xxx xxx xxxxxxxxax K This is to certify that the thesis entitled . ASSESSMENT OF SELECTED HIGH SCHOOL INSTRUMENTAL STUDENTS: THE EFFECT OF JAZZ BAND EXPERIENCE ON CERTAIN RHYTHMIC SKILLS presented by R. Bruce Early has been accepted towards fulfillment of the requirements for Ph.D. degree in MUSIC flux" 17 Jamar/7 Major professor APR I" xL I995 © 1978 ROBERT BRUCE EARLY ALL RI GHTS RESERVED ASSESSMENT OF SELECTED HIGH SCHOOL INSTRUMENTAL STUDENTS: THE EFFECT OF JAZZ BAND EXPERIENCE 0N CERTAIN RHYTHMIC SKILLS By R. Bruce Early A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY School of Music 1978 ABSTRACT ASSESSMENT OF SELECTED HIGH SCHOOL INSTRUMENTAL STUDENTS: THE EFFECT OF JAZZ BAND EXPERIENCE ON CERTAIN RHYTHMIC SKILLS By R. Bruce Early Purpose This study had two distinct purposes: (l) to construct a valid and reliable instrument to measure the selected basic rhythm concepts suitable for use in this study, and (2) to observe whether or not high school instrumental music students who have had jazz band experience score higher on a test of selected rhythmic patterns than those instrumental music students who have not had jazz band experience. Procedures It was necessary to obtain accurate measures of the two variables: (l) music achievement in terms of certain rhythmic skills, and (2) the musical experience background information on individual students. A suitable measure was constructed to collect the data for this study. Several revisions of items were made following prelimi- nary administrations of pilot tests, and the final Rhythm Test con- tained sub-tests on rhythmic imagery, rhythmic error detection and pulse perception. R. Bruce Early The sample for this study consisted of 666 instrumental music students from thirteen Michigan high schools. Schools were selected for their overall excellent instrumental music programs based on con- sistent high festival ratings and versatility in programming, and in particular, for their outstanding jazz education programs. The Rhythm Test was administered in late May or early June, l977. Data analysis was done by a CDC computer system at Michigan State University. ANOVA, a special analysis of variance program was used to examine the main effects and interactions. Conclusions Certain conclusions were drawn, based upon findings of this study: T. The "Rhythmic Imagery and Rhythmic Error Detection sub- tests are sensitive in uncovering differences between jazz and non- jazz students. 2. The Pulse Perception sub-tests do not perform the discrim- ination intended. 3. The total score means between jazz and non-jazz students are statistically significant although the difference is not large; however, there is no probability that these differences are a result of chance. 4. Total instrumental playing experience, more than any other factor, is responsible for higher scores. 5. Total jazz experience, solo and ensemble experience and music camp experience, which are facits of total playing experience, also contribute to high scores. R. Bruce Early Although some significant differences were found, future researchers would be well advised to (1) include and test other elements of rhythm, (2) test performers with many years of improvisa- tional playing experience, (3) test subjects on other academic levels, and (4) consider a performance-type measure for all rhythmic testing. To Julie ii ACKNOWLEDGEMENTS The author is grateful and deeply indebted to: committee members Dr. Sherburn, Dr. LeBlanc and Professor Klausli, who helped with time, interest and suggestions in the preparation of this thesis, committee chairman and advisor, Dr. Robert Sidnell, who is due special appreciation for his guidance, insight and patience during this project, Aquinas College colleagues Sister Mary Catherine Brechting and Dr. Lee jacokes who provided invaluable assistance, MSBOA members who assisted in the testing process, Blue Lake Fine Arts Camp that furnished facilities when needed, Julie, whose sacrifice enabled this work to be attempted. TABLE OF CONTENTS LIST OF TABLES . Chapter I. II. III. IV. THE PROBLEM Purpose . . . Background of the Problem . Hypotheses . Definitions . Major Assumption . Limitations Study Procedure REVIEW OF THE LITERATURE Rhythmic Learning Attitudes Toward Jazz and Jazz Education : Methods and Materials of Jazz Education DESIGN OF THE STUDY . Sample Instrumentation Design . . Pilot Study Procedure . Treatment of Data FINDINGS OF THE STUDY Introduction Hypotheses . Two- -way Anova . . Multiple Regression . . . Pearson Product Moment Correlation . Factor Analysis iv Page vi Chapter Page V. SUMMARY AND CONCLUSIONS . . . . . . . . . . . 61 Summary . . . . . . . . . . . . . . . . 6l Findings . . . . . . . . . . . . . . . 62 Conclusions . . . . . . . . . . . . . . 63 Discussion . . . . . . . . . . . . . . . 64 Suggestions for Future Research . . . . . . . . 69 APPENDICES . . . . . . . . . . . . . . . . . 72 A. Item Analyses . . . . . . . . . . . . . . 73 B. Descriptive Data of Additional Independent Variables . 93 C. Rhythm Test Booklet . . . . . . . . . . . . lOO BIBLIOGRAPHY . . . . . . . . . . . . . . . . ll3 Table .h \l .b #h-fi-b-b-fi #h-h-bb (3501-th .10 .11 .12 .13 .14 .15 .16 .17 .18 LIST OF TABLES Descriptive Data for Sample . Anova for Total Score by Groups Anova for Rhythmic Imagery by Groups . Anova for Rhythmic Error Detection by Groups Anova for Pulse Perception by Groups . Descriptive Data for Rhythocycle Pulse Perception by Groups . Descriptive Data for Drake Pulse Perception by Groups Descriptive Data for Test Score by Organized Jazz Experience . . . . . . Anova for Total Score by Organized Jazz Experience Descriptive Data on Total Score by Organized Playing Experience . . . . . Anova for Total Score by Organized Playing Experience Descriptive Data for Total Score by Solo and Ensemble Experience . . Anova for Total Score by Solo and Ensemble Experience Descriptive Data by Instruments Anova for Total Score by Instruments . Anova for Rhythmic Imagery by Instruments Anova for Rhythmic Error Detection by Instruments Anova for Pulse Perception by Instruments vi Page 43 44 44 45 45 46 46 47 48 49 49 50 50 51 52 52 53 53 Table 4.19 4.20 4.21 4.22 4.23 4.24 8-1 8-2 3-4 3-5 8-6 Two-way Anova on Total Score by Organized Jazz Experience and Groups . . . . . . Two-way Anova on Total Score by $010 and Ensemble Experience and Groups . . Multiple Regression Pearson Product Moment Correlation Correlation Matrix . Three Factor Analysis Three Factor Analysis Degree of Correspondence Description Data by Age . Description Data by Number of Instruments Played Description Data by Other Ensemble Experience Description Data by Music Camp Experience . Description Data by Provate Study Experience . Description Data by Improvisational Experience vii Page 54 55 57 58 59 60 94 95 96 97 98 99 CHAPTER I THE PROBLEM Purpose This study has two distinct purposes: (l) to construct a valid and reliable instrument to measure the selected basic rhythm concepts suitable for use in this study, and (2) to observe whether or not high school instrumental music students who have had jazz band experience score higher on a test of selected rhythmic patterns than those instrumental music students who have not had jazz band experience. Background of the Problem High school jazz band (stage band) programs have been increasing rapidly in the United States, and especially in Michigan in the last decade. The Music Educators National Conference acknowledged this growing educational trend by inaugurating an affiliate committee devoted exclusively to the advancement of jazz studies. The National Association of Jazz Educators has grown out of this committee and has the full endorsement of the parent MENC. The Michigan School Band and Orchestra Association has kept pace by installing a vice-president whose responsibility is to coordinate and administer sanctioned regional and state jazz festivals for both small and large groups, and to select members 1 for all-state jazz ensembles. Nationwide, junior high and high school jazz ensembles had increased to an estimated 16,000 by l97O.1 Much has been written for and against adding the jazz program in the secondary schools. Those who favor the programs point out that, not only are they popular with the students but, the jazz curriculum is a significant contribution to continuing the heritage of America's only native art fonm. ‘Those who are most insistent on the value of jazz in the schools assert that a student's musician- ship will be bettered through participation in the jazz program. Those who are opposed to jazz programs in the schools feel that participation in the jazz band tends to reinforce bad playing habits. There are even criticisms leveled at the music itself: it only appeals to the senses, rather than to the intellect, its critics charge. Paul Lehman states, "The contention that the stage band teaches better musicianship is questionable at best. No evidence has been presented which might support such an allegation, and there are those who would maintain that it is fraudulent."2 In answer, Walter Anslinger maintains that "the stage band improved individual musicianship through abundant sight reading. Advanced forms of syncopation became routine and offered valuable training for the concert band performer."3 Neither Lehman nor Anslinger, however, offers statistical evidence to back up his statements. Rhythm is one musical element that receives a significant amount of attention in the jazz band controversy. Jazz program supporters often cite rhythmic understanding as one area of musicianship that improves with jazz band experience. Because of the complexity of idiomatic jazz rhythms, many educators assume that a player with jazz experience can better read, understand and execute contemporaroy and traditional rhythmic patterns than a player without the jazz experience. Although there is no study which substantiates this claim, Gordon does suggest that "students learn (rhythms) by means of transference."4 One purpose of this study was to measure the effects of jazz band experience on selected high school students and to compare their rhythmic abilities with those of instrumental students who had not had jazz experience in the same music program. This was accomplished by administering a rhythmic test to both jazz and non-jazz students. Many areas of rhythm make-up rhythmic competency, but it was decided, for the purpose of the test, to limit these areas to just a selected few. The author has grouped elements of rhythm and presents them as follows: Pulse Periodic - Equal Nonperiodic - Unequal Meter . Pulse Organization 2'5, 3'5, 4'5, and combinations Accent Organizing Force of Pulse Pattern -Unit 2 or more units I l J J L 7 1 1 I l | Regular Division Irregular Division Another purpose of this study was to construct and validate an instrument specifically designed to measure the selected basic rhythm concepts suitable for use in this study. After examining each of the standardized tests dealing with the measurement of rhythmic aptitude and achievement, it was decided to reject them and to construct a test that would examine certain rhythmic problem areas that specifically relate to high school instrumentalists. The printed tests were rejected for several reasons: they were often too long, or too difficult to administer; they were not specifically aimed at the age group of this study; they failed to measure adequately a broad range of areas. Further, this