Elementary, Middle, and High School Student Perceptions of Tension in Music

1997 ◽  
Vol 45 (4) ◽  
pp. 626-635 ◽  
Author(s):  
William E. Fredrickson
Keyword(s):  
Student Perceptions ◽  
Eighth Graders ◽  
Second Graders ◽  
School Age ◽  
Professional Musicians ◽  
Digital Interface ◽  
Continuous Response ◽  
Graphic Analysis ◽  
Definition Of ◽  
Pearson Correlations

School-age students from Grades 2, 5, 8, and 11/12 (N = 112) were asked to listen to a recording of the first movement of Haydn's Symphony No. 104. All subjects were asked to record their perception of “tension ” in the music using a Continuous Response Digital Interface (CRDI) dial. As in previous studies of this type (Fredrickson, 1995; Madsen & Fredrickson, 1993), no definition of the term in question was given, allowing subjects to, in essence, create their own definition. Graphic analysis showed that even though the magnitude of group responses varied widely, there are some striking similarities in the timing of major group responses. Pearson correlations between groups ranged from .98 between the fifth and eighth graders to . 71 between the second graders and a population of professional musicians from a previous study who responded to the same musical recording. In general, younger subjects tended to use a wider range of the dial, whereas older and more musically experienced subjects were much more conservative. These results were consistent with results of previous studies and indicated a perceptual consistency regarding an entity that a fairly wide variety of populations define as tension in this piece of music.

Perception of Choral Blend Among Choral, Instrumental, and Nonmusic Majors Using the Continuous Response Digital Interface

2007 ◽  
Vol 55 (4) ◽  
pp. 313-325 ◽  
Author(s):  
Janice N. Killian ◽  
Lynn Basinger
Keyword(s):  
Group Differences ◽  
Future Research ◽  
Digital Interface ◽  
Continuous Response ◽  
Voice Matching ◽  
Choral Blend ◽  
Nonmusic Majors ◽  
Pearson Correlations

The concept of choral blend is often adjudicated but seldom researched. Voice matching to achieve choral blend (placing specific voices next to one another to achieve a blended sound within a section) is frequently recommended. The authors asked participants ( N = 55) comprised of vocal, instrumental, and nonmusic majors to move a continuous response digital interface dial to indicate judgment of blend quality while listening to voice-matched choral groupings. Graphic analyses indicated general agreement in judgments of good blend and bad blend among all three groups especially within alto and bass excerpts. Less agreement appeared for soprano and tenor excerpts. Pearson correlations between repeated excerpts were highly positive for vocalists but less consistent for others. Vocalists listened longer before making a judgment. Few group differences in judgment magnitude appeared, but general tendencies toward good blend judgments were evident. Discussion included future research implications and applications for educators.

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.

Emotion versus Tension in Haydn's Symphony no. 104 as Measured by the Two-Dimensional Continuous Response Digital Interface

1998 ◽  
Vol 46 (4) ◽  
pp. 546-554 ◽  
Author(s):  
Clifford K. Madsen
Keyword(s):  
Affective Response ◽  
Mirror Image ◽  
Two Dimensions ◽  
Two Dimensional ◽  
Digital Interface ◽  
Computer Screen ◽  
Continuous Response ◽  
Mouse Cursor ◽  
Graphic Analysis ◽  
Musical Context

This study compared musicians' responses while listening to the first movement of Haydn's Symphony no. 104 using a two-dimensional continuous response digital interface (CRDI). The two-dimensional CRDI uses a mouse cursor via a computer screen to indicate the interrelationship of two dimensions simultaneously. In the present investigation, 50 musicians were presented with the dimensions of arousal (i.e., relaxing-exciting) and affect (i.e., ugly-beautiful). The vertical dimension on the computer screen listed the word “Exciting” at the top and “Relaxing” at the bottom; the horizontal axis listed “Ugly” on the left side and “Beautiful” on the opposite side. Subjects moved the cursor as they tracked their response to the musk. Results indicated that there was an inverse relationship between the two dimensions as subjects tracked responses during this selection. The correlation between the two dimensions was r = −.58. Additionally, graphic analysis indicated almost a mirror-image relationship between the two dimensions. When analyzed within the musical context, both the arousal and the excitement dimensions evidenced many subtle characteristics shown graphically as peaks and valleys corresponding to variations in the music. It was apparent that these two dimensions represent different aspects of perceived listening; the exciting-relaxing dimension representing degrees of arousal that were most often the opposite from subjects' affective response. Additional comparisons were made with previous research that used this identical Haydn selection but measured each dimension separately.

