2008 Research Poster Session II Abstracts - Part 1

2008 MENC National Conference Research Poster Session Abstracts

Research Poster Session I	Research Poster Session II	Research Poster Session III
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12:30 PM
Research Poster Session II

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Abeles, Hal; Columbia University. abeles@tc.edu
“Are Musical Instrument Gender Associations Changing?”

Allen, Sarah E.; Southern Methodist University. sarahallen@smu.edu
Duke, Robert A.; University of Texas.
“Practicing Two Skills in a Single Session: Does the Skill Practiced Second Affect the Overnight Memory Consolidation of the Skill Practiced First?”

Cairo, Rebecca A.; Arizona State University. Rebecca.Cairo@asu.edu
“Music Classes for Preservice Teachers: A Pilot Study.”

Clements, Ann C.; Pennsylvania State University. acc13@psu.edu
“From the Outside – In: The Case Study of a Community Rock Musician.”

Coffman, Don D.; University of Iowa. don-coffman@uiowa.edu
“Survey of New Horizons International Music Association Musicians.”

Cohen, Mary L.; University of Iowa. mary-cohen@uiowa.edu
“Choral Singing and Prison Inmates: Influences of Performing in a Prison Choir Upon Participants.”

Costa-Giomi, Eugenia; University of Texas-Austin. costagiomi@mail.utexas.edu
Ryan, Charlene; Berklee College.
“The Benefits of Music Instruction: What Remains Years Later.”

Dell, Charlene; University of Oklahoma. cdell@ou.edu
Barry, Nancy; Auburn University.
Raiber, Michael; University of Oklahoma.
Duke, Brian, and Jackson, Diane; University of Central Oklahoma.
“The Role of the Music Specialist in an Integrated Curriculum.”

Duke, Robert A.; University of Texas-Austin. bobduke@mail.utexas.edu
Allen, Sarah E.; Southern Methodist University.
Brittin, Ruth V.; University of the Pacific.
Byo, James L; Louisiana State University.
Cavitt, Mary Ellen; Texas State University.
Davis Cash, Carla; Texas Tech University.
Goins, Katherine R.; New School for Music Study.
Rosenthal, Roseanne; VanderCook College of Music.
Simmons, Amy L.; University of Texas-San Antonio.
“Evenness of Piano Keystrokes is Affected by Performers’ Focus of Attention.”

Duke, Robert A.; University of Texas-Austin, TX. bobduke@mail.utexas.edu
Simmons, Amy L.; University of Texas-San Antonio, TX.
Davis Cash, Carla; Texas Tech University.
“It’s Not How Much; It’s How: Characteristics of Practice Behavior and Retention of Performance Skills.”

Fauls, Brenda K. S., Morris, Richard J., and Harmon, Archie V.; Florida State University. bkcurlyred@bsmdb.com
Cleveland, Tom; Vanderbilt University.
“Perceptual Evaluation of a Choral Conductor’s Preferred Chorister Arrangements.”

Fidlon, James; University of Texas-Austin. jfidlon@mail.utexas.edu
“Making the Changes: Memory for Jazz Chord Progressions.”

Flood, Margaret J.; Mount Vernon City School District. margaretjflood@gmail.com
“The Power of Creation Through Cultural Education: Musical Agency within Projeto Didá.”

Flowers, Patricia J.; Ohio State University. flowers.1@osu.edu
“The Effect of Prior Music or Computer Activities on Timed Math Test Performance of 2nd Grade Students.”

Fung, C. Victor and Gackle, Lynne; University of South Florida. cvfung@arts.usf.edu
“Bringing the East to the West: A Case Study in Teaching Chinese Choral Music to a Youth Choir in the United States.”

Geringer, John M. and Allen, Michael L.; Florida State University. geringer@fsu.edu
“An Exploratory Study of Judges’ Ratings in String All-State Auditions: Predicting Total Scores from Individual Components.”

Gibbs, B.; Pennsylvania State University. beg121@psu.edu
“Assessing Pre-Service Music Teachers: Piloting a Measure of Pre-service Teacher Responsiveness.”

Green, Bradley Layne; Texas Tech University. bradbeebranch@yahoo.com
“Andrew Law and his Select Harmony: Containing in a Plain and Concise Manner, the Rules of Singing: Together with a Collection of Psalm Tunes, Hymns and Anthems, (1779 Edition).”