test was to be a non-performance measure. Authors Seashore, Schoen, Roth, Gordon and others, agree that there is a high correlation between cognition and rhythmic per- formance, but the results of a performance test are difficult to determine accurately and objectively. Hypotheses The study was designed to test three hypotheses regarding students who had had high school jazz band experience. These are: Hypothesis 1: *There is no difference between students with jazz band experience and those without on the following sub-tests: A. Rhythmic Imagery sub-tests B. Rhythmic Error Detection sub-tests C. Pulse Perception sub-tests Hypothesis II: The length or amount of jazz band experience will not alter the test scores on one or more of the listed sub-tests for those students in high school instrumental music. Hypothesis 111: There will be no differences between jazz and non- jazz students who play different instruments on one or more of the sub-tests. Definitions A brief, clear and universally agreed upon definition of ° rhythm is not readily available. Authors Cooper and Meyer, Creston and others have devoted entire books to the explanation, history and technical analysis of various aspects of rhythm. Theorists and musicologists agree, however, on the important role that rhythm plays in Western music. Curt Sachs states, "rhythm permeates melody, form, and harmony; it becomes the driving and shaping force, indeed the "5 very breath of music . . . . Gunther Schuller concurs with Sachs as he writes, "rhythm is as much a part of musical expression as 6 Jazz theorists pitch or timbre--and possibly more important." agree that the role rhythm plays is all important. English jazz specialist Avril Dankworth states, "the rhythmic aspect of jazz is its most unique quality."7 A working definition of rhythm provided by Professors H. Owen Reed and Robert Sidnell has proved useful and apprOpriate for this study. They describe rhythm as "The combined effect of all factors contributing to the organized flow of sound/silence durations in 8 The authors break down the aspects of rhythm into the time." following basic elements: Ppl§g_is the basic temporal unit in a music event. Igmpp_is musical pace. Duration is the length of musical sound/silence. Meter is how pulses are grouped: Aural Meter is how pulses are grouped to form larger temporal units. Visual Meter is how notes are grouped to form measures. Mpgipp_is controlled by assigning specific time lengths to durational notation . . . accomplished by awarding the value of one pulse to a specific, single durational note. Pattern is note and rest configurations on a continuum of sophistication from durations equal to pulse, to infinite variations through elongation, division and sub-division. Imagery, and more specific, rhythmic imagery, is defined as 9 According to Gordon, aural perception and kinethetic reaction. rhythmic imagery is developed by feeling rhythm patterns through movement of the body as well as interpreting musical elements when listening to music. This demonstrated ability to respond leads one to acquire basic music enjoyment and understanding, and provides readiness for developing music literacy. Major Assumptions This study accepted the following as valid assumptions: 1. The student who was enrolled in concert and/or jazz ensembles had progressed in musical growth to a point that was of sufficient strength and specificity to be measurable. 2. The sample of both control and experimental groups in this study was representative of the population of Michigan high school jazz and non-jazz instrumentalists. 3. The instrument designed and methods employed in this study were adequate and suitable for the purpose of this study. 4. It is assumed in this study that all student instru- mentalists received adequate instruction. Based on the high quality of jazz ensembles selected, it was assumed that the same high degree of instruction was carried out in the concert bands. Limitations l. The students in both the experimental and control groups had to have participated in a school instrumental music program for at least three years and students in the experimental group had to have participated in a school jazz band program for at least one year. 2. The study examined only three areas of rhythmic under- standing. There are many other facets of rhythm, which constitute total musical understanding. It is possible that one never totally perceives rhythm as a whole. Study Procedure l. A review of the literature was conducted in the area of formal jazz training and procedure, theory of rhythmic understanding and aptitude, as well as educational methods of rhythmic achievement pedagogy. 2. Standardized instruments for measuring music achievement were examined, and part of the Drake Rhythm Test, Form D, was selected and adapted for use. 3. A rhythm test was developed for measuring the effects of jazz band experience on certain rhythmic skills. Items were con- structed based on rhythmic factors thought to be important in total rhythmic understanding of high school instrumentalists. This test was administered to several instrumental music classes not involved in other aspects of the study. Based on the results obtained, the test was then revised. Reliability and validity checks were com- pleted. 4. High schools were selected for testing, based on the strength of their jazz programs. Directors were contacted and examination times and dates for both jazz and concert bands were determined. 5. The final rhythm test was administered to both jazz and concert band students. All testing was administered by the researcher during a 4 week period in late spring. 6. The resulting data were tabulated, analyzed and inter- preted. 7. Conclusions and recommendations were drawn. CHAPTER I: FOOTNOTES 1Frank Ferriano, "A Study of the School Jazz Ensemble in American Music Education," NAJE Educator, VII (February/March, l975), p. 4. 2Paul R. Lehman, "The Stage Band: A Critical Evaluation," Music Educators Journal, LI (November/December, l964), p. 64. 3Walter L. Anslinger, "The Stage Band: A Defense and an Answer," Music Educators Journal, LI (April/May, 1965), pp. 84-85. 4Edwin Gordon, The Psychology of Music Teaching (Englewood Cliffs, N.J.: Prentice-Hall, Inc., 197l), p. 78. 5Curt Sachs, Rhythm and Tempo (New York: N. w. Norton and Co., Inc., l953), p. ll. 6Gunther Schuller, Early Jazz: Its Roots and Musical Development (New York: Oxford University Press, 1968), p. 8. 7Avril Dankworth, Jazz: An Introduction to its Musical Basis (London: Oxford University Press, l968), p. 32. 8H. Owen Reed and Robert G. Sidnell, The Materials of Music Com osition (Reading, Mass.: Addison-Wesley Publishing Company, , p. 4. 9 Gordon, op. cit., pp. 66-67. CHAPTER II REVIEW OF THE LITERATURE Background literature pertinent to this study falls into three general categories: rhythmic learning; attitudes toward jazz and jazz education; and methods and materials of jazz education. Rhythmic Learning The study of rhythm began with several psychological studies published toward the end of the last century. Over 740 titles on the subject were assembled by Ruckmick by l924.1 However, only a small proportion of these studies deal in a specific way with musical rhythm. Much of this rhythm literature refers to the motor processes involved in rhythm. One early study published by Bolton concludes that rhythm "consisted largely of a series of sounds recurring at stated intervals." However, "most subjects felt them- selves impelled by an irresistable force to make muscular movements of some sort accompanying the rhythms."2 Other significant studies 3 4 5 on this subject were done by R. Seashore, Stetson, Isaacs, 6 7 As stated by Weaver, "Almost without exception, Ruckmick, and Miner. those who have studied rhythm have recognized its motor aspect."8 An influential music educator of the 30's and 40's was James L. Mursell, author of The Psychology of School Music Teaching.9 He held that 10 11 there was great value to a psychological approach to the practical problems of musical development. He states, "Competent knowledge of the established results of psychological investigations in the field of music can be of the utmost value to the working music teacher, 10 and can further the cause of music education in America." Mursell outlines the problems of teaching rhythms and shows how psychological results can be applied in methodology. According to him, rhythm can be taught with proper management of the "study phase" of learning. One must recognize and deal with phrase rhythm and beat, teaching both through co-ordinated muscular response. Time values will then become more precise as perception of rhythm grows clearer. Mursell 11 completely endorses the Dalcroze Eurhythmics, stated that "(it) is the completest realization in terms of educational method of the "12 psychological principles of rhythmic apprehension. In a later 13 book, Music In American Schools, Mursell expands his earlier writings on physiological processes. He suggests that one experi- ences rhythm by bodily movement, and in terms of hearing and seeing. Instructional devices should consist of free body movement, various forms of dance, rhythm and experience, counting and beating time, and interpreting rhythmic indications on a given score. What emerges is a "total, living configuration of perception, response, and con- trol."14 Other music psychologists have upheld the theories of Mursell. Authors Buck,15 Farnsworth,16 and Revesz,17 among others, have written of the relationship of rhythmic understanding and motor response. Authors Lundin and Gordon also endorse the eurhythmic approach and 12 Insist that there is a great need for mental recognition of rhythmic concepts as well. As Lundin states, "Rhythm is both perceptual and motor . . . . The perceptual side is emphasized when we simply listen to a rhythmic pattern or analyze some composition for its rhythmic content. The motor aspects of the responses are evident in actual performance . . . . Perceptual and motor activities are interde- 18 pendent." Gordon outlines many of the same steps leading to rhythmic literacy in his book, The Psycholpgy of Music Teachipg,1g He maintains, in a chapter entitled "Rhythmic Learning," that eurhythmic activities help to develop perceptual rhythmic understand- ing. He writes, "After (students) are able to perceive and dis- criminate tempo beats, meter-beats, and melodic rhythm, they have the readiness to develop rhythmic concepts that ultimately lead to rhythmic literacy." He further states, "The ability to read and write rhythm is dependent on the degree to which a student can kinesthetically feel what he sees in notational form."20 Although not voluminous, there is a body of literature that has not supported the motor theory. Criticisms of the rhythmic response as dependent on action of the voluntary muscles are con- 2] 22 Dunlap tained in both the writings of Dunlap and Woodrow. states that the motor theory rests "on no other basis than the fact that motor expression of certain sorts is good rhythmic material and that periodic stimulation usually produces muscular activity . . . and . . . with the utmost possible relaxation of the entire body, good rhythmic grouping of an auditory series can be obtained."23 Woodrow also suggests an alternative to the motor theory with 13 rhythmic concepts explained in terms of mental magnitudes. Reviews of the articles suggest that the rhythm concepts of the authors need further explaining. 