Listener Perception of Expressivity in Collaborative Performances Containing Expressive and Unexpressive Playing by the Pianist

2013 ◽  
Vol 61 (2) ◽  
pp. 160-174 ◽  
Author(s):  
John M. Geringer ◽  
Justine K. Sasanfar
Keyword(s):  
Statistical Analysis ◽  
Music Students ◽  
Musical Expression ◽  
Digital Interface ◽  
Continuous Response ◽  
Collaborative Performance ◽  
Graphic Analysis

Listener perception of musical expression in collaborative performance was explored in this study. Performances of two duos (a violinist and pianist, and a vocalist and pianist) were recorded. The level of expressivity of the violinist and vocalist remained stylistically appropriate during pieces; however, the pianist alternated between very expressive and unexpressive playing during each performance. The piece performed by each duo contained approximately equal sections of expressive and unexpressive playing by the pianist, and listeners heard each piece twice with the sections juxtaposed. Sixty-six undergraduate and graduate music students turned a Continuous Response Digital Interface dial to indicate their ongoing perception of expressivity as they listened throughout each performance. Graphic analysis of listeners’ responses for both pieces illustrated that they differentiated between sections with expressive and unexpressive playing by the pianist. Statistical analysis revealed that sections in which the pianist played expressively were perceived with significantly higher levels of expressivity than unexpressive sections. We found no significant differences in perceived expressivity between performance experience groups, gender, graduates versus undergraduates, or orders. Thus, in collaborative performances of a vocalist or instrumentalist with a pianist, pianist expressiveness appears to influence perception of overall expressivity.

Preservice and Inservice Teachers’ Perceptions of Pacing

2019 ◽  
Vol 29 (2) ◽  
pp. 64-77
Author(s):  
Jessica Nápoles ◽  
Jason M. Silveira
Keyword(s):  
Student Engagement ◽  
Continuous Flow ◽  
Music Teachers ◽  
Teacher Talk ◽  
Inservice Teachers ◽  
Digital Interface ◽  
Teachers Perceptions ◽  
Continuous Response ◽  
Definition Of ◽  
Relevant Material

The purpose of this study was to examine preservice and inservice teachers’ perceptions of pacing in ensemble rehearsal settings. We used Silveira’s definition of pacing as our conceptual framework: “the continuous flow of instruction without unnecessary interruptions and/or unnecessary sounds and without presentation of irrelevant material.” Participants were 23 preservice and 25 inservice music teachers. They viewed four excerpts of ensemble rehearsals and moved a Continuous Response Digital Interface dial to indicate their perceptions of fast and slow pacing. Based on our findings, we largely confirmed Silveira’s definition regarding pacing but suggest amending the definition for music rehearsal contexts to include student engagement and teacher talk. We propose the following revised definition of pacing: “the continuous flow of instruction without unnecessary interruptions and/or unnecessary sounds, without excessive teacher talk, and with presentation of relevant material while maintaining student engagement.”

МЕТОДОЛОГІЧНІ ПРОБЛЕМИ ДОСЛІДЖЕННЯ СОЦІАЛЬНОГО ІНТЕЛЕКТУ ДІТЕЙ МОЛОДШОГО ШКІЛЬНОГО ВІКУ

1970 ◽  
Vol 8 (1) ◽  
pp. 119-126
Author(s):  
Марина Орап
Keyword(s):  
Social Interaction ◽  
Social Intelligence ◽  
Social Situation ◽  
Verbal Response ◽  
Primary School Children ◽  
School Age ◽  
Theoretical Approaches ◽  
The Social ◽  
Definition Of ◽  
Interpersonal Situations