Guerrini, Susan C.; Rutgers University. sguerrin@rci.rutgers.edu
Kennedy, Mary C.; University of Victoria, Canada.
“Cross-Cultural Connections: An Investigation of Singing Canadian and American Patriotic Songs.”

Hedden, Debra G. and Johnson, Christopher M.; University of Kansas. dhedden@ku.edu
“The Effect of Teaching Experience on Time and Accuracy of Assessing Young Singers’ Pitch Accuracy.”

Hedden, Debra G.; University of Kansas. dhedden@ku.edu
“Undergraduate Music Education and Education Preservice Teachers’ Confidence in Executing Classroom Management.”

Hellman, Daniel S.; Missouri State University. DanielHellman@missouristate.edu
“Preservice Teachers’ Perceptions of Diversity during Field Experiences.”

Hourigan, Ryan, and Scheib, John; Ball State University. rmhourigan@bsu.edu
“The Influence of Curriculum: Student Teacher Perceptions on the Usefulness of Experience and Undergraduate Teacher Education.”

Kessler Price, Kathy; University of Kansas. price.kk@gmail.com
“Effect of Singing Protocol on the Post-Menopausal Singer: A Case Study.”

Lane, Jeremy S.; University of South Carolina. jlane@mozart.sc.edu
“The Effect of Lesson Planning Training on Rehearsal Pacing of Undergraduate Instrumental Music Education Majors in Practice Teaching Settings: A Replication and Update.”

Lehmberg, Lisa J.; University of South Florida. lisa.lehmberg@gmail.com
“Music Teacher Trainers’ Perceptions of Effective Teaching and Effective Urban Teaching in Elementary General Music Classrooms.”

Macleod, Rebecca B.; University of North Carolina. rbmacleo@uncg.edu
Geringer, John; Florida State University. Scott, Laurie, University of Texas-Austin.
“A Descriptive Study of High School and University Students’ Focus of Attention.”

Abeles, Hal; Columbia University. abeles@tc.edu
“Are Musical Instrument Gender Associations Changing?.”

Are musical instrument gender associations changing? This research sought to examine gender associations across three decades to determine if changes in the sex stereotyping of musical instruments has occurred as a consequence of the social change that took place during the last 30 years. The study employed two indices of gender associations that allowed the data collected to be compared with previous studies conducted in the 1970s and 1990s. First, the study examined a sample of 200 college students who ranked instruments employing a paired comparison ranking strategy. These ranks were then transformed to normalized instrument gender scale scores. A comparison of the scores confirmed a reduction of instrument gender associations reported in the 1990s. No additional reduction in the stereotyping behavior of these college students was observed between the 1990s and 2007. The second index of gender associations employed was the instruments middle school children played. The musical instrument choices of a nationwide sample of 2001 middle school students were collected. A comparison of the instruments played by boys and girls across three studies conducted in 1978, 1993, and 2007 once again showed little difference in the sex-by-instrument distribution. Girls played predominately flutes, violins, and clarinets, and most boys played drums, trumpets, and trombones. There is some evidence that in band settings, girls are more likely to play nonconforming gender instruments than are boys. Further studies that focus on parents’ influence on children’s instrument choices and the impact of ethnicity are recommended.

During late evening practice sessions, 31 nonpianists learned a simple 9-note piano melody played with their nondominant hand, and, after practicing the melody for approximately 8 min, either learned a second piano melody, learned a new piece on their principal instrument, practiced a familiar piece on their principal instrument, or engaged in no other music-related motor behavior prior to sleep. All participants returned the following morning to be retested on the original 9-note piano melody. Results indicate that the most complex task, learning a novel piece on participants’ primary instrument, had the greatest interfering effect on overnight memory consolidation for the task learned first. This finding is discussed in relation to previous research in motor memory consolidation and interference.

Cairo, Rebecca A.; Arizona State University. Rebecca.Cairo@asu.edu
“Music Classes for Preservice Teachers: A Pilot Study.”

