2008 Research Poster Session I Abstracts - Part 2

As the number of online courses continues to increase rapidly, there is limited empirical research regarding the pedagogy of developing successful online learning environments and expectations for student groups working online. Researchers have recently focused on how collaborative learning may contribute to educational effectiveness in both cognitive and social contexts. Extant research indicates that students engaged in collaboration may demonstrate cognition levels higher than those of learners in courses where individuals work alone.  The primary purpose of this study was to investigate the effect of collaborative instruction on students’ demonstrated levels of cognition in an online undergraduate music appreciation course. Undergraduate students (N=91) enrolled in an online music appreciation class were recruited as volunteer participants for this study. Data were collected using online surveys and online discussion transcripts. Discussion transcripts were analyzed and rated for cognition level by trained judges using a system based on the principles of Bloom’s Taxonomy of Learning. Results from the discussion transcripts analyses were used to compare types of instruction, levels of cognition and levels of student satisfaction for each course assignment. A one-way ANOVA indicated a significant difference (p <.05) between the types of instruction (collaborative versus non-collaborative) and students’ demonstrated levels of cognition. Data indicated that collaborative small group assignments that foster high levels of discussion and interaction may encourage the use of higher order critical thinking skills. A Friedman Two-Way ANOVA found significant differences among student preference rankings indicating preference for a variety of instructional strategies implemented throughout the course.

Miksza, Peter; University of Colorado. peter.miksza@colorado.edu

“Relationships among Impulsivity, Achievement Goal Motivation, and the Music Practice of High School Wind Players.”

The primary purpose of this study was to investigate relationships among impulsivity, achievement goal motivation, and the performance achievement of high school wind players (N=60). An additional purpose was to examine how impulsivity and achievement goal motivation were related to observed practice behaviors. Subjects practiced in three, 25 minute sessions and completed the Eysenck Impulsiveness7 Questionnaire (1985) as well as a researcher-adaptation of the Elliot and McGregor (2001) 2 X 2 Achievement Goal Questionnaire. Reliability for the impulsivity and achievement goal sub-scales, performance ratings, and observed behaviors ranged from adequate to excellent. Results showed significant (p<.01) curvilinear growth in performance achievement with rapid gains made across day one, a peak in the rate of improvement at day two, and a plateau at day three. Impulsiveness, venturesomeness, and mastery-approach motivation were significant predictors of performance achievement. Multi-level model analyses indicated that including venturesomeness and mastery-approach as simultaneous predictors explained 19% of the variance among subjects’ initial performance achievement scores. Small correlations were detected between impulsiveness and the behaviors whole-part-whole and slowing and between mastery-goal motivation and skipping directly to or just before the critical musical sections of the etude.

Misenhelter, Dale; University of Arkansas. dmisenh@uark.edu

“Teacher Awareness of “Functions of Music” in Music Education.”

In this study, in-service music teachers were primary respondents to an inquiry based upon “functions of music” as originally described by anthropologist Alan Merriam; in particular, how these functions are represented in (their) classroom curricular planning and instruction. Likert-type scale and open response data were gathered: responses were collected from 115 teachers and 430 students, from 14 states and 4 overseas [American school] locations. Responses demonstrate widespread recognition of the functions, but suggest relatively low (by comparison) implementation as evidenced by verbal responses detailing planning and instructional activities or outcomes. Among the highest verbal response categories were statements by teachers citing their own efforts to include classroom activities relevant to cultural context and awareness of emotions. Low response frequency categories included statements about community and curricular planning. Among the exploratory responses from students, responses were favorable toward the particular function describing music as “enjoyable and entertaining,” and students seemed to readily cite instances of emotions and/or feelings associated with their musical experiences.

Moon, Kyung-Suk; Gongju National University of Education, South Korea.

Humphreys, Jere T.; Arizona State University. Jere.Humphreys@asu.edu

“The Manhattanville Music Curriculum Program: 1966-1970.”

