recordings of all 64 rehearsals were systematically observed for teachers’ verbalizations across several musical and teaching variables. Participants also completed post-rehearsal evaluations of their teaching and of the ensemble’s playing. Differences between conditions were small, with teachers’ verbalizations reflecting a proportionally greater concern for accuracy in the model-supported condition. Evaluations of rehearsals were less self-directed and were more critical of the ensemble, a finding consistent with previous research.There was virtually no difference in responses between conditions for conductor expressiveness.

Effects of Early and Late Rest Intervals on Performance and Overnight Consolidation of a Keyboard Sequence

Cash, C. D. — Wed, 30 Sep 2009 11:55:15 PDT

Thirty-six nonmusicians practiced a five-element key-press sequence on a digital piano, repeating the sequence as quickly and accurately as possible during twelve 30-s practice blocks alternating with 30-s pauses. Twelve learners rested for 5 min between Blocks 3 and 4, another 12 learners rested for 5 min between Blocks 9 and 10, and the remaining 12 participants performed 12 blocks without an extended rest interval. All were retested following a night of sleep in six 30-s blocks with a 5-min rest interval between Blocks 3 and 4. Results show that the introduction of extended rest in the early and late stages of practice significantly affected rates of learning within and between sessions. Immediately following the 5-min rest intervals, participants showed large gains in performance, but only following early rest did participants continue to show improvements during training. Participants who rested early in practice also demonstrated the greatest overnight gains. Findings suggest that the temporal placement of rest in practice affected subsequent motor sequence learning and memory consolidation processes.

The Effects of Score Use on Musicians' Ratings of Choral Performances

Napoles, J. — Wed, 30 Sep 2009 11:55:15 PDT

The purpose of this study was to determine whether viewing a musical score while listening (as opposed to not viewing the score) would affect musicians’ ratings of choral performance excerpts. University musicians (N = 240) listened to four excerpts of choral music (from Vivaldi’s Gloria) and rated them on a 10-point Likert-type scale for overall impression. Some of the participants heard a professional chorus and orchestra recording, and others heard a high school group recording. For both of the recordings, participants were divided into four groups in a counterbalanced design, with one group viewing the score for all four excerpts, another group never viewing the score,and the other two groups viewing the score for two of the excerpts but not the other two. Results of a three-way ANOVA with repeated measures indicated significant differences among groups. The group that never saw the scores gave significantly lower ratings than the group that saw all of the scores.The excerpts performed by the professional group were rated significantly higher than the excerpts performed by the high school group.

Establishing Identity: LGBT Studies and Music Education: University of Illinois at Urbana-- Champaign (USA) and University of Maryland at College Park (USA) Announce a Symposium

Wed, 30 Sep 2009 11:55:15 PDT

Instructions to Contributors

Wed, 30 Sep 2009 11:55:15 PDT

Code of Ethics MENC Research Publication/Presentation Code of Ethics

Wed, 30 Sep 2009 11:55:15 PDT