24 Carl Seashore In his book, In Search of Beauty in Music, insists that rhythmic responses are inherited: that subjective rhythm is ingrained in all humans, and that individuals have an irresistable tendency to group uniform successions of sound. Rhythmic response is, as he states, "an instinctive disposition to group recurrent sense impressions vividly and with precision, by time or intensity, or both, in such a way as to derive pleasure and 25 There are, according to Sea- efficiency through the grouping." shore, individual differences in the capacity to respond to rhythm, and he attempted to measure these inherent differences in his test Measures of Musical Talents.26 Periodically, rhythm publications have appeared which are used as textbooks or reference manuals. One of the earliest, Rhythm In Music, is, according to author George Wedge, "a study of understanding of rhythm and its fundamental principles and a logical system of study correlative with development of muscular technique.“27 The book also contains progressively graded drills for the study of 28 meter and rhythm. Rhythm By Solfeggio. by Clement Lenom is described as a practical method for the development of the sense of time and rhythm. In this method, students are to name sounds audibly and conduct measure lengths, thus training the mind to analyze the relationship of one note to another. Again, exercises are included. Joseph Schillinger's approach to rhythm is integrated 14 with the work of science and math. In his treatise, The Schillinger 29 ySystem of Musical Composition, he devotes an entire volume to the study and analysis of rhythm. Within a ten year period, three significant rhythm books were 30 published. In the first of these, Rhythm and Tempo, Curt Sachs takes an historical view and categorizes rhythmic elements by analyzing music from primitive stages to the present. In each musical period, Sachs describes each rhythmic concept by use of musical examples. The Rhythmic Structure of Music,31 by Grosvenor Cooper and Leonard Meyer, was written to perform two functions: (I) the book organizes and develops a theory of rhythmic structure and (2) presents, through printed examples and discussion, analytic methods and compositional procedures. Definitions and principles, and various groups of rhythmic categories and exercises make up the bulk of this text. Authors Cooper and Meyer suggest that the book is designed to be used in conjunction with courses in harmony, counterpoint, interpretation and analysis. A similar approach is 32 utilized by Creston in his Principles of Rhythm. Rhythmic con- cepts are analyzed and categorized, with musical examples illustrat- ing each rhythmic element. The material is aimed at students of composition. Gordon has published two volumes which deal, in part, with the cognition of rhythm patterns. In Tonal and Rhythm Patterns: An Object Analysis,33 Gordon develops extensive separate taxonomies of tonal and rhythm patterns and establishes the aural perception difficulty level and growth rate of the individual patterns in the 15 taxonomies. Much of the book is made up of statistical tables and notational examples that best serve the needs of a researcher. Learning Sequence and Patterns in Music,34 by Edwin Gordon, presents a practical guide for the sequential learning process of both tonal and rhythm concepts. Chapters on course of outline, purpose, com- prehensive and specific sequential objectives, techniques and materials, individual differences, and measurement and evaluation lay the groundwork for guidance in rhythmic and tonal learning. Through Gordon's work, one can piece together a large bibliography of both old and recent studies that are concerned with rhythmic learning. Attitudes Toward Jazz and Jazz Education As jazz found a wider audience, there were those who saw merit in the art form and wished to include jazz instruction in the school curriculum. There were also those who seriously opposed such an addition. Although the jazz education movement has grown to a substantial size in recent years, there is still a firm but diminishing group of detractors. As cited in Chapter I, neither argument is conclusive. Classical composers were among the first to find merit in jazz. Dvorak admitted being influenced by Negro spirituals during 35 a stay in America in the late lBOO's, and Maurice Ravel was similarly influenced by the American Expeditionary Forces bandsmen.36 In l9l8, Igor Stravinsky created a work that not only had apparent jazz influences, but whose title, Ragtime For Eleven Instruments, 16 even included the name of a popular jazz style. Similarly, Debussy wrote two short piano pieces entitled Le Petit Negre and Golliwog's 37 38 39 Cakewalk. Virgil Thomson, Aaron Copland, Deems Taylor, Darius 40 and Percy Grainger4] not only utilized jazz idioms in Milhaud, their compositions, but penned jazz articles in journals of the day. Hindemith, Honegger, Gershwin, and later, Bernstein, Schuller and Gordon Jacob, in varying degrees, have all been influenced by jazz and have been cognizant of its place in America's culture. Jazz became a topic of wide discussion from the turn of the century. Periodicals, books and journals carried numerous articles by musicians, educators, publishers and critics stating their positions on the controversial subject 'the place of jazz.’ Early commentary included such titles as: "Ethiopian Syncopations--The 42 43 "The Appeal of the 45 Decline of Ragtime," "Anti-ragtime," 44 Primitive Jazz," and "A Negro Explains 'Jazz.'" By the mid- l920's, articles on how to understand jazz, the decline of jazz, the advance of jazz, comparisons of jazz and classics had appeared not only in every important music journal of the day, but in such non- music magazines as Better Homes and Gardens, Good Housekeeping, Ladies Home Journal, Saturday Evening Post and Popular Mechanics.46 Many important and influential persons became entangled in the jazz controversy in the l920's as more educators became inter- ested in including jazz studies in their music programs. Toscanini 47 went on record endorsing the virtues of jazz, as did Leopold 48 Stokowski and Koussevitsky.49 The unofficial spokesman of jazz during this time was Paul Whiteman, who wrote many articles defending 17 50 and describing the jazz situation. On the other side, John Philip Sousa, Will Earhart, Walter R. Spalding, president at Harvard University, and Clay Smith (Yale School of Music) all spoke negatively about jazz in an article contained in The Etude Music Magazine.51 Dr. Walter Damrosch delivered an assault on jazz at the Opening session of the Music Supervisors National Conference in 1928, stating 52 that "jazz is monotony of rhythm." At the same meeting, Conference President George Bowen declared that "Jazz, with its degrading influence, takes the place of the sincerity and sweetness of the class . . . thus talents--possibly great ones--are lost.“53 gtpgp_magazine ran a series of articles on jazz in August and September of l924 that presented both sides of the argument. The editors were quick to point out that ggppg_did not endorse jazz but "wants to keep 'wideawake' readers informed upon all sides of lu54 'jazzmania. In the July and August l928 issues of Etude, the 55 forum section ran articles "Jazz Is Music" and "Jazz is Not 56 Music." Author Antheil concluded that jazz, in time, would develop musically and become respectable, while Sigmund Spaeth determined that jazz is a treatment and not a form of music. In 57 and Studebaker58 other journals, Stringham contributed significant articles on the subject. Into the 1930's gtpgg_continued periodically to keep the jazz issue alive with articles by, among others, Gilbert59 and Goodbrod,60 but with the increased popularity of swing, most stories focused on jazz personalities and descriptions of swing music. The same policy continued into the War years with the exception of 18 pieces written in American Mercury magazine. Winthrop Sargeant 6l 62 touched off a debate with his article "Is Jazz Music?‘' and Mason 63 and Ellington both followed with discussions of the original piece. At the same time, James Mursell endorsed the use of jazz in 54 In his music education in his book, Music In American Schools. chapter on teaching materials, he states that a well-made music series should contain jazz, for "in its best instances, form and message are wedded together with an admirable, even an exquisite perfection."65 In the late 1940's and l950's, the observation of increased numbers of school stage (jazz) bands triggered another round of debates as to the value of such a program. Numerous articles appeared in music journals in the l960's, most weighted in favor of jazz education. Two notable exceptions include the previously 66 67 and one written by Hubert Henderson. 68 mentioned article by Lehman Direct rebuttal to the negative articles were penned by Anslinger 69 Other supportive journalistic pieces were written by 7] 72 73 Tanner,74 and Wright.75 and Barnett. 7O Galloway, Hall, Scott, Suber, The 1968 Tanglewood Symposium, sponsored in part by the Music Educators National Conference convened for the purpose of considering major issues related to the theme of "Music in American Society.”6 Included in the discussions were speeches on the subject "Music Of 77 Our Time,“ several of which endorsed jazz education. The Music Educators Journal devoted thirty pages of its November l969 issue to 78 Youth Music. In this issue, MENC President Wiley L. Housewright stated, "There is much to be gained from the study of any musical 19 creation. Rock, soul, blues, folk and jazz cannot be ignored."79 An essay concerning the critical positive and negative thoughts of jazz education in the 1960's is contained in the study by Wentz.80 No new censures of jazz education have surfaced in the last decade until recently. Critics are not leveling their charges at the inclusion of jazz education in school programs, but are blasting the instruction that young students are receiving. Gunther Schuller contends that such education is an illusion. He states, "(school jazz bands) are one of the disaster areas in education . . . . Jazz education has become entrenched bureaucracy . . . . Most . . . jazz 8] Warrick Carter states that the educators aren't musicians." situation is changing. In an article assessing the National Associa- tion of Jazz Educators' ten year existence, Carter defends current teachers, insisting that today's educators are either musicians who have received formal training, older practicing jazz musicians, or those who attend workshops, clinics, and concerts "to keep abreast of 82 current developments and new techniques." Dr. Eugene Hall also reacts to some of the statements made by Schuller in an article 83 Both Carter and Hall, and other prominent entitled "A Reprise." jazz educators suggest that more must be done in the area of improving improvisational skills. Recent philosophies of music education have, in varying degrees included statements on popular and jazz music. In one of the more recent, Bennett Reimer draws a distinction between pop and jazz, stating that the latter is "a musical style domain with a complex history, a well-developed literature, a rich variety and abundance 20 of music of unquestionable excellence and profound expressiveness . it is more and more being accepted for what it is--a fascinating 84 and valuable