LD2668 .T4 1949 S6 / Master of Science

The purpose of this study was to determine whether the ability to perceive pitch direction across a variety of melodic contours differs across grade levels. In addition, differences between responses to ascending versus descending patterns and between responses to two- versus three- versus four-note patterns were examined. / The main study involved two experiments; Experiment 1 examined children's ability to identify pitch direction using a visual aid; Experiment 2 examined children's spontaneous notations of the same melodic contours. / The results showed a subsequent increase in mean scores from grades 1 to 6 across both tests. The clearest increase in ability occurred within the first three grades with a plateau reached by grade four. Same-pitch patterns received the highest overall means. The ability to identify direction using a visual aid was easier for children than to write spontaneous notations. Melodic contours with larger intervals were more easily perceived.

The present study examined 1st, 3rd, and 5th graders' ability to hear two simultaneous melodies. Two familiar ("Frere Jacques" and "The Barney song") and one unfamiliar melody were used as the stimuli. The pairs of simultaneous melodies were presented in different registers and timbre combinations. The children were asked to press specially labeled keys on a computer keyboard to indicate which song(s) they heard. Responses were recorded by a computer. The older children identified two simultaneous melodies faster (df = 2, F = 12.803, p $<$.01) and more accurately (df = 2, F = 13.098, p $<$.01) than the younger ones. While 70% of the 1st graders reported hearing two melodies and identified them with 75% accuracy, over 95% of the 5th graders reported hearing two melodies and identified them with 97% accuracy. Children who were able to correctly identify two simultaneous melodies did not tend to identify the melody in the upper or the lower register in any particular order when the timbre was the same in both registers. When the melodies were played with contrasting timbres (trumpet and piano) they tended to identify the trumpet melody before they identified the piano melody. However, in terms of response-speed they identified the upper melody faster than the lower melody. Children who were only able to identify one melody tended to focus on the upper melody when the timbre was the same in both registers but when the melodies were played with contrasting timbres they would attend to the trumpet melody regardless of register.

The purpose of this study was to investigate the effect of three different vocal timbres on uncertain singers' ability to match and discriminate pitches. Fifty-six children between six and eight year old were randomly assigned to one of four groups. / In the Own Voices group, subjects were training in pitch matching using subjects' own voices. They trained in pitch discrimination using a model child voice as stimuli. In the Model Child group, subjects were training in pitch matching and pitch discrimination using a model child voice of the same sex and age as that of the subject. Subjects in the Female Adult group were training in pitch matching and pitch discrimination using a female adult voice as stimuli. Subjects in the control group had no training. / It was found that timbre affected uncertain singers' ability to match and discriminate pitches. Pitch matching to one's own voice was more accurate than pitch matching to a child's voice. / The discrimination of high and low pitches was more accurate when a model child's voice was used than when an adult voice was used.

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"It is the purpose of this study to evaluate the results of the special battery of tests administered to freshmen and transfer students entering the Florida State University School of Music over a two year period, 1953 and 1954, together with the success of these students in Music Theory 101. It is the further purpose of this study to evaluate the predictive and/or placement value of this battery in terms of freshman theory course requirements. No attempt has been made to show the effects of motivation, instructors, or pre-college training upon grades. Neither is the predictive value of this battery of tests determined in regard to the success of a student in any subject other than Music Theory 101"--Introduction. / Typescript. / "August, 1955." / "Submitted to the Graduate Council of Florida State University in partial fulfillment of the requirements for the degree of Master of Music Education." / Advisor: Robert L. Briggs, Professor Directing Paper. / Includes bibliographical references (leaves 35-36).

The main purpose of the present study was to investigate whether a shift from absolute to relative pitch perception occurs during early childhood. Other factors that can influence the development of absolute pitch, such as cognitive abilities and the child's environment were examined. Young children completed (n=88): (1) a variety of pitch tasks (absolute and relative pitch tests) prior to and after two months of focused instruction on absolute and relative pitch, (2) tests of cognitive abilities, and (3) a questionnaire gathering information about family musical environment. / The results indicate that a shift from absolute to relative perception occurs between the ages of 5 and 7. Children younger than six demonstrated limited ability to perform relational tasks such as ordering bells, identifying transposed intervals, and comparing pitches. However, they memorized target pitches better than the older children, matched target tones on the xylophone and sang newly learned songs in their original key more often than did the older children. Older children benefited to a larger extent from the training on relative pitch. Cognitive and spatial abilities were related to absolute pitch development: children who identified pitches better had a more sequential and a less simultaneous way of processing information. Family musical environment seems to have influenced the development of absolute pitch. Implications for the acquisition of absolute pitch are discussed.