The purpose of this study was to examine the effects of different instrumental accompaniments on the intonation of violinists, violists, and cellists in a melodic context. The following questions guided this research: (1) Are there differences in tuning accuracy of melodic content between accompanied and unaccompanied conditions among string musicians? (2) Are there differences in tuning accuracy of melodic content between accompaniment octaves? (3) Are there differences in intonation accuracy between string, oboe, and piano accompaniments? (4) Are there differences between the number of flat, sharp, and in-tune responses of participants? (5) Are there differences in string musician preferences between accompaniment types? (6) Are string musicians’ self-perceptions of tuning accuracy associated with performed pitch accuracy? (7) Are there differences between age and experience of participants in intonation accuracy with various accompaniment types? Performances of Frère Jacques were recorded by a cellist, oboist, pianist, and a violinist to serve as accompaniment stimuli for the study. Additionally, a questionnaire was created to measure preferences for accompaniment, perceptions of tuning accuracy, and collect background information of participants. The participants (N = 103) were high school (n = 60) and collegiate (n = 43) violinists (n = 55), violists (n = 22), and cellists (n = 26). Participants performed an excerpt of Frère Jacques in Eb major in five conditions: with a cello accompaniment, oboe accompaniment, piano accompaniment, violin accompaniment, and as a solo. Absolute cent deviation from the tonic, mediant, subdominant, and dominant scale degrees were collected from each participant for analysis. A significant main effect of intonation was found for accompaniment conditions. Participants performed more in tune with the cello, oboe, and violin accompaniments than with the solo. Additionally, they performed more in tune with the oboe accompaniment than with the piano accompaniment. The octave of accompaniment and instrument performed also did not appear to affect intonation. A significant main effect was found between high school and college participants. High school participants performed with less pitch acuity than college participants. An additional significant main effect was found between the deviations of analyzed notes. The Ab (subdominant) had significantly higher mean cent deviation than the Eb (tonic) and Bb (dominant). No differences were found between instruments performed and no interactions between variables were found. Participants demonstrated a propensity to perform with sharp intonation. Sharp responses occurred more frequently than in-tune (defined as ±6 cents) and flat responses with high school participants. Additionally, performances with the oboe accompaniment produced more in-tune responses than other conditions. In-tune responses occurred more frequently with collegiate participants; however, sharp responses occurred more frequently than flat responses. Performances with the oboe accompaniment also produced the most frequent flat responses as well as the lowest number of sharp responses. Questionnaire responses indicated that participants preferred to perform with the string accompaniments more than the non-string accompaniments. Participants least preferred to perform with the oboe accompaniment compared to the other accompaniments. A significant main effect was found in participants’ rating of their perceived intonation accuracy between conditions. Although participants rated their intonation as highest with the cello, their performances did not reflect this perception. A significant main effect was also found between the levels of participants. High school participants rated their intonation lower than college participants. No significant main effect was found between instrumental groups and no significant interactions were found. A moderate positive correlation was found between participants’ perception of their intonation and their actual performance of intonation with the violin accompaniment. Additionally, a weak positive correlation was found for the cello accompaniment and the solo condition. Participants’ rating of their perceived intonation correlated positively to the actual pitch accuracy for the string accompaniments and solo condition while no associations were found for non-string accompaniments. / A Dissertation submitted to the College of Music in partial fulfillment of the requirements for the degree of Doctor of Philosophy. / Spring Semester 2019. / April 19, 2019. / accompaniment, intonation, string instruments, timbre / Includes bibliographical references. / John M. Geringer, Professor Directing Dissertation; Bruce Holzman, University Representative; Katarzyna Bugaj, Committee Member; Clifford K. Madsen, Committee Member; Michael M. Thrasher, Committee Member.

The purpose of this study was to create an instructional program for high school vocal music students which would be consistent with recent theoretical writings in the areas of aesthetic perception and response.Recent literature was surveyed with the intention of deriving basic principles which could increase the ability to perceive the aesthetic qualities in an art work and which could improve the capacity to respond to Aesthetic perception is improved by focusing the attention directly on the art object, by displaying a certain amount of psychical distance, by participation in the interaction between percipient and art object as well as prior experience and expectations. Further, factors which enrich aesthetic perception are the coordination of intellectual and emotional processes, theorganization of stimuli into the most simple or most complete figures, and finally, the human ability to study the art object with the absence of judgment-making.Aesthetic response may be cultivated by recognizing the patterns of tension and resolution inherent in musical works, by using the necessary contemplation time to react to an art work and by awareness of the fact that there is no standard response to an art work on behalf of the human being. However, man's capacity to respond to music is universal. Developing this capacity for aesthetic responsiveness enables man to reach his deepest human potential.A teaching program was created which incorporated the objectives of increased ability to perceive and improved capacity to respond to musical art works. The method was derived from several aesthetic theories and subscribed to no one particular theory. The sequence of instruction was ordered so that the music would be experienced, then studied, then experienced again in an escalating developmental pattern. Students in such a program would be asked to play a vital role in the interaction relationship between art work and performer percipient. The student performer then becomes a creator who through derived sensitivity and understanding brings the music to life.Sample instructional modules were supplied to serve as suggestions for creating a rehearsal laboratory for music exploration. While retaining excellent musical skill standards in rehearsals, the modules attempt to contribute positively to the musical sensitivity and understandings of high school music performance students.In conclusion, it may be stated that the goals of any music education program should include the increased sensitivity to and the greater understanding of the inherent aesthetic qualities of the music studied. Objectives to these ends may be considered as the increased. ability to perceive the aesthetic qualities present in a musical composition and the improved capacity to respond to the qualities which are perceived.

Diss. Umeå : Umeå universitet, 2007. / Med litteraturhenvisninger.

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Taking as its central premise the contention that there are different ways of validly conceiving music's nature and value, this thesis aims to demonstrate the need for eclecticism in the formulation of a philosophy of music education. Comprising the main body of this study is an in depth consideration of four different aesthetic points: (i) music as autonomous aesthetic object; (ii) music as social commentary;(iii) music as social mediator; and (iv) music as llink to ultimate reality. The concluding chapter draws sane conclusions - as to what a 'polyaesthetic approach' implies in terms of music education's objectives, content and methods. / Thesis (M.Mus)-University of Natal, Durban, 1987.

The introduction of Creative and Performing Arts (CAPA) in the school curriculum is one of the changes brought about by the educational reforms in Botswana’s education system. Fullan (2005:42) observed that “any educational change becomes a reality when it is implemented with the involvement of the key role players.” In the case of my research, the primary school teachers and school management teams are the key role-players. This research was, therefore, conducted to explore the impact of teaching music within the CAPA subject as one of the changes brought about by the educational reforms in Botswana upper primary schools. I have found the phenomenological design appropriate for my research. Babbie and Mouton (2009:28) explain this paradigm as emphasising that “human beings are engaged in the process of making sense of their lives and that they continually interpret, create and give meaning to, define, justify and rationalise their actions.” In collecting and analysing data, a mixed method of quantitative and qualitative approaches was used to explore trends regarding the teachers’ perceptions, views, emotions, feelings, experiences and preparedness for the introduction of the CAPA subject.