The Manhattanville Music Curriculum Program (MMCP) was a major music curriculum reform project during the 1960s, an era of significant curriculum reform experiments in American education history. Contemporary observers see the MMCP as one of the pivotal events in American music education history during the second half of the twentieth century. This study constitutes a portion of the first large-scale attempt to document some of the history of the MMCP. It traces the implementation of the MMCP from 1966 to 1970 and examines its influences on American music education. Diverse sources were used, including archival materials and interviews with former project participants. This study reveals two competing stories about the MMCP, which reflected the true spirit of the curriculum reform movement. First, the project was an education reform attempt driven by the project participants’ strong belief in pedagogical innovations, their enthusiasm about the project itself, and their commitment to make use of every opportunity available to disseminate new curricular ideas. On the other hand, the barriers the participants encountered during the course of the project were vivid representations of some of the complexities involved in effecting long-lasting and wide-spread change in the status quo, which the project failed to achieve. Nevertheless, the spirit and ideas of the project continue to live through the believers in the approach, which is the true legacy of the MMCP. The MMCP experiences present powerful lessons for future reformers who seek to change educational realities. Significant change is unlikely without solid bottom-up support, effective implementation strategies, and success in sustaining and institutionalizing new curricular initiatives.

Morrison, Steven J.; University of Washington. sjmorris@u.washington.edu

Price, Harry E.; University of Oregon. Geiger, Carla G.; Florida International University.

Cornacchio, Rachel, A.; University of Oregon.

“The Effect of Conductor Expressivity on Ensemble Performance Evaluation.”

We examined whether a conductor’s use of high-expressivity or low-expressivity techniques affected evaluations of ensemble performances that were identical across conducting conditions. Two conductors each conducted two 1-minute parallel excerpts from Percy Grainger’s “Walking Tune.” Each directed one excerpt using high- and one using low-expressivity techniques. After watching a video of the four excerpts set to a single performance of the selection by a university wind ensemble, participants (N = 118) were asked to evaluate ensemble expressivity using a 10-point Likert-type scale. Half the participants also rated the expressivity of the conductor using a second identical scale. Ensemble expressivity was rated significantly higher under the high-expressivity conductors (p < .001); effect size was strong (partial η2 = .57). Among subjects evaluating both conductor and ensemble, there was a significant moderate correlation between ratings (r = .56, p < .01).

Napoles, Jessica; University of Utah. jessicanapoles@comcast.net

“The Effect of Excerpt Duration and Music Education Emphasis on Ratings of High Quality Children’s Choir Performances.”

The purpose of this study was to examine the effect of excerpt length on music education majors’ ratings of children’s choral performances. A secondary purpose was to determine whether there were any differences in ratings between choral and instrumental music education majors. Participants (28 choral music education majors and 44 instrumental music education majors from a large western university) listened to 10 excerpts of high quality children’s choral performances and rated them on pitch accuracy, rhythmic accuracy, tone quality, expressiveness, and overall impression, using a 7-point Likert-type scale. Participants were assigned to one of two groups. The only difference between the groups was that, if group 1 listened to an excerpt that was 20 seconds long, group 2 listened to that same excerpt for 60 seconds, and vice versa. Results of a three-way ANOVA with repeated measures indicate there were significant interactions between major and excerpt length (F (1, 64) = 6.06, p = .01, partial η2 = .08) and between piece and excerpt length (F (9, 576) = 2.39, p = .01, partial η2 = .03). Participants rated excerpts that were 60 seconds long slightly higher than excerpts that were 20 seconds long. There were no significant differences between the ratings of instrumental and choral music education majors, although instrumental majors tended to rate excerpts higher than choral majors.

Nierman, Glenn E.; University of Nebraska-Lincoln. gnierman@unl.edu

Pearson, Bruce; Pearson Music Education Services.

“The Relationship of Eye/Hand Coordination to the Success of Playing a Musical Instrument.”

The focus of this study is on the development of an eye-hand coordination (e-hc) subtest. More specifically, the purpose of this study was to determine if there was a relationship between students’ eye-hand coordination ability and their ability to realize the pitch and duration parameters when making music by reading notation from the printed page for the first time. Subjects for this study were 314 sixth and seventh grade students, ages 10-12, who were asked to complete a “Eye-Hand Coordination Test” which asked them to look at a key containing nine symbols with a number below each symbol (circle, square, triangle, etc.) and then write with a pencil the number below the symbol as it appeared in the key. This was a timed test. Those students with more highly developed e-hc were able to fill in more numbers in the two-minute test time period. It was theorized that there would be a significant relationship between students’ e-hc scores and their scores on a “benchmark” music reading exercise from Standard of Excellence (Pearson, 1995) scored by the Interactive Pyware Assessment System (2006) for pitch and rhythmic accuracy. A low, but significant (alpha < .05) correlation (r [314] = .140, p = .013) was found, thus making it plausible that the “Eye-Hand Coordination Test” may, with come modifications, be able to explain enough of the variance in instrumental performance to be useful in predicting the success of students in learning to play a musical instrument.”>< .05) correlation (r [314] = .140, p = .013) was found, thus making it plausible that the “Eye-Hand Coordination Test” may, with come modifications, be able to explain enough of the variance in instrumental performance to be useful in predicting the success of students in learning to play a musical instrument.

