The first purpose of this study was to determine whether a statistically significant difference is observable between the effects of instructional gaming activities techniques and the effects of traditional lecture-demonstration techniques on the cognitive achievement of undergraduate university students enrolled in introductory music studies courses. The second purpose was to determine whether students evidence a statistically significant difference in their affective perceptions of these two teaching techniques when applied to university introductory music studies.Four null hypotheses were tested:H 0/1: At the conclusion of a five week experimental period, no significant difference (at the .05 level) will be evident between the experimental group (gaming techniques) and the control group (lecture demonstration techniques) on the posttest measure of cognitive achievement.H 0/2: A delayed interval posttest administered five weeks after the conclusion of the experimental period will evidence no significant difference between the experimental and control groups on the measure of cognitive achievement.H 0/3: At the conclusion of a five week experimental period, no significant difference will be evident between the experimental and control groups on the posttest measure of students' affective perception of the teaching techniques of their respective classes.H 0/4: A delayed interval posttest administered five weeks after the conclusion of the experimental period will evidence no significant difference between the experimental and control groups on the measure of students' affective perception of the teaching techniques of their respective classes. The research population consisted of 147 students representing each of the four years of university matriculation. Both the experimental group and the control group consisted of students enrolled in one class of a 100-level introductory course in music studies for the general university student ("music appreciation"), and in two classes of a 300-level course in introductory music studies for prospective elementary classroom teachers. Five experienced university instructors taught the six classes involved. A syllabus that included nine sequenced instructional gaming activities was designed specifically for use in the experimental classes.A 2 x 2 nonequivalent control group design was adopted to facilitate pair-wise analysis of mean scores. The experimental and control groups were statistically equated on the basis of College Board Scholastic Aptitude Test verbal and mathematical mean scores and cognitive achievement pretest mean scores. Posttest and delayed interval posttest cognitive achievement adjusted mean scores and affective perception observed scores were obtained. Significance of the treatment variable was determined by means of analyses of variance and covariance.Based on statistical findings, H 0/1 was rejected at the .05 level of significance at the 100-course level. Conversely, H0 was supported at the 300-course level. In other words, at the 100-level, findings of the posttest showed that students taught by means of gaming techniques attained a significantly higher level of cognitive achievement than students taught by means of lecture-demonstration techniques. At the 300-level, findings of the posttest showed that students taught by means of gaming techniques evidenced no significant differences in cognitive achievement compared with students taught by means of lecture-demonstration techniques. H 0/2 was rejected at the .05 level of significance at both the 100- and 300-course levels, but findings differed between course levels. At the 100-level, the class taught by means of gaming activities evidenced a significantly higher level of cognitive achievement on the delayed interval posttest than the class in which lecture-demonstration techniques were applied. At the 300-level, classes in which lecture-demonstration techniques were applied evidenced a significantly higher level of cognitive achievement on the delayed interval posttest than the classes taught by means of gaming activities.H 0/3 was rejected at the .05 level of significance unilaterally at both the 100- and the 300-course levels. Gaming techniques were highly preferred (at the .001 significance level) over lecture-demonstration techniques on a posttest measure of students' affective perception.H4 was rejected at the .05 level of significance unilaterally at both the 100- and the 300-course levels. Gaming techniques were highly preferred (at the .001 significance level) over lecture-demonstration techniques on a delayed interval posttest measure of students' affective perception.The findings of this study appear to support the following conclusions:1. The gaming activities developed for this study are an effective means by which to promote cognitive learning in university introductory music studies.2. The student population of this study strongly preferred gaming activities over lecture-demonstration as the teaching technique in university introductory music studies.

Orientador: Silvio Ferraz Mello Filho / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-14T18:09:21Z (GMT). No. of bitstreams: 1 Lima_RodrigodaSilva_M.pdf: 18075511 bytes, checksum: cd3a56948e9e2035d15a4d2e993ca083 (MD5) Previous issue date: 2009 / Resumo: Este trabalho tem por finalidade avaliar determinados aspectos que nortearam algumas das principais especulações realizadas no campo da harmonia na música do século XX. Dentre os objetivos estiveram presentes: apontar as premissas e estratégias que fizeram parte de cada novo território harmônico, bem como explorar a idéia do uso de "matrizes harmônicas" como princípio composicional. Aliado a isso, ressaltamos também as relações entre as estratégias composicionais, via manipulação de alturas, e suas resultantes enquanto timbre e sonoridade. Para tanto, foram escolhidos compositores que em algum momento fizeram do timbre harmônico e da matéria sonora mais um elemento caracterizante dentro do processo composicional. Dentre os compositores figuraram: Claude Debussy, Arnold Schoenberg, Igor Stravinsky, Edgard Varèse, Pierre Schaeffer, Olivier Messiaen, Pierre Boulez e Flo Menezes. No caso de Varèse, justificamos sua significativa presença no trabalho por julgarmos sua relação com a matéria sonora, seu próprio material composicional, precursora na música do século XX. Por este motivo, fez-se necessário uma análise de Intégrales visando uma maior aproximação do seu idioma composicional e de suas estratégias para a escrita do timbre. Paralelamente aos estudos, tivemos como resultado uma série de obras compostas pelo autor onde a utilização de "matrizes harmônicas" passou a ser um aspecto relevante para o processo composicional, uma espécie de guia da sonoridade. / Abstract: This study has the goal of evaluating certain aspects that guided some of the main speculations in harmony in twentieth-century music. Among its objectives are: to point out the premisses and strategies that took part in each new harmonic territory, as well as to explore the use of harmonic matrixes as a compositional principle. At the same time we underline how compositional strategies relate by means of pitch manipulation, and their results in timbre and sonority. To achieve this, we chose composers that in some point made use of harmonic timbre and sound matter as a distinctive element in the compositional process. Among them stand: Claude Debussy, Arnold Schoenberg, Igor Stravinsky, Edgard Varèse, Pierre Schaeffer, Olivier Messiaen and Pierre Boulez. In Varèse's case, we justify his significant appearance by judging his relation to sound matter, and his own composition material, as pioneering in twentieth-century music. For this reason, an analysis of Intégrales became necessary, aiming at a closer approach to his musical idiom and his strategies for the writing of timbre. Besides the studies, we had as a result a series of works composed by the author in which the use of harmonic matrixes became a relevant feature in the compositional process, a sort of a guide to sonority. / Mestrado / Mestre em Música