source of musical experience." He insists that one can teach music, realizing its deepest value, by taking a more adventuresome attitude toward musical materials, and that "jazz, pop, folk, as well as concert--all should be considered 'proper' sources 85 86 for finding expressive music." Schwadron believes that to mature musically one must exercise value judgments at the level of dis- crimination. This can be done, according to him, by the development of awareness of certain musical concepts through the use of various kinds of music, including jazz. Although not specifically referring 87 to jazz, Broudy feels that there are good works in both fields of serious and popular music, and that technically, the good works will achieve greater expressiveness than the inferior sort. Music educa- tion can, he states, help to condition one to observe this expressive- 88 ness. In Emotion and Meaning In Music, Leonard Meyer considers "the nature of emotion and intellectual meanings . . . and the conditions that give rise to them . . . and how these conditions are 89 Meyer uses jazz fulfilled in the response to musical stimuli." examples throughout the text to support the central hypothesis of the study. One of the committee reports at the Tanglewood Symposium dealt with music as means and ends. The report indicated that there is a need for new aesthetics to confront and understand new music. As stated, “New attitudes favoring research, innovation and change, combined with expanding worldwide communication, provide a climate 21 favoring new music . . . music education in the future will be able to draw upon these new developments."90 Methods and Materials of Jazz Education As jazz increased in popularity, educators and musicians became involved in the instruction of this art form. Most of the activity has been concentrated from the l9SO's to the present, but surprisingly, jazz education has been around from early in the century. It is reported that Archie McCallister of Joliet, Illinois, had an active school dance band in l9l5, and the Austin High Gang 9] Roger Wolfe Kahn 92 flourished in Chicago in the mid-twenties. opened a jazz school in New York in the fall of l925. This school had a limited enrollment of advanced musicians and a faculty consist- ing of members of Kahn's professional orchestra. Allen Scott notes that Floyd Graham, of the North Texas State University staff, 93 organized a school dance band in 1927. Paul Whiteman endorsed jazz education in an article dated November, l929, and stated that his father had successful high school music programs in Denver, that produced musicians for dance bands during Paul's youth.94 New York University began jazz classes in the fall of l937 with lectures and concerts by Vincent Lopez and other appointed 95 Similarly, New York City high school music students were 96 artists. also given lectures by notable band leaders in l937. On a rotating basis, Russ Morgan, Duke Ellington, Tommy Dorsey, Red Nichols and others addressed students on various aspects of jazz and swing. In l942, the New England Conservatory started a jazz curriculum that 22 promised to be "the most comprehensive course in popular music and interpretation thereof ever to be offered by any recognized institu- tion of musical learning."97 Areas to be covered included prepara- tion of dance music, education on instruments, theories of jazz, development of ensemble skill and instruction in radio and recording techniques. Along with classes and lectures on the jazz idiom came printed texts and instruction materials. One of the earliest sources of this material is contained in the book Instrumental Techniqpe for 98 In a text aimed at Orchestra and Band by Maddy and Giddings. teachers, conductors and students, the authors devoted an entire chapter to the dance orchestra. Subjects covered included doubling, jazz playing, improvising, jazz tricks, mutes, and the drums. About the same time, Isaac Goldberg wrote a text to the layman for his 99 10° dealt with the proper phrasing 101 understanding of jazz. Pierce of syncopation in an early l930's article in gppgg_and Wister defended her jazz teaching practices in another volume of ggpgg, Many texts dealing with specific jazz skills and playing techniques have appeared since the turn of the century. Some were hastily prepared to try to capitalize on a market of growing interest while others, although dated in style and material covered, have continued to serve as major sources in the field. An example of the former is found in an ad contained in an early music journal: By note or ear. With or without music. Short course. Adult, Beginners taught by mail . . . learn 67 styles of bass, lBO syncopated effects, blue harmony - oriental chimes, movie, and cafe jazz, trick endings, clever breaks, 23 space fillers, saxophone slurs, triple bass, tricked harmony, and 247 other subjects, including ear playing and musical invention . . . 25,000 words.102 Interestingly, three early texts appeared, on the art of jazz 103 104 trombone playing, withone one year by authors Lake, Filmore, 105 Other early instruction books included jazz piano 106 107 108 109 an and Sordillo. Christenson, d 111 guides by Butler, Hoyle, 110 Confrey, a drum practice book by ll3 Ellington, a violin manual by Marine: 112 Dance band 115 Straight; and a trumpet rhythm manual by Dunham. 114 116 arranging was not neglected. Books by Lange, Weirick, Ellis, and Miller117 contained helpful hints about writing in the style of the day. The post World War II years brought a resurgence in jazz and a renewed interest in the field of jazz education. New avenues of instruction have resulted, leading to a growth of jazz instruction that continues to the present. Berklee School of Music, the first college to teach exclusively techniques of modern music and jazz, opened its doors in l945. This Boston school is now fully accredited 118 and has an enrollment of 1700 students from 30 countries. Soon after Berklee started, the now defunct California based Westlake School of Music began with a similar jazz policy. In l947, North Texas State University initiated a dance band major degree,“9 and in the same year, The University of California began courses in 120 jazz. Marshall Stearns inaugurated, in l950, a "Round Table on Afro-American Music and Dance" at Lenox, Massachusetts, home of the 121 Tanglewood Music Festival. During the five day history-making event, Stearns advanced the cause of jazz to many holdovers from the 24 festival's classical concerts. Shortly thereafter, Stearns founded 122 the Institute of Jazz Studies in New York. The National Stage Band Camps began in the summer of 1959, with a concentrated course of study in jazz ensemble performance for high school and college 123 students. Notre Dame University organized an annual competitive collegiate jazz festival in 1959.124 125 and Villanova University did likewise in 1961. Even with the increased jazz education activity, current materials were hard to find in the 1950's. It was estimated that there were only a dozen jazz arrangements written for school jazz bands in 1955 but by the early 1960's this number had increased to 126 850 Significant jazz instruction materials were written in the 1960.5 by Gam.a’127 128 129 130 131 132 Russo, Hall, Wiskirchen, Coker, 133 Mehegan, and Baker. Several books have been written for general music education that contain sections on jazz education, 134 135 and Hoffer.136 including texts by McKinney, Neidig, Several jazz theory and criticism books are available that offer the serious student insight into past styles through an analysis of jazz structure and forms. These volumes are also significant because many musical examples have been transcribed from records and have proved to be the only printed source for the material. Included 137 138 Hodier,139 143 in this list are books by Ostransky, Berendt, 140 141 142 Feather, Dankworth, Sargeant, and Schuller. An annotated bibliography of related materials can be found in Kennington's Ihp_ ‘44 In a related area, Neal E. Glenn has listed 145 Literature of Jazz. the more recent dissertations from major American Universities. 25 Although the study is not exhaustive, Glenn has gathered some 125 titles on jazz related studies that have been concluded since the 1920's. One omission from the list is a study by Gilliland and 146 which compares certain effects of listening to classical Moore and jazz music selections some two dozen times. The assessment of effects was attained through a photograph showing facial expression during the last playing, and a measurement of grip before and after the playings of each kind of music. CHAPTER II: FOOTNOTES 1Christina A. Ruckmick, "A Bibliography of Rhythm, " American Journal of Psychology, XXIV (1913), pp. 508- 519. Supplements l9l5, 1918. 1924. 2 (1894). 3Robert Seashore, "Studies in Motor Rhythms," University of Iowa Studies in Child Welfare, II (1926), pp. 149-199. 4R. H. Stetson, "A Motor Theory of Rhythm and Discrete Succession," _§ychologica1 Review, XII (1905), pp. 250-350. 5Elcanon Isaacs, "The Nature of the Rhythm Experience," Rsychological Review, XXVII (1920), pp. 270-299. 6Christian A. Ruckmick, "The Role of Kinaesthesis in the Perception of Rhythm," American Journal of Psycholpgy, XXIV (1913), pp. 305-359. 7J. B. Miner, "Motor, Visual, and Applied Rhythms," Psychological Review Monologue Supplement, IV, No. 17 (1903), pp. iv, 106. 8H. E. Weaver, "Syncopation: A Study of Musical Rhythms," The Journal of General Psychology, XX (1939), p. 412.‘ R. Bolton, "Rhythm," American Journal of Psychology, VI 9James L. Mursell, The Psycholo of School Music Teaching (New York: Silver, Burdett and Co., 19 8). 10 nEmil Jacques Dalcroze, Rhythm, Music and Education (New York: G. P. Putnum's Sons, 1924). 12 13James L. Mursell, Music in American Schools (New York: Silver Burdett and Co., 1943). 14Ibid.. p. 225. Ibid., p. iii. Mursell, op. cit., p. 200. 26 27 15Sir Percy Carter Buck, The Scope of Music (Freeport, N.Y.: Books for Libraries Press, 1969), pp. 30-31. 16Paul R. Farnsworth, The Social Psychology of Music (2nd ed.; Ames, Iowa: The Iowa State University Press, 1969), p. 62. 17G. Révész, Introduction of the Psychology of Music (Norman: University of Oklahoma Press, 1954). 18Robert W. Lundin, An Objective Psychology of Music (2nd ed.; New York: The Ronald Press Co., 1967). 19Edwin Gordon, The Psycholpgy of Music Teaching (Englewood Cliffs, N.J.: Prentice HalTj’Inc., 1971). 20 21Knight Dunlap, "Rhythm and Time," Psychological Bulletin, VIII (1911), pp. 239-242. 22H. Woodrow, "A Quantitative Study of Rhythm," Archives of Psychologx, XIV (New York: The Science Press, 1909), p. 66. 23 24Carl E. Seashore, In Search of Beauty in Music (New York: The Ronald Press Company, 1947). 25 Ibid., p. 85. Dunlap, op. cit., p. 351. Ibid., p. 128. 26Carl Seashore, Don Lewis, and Joseph Saetviet, The Seashore Measures of Musical Talents, Manual (New York: The Psychological Corporation, 1960). 27George A. Wedge, Rhythm in Music (New York: G. Schirmer, Inc., 1927), p. 1. 28Clement Lenom, Rhythm by Solfeggio (New York: Coleman- Ross, Co., Inc., 1944). 29Joseph Schillinger, The Schillinger System of Musical Composition (New York: Carl Fischer, Inc., 1946). 30Curt Sachs, Rhythm and Tempo (New York: W. W. Norton and Company, 1953). 31Grosvenor W. Cooper and Leonard 8. Meyer, The Rhythmic Structure of Music (Chicago: The University of Chicago Press, 1960). 