Orman, Evelyn K.; Louisiana State University. eorman1@lsu.edu

“Effect of Virtual Reality Exposure on Anxiety Measures of Musicians with Self Reported Debilitative Levels of Music Performance Anxiety.”

This study examined the effect of virtual reality exposure on anxiety measures of college music majors with self-reported debilitative levels of music performance anxiety. Physiological (heart rate and heart rate variability) and psychological (subjective units of discomfort) measures were collected for all private lessons and virtual reality sessions throughout the semester. Subsequent to baseline data, subjects (N=8) practiced while immersed in a virtual environment of their professor’s empty office during the first half and their professor’s office with the professor present during the second half of the semester. Results indicated a significant increase in heart rate variability (z = -2.023, p < .05) during lessons while students attended empty office virtual reality sessions and a significant decrease in student subjective units of discomfort throughout the semester (p < .05). Thus, virtual reality seems to have provided a means of systematic desensitization for self-reported debilitative levels of music performance anxiety.

Priest, Thomas. Weber State University. tpriest@weber.edu

Miller, Beth Ann; Maine School District #1.

“Teachers’ Descriptions of Creativity and Craftsmanship Under Three Conditions.”

Music teachers (N = 135) were asked to complete a creativity assessment and to describe the creativity and craftsmanship of five compositions for soprano recorder under three conditions: Audio Only (AO), Score Only (SO), and Audio and Score (A&S). The educators were also asked to discuss problems that they might have encountered in completing this task and to elaborate about the kinds of decisions they had to make. When their comments and observations were categorized and analyzed, a chi-square analysis yielded significant differences among the teachers in the three conditions. The teachers in the SO and A&S condition were more likely to cite aspects of the structure and form than the teachers in the AO condition (p < .01), and teachers in the SO condition were more likely to refer to the lyrical or singable qualities of the melodies (p < .05). The descriptive language used by teachers participating in this inquiry strongly emphasized the importance of melodic and rhythmic organization, musical structure, temporal factors, and expressiveness. Although there was not a statistical difference among the teachers on performance factors, it became very clear that there was an important qualitative difference among the three conditions. This inquiry suggests that the teachers in the SO condition were more likely to develop many different interpretations of the compositions while teachers in the AO and A&S conditions were more likely to accept the interpretation offered on the recording. Attention is drawn to problems associated with the assessment of compositional creativity and provides implications for nurturing creativity in various instructional settings.

Reynolds, Geoffrey A.; Hartt School. greynolds@hartford.edu

Hamann, Donald; University of Arizona.

“Music faculty research publication productivity.”

The purpose of this study was to determine author productivity by rank and assess author output in terms of single or joint authorship. We examined author productivity from three prominent national journals within the field of music education across a 15-year period, 1986 through 2003, to determine faculty rank at the time of publication. A total number of 725 articles were identified over this period. Data analysis revealed that of the total (N = 1007) single and joint authors identified, 513 (71%) were single authored and 212 (29%) were joint authored. Assistant Professors were proportionally the most productive faculty members and produced more single authored articles than any other group. While Associate and Full Professors had approximately the same number of authors involved in research publications, but Associate Professors were more active in writing single authored articles. Senior faculty members tend to engage in more joint research than junior faculty.

Riley, Patricia; University of Vermont. patricia.riley@uvm.edu

“Perceptions of the National Standards for Music Education: A Longitudinal Study.”

