Doctor of Philosophy / Curriculum and Instruction Programs / Frederick Burrack / Phillip Payne / The purpose of this study was to discover whether differences exist in rhythm pattern achievement of the three rhythm systems Takadimi, 1 e & a, and 1 ta te ta in introductory level aural skills classrooms. Participants (N = 27) were first-level aural skills students in three Midwest colleges. Data were collected by implementing a demographics questionnaire to obtain a descriptive profile of the participants, Gordon’s (1989) Advanced Measures of Music Audiation (AMMA) test to obtain the music aptitude level of the participants, and a researcher-designed pretest and posttest. A significant difference was unable to be determined of rhythm pattern achievement between the three systems. However, results revealed improvement of rhythm reading between the pretest and posttest for all rhythm systems. A significant difference was unable to be determined in achievement between students with low and high aptitude following instruction in a particular rhythm system. The improvements in rhythm reading suggest that progress and achievement can be independent of using any of the three rhythm systems, but further investigation with a larger sample is recommended.

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A series of interviews were conducted with Professor Armen Donelian (New School University), Professor Frank Carlberg (New England Conservatory of Music), Professor Gary Keller (University of Miami), Professor Thom Mason (University of Southern California), and Dr. Stephen Prosser (The Berklee College of Music). A comparison and analysis of existing texts whose focus was jazz aural-skill development, in combination with the information gathered from the interviews, as well as the author's personal teaching experience, served as the basis for the creation of a two-semester course sequence for jazz ear-training with application for vocal improvisation. The major content areas found to be most critical for inclusion in the sequence include: rhythm, harmony, improvisation, transcription, dictation, chord progressions, jazz articulation, the blues, guide tones, modified numeric system for chord tone identification, and sight-reading (sight-singing). It is the author's intention that this course sequence help to codify a system of jazz aural-skill development at the college-level that may be implemented in both existing jazz ear-training courses and programs where jazz ear-training courses do not currently exist.

Doctor of Philosophy / Curriculum and Instruction Programs / Jana Fallin / The purpose of this study was to test student achievement in the course of one semester while enrolled in an Aural Skills music classroom. The research used the framework from Caine and Caine’s 1991 Brain/Mind Learning Principles (later revised and republished in 2005 by Caine, Caine, McClintic and Klimek) and Jensen’s Brain-Compatible Teaching theory (1997). The research was completed at a mid-American university. Treatment classrooms taught using strategies to implement novelty, student engagement, and scaffolding success techniques based on a subset of Caine’s et al. Brain/Mind Learning Principles. The researcher used a quasi- experimental design with a treatment and control group, gathering quantitative pre-test/post-test data from student assessments before and after the implementation of the research-based brain- compatible strategies in the university Aural Skills classroom. The study followed four graduate teaching assistants who were new to collegiate teaching over the course of a semester; two were put in a training program and trained on how to create novelty, perpetuate student engagement, and build levels of success and two were left alone, to continue with a lecture style of teaching. At the end of the study, student test scores were examined to determine significance of the treatment. Results of this study are inconclusive, due to a methodology fail during the grading of the pre and post-tests. In the final chapter, preliminary findings indicate that academic gains were maintained within the control classes of Aural Skills I and III, and academic gains were maintained within the treatment class of Aural Skills II. The study is concluded with a discussion on methodological improvements necessary to provide reliable results within the bounds of educational research.

Developing the music cognition competencies of both singers and instrumentalists is one of the goals of school music programs. Vocal and instrumental sight reading are used to indicate the level of development of cognitive skills in music. In this study, vocal and instrumental sight reading served as a basis for determining public school orchestra students' cognitive development in music. Vocal sight-reading and instrumental sight-reading performances of 143 orchestra students in 7th, 9th, and 11th grades were examined. Students' vocal sight-singing accuracy was tested using the Vocal Sight Reading Inventory (Henry, 1999). Students' instrumental sight-reading was assessed using the String Performance Rating Scale (Zdzinski & Barnes, 2002). The ANOVA procedure and the Welch test were applied to determine whether there was an improvement in students' vocal and instrumental sight reading with additional years of school orchestra experience. Results from ANOVA analyses indicated that the differences in students' instrumental sight-reading scores across the three grade levels were statistically significant [F (2,140) = 34.50], p < .01. A post hoc Bonferroni adjustment revealed that the differences between each of the groups were statistically significant (p < .05) in favor of older and more experienced students. For vocal sight reading, the Tamhane procedure revealed significant differences only between students at the 7th and 11th grade levels, also in favor of the older students (p < .05). Correlational analysis indicated that there was a strengthening of the relationship between students' vocal sight reading and instrumental sight reading as students progressed in grade level, indicating that they were continuing to develop their musicianship skills. The correlation between vocal sight-reading and instrumental sight-reading scores according to grade level were r = .36, p < .05 for 7th grade, r = .52, p < .01 for 9th grade, and r = .64, p < .01 for 11th grade. In this study I stressed the importance of both vocal sight-reading and instrumental sight-reading experiences for orchestra students and ultimately for all instrumental students. I also proposed theoretical models as to how the two skills are related and how they might be developed.

The purpose of this case study was to examine musical experiences which may affect student perceptions of self-efficacy in Advanced Placement (AP) Music Theory. Four students from a single AP Music Theory class participated in interviews where they discussed experiences in high school music study. Interview topics included ensemble participation in high school, outside-school involvement in musical activities and study, and perceptions of success in the course and preparation for the AP Music Theory examination. Specific research questions addressed in the study were: (1) What course skills addressed in AP Music Theory do students from different musical backgrounds feel most prepared to demonstrate within the context of the AP Music Theory examination? (2) What do student participants from different musical backgrounds cite as specific challenges in AP Music Theory? (3) How do students perceive their own musical backgrounds in relationship to their perceived success in AP Music Theory? Findings suggested that prior musical experiences and a positive, low-stress classroom atmosphere contributed to participants’ confidence completing fundamental performance tasks in AP Music Theory, and that those influences affected participants’ feelings of self-efficacy in the class and on the AP Music Theory examination. Conversely, participants’ application of prior knowledge and previously developed musical skills to more difficult AP-style performance tasks solicited feelings of self-doubt and lower levels of self-efficacy. Implications of this study suggest that teachers of school music ensembles, applied lessons, and AP Music Theory should consider student self-efficacy when designing instruction and planning rehearsals or lessons. Researchers might consider measuring student feelings of self-efficacy in specific performance tasks, and the ways in which teachers can help students to develop self-efficacy in music classes. / Music Education

The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students. / Music Education / Accompanied by two .wmv files: 1) Audio-OnlyTest.wmv. 2) Audio-VisualTest.wmv.

Denmark has a long tradition of teaching aural skills i.e. ear training and to educate ear training teachers. Books from Danish authors are still extensively being used within the Nordic countries. The function analysis system was introduced the same year in Denmark and Sweden, but Denmark has developed more terminology than its Swedish counterpart. The purpose of this study was to research how music majors are expressing themselves about newly introduced function analysis terminology and how they experience the use for the terminology in their profession as musicians. The study was made through a survey and a semi structured interview with six participants and the data was analysed according to the social cultural theory. The participants expressed themselves mainly positive about the new terminology and said it gave them a more nuanced picture of the harmony. They also found the new terminology useful for their profession as musicians. The results suggest that music majors would be interested in having a more comprehensive system as they use in Denmark and that teachers in aural training should consider incorporating this new terminology in their teaching.

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