У  статті  висвітлено  методологічні  та  практичні  засади  вивчення  онтогенезу  соціального  інтелекту. Складність вивчення даного соціально-психологічного феномену пов’язана із дотичністю його  до багатьох явищ, які описують умови успішності соціальної взаємодії особистості. Проаналізовано наявні  теоретичні   підходи   до   визначення   змісту   та   структури  соціального  інтелекту,   до   взаємозв’язку  останнього  з  іншими  видами  інтелекту.  Визначено,  що  дослідження  соціального  інтелекту  молодших  школярів слід здійснювати на основі розуміння останнього як здатності, що виникає на базі комплексу  інтелектуальних,   особистісних,   комунікативних   і   поведінкових   рис,   що   зумовлюють   прогнозування  розвитку  міжособистісних  ситуацій,  інтерпретацію  інформації  і  поведінки,  готовність  до  соціальної  взаємодії і прийняття рішень. Здійснене пілотажне емпіричне дослідження прогностичних можливостей  дітей  молодшого  шкільного  віку  продемонструвало  наявні  позитивні  кореляційні  зв’язки  між  рівнем  розвитку здатності до передбачення найбільш адекватного сценарію розвитку подій у соціальній ситуації  та рівнем розвитку мовленнєвого досвіду. Найбільш тісний взаємозв’язок виявлено між рівнем розвитку  здатності  передбачати  адекватну  вербальну  відповідь  у  ситуації  комунікації  та  рівнем  розвитку  мовленнєвої компетентності та мовленнєвої діяльності дітей молодшого шкільного віку. Таким чином,  були зроблені попередні висновки про наявність взаємозв’язку між мовленнєвим досвідом та прогностичним  можливостями у складі соціального інтелекту дитини молодшого шкільного віку The  article  outlines  the  methodological  and  practical  principles  of  studying  the  ontogenesis  of  social  intelligence. The complexity of studying this socio-psychological phenomenon is associated with its attractiveness to  many  phenomena  that  describe  the  conditions  for  the  successful  social  interaction.  The  existing  theoretical  approaches to the definition of the content and structure of social intelligence, to the interrelationship of it with  other types of intelligence are analyzed. It is determined that research of social intelligence of junior pupils should  be carried out on the basis of the understanding of this kind of intelligencer as an ability that based on a complex of  intellectual, personal, communicative and behavioral features. This complex predetermines the forecasting of the  development  of  interpersonal  situations,  the  interpretation  of  information  and  behavior,  readiness  for  social  interaction  and  decision-making.  The  research  of  the  prognostic  possibilities  of  primary  school  children  demonstrated the positive correlation between the level of development of the ability to predict the most adequate  scenario of the development of events in the social situation and the level of development of speech experience. The  closest relationship is found between the level of development of the ability to provide an adequate verbal response  in the context of communication and the level of development of speech competence and speech activity of children  of junior school age. Thus, was done a conclusion about the existence of a relationship between speech experience  and prognostic possibilities in the social intellect of a child of junior school age.   

Using Finiteness as a Clinical Marker to Identify Language Impairment

2014 ◽  
Vol 21 (4) ◽  
pp. 148-158 ◽  
Author(s):  
Andrea C. Ash ◽  
Sean M. Redmond
Keyword(s):  
Language Impairment ◽  
Operational Definition ◽  
Language Impairments ◽  
School Age Children ◽  
School Age ◽  
Clinical Use ◽  
Clinical Marker ◽  
Language Tests ◽  
Definition Of ◽  
Primary Measure

Intervention rates for children with language impairments vary widely across reports. Unfortunately, many language tests focus on areas of language that are not problematic for children with language impairments (LI). Over twenty years of research supports limitations in finiteness as a clinical marker of LI. However, speech language pathologists (SLPs) have been reluctant to include assessments of finiteness in clinical decisions for young school-age children. This article addresses the operational definition of finiteness which may have created a barrier to its clinical use. We recommend that SLPs include the Test of Early Grammatical Impairment as a primary measure of finiteness for identifying language impairment in children between 3 and 8 years of age because of its clinical flexibility and high levels of sensitivity and specificity.