This research explores the perceptions of pre-service music teachers regarding their awareness of, and ability to implement the National Standards for Music Education. A survey was used to obtain the perceptions of the pre-service music educators (n=62). Survey statements regarding the Standards as a whole were: I am aware of the National Standards for Music Education; I feel that it is important to implement the standards; I am interested in implementing the standards; I feel responsible for implementing the standards; I am trained to effectively implement the standards; I feel able to effectively implement the standards; I will have instructional time to effectively implement the standards; and I will have the resources necessary to effectively implement the standards. With the exception of the first statement, all of the remaining statements were also asked of each individual content standard. Responses were indicated on a Likert scale, and consisted of: strongly agree, agree, no opinion, disagree, and strong disagree. Participants were given the survey before their introduction to music education class, after their introduction to music education class (during which they had experiences with how to implement the standards, and with lesson planning using the standards), after their methods classes and practicum experiences, and after their student teaching. Results include that favorable perceptions toward implementation of the standards as a whole rose with the increasing amount of experiences with the standards within the music education curriculum in the areas of importance, interest, responsibility, time, and resources to implement the standards.

Rohwer, Debbie, and Hill, David. University of North Texas. drohwer@music.unt.edu

“Adult Musicians’ Perceived and Measured Breathing Ability.”

The purposes of this study were: (1) to describe the measured breathing abilities of senior adult musicians, (2) to determine any relationship between breathing ability and age, and (3) to determine any perceived and measured differences between senior adult musicians’ breathing scores, before and after a rehearsal. The participants in this study were 57 adult musicians in two senior citizen bands in north Texas. Participants answered perception questions and then completed spirometry tests administered before and after band rehearsals on two occasions throughout a semester. Participants were able to complete the breathing ability measurements, with 74% of the participants measuring in the optimally healthy breathing range. Characteristics of smokers/non-smokers, females/males, and older/younger senior adults were described. There was a significant, moderate, negative correlation between breathing ability and age. Only a very small percentage of participants perceived breathing ability changes from before to after a rehearsal, and breathing ability measurements showed no statistically significant difference from before to after a rehearsal.

Russell, Brian E.; University of Miami. gtrbri@aol.com

“The Development of a Guitar Performance Rating Scale using Facet-Factorial Approach.”

The purpose of this study was to develop a guitar performance rating scale using facet-factorial techniques. The initial phase of the study included gathering items concerning the characteristics of a good or poor guitar performance from guitar performance literature, previously constructed rating scales, and statements from professional guitar players, guitar teachers, and college guitar majors. The item pool of statements was examined for suitability and placed into a priori categories established in previous research. The 99 item statements were paired with a five-point Likert scale and used by 55 volunteer judges to adjudicate 100 recorded samples of a wide range of guitar performance excerpts. The results of the 110 item pool adjudications were factor analyzed using a varimax rotation to identify the underlying factor structure and the items that best supported each factor. The results of the factor analysis yielded a five-factor structure consisting of interpretation, tone, technique, rhythm/ tempo, and intonation. The selection of the 32 items chosen to represent the factors of the Guitar Performance Rating Scale (GPRS) was based on factor loadings. Alpha reliability for the GPRS was estimated at .962 for the 32 item scale.

Russell, Joshua A.; University of Arkansas. jarussel@uark.edu

“Structures Underlying the Job Satisfaction of String Music Educators.”

The purpose of this paper was to explore the factors that are fundamental to the overall job satisfaction of string music educators. 238 members of the American String Teachers Association who indicated that their primary occupation was teaching strings in a K-12 setting responded to a 44 item questionnaire designed to elicit demographic data and levels of satisfaction with multiple aspects of their teaching position. In order to examine the underlying structures of the job satisfaction of string music educators, a factor analysis was conducted on each of the satisfaction variables included in the questionnaire. Results from this study suggest that there are five major components underlying string teacher job satisfaction – professional climate, student quality, interpersonal relationships, teaching responsibilities, and external career factors. Implications for each components is discussed.

Silverman, Michael J.; University of Minnesota. silvermj@umn.edu

“The Effect of Melodic Complexity and Rhythm on Working Memory as Measured by Digit Recall Performance.”

Social and academic information have often been paired with music in order to facilitate recall. Traditionally, the recall of this information has been an underrepresented area of scientific inquiry. The purpose of the present study was to isolate the effects of melodic complexity with and without rhythm on working memory as measured by sequential digit recall performance. The recall of information paired with six different melodies was tested on 60 university students. Melodies were built upon three, five, and seven notes and each level contained a rhythmic sequence or a non-rhythmic sequence. Results indicated that there was no significant difference between recall of music majors and nonmusic majors, although music majors outperformed nonmusic majors. There was a significant difference in the within subject variable of rhythm: the mean recall of information paired with a rhythmic component was higher than recall of information not paired with a rhythmic component. Recall of information paired with melodies built upon three notes was poorest while recall of information paired with melodies built upon seven notes was highest. Participants recalled information in serial positions of primacy and recency most accurately while information in the middle positions was poorest. Suggestions for future research are provided.