28 32Paul Creston, Principles of Rhythm (New York: Franco Colombo, Inc., 1961). 33Edwin E. Gordon, Tonal and Rhythm Patterns: An Objective Analysis: A Taxonomy of Tonal Patterns and Rhythm Patterns and Seminal Experimental Evidence of Their Difficulty and Growth Rate (New York: State UniVersity ofTNew York, 1976). 34Edwin E. Gordon, Learning Seguence and Patterns in Music (Chicago: G.I.A. Publications, Inc., 1977). 35Donald Jay Grout, A History of Western Music (New York: W. W. Norton and Company, Inc.,41973). 36wa1ter E. Nallin, The Musical Idea (New York: The Macmillan Company, 1968). 37Virgil Thompson, "The Cult of Jazz," Vanity Fair (June 1925), p. 118. 38Aaron Copland, "Jazz Structure and Influence," Modern Music (January/February, 1927), pp. 9-14. 39Deems Taylor, "Respectabilizing Jazz," Literary Diggst (November, 1923), p. 31. 40Darius Milhaud, "The Jazz Band and Negro Music," Living Rgg_(0ctober, 1924), pp. 169-173. 41Percy Grainger, "What Effect is Jazz Likely to Have Upon the Music of the Future?" The Etude Music Magazine (September, 1924), pp. 593-594. 42W. F. Gates, "Ethiopian Syncopations--the Decline of Ragtime," Musician (October, 1902), pp. 128-129. 43James Cloyd Bowman, "Anti-Ragtime," New Republic (November 6, 1915), p. 19. 44Walter Kingsley, "The Appeal of the Primitive Jazz," Literary Digest (August 25, 1917), pp. 28-29. 45James R. Europe, "A Negro Explains 'Jazz,'“ Literary Digest (April 26, 1919), pp. 28-29. 46Robert George Reisner, The Literature of Jazz (New York: The New York Public Library, 1959), pp. 33, 35, 38, 47. 47d. S. Woolf, "Toscanini's Ideas on Music Old and New, He Can See Some Merit in Jazz,“ New York Times Magazine (April 15, 1928), p. 3. 29 48"Where is Jazz Leading America?“ The Etude Music Magazine (August, 1924), pp. 517-520. 49Sigmund Spaeth, "Jazz is Not Music; A Reply to George Antheil in the July Forum," The Etude Music Magazine (August, 1928), pp. 267-271. 50 Reisner, op. cit., p. 58. 51"Where is Jazz Leading America?" The Etude Music Mggazine (August, 1924), pp. 517-520. 52"Damrosch Assails Jazz," New York Times (April 17, 1928), p. 2. 531bid. 54"Where is Jazz Leading America?" The Etude Music Magazine (August, 1924), pp. 517-520. 55George Antheil, "Jazz is Music," Forum (July, 1928), pp. 64-67. 56 Spaeth, op. cit. 57Edwin Stringham, "Jazz; An Educational Problem," Musical Quarterlx_(Aprii. 1926), pp. 190-195. 58J. W. Studebaker, "The Age of Jazz," Journal of Education (January 21, 1929), p. 68. 59Henry F. Gilbert, "Concerning the Jazz Question," Ihg_ Etude Music Magazine (February, 1935), p. 74. 60R. M. Goodbrod, ”Conquering the Jazz Craze of Young Pianists," The Etude Music Magazine (February, 1934), p. 82. 61Winthrop Sergeant, "Is Jazz Music?" American Mercuhy (October, 1943), pp. 403-409. 62Daniel G. Mason, "Jazz for the Illiterate," American Mercury (December, 1943), p. 761. 63Duke Ellington, "Defense of Jazz,“ American Mercury (January, 1944), p. 124. 64 65 Mursell, Music in American Schools. Ibid., p. 114. 30 66Paul R. Lehman, "The Stage Band: A Critical Evaluation," Music Educator Journal (November/December, 1964), pp. 55-58, 128. 67Hubert P. Henderson, "Music-Caterers and Stage Band-Its," Music Journal (January, 1964). 68Walter L. Anslinger, "The Stage Band: A Defense and An Answer," Music Educators Journal (April/May, 1965). 69Willy Barnett, "The Stage Band Controversy,“ Music Journal (March, 1964). 70Ted Galloway, "Why Have a Stage Band?" Music Educators Journal (January, 1963). 71M. E. Hall, "How We Hope to Foster Jazz," Music Educators Journal (March, 1969). 72Wayne Scott, "The Merits of Stage Band," Music Journal (March, 1964). 73Charles Suber, "Stage Band in the High School," Music Journal (September, 1962). 74Paul O. W. Tanner, "The Musical Values of the Stage Band," Music Educators Journal (September, 1962). 75Rayburn Wright, "Is the Stage Band Ruining Music Education?" Music Journal (February, 1964). 76Robert A. Choate, ed., Documentary Report of the Tanglewood S osium (Washington, D.C.: Music Educators National Conference, 1968). 77 78Wiley L. Housewright, "Youth Music," Music Educators Journal (November/December, 1964). 79 80Barry James Wentz, "An Evaluation on the Status of Stage Band Programs in Michigan Secondary Schools" (unpublished Master's thesis, Michigan State University, 1970). 8lArlynn Neulhaus, "School Jazz--A Disaster Area," NAJE Educator (February/March, 1978), pp. 11-12. 82Dr. Warrick L. Carter, "An Assessment of Jazz Education 1968-1978," NAJE Educator (February/March, 1978), pp. 12-13, 15. Ibid., PP. 95-108. Ibid., p. 43. 31 83Dr. Eugene Hall, "A Reprise,“ NAJE Educator (April/May, 1978). 84Bennett Reimer, A Philosophy of Music Education (Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1970), p. 106. 85 Ibid., p. 40. 86Abraham A. Schwadron, Aesthetics: Dimensions for Music Education (Washington, D.C.: Music Educators National Conference, 1967). 87Harry S. Broudy, "A Realistic Philosophy of Music Education," in Basic Concepts in Music Education, edited by Nelson B. Henry (Chicago: The University of Chicago Press, 1958), pp. 62-87. 88Leonard B. Meyer, Emotion and Meaning in Music (Chicago: The University of Chicago Press,T1956)} 89 Ibid., p. ix. 90Choate, ed., op. cit., p. 111. 9Rev. George Wiskirchen, Developmental Techniques for the Jazz Ensemble Musician (n.p.: Berklee Press Publications, 1961), p. 111. 92"Kahn to Open Jazz School," The New York Times (September 2, 1925), pp. 21-22. 93Allen Scott, Jazz Educated, Man (Washington, D.C.: American International Publisher, 1973). 94Paul Whiteman, "Teach Jazz in the Schools," Metronome, XLV (November, 1929), pp. 25, 39. 95"N.Y.U. Will Teach Jazz," The New York Times (July 15, 1937), pp. 16-22. 96"High Schools Plan Lectures on Jazz," The New York Times (May 19, 1937), pp. 25-26. 97"N.E. Conservatory Starts Jazz Course," Metronome, LVII (August, 1942), p. 7. 98J. E. Maddy and T. P. Giddings, Instrumental Technique for Orchestra and Band (Cincinnati: The Willis Music Company, 1926). 99Isaac Goldberg, Jazz Music, What It Is, and How to Under- stand It (Girard, Kansas: Haldeman-Julius, 1936). 32 100Edwin H. Pierce, "The Right Way and Wrong Way to Interpret Syncopation," The Etude Music Magazine (July, 1931), p. 472. 1OIlsabel Wister, "Yes, I teach 'em jazz," The Etude Music Magazine (August, 1928), p. 588. 102 Advertisement in The Etude Music Magazine (August, 1928), p. 573. 103Mayhew Lester, The Wizard Trombone (New York: G. Fischer, 1919). 104Henry Fillmore, Jazz Trombonist for Slide Trombone, Bass Clef (Cincinnati: Fillmore Music House, 1919). 105Fortunato Sordillo, Art of Jazzing for the Trombone (Boston: 0. Ditson and Co., 1920). 106Frank S. Butler, The Master School of Professional Piano Playing (New York: Butler Music Co., 1925). 107Zez Confrey, Modern Course in Novelty Piano Playing (New York: Mills Music Co., Inc., 1923). 108Axel Christensen, Axel Christensen's Instruction Book for Jazz and Novelty Piano Playing (Chicago: A. M. Christensen, 1927). 109Stanley Hoyle, Jazzing the Classics: Syncopated Tran- scriptions for Piano (London: Paxton, 1938). noDuke Ellington, Piano Method for Blues (New York: Robbins Music Corporation, 1943). HlRobert Marine, Robert Marine's Modern Method in Jazz Playing on the Violin (New York: Rabert Marine, 1927). 112Edward Straight, Modern Syncopated Rhythms for Drums (Chicago: Frank's Drum Shop, 1922). H3Sonny Dunham, Sonny Dunham: Swingthythm for Trumpet (New York: Robbins Music Corporation, 1937). 114Arthur Lange, Arranging for the Modern Dance Orchestra (New York: A. Lange, 1926). 115 Paul Weirick, Dance Arranging (New York: M. Witmark, 1934). 116Norman Ellis, Instrumentation and Arranging for the Radio and Dance Orchestra (New York: ’Roell, 1936). 33 117GIenn Mi11er, Glenn Miller's Method for Orchestral Arranging (New York: MutuaT'Music Society, Inc., 1943). 118 119 120"Jazz Under the Elms," New Republic. CXVII (JUIY 28, 1947), pp. 33-34. 121Peter Drew, "Jazz at Tanglewood," Record Changer (October, 1950), p. 6. 122Donald Kennington, The Literature of Jazz (Chicago: American Library Association, 1971)} 123Charles Suber, "A History of the Stage Band," Music Journal Annual (1963), p. 72+ 124Recording liner for "Collegiate Festival," Stereo No. CJF-64 (Huntington Station, N.Y.: Crest Records, Inc., 1964). 125Recording liner for "Jazz at Villanova," SRLP No. 110 (n.p.: Saxony Recording Corporation, 1964). 126 Scott, op. cit., p. 37. Ibid., p. 18. Wiskirchen, op. cit., p. ix. 127Russell Garcia, The Professional Arranger Composer (New York: Criterion Music Cbrporation, 1964). 128W. Russo, Jazz Composition and Orchestration (Chicago: Chicago University Press, 1968). 1ngr. M. E. Hall, Teacher's Guide to the High School Stage Band, pamphlet (Elkhart, Indiana: H. & A. Selmer, Inc., 1961). 130 Wiskirchen, op. cit. 13IJ. Coker, Improvising Jazz (Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1964). 132d. Mehegan, Jazz Improvisation, 4 volumes (New York: Watson-Guptill, 1958, 1962, 1965). 133 134Dr. Howard McKinney, Music and Man (n.p.: American Book Co., 1948). David Baker, Jazz Improvisation (Chicago: Maher, 1969). 34 135Kenneth L. Neidig, The Band Director's Guide (Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1969). 136Charles R. Hoffer, Teachin Music in the Secondary Schools (Belmont, Ca1if.: Wadsworth BublIshing Company, Inc., 1966). 137L. Ostransky, The Anatomy of Jazz (Seattle: University of Washington Press, 1960). 138J. Berendt, The New Jazz Book: A History and Guide, trans. by Daniel Morgenstern (New York: Hill and Wang, 1962). 139Andre Hodeir, Jazz: Its Evolution and Essence (New York: Grove Press, Inc., 1956). 140L. Feather, The Book of Jazz from Then Till Now: A Guide to the Entire Field (New York: HoFizon Press, 1965). 141Avri1 Dankworth, Jazz: An Introduction to Its Musical Basis (London: Oxford University Press, 1968). 142Winthrop Sargeant, Jazz, Hot and Hybrid (3rd ed.; New York: Da Capo Press, Inc., 1975). 143Gunther Schuller, Early Jazz: Its Roots and Musical Development (New York: Oxford UniVersity Press, 1968). 144Donald Kennington, The Literature of Jazz (Chicago: American Library Association, 1971). 145Neal Glenn, "A Bibliography of Theses and Dissertations in Jazz," NAJE Educator, V, No. 4; VI, No. 4 (April/May/June, 1972-1973). 