Comparing Continuous versus Static Measurements in Music Listeners' Preferences

1995 ◽  
Vol 43 (1) ◽  
pp. 36-46 ◽  
Author(s):  
Ruth V. Brittin
Keyword(s):  
20Th Century ◽  
Significant Interaction ◽  
Rating Scale ◽  
Art Music ◽  
Music Majors ◽  
Digital Interface ◽  
Western Art ◽  
Continuous Response ◽  
Preference Ratings ◽  
Nonmusic Majors

In this investigation, we compared listeners' preferential ratings of art music, derived by conventional static ratings taken through 10-point Likert-type scales, and continuous ratings taken throughout the duration of each excerpt with a Continuous Response Digital Interface (CRDI). Music majors (n = 100) and non-music majors (n − 100) rated twelve excerpts of Western art music, including three substyles (Baroque, Romantic, and 20th-century) and three performance media (strings, keyboard, and winds). Music majors' preference ratings were significantly higher than were nonmusic majors' preference ratings. Although no significant effect was found due to using the CRDI or static rating scale, there was a significant interaction between type of measurement and major. Music majors' static and continuous ratings were similar; however, nonmusic majors' continuous ratings were noticeably higher than were static ratings. Nonmusic majors using the CRDI averaged almost one Likert-scale rating higher than those using the static measure.

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.

Musicians' and Nonmusicians' Assessment of Perceived Rubato in Musical Performance

1996 ◽  
Vol 44 (1) ◽  
pp. 84-96 ◽  
Author(s):  
Christopher M. Johnson
Keyword(s):  
Musical Performance ◽  
Music Majors ◽  
Digital Interface ◽  
Tone Quality ◽  
Performance Variables ◽  
Continuous Response ◽  
Development Section ◽  
Expert Assessments ◽  
Nonmusic Majors ◽  
Ongoing Evaluation

The purpose of this study was to investigate musicians' and nonmusicians' assessment of perceived rubato in musical performance. Music majors ( n = 48) and nonmusic majors ( n = 48) listened to four different soloists' performances of the development section of Mozart's Concerto for Horn and Orchestra No. 2, movement 1. Subjects evaluated the degree of appropriateness/inappropriateness of each soloist's use of rubato using the Continuous Response Digital Interface (CRDI), an instrument that allows ongoing evaluation of specified performance variables. Using a Likert-type scale, subjects also assessed soloists with regard to musicianship, expression, tone quality, and tempo. Results indicated significant differences for musicians compared to nonmusicians regarding rubato assessments. Musicians agreed with expert assessments, whereas non-musicians' scores seemed haphazard. When musicians were separated into two groups based on musical skill level, results from the “more proficient” musicians were in direct agreement with the panel of experts' evaluations. The “less proficient” musicians were much less discriminating across all dependent measures; rubato assessments disagreed substantially with those of experts. This study suggests that rubato is an extremely subtle musical nuance. Though nonmusicians and less proficient musicians seem to be able to assess performances on somewhat more obvious variables, it seems that only the most proficient musicians can evaluate the usage of rubato in performance. Based on the data from this study, it appears that a relationship exists between musicianship and the use of rubato and that use of rubato might well be one element that separates the very finest performance from the simply ordinary.

Different-Age and Mentally Handicapped Listeners' Response to Western Art Music Selections

1997 ◽  
Vol 45 (4) ◽  
pp. 568-579 ◽  
Author(s):  
Suzanne Rita Byrnes
Keyword(s):  
Instrumental Music ◽  
Vocal Music ◽  
Art Music ◽  
Research Literature ◽  
Second Grade ◽  
Mentally Handicapped ◽  
Digital Interface ◽  
Western Art ◽  
Continuous Response ◽  
La Boheme

The purpose of the study was to provide insight into the musical responsiveness of different groups of participants. A listening activity was developed to measure likeability of pre-selected excerpts in different performance media. One-hundred-and-sixty-three subjects, students from Grades 2, 5, 8, 11/12, and trainable mentally handicapped (TMH) students, participated in the study. Students listened to excerpts from Puccini's La Bohème, Haydn's Symphony No. 104, Mozart's Vesperae Solennes, and Hoist's First Suite in E-flat, while simultaneously manipulating a Continuous Response Digital Interface (CBDI) dial. Overlays used with the CRDI dial were developed specifically for the populations tested and included a pictographic scale continuum. Results indicated that (a) second-grade participants rated all excerpts higher than did the other groups, and (b) instrumental music examples were rated higher than vocal music examples. Results concur with findings reported in music preference research literature.