Sink, Patricia E.; University of North Carolina. psink@triad.rr.com

“Sound-Level Exposures of Public School Music Teachers.”

The purpose of this study was to describe sound-level exposures of public school music teachers. The primary research question was as follows. “Do public school music teachers experience sound levels that result in dose percentages that meet or exceed standards recommended by the National Institute for Occupational Safety and Health (NIOSH) during typical work days?” Across a career, sound-level exposures that exceed recommendations of the National Institute of Occupational Safety and Health (NIOSH) place a person at risk for noise-induced hearing loss (NIHL). Eighteen elementary, middle and high school music teachers wore Cirrus Research doseBadge dosimeters, at ear level, during two days of teaching. Twelve secondary instrumental music teachers experiencing only band classes or a combination of band and orchestra classes consistently exceeded the NIOSH-recommended standard dose percentage for sound-level exposures, with an average dose percentage of 157.39% and an estimated average sound-level exposure of 86.78 dBA.

Sogin, David W.; University of Kentucky. sogin@email.uky.edu

“Relationships Among Fine Motor Skills, Tone and Intonation.”

The purpose of this study was to examin the relationship between fine motor skills as measured on a nine-hole peg test, tone and intonation of twenty – one college string method students. In addition, differences in fine motor skill between males and females and left and right hands were also investigated. The results of the Pearson r correlations for the right hand with tone and left hand with intonation were found to be positive but not statistically significant. However, differences in means between the left and right hands as measured on the 9 hole peg test were found to be statistically significant, Left = 13.12 and Right 11.76. Additional studies need to be done both in terms of cognitive mapping of motor skills for specific instruments and the specific type of fine motor skills within the context of a musical performance.

Southall, John K.; Indian River Community College. jsouthal@ircc.edu

“The Effect of Musical Analysis Techniques on Student Perception of Ensemble Performance.”

A primary goal for music educators is to develop critical analysis skills in young music students. Indeed the Performance Standards for Music (MENC 1996) clearly indicate that listening skills are extremely important for all music students. The purpose of this study was to determine the effect of musical analysis techniques on student evaluation of an ensemble performance. Two groups of high school band students viewed a videotape of a concert band performance. One group viewed this video recording with no instruction and upon conclusion, evaluated the performance. The second group viewed the videotape of the same concert band with ten minutes of ensemble evaluation techniques given prior to the viewing of the videotape and evaluated the performance. Results indicated that there was a statistically significant difference (p < .05) between the two groups. Implications for music educators would seem to suggest that even a small amount of evaluative technique may have some effect on increasing critical listening skills in young musicians.

Sullivan, Jill; Arizona State University. jill.sullivan@asu.edu

“A Century of Women’s Bands in America.”

This study investigated the existence of women’s bands in the United States. After searching for data—a review of published literature, sending letters of inquiry to all state historical societies (N = 50) and most public Normal Schools (N = 189), and with the help of archivists around the country—I located photographs and written sources revealing that women’s bands existed in the United States during the 19th and 20th Centuries, 1870-1976. This data also revealed that women, like men, formed town, family, military, professional, swing, and school bands. This article establishes women’s legitimacy as part of the American wind band tradition. Recommended future research should include investigations that unearth more women’s high school, college, and town bands from the nineteenth and twentieth centuries.

Tsugawa, S.; Arizona State University. samuel.tsugawa@asu.edu

“Merle J. Isaac (1898-1996): His Contributions and Influence on Music Published for the School Orchestra.”