Viewing the Contamination of Student Achievement Through the Lens of Poverty

2021 ◽  
pp. 191-209
Author(s):  
Cheryl Ann Slattery
Keyword(s):  
Student Achievement ◽  
Role Models ◽  
School Age Children ◽  
School Age ◽  
Culture Of Poverty ◽  
The Poor ◽  
History Of ◽  
Federal Definition ◽  
Definition Of ◽  
The Impact

This chapter addresses the growing number in the underserved population of school-age children and their families who live in poverty and raises awareness as to how that factor directly contaminates student achievement. It is important to understand the federal definition of poverty and the attendant unique social environment. This chapter highlights an appreciation for the history of American race relations and its role in poverty-related behavior, as well as examines the inherent biases prevalent in American communities and schools that work to restrict opportunities for underprivileged families and children. It explores the impact of changing a culture of poverty through the lens of schools and role models, subsequently understanding multidisciplinary approaches for eliminating policies that alienate and exclude the poor. It includes best practices in pedagogy, services, and support for marginalized populations that will illuminate for the practitioner how the contamination of student achievement occurs and empowers them to assist those trapped by poverty.

A Bruise Without a Name: Investigating College Student Perceptions of Intimate Partner Violence Terminology

2019 ◽  
pp. 088626051987672
Author(s):  
Karin Nordin
Keyword(s):  
Intimate Partner Violence ◽  
Marital Status ◽  
Student Perceptions ◽  
Partner Violence ◽  
Intimate Partner ◽  
Bystander Intervention ◽  
Theory And Practice ◽  
Situational Factors ◽  
Prevention Messages ◽  
Definition Of

When it comes to intimate partner violence, words matter. The abuse terminology used in efforts to target collegiate victims of intimate partner violence (IPV) can impact the effectiveness of prevention messages. The purpose of this study is twofold: first, to identify the relationship between abuse labels (such as domestic violence, dating violence, and IPV), and bystander intervention recommendations. Second, this study aims to understand how situational factors (perpetrator gender, couple marital status, provocation) impact the perceived appropriateness of those terms. Perceptions of severity, victim/perpetrator blame, and bystander intervention recommendations were also measured. In all, 498 college students from a large southern public university participated in a 2 × 2 × 2 experiment where they read a vignette depicting IPV. Participants were then asked a serious of questions about the appropriateness of the abuse terminology, what actions they would recommend for a bystander, the severity of the incident, and the degree to which they blamed victim and perpetrator. Results indicated the bystander intervention actions that are perceived as appropriate are related to what the most appropriate label is for the situation. Contextual factors surrounding the IPV situation, such as perpetrator gender, couple marital status, and provocation, influenced bystander recommendations and what labels were considered appropriate. The results of the study indicate the need to expand collegiate definition of what “counts” as IPV and point to ways in which IPV context can be a barrier to bystander intervention. Implications of the study argue that efforts to increase bystander intervention must include training on how to identify IPV situations with a broad variety of contexts. Limitations of the study and implications for theory and practice are discussed.

Effect of Teaching Setting and Self-Evaluation on Teacher Intensity Behaviors

1995 ◽  
Vol 43 (1) ◽  
pp. 6-21 ◽  
Author(s):  
Cynthia M. Colwell
Keyword(s):  
Elementary Education ◽  
Methods Course ◽  
Education Majors ◽  
Digital Interface ◽  
Elementary Education Majors ◽  
Treatment Groups ◽  
Self Evaluation ◽  
Continuous Response ◽  
Music Methods ◽  
Teaching Setting

The purpose of this study was to examine the effect of teaching setting [peer versus practicum] and self-evaluation tools [Continuous Response Digital Interface (general) versus behavioral checklist (specific)] on the development of teacher intensity behaviors among preservice elementary education majors enrolled in a music methods course. Subjects were divided into four treatment groups and completed a pretest and posttest and four treatment lessons. Analyses indicated that teaching setting and self-evaluation did not have a differential effect on teacher intensity. All subjects made significant gains from pretest to posttest, with differences among lessons. Comparative analyses indicated subjects rated themselves higher than did experts. An attitude survey indicated that subjects who taught children rated the course higher than subjects who taught their peers, whereas subjects who completed general self-evaluations rated the course higher than did subjects who completed specific self-evaluations.

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