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No description available.

No description available.

No description available.

No description available.

The purpose of this research was to examine the potential relationship between students’ degree of familiarity with repertoire common to beginning band method books and aural-based music achievement after one year of study. Three research questions guided this study: (1) Which songs from the Familiar Repertoire Survey (FRS) are reported as being the most and least familiar to the sample? (2) For a familiar song, “Lightly Row,” can FRS scores predict (a) Familiar Music Achievement Singing Test (FMAST) scores, (b) Familiar Music Achievement Playing Test (FMAPT) scores, (c) Familiar Music Achievement Improvisation Singing Test (FMAIST) scores, and (d) Familiar Music Achievement Improvisation Playing Test (FMAIPT) scores? (3) For an unfamiliar song, “Finish Line,” can FRS scores predict (a) Unfamiliar Music Achievement Singing Test (UMAST) scores, (b) Unfamiliar Music Achievement Playing Test (UMAPT) scores, (c) Unfamiliar Music Achievement Improvisation Singing Test (UMAIST) scores, and (d) Unfamiliar Music Achievement Improvisation Playing Test (UMAIPT) scores? Participants (N = 17) were fifth and sixth grade students enrolled in their second year of beginning band in a New Jersey elementary school. I created two measurement instruments: FRS, designed to gauge the breadth and depth of students’ familiarity with songs common to beginning band method books, and the Music Achievement Test (MAT) designed to measure aural-based music achievement in singing, playing by ear, and improvising on a familiar and unfamiliar song. In the first session, participants completed FRS by listening to songs common to beginning band books and completing a Likert-type survey on their familiarity with each song. Later, participants watched MAT through an interactive video which prompted them to complete eight musical subtests. I recorded all performances. Judges rated each performance with two rating scales. I analyzed the frequency of responses for each song and found “Hot Cross Buns,” “Jingle Bells,” “Pierrot,” “Lightly Row,” and “London Bridge” to be the most familiar songs. Through linear regressions, I analyzed the ability of FRS to predict MAT scores. I found a significant regression equation between FRS and its ability to predict FMAST scores and UMAIST scores. The current exploratory study contained many limitations which restricts its generalizability to other beginning band populations; however, six conclusions can be made. Familiarity with common beginning band repertoire as represented by a selection of 24 songs common to beginning band method books does not predict students’ achievement (a) singing an unfamiliar song, (b) demonstrating through singing improvisation based on a familiar song, (c) playing by ear a familiar or unfamiliar song, and (d) improvising on an instrument, whether improvising within the context of a familiar or unfamiliar song. Familiarity with common beginning band repertoire does predict students’ achievement (a) singing a familiar song and (b) demonstrating through singing improvisation based on an unfamiliar song. / Music Education / Accompanied by one .mp3 file and one .xlsx file (Microsoft Excel 2007).

Beginning band directors appear to prioritize notation-based practices in their programs and rehearsals despite cognitive research indicating the necessity of audiation for musical comprehension and success. During rehearsals, directors oversee musical success and cognition suggesting the potentiality to improve upon traditional forms of teaching in order to prioritize audiation and encourage its systematic improvement. Using Edwin Gordon’s work on audiation and applications from cognitive research as my theoretical framework, I surveyed, observed, and interviewed beginning band directors regarding their prioritization of audiation during rehearsals. In this mixed methods study in which I used an explanatory sequential, multiple case study design, beginning band directors from select institutions and Gordon Institute of Music Learning certificate holders (N = 20) were asked to complete an online survey answering Likert-scaled and open-ended questions regarding rehearsal activities and students’ musical success. After survey completion, each volunteer director (n = 4) was observed twice, interviewed individually, and interviewed collectively in a focus group. Following the transcription of observations and interviews, open-ended survey responses, observations, and interviews were coded and major themes generated. Three implications for band directors and music educators included, first, valuing an unlimited pedagogy with a de-emphasis on decoding and repertoire and a reemphasis on ear playing and informal learning. Second, preparatory experiences are important for comprehensive success in beginning instrumental study. Third, a beginning band curriculum that is intentionally seeking to create comprehensive musicianship among beginners may be best achieved by balancing traditional pedagogy, Music Learning Theory, and informal music learning approaches. Future research might examine directors’ teaching inclusions and pedagogy over a more extensive period of time or as a single case study. Future research could also document audiation instruction from the student perspective.