Merle J. Isaac remains to this day a strong influence on the philosophical, curricular, and musical development of the school orchestra. The purpose of this study is to add to the scant body of knowledge about Isaac and his superlative accomplishments and contributions to music education. In spite of Isaac’s prolific output of compositions and arrangements and his singular influence upon music education, few have written about Isaac and his contributions to string teaching. Gaps remain in the present story of people, places, and ideas associated with Merle Isaac. The effect of the availability of music and materials had a profound impact on the growth of the school orchestra between 1930 and 1950. This study will analyze the effect that Isaac’s arrangements and compositions had on the development of the school orchestra. During this period, Isaac’s arrangements, compositions, and method books provided a foundation of material that set the stage for the development of today’s school orchestra. This presentation will also include personal vignettes of Isaac’s colleagues that reflect the admiration and affection that many had for Isaac during his long career.

Ward-Steinman, Patrice Madura; Indiana University. pwardste@indiana.edu

“Vocal Improvisation by Australian and American University Jazz Singers: Case Studies of Outliers’ Musical Influences.”

The purpose of this study was to examine the musical influences of the outlying cases of 101 vocal improvisers in Australian and U.S. universities. Subjects performed jazz and free vocal improvisations, and qualitative data for high and low outlying cases were collected. Additional narrative comments were provided by subjects in the top quartile for both jazz and free improvisation. For jazz, the highest achievers were African-American, were a few years older, came from more musical families, and had greater knowledge of influential jazz artists. For free improvisation, the highest achievers were Australian, were a few years older, and were performance majors. Subjects in the top quartile of both jazz and free improvisation achievement generally came from very musical families, and identified specific artists and their particular influences. Other narrative responses regarding the development of their improvisation skill are included.

Wayman Davis, Virginia; University of Texas Pan-American. virgdavis@gmail.com

“The Meaning of Music Education to Middle School General Music Students.”

The purpose of this study was to investigate the meaningfulness of music education to middle school students in general music classrooms. A survey instrument was created by gathering middle school studentsâ€™ responses to an open-ended question regarding their music class. After pilot testing, the Music Meaning Survey (MMS) was administered to general music students (N = 762) from nine middle schools across 8 states. The results of the MMS were factor analyzed using principal components analysis and a varimax rotation. According to the MMS, subjects did ascribe meaning to music education. The meaning students derived from music education could be assimilated into four categories: Vocational (career-oriented outcomes), Academic (music theory and history), Belongingness (social interactions between students), and Agency (self-esteem, motivation, and emotional development). The primary conclusion that can be drawn from this study is that for middle school students, music class can be a meaningful and multi-faceted experience.

Wieland Howe, Sondra; Independent Scholar. howex009@umn.edu

“American Women and Music Education before the Civil War.”

The traditional accounts of the early history of music education in the United States have emphasized Yankee singing masters and their tunebooks, the introduction of music in Boston in 1838, and the publication of school music textbooks, with an emphasis on male music educators. What opportunities did women have for learning music, publishing, and teaching in the nineteenth century, especially before the Civil War? This paper will look at sources from musicology and women’s studies to tell the story of women’s involvement in developing American music education from 1790 to 1860. Before the Civil War women had opportunities to learn music and participate in musical activities in their homes, churches, and community, but opportunities depended on race, class, and geographical location. As the urban middle class expanded, young unmarried women were encouraged to become amateur musicians. They studied privately, performed in their homes, and taught piano in home studios. The demand for songbooks and hymnals gave women an opportunity to publish. Sarah Hale published song texts, Fanny Crosby wrote thousands of hymn texts, and Mary Dana Shindler published music textbooks. Women from musical families held church organ positions and opened music schools. Young girls attended academies and female seminaries where they learned “feminine accomplishments” and prepared to become teachers. Sunday schools and charity schools taught poor children the basics of reading and some music. These schools, along with common schools, laid the foundation for the public school system that developed after the Civil War.

Williams, Lindsey R.; University of Missouri-Kansas City. williamslin@umkc.edu

“Effect of Voice-part Training and Music Complexity on Focus of Attention to Melody or Harmony.”

The purpose of this study was to investigate the possible effects of voice-part training/experience and music complexity on focus of attention to melody or harmony. Participants (N = 150) were all university singers divided into four groups: sopranos (n = 44), altos (n = 33), tenors (n = 35), and basses (n = 38). The music complexity variable consisted of four levels of melodic complexity and four levels of harmonic complexity each paired for a total of 16 possible combinations all heard by each participant. Each trial consisted of a melodic complexity/harmonic complexity pairing performed by the same performer on solo jazz piano. Subjects indicated their overall perceived focus of attention for melody and harmony either during or immediately after each of the 16 examples. An ANOVA was conducted with one between subjects factor (voice-part) and two within subjects factors (melodic complexity and harmonic complexity). Significant differences occurred between music training and focus of attention. Overall, data showed that voice-part training/experience does affect focus of attention.

