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.
| Identifer | oai:union.ndltd.org:fsu.edu/oai:fsu.digital.flvc.org:fsu_709865 |
| Contributors | Zabanal, John Rine Anacito (author), Geringer, John M. (Professor Directing Dissertation), Holzman, Bruce (University Representative), Bugaj, Kasia (Committee Member), Madsen, Clifford K. (Committee Member), Thrasher, Michael (Committee Member), Florida State University (degree granting institution), College of Music (degree granting college) |
| Publisher | Florida State University |
| Source Sets | Florida State University |
| Language | English, English |
| Detected Language | English |
| Type | Text, text, doctoral thesis |
| Format | 1 online resource (92 pages), computer, application/pdf |
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