This pilot study examines expected student outcomes and faculty expectations of elementary education majors completing the Music for the Classroom Teacher courses in Schools of Music. A survey was administered in a southwestern state to discover faculty attitudes on this topic from both Schools of Education and Schools of Music. A Likert-type survey measured expected exposure and mastery of national music standards which education majors may have upon completing this class. Because of the small sample, results are reported with descriptive statistics. It appears that School of Education and School of Music faculty hold somewhat different attitudes regarding expectations and outcomes for those education majors completing the Music for the Classroom Teacher course in participating Schools of Music.

Clements, Ann C.; Pennsylvania State University. acc13@psu.edu
“From the Outside – In: The Case Study of a Community Rock Musician.”

The purpose of the study was to describe and interpret the personal musicianship, musical history, and previous “in school” musical experience of an adult community rock musician by means of a three-year longitudinal case study. Themes that emerged from the data are (1) the impact of music making within a family unit and outside of formal music training, (2) the subject’s perceptions of what it means to be musical, and (3) the subject’s perception of American formal music education. The informant was a 26-year old community musician living in suburban central Pennsylvania. Data-collection techniques included interviews, observation, participant observation, and the examination of gathered materials. Analysis involved the preparation of field notes and interview transcripts, document and transcription analysis, and study of the field notes and interviews. Results suggest (1) the need for a broader definition of what it means to be musical than is commonly used in music education practice, (2) that musical identities are formed as much, if not more, within the home and among family and social groupings then within the music classroom, and (3) there continues to be a disjoint between the musical practices and happenings within the music classroom and outside the school building, with the discrepancy being both curricular and pedagogical.

Coffman, Don D.; University of Iowa. don-coffman@uiowa.edu
“Survey of New Horizons International Music Association Musicians.”

This study analyzed survey responses from 1607 NHIMA musicians across the United States and Canada to better understand older adults’ experiences in making music and to establish a baseline of data indicating their self-reported health. The purpose of this study was three-fold: (1) ascertain the extent of NHIMA musicians’ musical backgrounds and their current involvement in music making, (2) determine perceived benefits of music making in NHIMA groups, and (3) establish a baseline for a planned longitudinal study that monitors NHIMA musicians’ health compared with similar adults who are non musicians to document relationships between health changes and music making. NHIMA musicians can be typified as approximately 70 years old, of average health, college-educated, with above average incomes, and with previous playing experience on their instruments in high school. They play their instruments on average an hour a day. A more revealing profile emerges from their comments about playing in a NHIMA group. Categorizing their comments reveals that most (80%) of the responses cite emotional well-being and socialization benefits, but obscures some of the essence of NHIMA musicians’ statements. Reading comments about their joy in playing, about enhanced self-esteem, about finding relief from chronic depression, about falling in love and remarrying—these isolated statements speak powerfully, as do assertions that playing a wind instrument has improved asthmatic conditions and arthritis. This study verifies the substantial benefits of music making in the lives of older adult amateur musicians.

Cohen, Mary L.; University of Iowa. mary-cohen@uiowa.edu
“Choral Singing and Prison Inmates: Influences of Performing in a Prison Choir Upon Participants.”

The purpose of these two experiments was to compare well-being measurements between a group of prison inmates singing in a choir and prison inmates not singing in a choir. Participants took the Friedman Well-Being Scale (FWBS) before and after two prison choir performances. One performance consisted of an inmate only choir (n=10) and the second performance was an inmate-volunteer choir (n=48). Results indicated no significant differences between experimental and control groups (n=10) in composite well-being scores in both experiments. In experiment two, there were significant differences between experimental and control groups on four subscales: emotional stability, sociability, happiness, and joviality. A content analysis of weekly written responses of participants in the inmate-only choir suggested a tendency toward: (a) negative responses during containment, (b) positive choir-related responses at the final two rehearsals, and (c) overall choral experience reflections related to a sense of well-being.

Costa-Giomi, Eugenia; University of Texas-Austin. costagiomi@mail.utexas.edu
Ryan, Charlene; Berklee College.
“The Benefits of Music Instruction: What Remains Years Later.”

Research has consistently shown that music lessons produce cognitive improvements in children. What is not clear is whether these benefits are long lasting. This investigation studied the long-term effects of piano lessons during childhood on IQ and memory by following a group of children randomly assigned to an experimental and control group for 10 years. The two groups were comparable in demographic characteristics, cognitive abilities, academic achievement, musical aptitude, motor proficiency, and self-esteem prior to the lessons. Ten years after the start of the lessons, no differences in memory or IQ were found between the groups. The results of this experimental study contradict the conclusion from correlational studies showing that music lessons during childhood are a good predictor of IQ in young adulthood. Possible causes for this contradiction are discussed.

