Thesis (M.A.)--Bowling Green State University, 2006. / Document formatted into pages; contains v, 100 p. Includes bibliographical references.

Thesis (M.A.)--York University, 2005. Graduate Programme in / Typescript. Includes bibliographical references (leaves117-119). Also available on the Internet. MODE OF ACCESS via web browser by entering the following URL: http://gateway.proquest.com/openurl?url%5Fver=Z39.88-2004&res%5Fdat=xri:pqdiss &rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:MR11759

This study was undertaken to determine whether or not young childrens’ preferences for contemporary art music, through participation in a classroom music program emphasizing creativity, can be altered. The students participating in this experiment were the grade three class at Vancouver College, a private boys school in Vancouver, B.C., where the researcher was employed as music instructor for the 1969-70 school term. A music preference inventory was given to the students prior to initiating the classroom program. The inventory consisted of the following eight selections chosen by the researcher as representative of various twentieth century compositional styles: "Ionisation" - Edgar Varèse; "Akrata" - Iannis Xenakis; "Gesang der Jünglinge" - Karlheinz Stockhausen; "Visage" - Luciano Berio; "Le Marteau sans Maȋtre" - Pierre Boulez; "Piece for Four Pianos" - Morton Feldman; "Five Pieces for Orchestra, Op.16" - Arnold Schoenberg; and, "Cantata No. 1, Op.29" - Anton Webern. Students marked their preference on a graphic rating scale of five divisions. The researcher later superimposed a twelve-point scale over the test-scale, in interpreting the scores. Following this pre-test, the students participated in a twelve-week classroom music program which stressed rhythmic improvisation, composition in twelve-tone technique, percussion pieces, exploration of sound sources, etc. The program was designed by the researcher based on work by Carl Orff, Zoltan Kodaly, R. Murray Schafer, Peter Maxwell Davies, Richard Addison and George Self. At the end of the program the same preference inventory was again administered to the students as a post-test. Final scores were interpreted by means of a two-tail test. Only one selection showed a change in preference (in this case, an increase) at a statistically significant level of five per cent. Stockhausen's "Gesang der Jünglinge" attained a critical ratio of 5.34. Certain limitations were recognized: 1) the small sampling of students (twenty-two); 2) the relatively short duration of the experimental part of the study (twelve weeks), and 3) the lack of any control group. The researcher therefore concluded that, within the severe limitations of this study, his hypothesis was invalid: that participation in a classroom music program stressing creativity will alter a grade three student's preference for contemporary art music. / Arts, Faculty of / Music, School of / Graduate

No description available.

No description available.

No description available.

published_or_final_version / Music / Master / Master of Philosophy

A clinically-focused music appreciation training program (MATP) was developed for use by recipients of cochlear implants (CI) and wearers of hearing aids (HA). It aimed to enhance listeners’ music appreciation abilities, with a specific focus on timbre and musical style. The MATP was pilot-tested on 17 adult postlingually deafened CI recipients (8 female, 9 male, mean age = 60.2 years) and 13 adult HA users (7 female, 4 male, mean age = 63.9 years), with each device group divided into a control and a training group. The training groups were asked to use the MATP for 30 minutes per day four times a week for 10 weeks. The control groups were asked to continue with their normal listening habits for the same time period. Both the training and control groups were assessed on tests of instrument, ensemble and style identification as well as pleasantness ratings of musical excerpts, before and after the 10-week period. Participants in the training groups also completed a program evaluation questionnaire at the end of the training period. The results showed that the training program significantly improved the quality ratings of CI recipients for ensemble stimuli (p = .034). There were, however, no significant improvements for CI users on the timbre discrimination tasks or quality ratings for single instruments, nor were there any significant improvements for the HA users on any of the discrimination tasks or in their quality ratings. The findings suggest that CI recipients’ quality appraisal can be improved through training, independent of perceptual accuracy. On evaluating the program, the majority of CI and HA trainees reported that the MATP was enjoyable and beneficial in terms of music appreciation. Future directions for continued development of the MATP and testing of its efficacy are discussed.

Digitized by Kansas Correctional Industries

The purpose of this study was to examine the effects of two methods of music instruction on two factors in the musical listening experience, identified as music description and music identification, and musical preference of fourth- and fifth-grade students. The listening experiences consisted of one which utilized descriptive writing in the music lesson and one which utilized participatory listening activities such as maps for guided listening, worksheets, and call charts. Also examined were the interactions of gender, grade level, and degree of writing presence in the regular classroom. Seven-hundred and eleven students from thirty-six intact classes in six elementary schools of three school districts were chosen for the study. The intact classes were randomly assigned to one of the two methods of instruction for a seven week experiment. The study utilized a pretest/posttest two group experimental design to answer 10 research questions. Repeated measures MANOVAS, t-test of independent samples, and two-variable correlation tests were conducted to measure mean differences, interactions, and possible relationships in the data. Results of the study indicated significant differences between method of instruction and the variables of music description and music identification. Method of instruction did not influence musical preference. Also significantly different were students' scores for music description, music identification, and musical preference between the participating 23 classroom teachers. Method of instruction, grade level, degree of writing presence, and gender did not significantly interact collectively with music description, identification, or musical preference although some areas interacted with these variables individually. Significant interactions were found between music teacher and method with regard to students' scores on tests of music description, music identification, and musical preference. Two correlational tests resulted in values that indicated no relationship between the variables of musical preference and description and musical preference and identification. However, the non-relationship of music description and musical preference was non-significant while music identification and musical preference were significantly non-related.