Locus of Control and Field Dependence as Factors in Students' Evaluations of Applied Music Instruction

1991 ◽  
Vol 73 (1) ◽  
pp. 131-136 ◽  
Author(s):  
Charles P. Schmidt ◽  
Robert Stephans
Keyword(s):  
Locus Of Control ◽  
Field Dependence ◽  
Significant Interaction ◽  
Rating Scale ◽  
Music Instruction ◽  
Music Majors ◽  
Music Teaching ◽  
Applied Music ◽  
Main Effect ◽  
Applied Music Instruction

This study examined students' evaluations of applied music teaching as a function of the students' attributes of locus of control and field dependence/independence. 70 undergraduate music majors listened to an audiotape of an applied piano lesson taught by one of two teachers, Subjects evaluated the teacher by means of (a) the Applied Teaching Rating Scale and (b) the Favorable and Unfavorable Scales of the Adjective Checklist. The former ratings and the ratio of favorable to unfavorable adjectives were examined by means of 3 × 3 factorial multivariate analysis of variance. A significant effect of locus of control was found for the adjective ratio, with externally oriented subjects rating teachers significantly less favorably than relatively internally oriented subjects. No significant main effect for field dependence was found. A significant interaction was noted for both the ratings and the adjective ratio, with 19% and 15% of the variance, respectively, explained.

Analysis of Listening Preferences of High School and College Musicians

1994 ◽  
Vol 42 (4) ◽  
pp. 331-342 ◽  
Author(s):  
Dianne Gregory
Keyword(s):  
High School ◽  
Music Education ◽  
Classical Music ◽  
Sixth Grade ◽  
The United States ◽  
Music Majors ◽  
Digital Interface ◽  
Continuous Response ◽  
College Music ◽  
High School Musicians

Undergraduate college music majors, high school musicians in performance groups, and sixth-grade students in eight sites across the United States listened to brief excerpts of music from early contemporary compositions, popular classics, selections in the Silver Burdett/Ginn elementary music education series, and current crossover jazz recordings. Each of the classical categories had a representative keyboard, band, choral, and orchestral excerpt. Self reports of knowledge and preference were recorded by the Continuous Response Digital Interface (CRDI) while subjects listened to excerpts. Instrumental biases were found among high school and college musicians' preferences for relatively unfamiliar classical music. College music majors' preferences, in general, were less “own-instrument-based” than were those of high school musicians. In addition, the results suggest training broadens receptivity within and across music genres. There seems, however, to be no predictable connection between the degree to which one “knows ” an excerpt and preference for the excerpt.

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.

scholarly journals The Effect of Wearing Foam and Etymotic Earplugs on Classical Musicians’ Pitch Perception

2021 ◽  
pp. 002242942198999
Author(s):  
Rebecca B. MacLeod ◽  
John M. Geringer ◽  
David S. Miller
Keyword(s):  
Pitch Perception ◽  
Future Research ◽  
Complex Stimulus ◽  
Music Majors ◽  
Experimental Conditions ◽  
Absolute Deviation ◽  
Digital Interface ◽  
School Of Music ◽  
Continuous Response ◽  
Classical Musicians

The purpose of this study was to investigate the effect of wearing earplugs on classical musicians’ pitch perception across three experimental conditions: no earplugs, foam earplugs, and Etymotic earplugs. Participants were graduate and undergraduate music majors attending a large school of music in the southeastern United States ( N = 72). Participants adjusted the pitch of five complex stimulus tones (C#4, C#5, C#3, G#4, and F#3) using a continuous response digital interface until they believed the interval was in tune with an oboe (C#4) reference tone. Participants tended to tune flat when the stimulus tone was presented flat and to tune sharp when it was presented sharp across all three earplug conditions. Overall cent deviation in tuning responses showed that in both directional and absolute deviation analyses, listeners were most accurate when tuning without earplugs, then when using Etymotic earplugs, and least accurate with foam earplugs. Significant differences, however, were limited to specific intervals and in magnitudes not likely to be perceived. Although more research is needed, the use of Etymotic earplugs may provide valuable protection against noise-induced hearing loss with negligible effects on pitch perception. Implications for musicians and recommendations for future research are discussed.

scholarly journals Onset asynchrony in Western art music

2021 ◽  
pp. 126-158
Author(s):  
Jonathan Dunsby ◽  
Yannis Rammos
Keyword(s):  
20Th Century ◽  
Physical Nature ◽  
Claude Debussy ◽  
Art Music ◽  
Piano Pedagogy ◽  
Aesthetic Value ◽  
Western Art ◽  
History Of ◽  
Western Art Music ◽  
Onset Asynchrony