This study examined teachers’ and administrators’ perceptions of the role of the arts and of arts specialists in an integrated curriculum. A secondary purpose involved comparing attitudes of music teachers, and other (non-arts) teachers. This study employed both qualitative (observations and in-depth interviews) and quantitative (survey) research methods. Participants (N=450) were teachers and administrators at 31 schools in the Oklahoma A+ Schools®. There was general agreement among all teachers regarding the importance of the arts and arts integration in the elementary schools. However, a MANOVA indicated significant (p < .05) differences in the degree to which arts and art integration were valued by music teachers and “other” teachers according to their survey responses. Qualitative data indicated scheduling time to collaborate and plan integration was not easily found. In most instances, a one-way approach to arts integration was employed where music was used to reinforce other content. A number of barriers to collaboration between music teachers and other teachers were also revealed.

We tested the extent to which the movements of learners performing repeated, alternating piano keystrokes are affected by directing their focus attention to different movement goals. We found significant results that are consistent with those observed in the study of other motor skills, and we show for the first time that auditory feedback produced by physical movement functions as a distal movement goal. In a series of four experiments 138 musicians (nonpianists) performed under one of four focus-of-attention conditions. While performing the test passage, subjects were directed to focus their attention on either their fingers, the piano keys, or the sound produced. Complete MIDI data for all responses were digitally recorded by software written specifically for these experiments. Our results show that performance is most accurate and generalizable when subjects focus on the effects their movements produce rather than on the movements themselves, and that the more distal the focus of attention, the more accurate the motor control, though the size of the effect varied under different performance conditions. We discuss our results in relation to research in motor learning and kinesiology.

We observed 17 graduate and advanced-undergraduate piano majors practicing a difficult, three-measure, two-voice keyboard passage from Shostakovich’s Concerto No. 1 for Piano, Trumpet and String Orchestra, Op. 35. Participants’ instructions were to practice until they were confident that they could play the passage accurately at a target tempo of 120 bpm. The pianists themselves determined the durations of the practice sessions. The day following the practice sessions, each pianist played the passage at the target tempo for 15 consecutive trials. We analyzed the practice behavior of each pianist in terms of numeric and nonnumeric descriptors and ranked the pianists according to their accuracy and fluency; the rankings served as the basis of comparison. Results indicate no significant relationship between the rankings of pianists’ retention test performances and any of the following variables: practice time, number of total practice trials, number of complete practice trials. There were significant relationships between retention test rankings and the percentage of all performance trials that were performed correctly r = -.59, The percentage of complete performance trials that were performed correctly, r = -.71, and the number of trials performed incorrectly during practice, r = .48, indicating that pianists with the highest proportion of complete, correct performance trials during practice tended to be ranked most highly at retention. The results show that the organizational structure of practice is more determinative of the quality of performance at retention than is how much or how long one practices, a finding consistent with the results of other research on musicians’ practice.

Highly trained choral singers performed excerpts from from J. S. Bach’s‚ Der Geist hilft and Moses Hogan’s arrangement of Ev’ery Time I Feel the Spirit in two different choir formations – one random and one where singers were placed by voice compatibility. Listeners compared recorded samples from the two choral formations. Two hypotheses were tested; the choir of voice compatibility placed singers would be recognized as different from the random placed singers; and music trained auditors would more accurately identify differences in musical excerpts than non-music trained auditors. The results were discussed and suggest that choir formations in which the singers are arranged by voice compatibility can make a difference in the overall sound perceived by listeners and that choral conductors might benefit from following voice compatibility methods when determining choir formations. Formal, traditional music education did not improve music excerpt identification.

Fidlon, James; University of Texas-Austin. jfidlon@mail.utexas.edu
“Making the Changes: Memory for Jazz Chord Progressions.”