146A. R. Gilliland and H. T. Moore, "The Immediate and Long-Time Effects of Classical and Popular Phonograph Selections," in The Effects of Music, edited by Max Schoen (Freeport, N.Y.: Books foriLibraries Press, 1927). CHAPTER III DESIGN OF THE STUDY Sample The sample for this study consisted of 666 instrumental music students from thirteen high schools. Schools were selected for their overall excellent instrumental music programs based on consistent high festival ratings and versatility in programming, and in particular, for their outstanding jazz education programs. Only schools whose jazz ensembles consistently received a I (superior) rating at Michigan State Band and Orchestra Association (MSBOA) sanctioned regional festivals were considered. All academic classifications (freshman, sophomore, junior and senior) were repre- sented. Data obtained from a student information musical experience survey (completed as part of the Rhythm Test) indicated that, although the members all had previous training in instrumental music, their individual backgrounds varied considerably. These data are reported in Chapter IV. Instrumentation For purposes of this study, it was necessary to obtain accurate measures of two variables: music achievement in terms of certain rhythmic skills; and the musical experience background infbrmation on individual students. Because of the broad range of 35 36 rhythmic abilities to be tested it was deemed necessary to construct a measure rather than use one of the existing published tests. Actual development of the Rhythm Test took approximately one year. Rhythmic elements from the list of previously mentioned areas of rhythm (Chapter I) were reviewed and test items constructed in rhythmic imagery, error detection, pulse perception and note duration. Since music is an aural art, items were included wherever possible that required students to make decisions based upon aural stimuli. Materials used for sub-tests included a pre-recorded tape, plus test booklet and machine scoring answer sheets for each student. Each of the sub-tests is described below: Rhythmic Imagery Sub-test #1 consists of a printed rhythm pattern and a list of three titles from which the student chooses the correct song title to match the printed rhythm. Sub-test #2 consists of one title and four different printed rhythm patterns. The student should match the correct rhythm pattern with the given title. Sub-test #3 is similar to sub-test #1 except that four titles are listed. Sub-test #4 consists of a pre-recorded tape on which the correct rhythm pattern for one of the four listed titles is played. The student must select the correct title for the rhythm that he hears. Error Detection A distinction can be made on the following sub-tests between error detection and selectivity. However, for the sake of simplicity, all sub-tests in this section will be labeled error detection. All rhythmic patterns used in this series of sub-tests 37 were selected from the scores of concert band works that appeared on the 1975 class AA, A and 8 recommended materials list published by the MSBOA. Sub-test #5. The student hears, on pre-recorded tape, a rhythm pattern that is played twice. He must choose which one of the four written rhythm patterns matches the pattern he hears. Sub-test #6. The student hears a rhythm pattern on the tape once. He must select one of three written rhythm patterns to match the pattern that he hears. Sub-test #7. The student hears four different rhythm patterns, each one played once, on the tape. He must choose which of the four patterns he has heard will match the one printed rhythm pattern that appears on the test booklet. Sub-test #8. The student hears a rhythm pattern. He must compare what he hears to the rhythm pattern printed on the test booklet, and he must mark that printed pattern at the point that it differs from the pattern that he hears. Duration Rhythm patterns for these sub-tests were also selected from materials on the MSBOA recommended list. Sub-test #9. This sub-test has the same format as sub- test #5. Sub-test #10. This sub-test has the same format as sub-test #6. Pulse Perception The test items in the following sub-test were recorded using a Duncan Rhythocycle machine which can audibly reproduce short pre- set rhythmic patterns. The machine has a control which allows the tempo to be altered while the machine is in operation. 38 Sub-test #11. In each question, a one measure rhythm pattern is repeated on the tape several times. During the playing of the patterns, the tempo is slightly altered. The student is to identify the points at which the tempo changes. Design Data were collected during a single testing period in the winter of 1976. The independent variable consisted of the survey that concentrated on the musical experience and background of each student participating in the test. Twelve questions were asked including: organized jazz ensemble experience; total playing experience; total jazz playing experience: improvisational playing experience; additional non-jazz band organized ensemble playing experience; additional instruments experience; summer camp experience; age; solo and ensemble experience; private study experience; major instrument as well as major ensemble. The dependent variable was response performance (test score), as measured by the Rhythm Test. Pilot Study A pilot study was undertaken prior to the actual testing to determine procedural efficiency, and also to allow an item analysis of materials in each sub-test. It was decided that, in each of the sub-tests, more items would be included on the pilot test than could be allowed on the final test. Careful examination would lead to rejection, acceptance or revision of all items. All aural test questions were recorded by the author utilizing a Sony TC-280 tape deck, Fender Rhoades 73 Stage Model electric piano, Fender PA-lOO sound system plus the Rhythocycle 39 machine. The portable deck and sound system would later double as the electronic equipment used to administer all the pilot study questions and final test. Instructions for all questions were recorded on the tape as well as written on the test booklets. The pilot study was administered in two sessions, each covering approximately one half of the test material. The first, Rhythm Test A, included items on error detection and rhythmic imagery. The test was administered to 122 jazz band and conducting students enrolled at the fourth session at Blue Lake Fine Arts Camp in August of 1976. The second test, Rhythm Test 8, was given to 140 instrumental students at Calvin Christian High School in Grand Rapids in October, 1976, and included items on pulse perception and note duration. Also included in Test 8 were the musical back- ground questions that would later be used on the final Rhythm Test. The answer sheets were processed by Evaluation Services at Michigan State University. An item analysis provided a Distribution of Item Difficulty and Discrimination, along with a Mean Score of each sub-test, Standard Deviation, Kuder Richardson Reliability #20. Standard Error of Measurement and Students 1 for Test of Point Biserial Correlation. After careful examination of the results of item analysis, several questions in all sub-tests were omitted, revised or rearranged. Sub-test #7 was completely dropped. It was discovered during testing that variations in testing room acoustics could greatly affect the responses of items on the duration sub- tests (#9 and #10), so those questions were also removed from further 40 testing. The other aural sub-test items were not similarly affected by room acoustics. All testing procedures were found to be generally satisfactory. It was observed that too much time between questions was allowed. This was corrected on the final test (data in Appendix A). Procedure The final Rhythm Test was designed so that it could be administered in approximately forty-five minutes, which is less time than the average high school class period. Final test questions were chosen for their relative strengths in the areas of imagery, error detection and pulse perception. Since only one sub-test was included in the pulse perception section, it was decided to include the first ten items of the R. Drake Rhythm Test, Form B. Answering procedure was adapted to multiple choice from fill-in-the-blank response originally required. A brief description of the Drake Test follows: In each question, a particular beat is given and the student must count to himself at the same time. Follow- ing the ceasing of the presented beat, the student con- tinues to count until told to stop. He then indicates the number that he has reached at that point. A distracting beat at another tempo is heard following the cessation of the original beat. Since it was impossible to re-record the aural sections for the Final Test without having the rhythms altered somewhat, the original pilot tapes were "cleaned up" by utilizing the services of a professional sound studio. Cinema Sound Studios in Grand Rapids used their professional equipment to filter out extraneous surface 41 noises, boost softer frequencies and balance the total sound to pro- duce a final tape of highest quality. The Rhythm Test was administered to students in all schools from the middle of May to the second week in June, 1977. The directors of the surveyed schools found that the pressure of festivals had passed and scheduling was more flexible during this time period. Also, the students would have benefited from almost a full academic year of ensemble playing at this time. To minimize outside contami- nation and to oversee all testing conditions, the author supervised all test sessions. The test was administered in music facilities, where optimum acoustics were likely to be found. Treatment of Data The Rhythm Test was again scored by the Michigan State University Evaluation Services, whose services included transferring the scores and background information to data cards. The actual data analysis was done by a CDC computer system housed in the Computer Center at Michigan State University. ANOVA, a special analysis of variance program was used to examine the main effects and interactions. CHAPTER IV FINDINGS OF THE STUDY Introduction This chapter is a presentation of the findings of this study. The first section is a review of each of the three hypotheses and summaries of appropriate statistical procedures used to test each hypothesis. Following this will be data collected from a two-way Anova analysis of variance, and the chapter will close with supple- mentary findings resulting from the study. Descriptive data obtained from the sample are contained in Table 4.1. Means and standard deviations for total and sub-tests are included for the sample. Only small differences are noted between groups. hypotheses hypothesis 1: There is no difference between students with jazz band experience and those without on the following sub-tests: A. Rhythmic Imagery sub-tests B. Rhythmic Error Detection sub-tests C. Pulse Perception sub-tests There is a significant difference between the means of Group One (jazz students) and Group Two (non-jazz students) as stated in a one-way analysis of variance between the groups. 42 43 m¢.m 0N.Fm mm.N mN.pP ©¢.N Nm.u p¢.N w¢.NP wow n .02 meagem seoaecoaoo--.F.e usm o o» m w~.m mm.~m mm.~ No.~P mm.~ um.w mm.~ m_.mp me u .oz oocmwcooxm NNoo meow» m op N pp.m n_.Nm Fm.m m~.FP mm.~ up.w mP.N mm.NF mo_ n .oz mocmweoaxm NNoo meow» N on F wo.m oo.om mm.~ m~.~— mm.~ m_.u no.~ mp.mp moo n .oz mocmwgmoxm NNon Loo» F :ogu mmop co augmeewoxm oz .c.m coo: .o.m coo: .o.m coo: .o.m com: o o cowuoooemo :owuooumo agomosH mazoew F o e on_=a totem oaseosem oaseosem .mocowemoxm NNoa oo~wcomco An mcoom amok com some o>wuowgommnii.m.o mame3-~ omo. moo. FNN. _ .NN. maooeo Poo. eo.o oNF.moF e opm.ooe Neeo ooNeeeoco Foo. mm.m Nem.mm_ m ome.ome moooecm ewe: a oo o oeooom com: .J.o moeozom mo 53m cowpmwco> eo ooeaom mocoowmwcmwm .mosogu oco oocowemaxu NNoo oo~vcomgo an ogoom pouo» co o>o=< >o31o3h11.mp.o m4mo31~ eoo. em.e oo.oo~ F ooo.oom masoco So. :1: mm.~mm o 5.23 223:“ com opom So. 892 ommémm m ONTED muootm So: a mo a oeozom coo: .J.o mmeozom wo Eam cowpowco> mo mogzom mocoomewcmwm .mooogw oco oocmweooxm oFQEmmcm oco opom x5 meoom Pogo» co o>oc< xoziozhii.om.o m4m 8.5 358.5 Basis. .xweuoz cowpopmgeou cowuopmeeou acmsoz pooooco comgoooii.wm.o m4m<~ 59 TABLE 4.23.