Melodic onset asynchrony, whereby the upper or some component of a musical simultaneity may strike the ear ahead of other sounds, is a common feature in the performance of Western art music. It seems to be of high aesthetic value in the history of pianism, often harnessed to the seemingly contradictory “bass lead” that prevailed in the early 20th century, though in fact the two are far from exclusive. Departing from an application of Brent Yorgason’s taxonomy of “hand-breaking” (2009) to canonical, composed examples of onset asynchrony from Beethoven, Schumann, and Liszt, we examine timbral, organological, and aesthetic continuities that underly distinct practices of asynchrony. We consider the physical nature of such normally non-notated “microtiming”, ranging in performance from a few ms of melodic onset asynchrony to about 100ms, above which it is generally agreed that even the casual listener may perceive it. A piano-roll recording by Claude Debussy, of “The Little Shepherd”, illustrates the mix of melodic onset asynchrony, bass lead, and apparent simultaneity that may be applied in a single interpretation. We then discuss the concept of “audibility” and the question of to what extent, and in what ways, the combined transients of piano attacks may interact. We consider with reference to 20th century Russian piano pedagogy why onset asynchrony seems to have been a little documented, rather than an explicit playing technique, even though certain sources, such as a 1973 treatise by Nadezhda Golubovskaya, show it to be ubiquitous and well theorised. Finally, regarding the thinking that has predominated in musical performance studies in recent decades, with its emphasis on average practices and “ordinary” listeners, we suggest that a new emphasis will be fruitful, that is, research on what is particular about the embodied creativity of expert musicians.

Effects of Tempo, Musical Experience, and Listening Modes on Tempo Modulation Perception

1994 ◽  
Vol 42 (3) ◽  
pp. 190-202 ◽  
Author(s):  
Deborah A. Sheldon
Keyword(s):  
Response Latency ◽  
Interactive Effect ◽  
Initial Response ◽  
Musical Experience ◽  
Music Majors ◽  
Response Latencies ◽  
Digital Interface ◽  
Continuous Response ◽  
Tempo Change ◽  
Speed And Accuracy

In this study, I investigated the effects of tempo direction, listening mode, and level of subjects' musical experience on speed and accuracy in tempo change detection abilities. Tempo-change and direction-change examples gradually decelerated, accelerated, or remained steady. Listening mode included listening only, listening and watching a conductor, and listening and moving. The two levels of musical experience were defined as music majors ( n = 80) and nonmajors ( n = 80). Subjects listened to music examples and manipulated a Continuous Response Digital Interface (CRDI) to demonstrate perception of tempo alteration. Analysis of data included subject response latency and accuracy. Experience was found to be a determinant in quantifiably different temporal response. Music majors more accurately detected tempo changes than did nonmajors. Subjects were generally better at detecting tempo acceleration over tempo deceleration. Subjects demonstrated a slightly lower degree of response accuracy when listening and watching a conductor compared to the conditions of listening alone and listening and moving. Most demonstrated shorter initial response latencies during tempo acceleration. The combined variables of experience, tempo-change direction, and listening condition had an interactive effect on response latency.

Musicians' and Nonmusicians' Preferences for World Musics: Relation to Musical Characteristics and Familiarity

1996 ◽  
Vol 44 (1) ◽  
pp. 60-83 ◽  
Author(s):  
C. Victor Fung
Keyword(s):  
Undergraduate Students ◽  
Positive Relationship ◽  
Rating Scale ◽  
World Music ◽  
Music Majors ◽  
Music Preferences ◽  
Preference Rating ◽  
Fast Tempo ◽  
Musical Characteristics ◽  
Nonmusic Majors

The purpose of this study was to investigate the relationships among musical characteristics and musicians' and nonmusicians' preferences for world musics. World musics were drawn from Africa, Asia, and Latin America. Musical characteristics included tempo, pitch redundancy, tonal centeredness, consonance, brightness in timbre, percussiveness, loudness, textural complexity, and richness in embellishment. Preference was also examined in relation to familiarity. Subjects were 449 undergraduate students (180 music majors and 269 nonmusic majors). Subjects completed a preference-rating scale that included a total of 36 instrumental excerpts from nine countries. Results showed that all nine musical characteristics were significant sources of variance in world music preferences. The following musical characteristics were preferred by both musicians and nonmusicians: fast tempo, loud, tonal-centered, having many different pitches, consonant, moderately embellished, smooth-sounding, and bright timbre. Musicians preferred excerpts with complex texture, whereas nonmusicians preferred moderately complex textures. A positive relationship between familiarity and preference was found across all musical styles. In general, musicians had significantly higher preference means than did nonmusicians:

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