This study sought to determine whether existing theories of the relationship between expertise and memory extend into a crucial aspect of jazz musicianship: the ability to memorize jazz chord progressions. The participants were 27 undergraduate and graduate music students representing a wide range of jazz experience. Two written progressions were created for a memory task, one using idiomatic harmonic motion and the other characterized by non-functional relationships between chords. For each progression, 30 seconds was given to study the music, after which the participants were asked to write down as much of the progression as they could recall. The recall scores were correlated with various measures of musical experience collected from each participant. Strong significant correlations were found between a measure of existing jazz repertoire knowledge and recall scores on the memory task, but only for the conventional progression. No significant correlations were found between any experience measures and recall scores for the non-functional progression. Post-test interviews revealed that when the more expert jazz musicians viewed the conventional chord progression, enriched experiences with similar harmonic material provided an opportunity to associate the chords with representations already encoded in long-term memory. With the non-functional chord progression, the absence of these “logical” relationships confounded efforts to associate the progression with previously acquired knowledge, and thus the memory advantage was sharply diminished.

Flood, Margaret J.; Mount Vernon City School District. margaretjflood@gmail.com
“The Power of Creation Through Cultural Education: Musical Agency within Projeto Didá.”

This qualitative research study explores the notion of musical agency within the Educational and Cultural Association Didá in the city of Salvador da Bahia, Brazil. The organization consists of a school of music for underprivileged women and children within the poor neighborhoods of the city. It is a social project existing in one of the poorest and most conservative cities in Brazil and has had significant success in keeping women and children off the streets and involved in arts related activities. The researcher uses definitions of human agency and cultural agency to explore the notion of musical agency within a school of music. Using these definitions and theories, the researcher creates her definition of musical agency within Educational and Cultural Association Didá. Intertwined within this framework, the researcher writes of aspects of identity including gender identity, behavioral aspects of identity, education, racial identity, and social identity. One case study of an adult female member of Projeto Didá is included. The researcher has followed qualitative research methods used by ethnomusicologists including observations, participant observation, journal fieldnotes, interviews, and audio and visual documentation.

Flowers, Patricia J.; Ohio State University. flowers.1@osu.edu
“The Effect of Prior Music or Computer Activities on Timed Math Test Performance of 2nd Grade Students.”

The purpose of the project was to use music as a tool to relax and re-engage young students before taking a 6-minute math test on arithmetic facts and operations. The setting was a second grade classroom at a parochial school in a large midwestern city where the classroom teacher was interested in creative and re-creative activity for her pupils to offset the academic demands of the curriculum. The class of 27 students was randomly divided into two groups. One group participated in music activities prior to taking the timed math test; the other used the computer laboratory to work on math games and problems. Groups reversed schedules during the second half of the year. These activities were carried out on most Friday afternoons from October through early June, with test data gathered on eight occasions. Analysis of test scores showed that neither time of year nor prior activity yielded significantly different responses on the math tests, although students engaged in prior music activities tended to do somewhat better, especially earlier in the year.
There is no way to know if the music activities had any beneficial effect on cognitive engagement beyond the specific math tests where it yielded performance similar to computer/math activities. Perhaps there were other therapeutic benefits given the enthusiasm of the teacher, principal, parents, and students for the music sessions. However, even if children were less anxious and more engaged as a result of music participation, it was unfortunately not evident in their math test performance.

The purpose of this case study was to document and evaluate the process which 35 singers (14 to 18 year old) in a youth choir in the United States learned Chinese choral pieces in a four-month period. The researchers identified major challenges and strategies used and, with the help of 43 choral directors in China, evaluated the youth choir’s performance of these Chinese songs. This study used observations, interviews, and performance evaluations as the main methodologies. Sources of data include choir members’, the choir director’s, and the researchers’ accounts of rehearsals and performances. We identified eight themes based on the data from observations, notes, interviews, and evaluations. These themes concern the importance of parts to whole, the importance of visual and aural demonstration and feedback, aesthetic enjoyment of the challenge and its application, high-achieving student profiles, understanding the meaning and cultural context of the lyrics, utilizing culture bearers in the community, extension to native experts, and cultural submersion providing musical and life insights. We conclude that strategies used in this study were effective and that the choir had substantial gains in four areas: musical, pedagogical, cultural, and attitudinal/personal.