--Three Factor Analysis. Factor 1 Factor 2 V 1 Factor 3 _— W. Iton Rhythmic Item Error Item Pulse Number Imagery Number Detection Number Perception 16. .317 28. .344 44. .371 17. .246 29. .123 45. .175 18. -.284 30. .070 46. .304 19. .324 31. -.212 47. -.132 20. .406 33. .168 48. .192 21. —.373 33. .295 49. -.100 22. .253 34. .313 50. .012 23. .334 35. .376 51. -.103 24. .478 36. .193 52. .339 25. .443 47. .284 53. .177 26. .326 38. .216 54. .335 27. -.366 39. -.203 55. .248 40. -.0967 56. .220 41. .035 57. .181 42. -.056 58. .351 43. .209 59. -.151 60. .220 61. .074 60 TABLE 4.24.--Three Factor Analysis Degree of Correspondence. Factor 1 Factor 2 Factor 3 Rhythmic- Item Rhythmic Item Error Item Pulse Number Imagery Number Detection Number Perception 16. * 28. # 44. + 17. * 29. * 45. + 18. * 30. * 46. + 19. * 31. # 47. # 20. * 32. # 48. + 21. * 33. # 49. + 22. * 34. # 50. * 23. * 35. # 51. # 24. * 36. * 52. + 25. * 37. # 53. + 26. * 38. * 54. + 27. * 39. # 55. + 40. # 56. + 41. # 57. + 42. # 58. + 43. * 59. + LEGEND: * Rhythmic Imagery 50' + Rhythmic Error Detection 61 * Pulse Perception ' '44:: II II II Rhythmic Imagery = 81% Rhythmic Error Detection = 75% Pulse Perception = 78.3% CHAPTER V SUMMARY AND CONCLUSIONS Summary The purpose of this study was to construct an instrument suitable for measuring effects of jazz band experience on the rhythmic abilities of selected high school instrumental students. A further purpose was to use the test in measuring effects of variables concerning students' musical backgrounds. These indepen- dent variables included: organized jazz ensemble experience; improvisational playing experience; additional non-jazz band organized ensemble playing experience; additional instruments experience; summer camp experiences; age; solo and ensemble experience; private study experience; major instrument; total playing experience; total jazz playing experience; and major ensemble. Three hypotheses were proposed regarding the effects of these variables on students' rhythmic abilities. The test construction process consisted of selecting rhythmic elements to be tested, choosing a suitable test format and developing test items. Several revisions of items were made follow- ing preliminary pilot studies. Reliability and validity checks were completed. The final Rhythm Test was administered to 666 instrumental music students from thirteen Michigan high schools during the final 61 62 months of school in 1977. Test scores and background material collected on the Rhythm Test were prepared for data analyses which were performed by the CDC 6500 computer at Michigan State University. A number of analyses of variance were performed, and means, simple correlations, and variances were obtained. Findings Three null hypotheses were examined. ANOVA, an analysis of variance computer program, was used to analyze the data. According to the data analysis, the following results are reported: H01: There is no difference between students with jazz band experience and those without on the total test and following sub-tests: A. Rhythmic Imagery sub-tests B. Rhythmic Error Detection sub-tests C. Pulse Perception sub-tests A significant difference was found between the mean scores of jazz and non-jazz band students. This difference was found in total score and in the Rhythmic Imagery and Rhythmic Error Detection sub-tests, but not in the Pulse Perception sub-test. Null Hypotheses IA and 18 were rejected and Hypothesis IC failed to be rejected. An F Ratio of 10.55 was recorded for the total test score, significant beyond the .05 level. HOII: The length or amount of jazz band experience will not alter the test scores on one or more of the listed sub-tests for those students in high school instrumental music. A significant difference was found between the mean scores of students with little or no jazz band experience and those with jazz band experience. The mean of test scores improved with an 63 increased amount of jazz band experience. Null Hypothesis II was rejected with an F Ratio of 6.88 which is significant beyond the .05 level. HOIII: There will be no differences between jazz and non- jazz students who play different instruments on one or more of the sub-tests. A significant difference was found between both jazz and non-jazz students who play different instruments. Null Hypothesis III was rejected with an F Ratio of 2.00 which is significant beyond the .05 level. Conclusions Certain conclusions were drawn, based upon the findings of this study: 1. The Rhythmic Imagery and Rhythmic Error Detection sub-tests are sensitive in uncovering differences between jazz and non-jazz students. 2. The Pulse Perception sub-tests do not perform the discrimination intended. 3. The total score means between jazz and non-jazz students are statistically significant although the difference is not large; however, there is no probability that these differences are a result of chance. 4. Total instrumental playing experience, more than any other factor, is responsible for higher scores. 5. Total jazz experience, 5010 and ensemble experience, and music camp experience, which are facets of total playing experience, also contribute to high scores. 64 Discussion This study came about as a result of the investigator's curiosity concerning jazz players and their abilities to deal with given rhythmic problems. The phrases "jazzers have more rhythmic roots“ and "he won't have any trouble with the rhythms because he plays jazz" have long been quoted within and outside jazz circles. This study was designed to shed new light on the debate. Indeed, the document does show statistically that high school instrumental players with jazz experience will score better on certain rhythmic sub-tests than non-jazz players. However, there is less actual difference between the group scores than expected. In a practical sense, the jazz band appears to be only slightly more important as a means of teaching rhythmic concepts than other, more traditional ensembles. It is still the contention of the investigator that the two groups in the study are significantly different in their rhythmic abilities, and that a greater practical significance might be seen under a different set of circumstances. There are three main prob- lems to be considered. The first problem lies with the pulse per- ception sub-test. It is clear that pulse perception is hard to measure. Data analyses show that the Pulse Perception sub-tests were unable to uncover any significant differences between the large sample on the independent variables. If differences exist between jazz and non-jazz players, these differences are not revealed in students' abilities to note changes in pulse or to retain a pulse through silence. 65 The neutral results of the Pulse Perception tests could be due to several factors. The most obvious is that no difference exists between groups. Although a possibility, this statement is not totally accepted by this investigator without further inquiry. The other possibility is that there is not an appropriate measurement tool sensitive enough to expose the differences. This theory means that new methods must be conceived to measure accurately this important element of rhythm perception. This might be accomplished by altering the two Pulse Perception sub-tests into other modes (performance oriented tests) or creating items that test other areas of pulse perception (steadiness of pulse or division of pulse). Pulse perception, as a basic rhythmic skill, is hard to master. Students learn to clap "in time" as an early music activity but still wrestle with the same time-keeping problems in advanced ensemble work. Evidently, the concept is not taught to insure a positive response in any given situation. Research must include study of what rhythmic capabilities make up pulse perception under- standing and uncover problems of teaching these properties. This will ultimately lead to solutions of total pulse perception compre- hension. Although the pulse perception items were not helpful in attaining a practical significance, the Rhythmic Imagery and Rhythmic Error Detection sub-tests were effective as indicators that students gain somewhat better rhythm perception through jazz ensemble activity. Together, Rhythmic Imagery and Rhythmic Error Detection 66 produced a higher mean difference between jazz and non-jazz students than did the entire rhythm test. Based on sixteen items in the Imagery sub-tests, and twelve items in the Error Detection sub-tests (for a total of twenty-eight items), the mean difference between the jazz students and non-jazz students was 1.69, which is higher than the 1.42 mean for the forty-one item total test. Assuming that the pulse perception sub-test could be written to indicate a difference between means, both the total statistical and practical significance might be even higher. The second problem is based on the findings in the Multiple Regression. This program indicates that total playing experience and other direct playing experiences contribute most to high total test scores. When the decision was made to construct a rhythm test, a performance measure was rejected for several technical reasons. The performance test might have proved more accurate, however, in assess- ing what is basically a performance oriented skill. Most students acquire the bulk of their rhythmic knowledge through participation in one or more ensembles; very few students in a typical school music program study the elements of music, including rhythm, in a theory or music fundamentals class. Since students only deal with rhythm in a performance capacity, it is possible that a carefully planned rhythmic performance measure might be able to discriminate more accurately between jazz and non-jazz instrumentalists where the written test could not. A third problem could lie in the choice of test items used in the Rhythm Test. Due to a time restriction, the test only 67 measured certain predetermined rhythmic elements. These rhythmic elements possibly did not contain aspects of rhythm that discriminate between the jazz and non-jazz students. Other aspects might show greater differences between the two groups. Before continuing with any kind of revised rhythm test, careful examination of rhythmic elements, and the development of a theory of rhythmic ability and the relation to total music performance and understanding must be completed. Rhythmic ability is based on a series of never ending problem solving techniques utilizing each of the rhythmic elements. Chapter I contains an outline of these rhythmic elements that, when grouped together, gives the substance of rhythmic understanding as a con- struct. A systematic learning model for total rhythmic comprehension should strengthen a student's ability to deal with all aspects of rhythmic perception. Such a program should treat each of the rhythmic elements individually. Each element should be treated in its most basic form, and be progressively built up in degrees of difficulty. Each element could then be combined with other rhythmic elements that had similarly been treated. Pulse, in both its periodic and non-periodic form, needs to be identified and performed in its most basic form. Equal and unequal temporal units should be taught from a moderate tempo and this tempo should be progressively extended to faster and slower speeds within logical extremes. Periodic checks of student accuracy then should be undertaken with the use of pre-recorded tapes, taped performances 68 of exercises, electronic metronomes and other devices to check steadiness of pulse. In a similar manner, both meter and accent should be identi- fied and performed from their most elementary form. In a moderate