Woods, Maurice, Sullivan, Jill, and Stauffer, Sandra; Arizona State University. jill.sullivan@asu.edu

“Cover Pictures of the Music Educators Journal: A Content Analysis.”

A content analysis of the cover photographs of the Music Educators Journal (MEJ) from its inception to November 2005 was conducted to determine how certain variables were represented and to identify trends and parallels between the journal covers and concurrent developments within society and the music education profession in the United States. Variables examined were age, race, sex, and area of specialization. Frequencies of levels for each variable were recorded then compared using chi-square tests. Results revealed inequities among levels of variables favoring males, adults, white Americans, and instrumentalists. Miscellaneous themes found on the covers included physical locations, world music, prominent personalities, and the military. This study can be a valuable evaluation tool for the MEJ staff and our profession to reflect on how we want to present ourselves to our field, to society in general, and to help us determine if the printed covers of MEJ align with the professional declarations that the field espouses.

Yarbrough, Cornelia and Whitaker, Jennifer; Louisiana State University. cyarbro@lsu.edu

“Analysis of Reviewer Comments on Quantitative Manuscripts.”

Reviewer comments for all accepted quantitative manuscripts submitted and accepted during the time period of July, 2003 through November, 2005 (N = 35) were analyzed. We began by determining whether the method used by the author was experimental (n = 20) or descriptive (n = 15). A total of 1,734 reviewer comments from 165 reviews written by 18 reviewers were categorized and coded. Results demonstrated that reviewers’ comments were predominantly instructional (61.71%) with a substantial percentage of reinforcement comments (38.29%). Positive comments (56.93%) were slightly more prevalent than negative comments (43.07%). For both experimental and descriptive manuscripts, reviewers’ comments focused on the review of literature, method/procedures, results, and discussion sections of the manuscript (73.31%). Less than five percent of the comments were for the title, topic, abstract, statement of the problem, research questions, conclusions, references, and tables/figures, respectively. Recommendations for the future submission and review of manuscripts conclude the report.

Zdzinski, Stephen F.; University of Miami. szdzinski@miami.edu

“The Underlying Structure of Parental Involvement-Home Environment in Music.”

The purpose of this study was to examine the underlying structure of musical home environment. Nine-nine statements were generated for an initial item pool from previously constructed parental involvement measurement scales and home environment research. Using an initial item-selection pool of 276 participants, the results were factor analyzed using a varimax rotation. Six factors were identified: home structure; parental expectations, family musical participation, musical home environment, attitudes about music, and family musical background. A thirty-six item measure was created with items selected for each subscale based on factor loadings. After collecting additional data, a sample of 531 participants was used in two additional factor analysis procedures. The items selected for the six-factor scale were examined, and confirmed the factor stability. In the other analysis, the initial-item pool was factor analyzed again, and revealed a seven-factor structure, retaining the six original factors and adding a music program support factor. Alpha reliability coefficients for both the six-factor and seven-factor scales were acceptable (.85 and above).

Zemek, Michael D.; Augustana College. michaelzemek@augustana.edu

“Perceptions of Music Educators on their Preparation to Serve as Cooperating Teachers.”

Like other disciplines, cooperating teacher preparation in music education is often limited to handbooks of student teaching, one-on-one conferences between cooperating teachers and university supervisors, and occasional classes or workshops that focus on administrative issues rather than on pedagogical or philosophical concerns of music educators. The purpose of this study is to examine the value of preparation practices and ways to strengthen alignment between methods courses and student teaching. The six experienced music cooperating teachers interviewed felt there was great value in preparation activities and materials but report offerings seldom dealt with issues specific to music education while increased demands on time and resources made it difficult to participate. Suggestions for improvement include offering short classes locally, at state/national conferences, or via the Internet to discuss the aims and methods of undergraduate teacher preparation programs in depth in order to strengthen the link between coursework and field experiences. Furthermore, serving as a cooperating teacher and participating in education opportunities provide practicing K-12 music teachers with the occasion to directly influence both the student teaching experience and the entire teacher preparation program as cooperating teachers are viewed as valuable members of the teacher-educator team.