The purpose of this study was to explore relationships among the individual components of the Florida All-State string auditions and the overall ratings of the judges. More specifically, we addressed whether any of the component scores of the all-state evaluations (etude, excerpt, scales, and sight-reading) accurately predict the overall ratings of judges. We obtained judges’ adjudication sheets for all string instruments in the 2007 Florida All-State auditions. This event holds auditions at three grade levels: 7-8, 9-10, and 11-12. Judges’ ratings of students were analyzed in 10 separate categories: violins, violas, and cellos at each of the three grade level groups, and double basses combined (since sample sizes for this instrument were relatively small). Sample sizes ranged from 50 to 73 across the categories. Overall regression models significantly predicted the overall scores of judges in all categories, accounting for 80 to 94% of the variance in total scores. A review of standardized beta coefficients and partial correlations indicated that judges’ rating on the score for the two scales was the most consistent predictor of total overall scores. Ratings for the excerpt, etude, or sight-reading were the best predictor in only a few cases. Scores on the etude and excerpt correlated with each other highly. Sight-reading scores correlated least with the other components of the audition. Further research seems necessary to aid in the development of both impartial and efficient methods of choosing all-state participants.

Gibbs, B.; Pennsylvania State University. beg121@psu.edu
“Assessing Pre-Service Music Teachers: Piloting a Measure of Pre-service Teacher Responsiveness.”

The transition from music student to music teacher requires the practice of teaching behaviors and routines in front of class groups. Peer teaching opportunities allow music teacher educators to provide practical feedback to pre-service teachers and give them insight into what they do well and how they can improve. It may be helpful to use a measure designed to diagnose a pre-service teacher’s responsiveness to students in peer teaching situations. The purpose of the current study was to determine the suitability of a researcher developed observation rating form to measure pre-service teacher responsiveness during peer teaching episodes. Specific questions addressed in the study included: Does the measure yield consistent observations among raters? Is the measure an accurate reflection of raters’ perceptions of pre-service teacher responsiveness? What do raters perceive to be the strengths and weaknesses of the measure? The raters for this study were music education graduate students and faculty who viewed compiled peer teaching excerpts from an instrumental music education class. Each rater independently viewed the peer teaching excerpts two times, a week apart, using the researcher designed Teacher Responsiveness Observation Flowchart. Following the second viewing, raters were interviewed to identify their perceptions of the measure. Raters’ scores from the observation forms and responses to the follow-up interviews were analyzed to determine the reliability and validity of the measure. Results of this study may be helpful in providing information about the development of assessments for pre-service teachers.

Andrew Law (1749-1821), American author and publisher, was the first recipient of an American copyright, and is sometimes credited with the invention and introduction of shape notes. LawÂ¹s Select Harmony: Containing in a Plain and Concise Manner, the Rules of Singing; Together with a Collection of Psalm Tunes, Hymns and Anthems (1779 edition) is an archetypal example of a tune book that influenced early music education in America. An original manuscript of Select Harmony is located in the Bowld Music Library at Southwestern Baptist Theological Seminary in Fort Worth, Texas and serves as the primary source for this study. The purpose of this research is to examine the details of an original manuscript of the previously named tune book with a particular emphasis on the music education materials that it contains. Photographs from the book are included. This study also discusses the bookÂ¹s physical description, printing, distribution, reprints and revisions, and contents. The book is examined in the context of the life of its author, prominent singing school master Andrew Law, and in the context of contemporary tune books and singing school masters Andrew LawÂ¹s tune book is examined in detail and the results are discussed in terms of the implications for further research.

The purpose of this study is to compare American and Canadian high school choral students’ knowledge of their respective patriotic songs. The questions of the study are as follows: 1)Do students in America and Canada sing accurately their respective national anthems and each other’s national anthems relative to a)melody b)lyrics 2)Do students in America and Canada sing accurately “America” and “God Save the Queen” relative to a)melody b)lyrics 3)Is there a difference in the accuracy of students from America and Canada when singing their respective and each other’s patriotic songs? The sample consisted of 102 secondary school students, who were enrolled in non-auditioned choir classes in the United States (n = 47) and Canada (n = 55). Students were audio taped singing versions of their respective national anthems. They were also audio taped singing “America” or “God Save the Queen” Results indicated that when the task was singing their own national anthem, American students had significantly more melodic accuracy than lyric accuracy (p < .001), while Canadian students had significantly more accuracy with the lyrics than melodic accuracy (p < .001).  Although there were few students who could sing their own national anthem perfectly, more than 77% of American students, and 41% of Canadians made only one small error in lyrics and no melodic mistakes and were judged proficient in lyrics and melody. No student in either country was judged proficient in singing the words and melody of the other’s national anthem. American students were significantly more accurate (p < .0001) in melody and lyrics when singing “America” than Canadian students who performed “God Save the Queen.” Implications for practical application indicate that more emphasis should be placed on giving students the opportunity to sing their own national anthems, with special attention to typical lyric mistakes. Additional opportunities should be given to all students to perform other patriotic songs of their countries and of their neighboring country.

Hedden, Debra G. and Johnson, Christopher M.; University of Kansas. dhedden@ku.edu
“The Effect of Teaching Experience on Time and Accuracy of Assessing Young Singers’ Pitch Accuracy.”

The purpose of this study was to investigate the effect of preservice and practicing music teachers’ experience on time and accuracy of assessing young singers. A total of 55 participants — freshmen (n = 14) and senior (n = 17) music education students, and beginning (n = 12) and experienced (n = 12) music teachers — listened to stimuli containing in-tune and out-of-tune singing of the first nine pitches of America on a neutral syllable, assessing the pitch-matching accuracy of the singing. Participants heard twenty stimuli of second-grade singers and responded through the use of the Continuous Response Digital Interface (CRDI) device. Each stimulus was heard only once, with distraction music inserted between stimulus examples. Results indicated that freshman participants responded much more slowly to the stimuli than did the other three groups, and that all groups were much more accurate assessing out-of-tune singers than in-tune singers; though there were no overall differences in assessment accuracy between groups. Based on these data, the implications for teaching music were questioned, and though it is considered that latency and accuracy are important for successful music programs, the degree of importance they play is not completely clear.

Hedden, Debra G.; University of Kansas. dhedden@ku.edu
“Undergraduate Music Education and Education Preservice Teachers’ Confidence in Executing Classroom Management.”

The purpose of this study was to investigate whether a concerted unit of instruction in classroom management, including direct instruction, assigned readings, and practical application, would affect the confidence levels of preservice teachers (N = 37) regarding discipline. The participants were undergraduate education (n = 20) and music education majors (n = 17) at a large Midwestern university. An investigation of the independent variables of gender and course demonstrated significant differences as well as significant differences in the overall level of confidence of the preservice teachers (pre-test/post-test scores), the dependent variable. Implications for teacher education programs are that classroom management (a) is a learned behavior (Cochran, 1983) and (b) might be an area of study integrated into the curriculum for teaching majors to better prepare them for success in the classroom.

Hellman, Daniel S.; Missouri State University. DanielHellman@missouristate.edu
“Preservice Teachers’ Perceptions of Diversity during Field Experiences.”

Students enrolled in public schools United States are becoming increasing diverse; however current and projected enrollments of preservice teachers do not match this trend. Currently enrolled preservice teachers will need to increasingly develop a genuine level of comfort and support to acknowledge and embrace diversity in school teaching settings. Music preservice teachers’ perceptions of diversity in a structured reflective journal assignment completed in April 2007 were examined using content analysis to gain insights into the aspects of diversity they identified in field placement settings and how these identified aspects of diversity were addressed. More than half of journal entries contained references to learning abilities, gender, special needs, motivation and learning styles, but less than half of journal entries contained references to learner rates, socioeconomic status, and religion. In addition, contradictory themes emerged within the journals with some preservice teachers referring to the challenges involved in teaching and addressing diversity and others suggesting “going with the flow” and ignoring many aspects of diversity. Results suggest that preservice teachers develop strong impressions of music teaching and learning through field experiences.

Through the use of a collective case study methodology, this study examined the perceived requisite skills and understandings needed for a successful student teaching experience. Six instrumental music student teachers served as participants. Research questions included: (a) What were the reported prerequisite skills, abilities, and/or understandings are deemed necessary for the participants to feel/be successful in their student teaching experience? (b) Did they gain these skills, abilities, and understandings through their undergraduate preparation (either through coursework or field experiences)? (c) What influence did early fieldwork experience have on their understandings and overall preparedness for student teaching? and (d) Did any of the above findings relate to what we know about undergraduate development? Data were generated from interviews, observations, journals, and artifacts from prior coursework. Findings included that students perceived curricular, co-curricular, and extra-curricular music teaching and non- music teaching experiences to be valuable prior to student teaching. Valuable curricular and co-curricular (e.g. fieldwork) skills included: (a) administrative skills; (b) classroom management skills; (c) musicianship skills; and (d) content and pedagogical knowledge. The participants reported that not only did they acquire these skills from coursework, applied lessons, and ensemble participation, but also experiences outside of their curricular requirements (e.g., skills relating to work ethic, interpersonal and intrapersonal skills). The researchers compared these results to the forms of Ethical and Intellectual Development (Perry, 1968/1999) and determined that preservice music teachers’ perceptions of the importance of acquired skills prior to student teaching may depend on their intellectual development.

Kessler Price, Kathy; University of Kansas. price.kk@gmail.com
“Effect of Singing Protocol on the Post-Menopausal Singer: A Case Study.”

The purpose of this case study is to assess, over the course of 12 weeks, the effect of a researcher-designed singing protocol on the documented vocal inefficiencies of a post-menopausal singer, as measured by pre- and post-laryngeal examinations by an otolaryngologist, spectral analyses, as well as pre- and post-questionnaires, daily/weekly journals, and surveys/reports completed by both participant and voice teacher. During the first week of study, used for assessment and diagnostic purposes, the participant displayed notable laryngeal and pharyngeal muscle tension, as observed by the voice teacher, and self-reported throat tightness, difficulty accessing higher frequencies, hoarseness, and effortful voice production. This 63-year old, amateur singer subsequently participated in weekly voice lessons (N=10) and practiced five days each week with a vocal exercise tape consisting of seven exercises, with the instruction to sing only the given exercises during the study period. At the conclusion of the protocol during week twelve, the participant showed measurable improvement as indicated by specific differences on the post-laryngeal examination, spectral singing voice analyses, and written perceptual reports by participant and teacher. The otolaryngologist reported greatly reduced laryngeal and pharyngeal muscle tension. Fundamental frequencies were more accurate as viewed in spectra and through aural observation by the voice teacher/researcher. Though she had previously transitioned to singing the alto part in her choir due to vocal discomfort, following the protocol the participant rejoined the second soprano section of that choir.

Two groups of instrumental music education majors (N = 22) prepared a series of three 5-minute practice lessons to be taught to an ensemble of their peers playing secondary instruments. Group A (n = 11) received lesson planning training after teaching the first lesson and prior to teaching the second. Group B (n = 11) received the same training after teaching the second lesson and prior to teaching the third. Prior to training, participants were allowed to plan their lessons using any method they chose. Results indicated that as the series of lessons progressed, both groups demonstrated brisker rates of pacing and increased frequencies of teaching episodes. Both groups made distinct improvements; the group that received training later demonstrated more noticeable differences than did the group that received training earlier in the process. Results suggest a possible cause-and-effect relationship between planning procedures and in-rehearsal behaviors demonstrated by participants.

In this qualitative case study, four well-known music teacher trainers were interviewed about their perceptions of effective teaching and effective urban teaching in the area of elementary general music. Preliminary findings suggest that, although effective urban teachers generally demonstrate characteristics believed to be those of effective teachers, additional elements or characteristics, such as cultural understanding, a deep commitment to education, and flexibility, are necessary for success in this setting. Findings also suggest that pre-service music teachers are not adequately prepared for the elementary, urban, general music classroom, and that music teacher trainers must become more knowledgeable about diversity and urban education.

The purpose of this study was to investigate listener discrimination of orchestral performances and to ascertain focus of listener attention to technical and expressive music elements of those performances. High School (n = 84) and University (n = 84) music students listened to four orchestral excerpts: two slow/soft excerpts and two fast/loud excerpts. Recordings representing three levels of performance were presented: high school, university, and professional. Listeners rated excerpts on accuracy and musicality, and identified the most noticeable element of each performance. Results indicated that listeners discriminated between performance levels, and fast excerpts were rated higher on both scales than the slow excerpts from the same piece. In the slow excerpts, university students noticed intonation and tone most frequently whereas high school students noticed dynamics and tone. For the fast examples, university students noted dynamics, accuracy, and articulation. High school students noticed dynamics overwhelmingly. Listeners noticed a wide variety of elements for the slow examples, whereas responses were more similar for the fast excerpts.