tempo, pulse organizations of 2'5, 3'5, and 4's, and combinations should be taught; accents also should be taught over a steady pulse with frequent tempo changes. Performance-type and aural exercises should be included, and periodic checks of students' progress should be instigated. The last element of rhythm is pattern. Patterns, which range- from simple to complex, with regular and irregular divisions of units and combinations of units, are often introduced in a random manner. This investigator has found evidence of this haphazard introduction of patterns in elementary school materials:l Combina- tions of patterns are almost endless but most frequently used pattern combinations should be graded and classified in a progressive system. One such taxonomy of rhythms has been compiled by Gordon.2 Patterns should be taught in a progressive manner, and, once more, checks of student achievement need to be included in the work plan. A measure is needed that is similar to the Error Detection sub-tests used in this study but adapted to various proficiency levels. Imagery and memory are linked with rhythmic ability. It has been stated in Chapter I that rhythmic imagery is both aural per- ception and kinesthetic reaction, and that those abilities lead one to rhythmic readiness. A question arises whether rhythmic imagery is a product of rhythmic learning or is a first concept which needs 69 to be grasped before rhythmic development can continue. Likewise, memory seems intertwined with the development of rhythmic abilities, and especially in the recall of rhythm patterns previously encountered. To what extent memory aids students in learning any rhythmic element is unknown. Both rhythmic imagery and memory of rhythmic elements concepts need to be explored in greater detail. Research and test development might shed new light on the importance of roles that imagery and memory play in rhythmic comprehension. Indeed, all rhythmic elements need to be completely examined and new test tools developed. A construct, when applied to each of the elements of rhythm previously discussed, can methodically work toward comprehensive rhythmic perception. If further study does indicate that there is a great difference between abilities of jazz and non-jazz students on certain elements of rhythm, the systematic study of rhythmic perception, concentrating on the taxonomic organization, should prove to strengthen the rhythmic capabilities of all students in a minimum amount of time. Suggestions for Future Research The findings of this investigation suggest the need for replications of this study with subjects at different academic levels (college, and professional ranks). In addition, the following recommendations are made: 1. When utilizing the present test, avoid the Pulse Perception section. 70 2. Add test items that examine the other listed elements of rhythm. 3. Using the same given Hypotheses, construct a performance related rhythm test on the listed elements. 4. Test performers with many years of improvisational playing experience, and compare the results with non-improvisational players of like skills. 5. This study has been leveled at one aspect of musical competency. A comparison of jazz and non-jazz students on other musical elements (melody, harmony) would prove interesting. CHAPTER V: FOOTNOTES 1R. Bruce Early, "An Investigation into Rhythm Patterns in Graded Elementary Songbooks" (unpublished Master's thesis, Michigan State University, 1963). 2Edwin E. Gordon, Learning Sequences and Patterns in Music (Chicago: G.I.A. Publications, Inc., 1976), pp. 58-69. 71 PLEASE NOTE: Appendices contain small print. Filmed as received. UNIVERSITY MICROFILMS INTERNATIONAL APPENDICES 72 APPENDIX A ITEM ANALYSES 73 IIFH ANALrsrs NUMBER'GE sTUOENTS'L Izz ' ' 'TNUNEER"5? 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I_:_ I;- 2_: 0:__ . 15.. 0: 1.01” T" 'l'TTEi'iTATBYICI T' TTINOEiI' OTETOTITFFIcuL'fvT‘ ." ' 14 - max-.05 .DILEIIN-Irgtipu - .25 NAxINuN flsculfluflpl __ 3I TOTISER iN'INATINO EWCYENEV _' T 03' T ' TT TT 5TI5TEITITI'TL TcTOTfiEiTATTON'T T .4091 POI—NT A___I5ERIAL_cORRELATION .323; 5TuOENT5 T EOR Test O_F POINT_ - -.. A'IifRTITAL-T CORRELTATFSI— 3. 131' TTTiIE'iNTiTcOiTE' -T RT'IOIFTTET T TT30.’02 T ~59! 5_c__0;E__ — NRON05 __25.54 ”ms“- TT ‘T' 'T ‘‘‘‘ INTOEiI TOTETTDTIFETICIITCW ' ' 7 , mu: 0! gngININATION I9 NAIIINON OIscRININATION I9 TOITSTCITTIWIFE EFIITIE'IFNOT I00 T T AIT§ETIiIATLT Tc'OTRTRELATIoN .559I POINT _AI5ERI_AL cORRELATION .33TI sTOOENTs T POR TEsT OP POINT . - . TAIseiIA AL TcORRTE'L'ATION'T 3.922 NEA'NTSCORE '- RIéiTs 30.44 NEAN SCORE .-‘ NR0N_05 23.AA j. ' WET TsiTTATTI'sf I'cTE' TT INO'EI'I'TOTP EIP'PT'IcuLTv T INQELOf OIscRINJNATION I9 NARIQN OI55RININATIQN 25 OIscRININATINO EEEIcIENév' T5 ’OITER'ITL' EORR'E'LIT'ION " .5243 POI-NT 11.1mm. CORRELATION .30I2 “mm-Leon 71-57 9f ’01!" _ 0I5ERIAI. EORRELATION 3.440 NTE'ATI 5T€0RTE - 'RIOTNT5 30.59 NEAN 5;ORE - NRON§5 24.55 i'T‘ETTN sfi'TITszICST T T INO'ETII' oETTOI'Pi'I'cIItTv 4 INOE_II_ 0f Q!SC_I_IHINATI_M_ -- I4 NA_N_I_NI_IN _OI__50RININATI_0N I_4 OI'5TcTR'INITNATIN0TT EPEITCIENOT . I00 ' OIs'ERIATLT 'OORRTETL'ATTiON .TOTI POINT AI5ERIAL cORRELATION .AAAA STOOENTs T POR TE5T OP POINT _ - OTSEIIA'LT coTRiEL'TAflTofiT 4.344 NETANT5cOTRE' - 'RIONT's 30.59 NEAN,5_cORE -.IRONGS 20.19 78 27E! 9 OF 39. TNE CORRECT OPTION IS 3. ITEN RESPONSE PATTERN ITEN STATISTICS I 2 T 3 4 5 ONIT ERROR TOTAL INOEI 0F OIEPICoLTv 24 ,- _ , __ INOE:_ OF OISCRININATION 20 __PP_!._.21__‘ -_g____5_ -. 21 _0 __ 9.. _O_ _ _9 .12 NAxINuN OISCRININATION . . 40 0: I45 A'45T 0: O5 0: 0: TI'0059T TOIT'sTCTINITTTfNA IN'C ETETCTIETNCT 44 N'IOITA'IE 44: 2 T 45 ' "4 0T ' 0 TO 35' ' T'AI5ERIAL TTCOTRRELTTION .333 _ , 3: I2: _ TA: T: 0: 05_ 0: _I_OO59 POI_N_T AISERIAL CORRELATION .2335 LONG“ Sm.- ..l. _.7._ ..II _3 _ 9__ _2_ __O _ 32 STOOE_NTS T POR TEST 0_P_ POINT 45 225 54: 9: 05 4: 05 T9955— AIEERTITAL TEBRITITELATTIONT 3.230 TOTAL " Z TI9 ” 90' T TT T TO 2 ‘ 0 ' I22T TT‘NEAN'SCIIRET- RIC’NTS 3I.03 , - 3_: I45 T4: 45 _05 2:, 08“.“);80“ NE_AN_SCO_RE - _NRONcs 2T.45 IVE-H 10 0? 39... THE CORN-c.7- OPYLON 1.5. 9. -__ .. _. --.- ._. _ .. - . . - ' T ITTEN Ii'E‘s'FOTNTETTAT TEATNT TTTTTT T 'T‘ITENT'5TATTIIYITCS' TT ' T 'T T I 2' 3 T 4 5 'ON'IT ERROR TT'OTTAL ' INOTE’I'ITOPTOIPE‘ICOLTT' ‘ 23 ___ , __ , __ , __ ,_ I_NOEI pF_Ol$C_lllllNAHQN 59 .uPPER. ._2T__ _ I. ,9_ 0 , 3.I_ . .0” _O___ 0_-___._9_2_. - NAxINON OI5CRININATION 45 3: 05 0: 9T: 0: 05 0: I0059 OTTTTTTSCRININATTINC EFFIciENCTT 90 I NIOOIE 445' 4 6 ’0 5'I "0 T I 'T 0 'T5'A T 5'I5TETRTITAL CORiELATION .0342 I0: _05 o: . 5A5 . O: 25 _0_:_ I0059_ _PO_I_NT_ AI_5_ERIA_L__CORRELATION .4010 LONE-I 2.75- - I0_ ,_ .4__‘ “4. . I2 _O- ___2 __ 9_ 32 _ STOOENTS T EOR TEST OP POINT - 31: I35 I35 3' AATT O: 45 05' TI6I59 TATSTEITIAI; 104mm 1.34T TOTAL T IT 4 T4 ' 5'4 0 "3' 0 "I22 NE'KN SCOE'E -'RICNT5 3I.AA _ I45 35 3: TT: _ O5 2: __O: - 9959 NE_A_N 59055 ,- gRONCS __ 24.32 _ITEN II, nr, 39. _ TNE ,CORRECT OETION I5 2_. ,_ _ _ _-_-__ . , T T TT TT T T ITEN REEPBESE'PATTTTETRNT TT T T iTEN 5TTTTTATTIT5TTiE§ T T T' T I T' 2 3 T 4 5 "MIT" ERiTOR TOTTATL INTOTER OP 0IEEITCOLTT T TI9 - INOEII OP 0I5CRININATION 4T UPPER 2T5_ 0, ”33, , I 0., 9_ ..9--_ _0 NAIIINIIN OISCRININATION __53 7 0: 9T: 35 05 0: 0: 05 I0059T OISCRININATTINO EEEICIENci AA NIOOTLE 447T I T ’52" 2 'T 2T TOTT IT 'T 0 T if Afs’ETRTITAI'. CO'RETETLATIOTN .TzIO _ -- 25. . 9.0: 35 3: 05- 25 ,0: I0059_, POINT ALSERIAL CORREIATION .50I4 LOqER z_u____ 5_ I_4 .- 4 . _4_, _.9__ . _3_. _ 0 32 _ STugENIS T P__OR TE5_T _O_F POINT I4: 505 I3: I35 0: 95 05 TIO'IAT9 AISERIAL CORREL'ATTiTON 4.35I "TOTAL T '4 99 T TT 4 0' T4‘ 0 ‘ I22 T NEANTSC—ORET-TEIONTTE 3I.4I _ 5! I" - -61.. .. 58 -05.- .2! - 0.1 .1093... “EM-SCORE - “KONG-S 259“ ITE-I I; OE,_39._ TNE CORRECTJPTION. 152.” .- _ - _ . _ _ , T' ' TTTT 'T T‘ ' ITTTENTTT TSET PATTERNT TT" TT T" ‘TITETI'TSTITTSI’TICTS'TT'T T TT TT TTTIT T2 T '3 T T4T' '5' ONTITT' EEWRTT'OTTTALT " 'I'NTOTE'iITOPTITITIEP'ICOLTv T ' 20 _-... _ _. _, ___ __ ___ __ _._ ._ - ,_ IIIOEII OE O_IsCI_IINI_NATI0N,, 35 .U'P-E-E. -373...- 3... ..A‘P- . -!--_.°-...-.L_ .9- -..9..-. .23. . Mil-"0".2lsci'flmflm"... .53 - 45 915 3: 0: 0: 0: 05 I0059 OTS—CIIMNfi—INE—Efilc‘limv. 44 NITO'OTLTE'T44—5TT T? T T5TI T—BTT TTT'OT 6T TIT TT'TTOTT T5TATTT' ATS'ETRTITEITTcfiITIi'ELAT'ITOTNT' T T T.5‘9T29 - -..... .__38---!" _-. 9.3--.-_93-__°-8- 9! __(1‘..- 1.923; 'M-Elififlél- CERELU‘DN 3W” ._L__ng _215 4 ll‘ 5 ._L. 0 _3_—gr 32 5TuOENT5 T POR TEST 0P POINT I35 54: I4: 4: if IT66TTT59T TITSTE'ETALT TCTORTRETATTOIITT 5.051 TTTT'OTATLTTTTTTT TAT'T T5TATTTII TTT'2T 'TTOTT'T' 3TT 0 ' 'I2Tz TTTTITIETANTICEEET- II'CNTS T 3I.23 .- ...1t---!.O!_.-?J.-_.2.l-._n ---Z-L_ -°-!._ 1°92. .‘LEL'LQGLEE: '49!“ 25.-7°- _ [1!]! I3 OE . 39, .. TNE CORRECT 991103115 3._ ~__ - _ ‘___ T TT'TT' "TT TT"““ ' 'IT EN RETTP oTNTET 'PAWERN' T T T TTT" “T'TITENTTATTTI'STTTC'S T T TTT T T T T TTT TI T TT2' T T; 'T 4 TST ONIT TERROR TOTTTATL" ifio'ER TOTETB'IEEI'CTI'ILTT ‘T ' I0 _____ "ODE! OF DISCRIIJNAJM _______ 31__-__ _ _gPPER 215 g 0 32 9 0 0 0 32 NARINON 0ISCRININAT ION 3I _ 05 TTT05 ITT005_' 05 (TTT—OETTT mammfiFT—T‘TT NIOOLE 445 0 TITTT 54 I 0 0 0 55 AIsERIAL CORRELAT T—T‘TTTTTA'zTS'TTT T ._____.__ 25 915 25_ 05 05 05 I0I59 POIN_T AISERIAL CORRELALLOl" _.§_l_1_6__ _‘Lw 215 I .4___2_2f 2 I 2 0 .21.. STUDENTS T POR TEST OE POINT 35 I35 495 45 35 45 05 IcoanLTATTTIOTN 4. II4 "TTTO'TTATTTTTT I 5 II0 3 I 2 0 I22 mmfs—‘TT TSEWT'T‘" ' ' .-.... -__...L'.-._2!__!°'t 2' 18 3L-.0!_1m2.-.5§31.§_%§.:_!!9.!§$_...- --.-..ZZASL. .- - _ .-UELJLLF wnmumu L-__ __ - _ - _ IfiinETSPONSE TPTFFEETN ITmFT—TTTT' TTT'TTTTT' T' T I 2 3 4 5 ONITTTETRTROTRTTOTTAL INOEx OF ofiEIcuLTT T T TTT T TTT _ -. -__—I_NgfiLugLsiufluum. . _. _ 1.5. _u_P_E£l__21,l___3_z____Q___O___ 0 L. 0 J. NARINON OISCRININATION _ ”25 _____ ._ I005 05 05 O5 05 05 05 I0059 0 SCRIN N INOTEETEW IFOTT . l NIOOLE 445 54 0 2 0 0 0 0 SA TATIS'ETRTTIAL' 'CTTORRTTTELAT'IITINTTTT'.“""2122? ' T" g _ 9T5 __g 35 05 03“ -9! 05 10059 POINT AISER_IAL CORRELA ATION _ _ 35312” ;L_Q!_EL__3_7§___£2: ; l l 0 Z 0 32 STUDENTS T FOR VEST OF POI]? i 133i!zltaiiilj"fi 155 I35 35 35 if 45 05 I00 9 A ' T‘4T.TIT4TT 'TT TTTOTZLTT" II2 4 3 I TT '6 T127 TT TRE'AN STCTfiitTT- TRTC'NTS T" 30‘.'9I' 3.- -..--. . ----11 -_ .3; IL 11 93. _- 21.—1%.. _.£_l Lam-.0395 -... _. --. - 1.1.9.59- TT' T TTTTT TTTTT T TTTTT" '1}? 1 T5 -ILELILQE. _Jmcmmu 31 _. -__. - - ITFI RESPOTSET PATTERN ITEN STATISTICS TTTT' ' 'T' T T TT TT TTTTTTITTT TT2TTTTT3'TTTT4TTTT 5 ONIT ERROR TOTAL INOERTOPTOIEFIEUTL'TTT'TTTT'TTTTT '32" -.-- . .---_-._- “.__.-- .. ._ -_Isoemflgmwrm--- 50.- .- _yPPER 215 4 0 31 0 0 0 0 32 “HEN QISCRININATIQN ”-__..SQW .--..- 35 05 915 05 05 05 05 I0059 OISCRININATINC EEPICIENCT A9 "RIOOLE 445 5 31 I2 55 AISETRIAL CORRETLATT'iON TTT T'T'TT.5T4'9i -_ -- 1!... 11 .931. 2.15.-- 01_ Lil—IMJNLLLEQJL consuls"- -__ - 25.397- _Lnnn 2n -5 A .2—_3.__L._L_.L_n__§1_0 NT T F I YES? ' MINI.— .. -. .-.. I35 255 4T5 I35 35 05 05 30159 AISERIAL CORRELATION T5341 T TOTAL 9 53 A 0 I22 TNTETTAN—SCOTITET- RITENTTS TTTT'TTT ' 31:72“ T , __ -__ ....JI..- Ll! _.ul_. 1;!— Jl.. 01- .35.“!150. REALM .!._QN§§_. - -3297" ._lun_.19_0£._3_!-....-_ ELM! 3.71.08. LL19. ._ -__- - .-- . ._ ITETEW ITEmETI'CSTT—TT'TTT T' “”T'T TTT I 2 3 4 TTTTSTTOiITTTETIiTOTR—TFTTATTTTITNWYEETCELTTTTTTTT" 'T 22 " ...- .__ _WJLSQRLHINULOR --.. .20.. ”'3. £13 2 2 31 I g 9 lulu”! DISCRININAHON Qb __ _._.___ ._ 05 05 9I5 95 05 05 OTTITO'fiTT9 TEiTSC'iTi‘ITTTI‘NTOTEEEW—- 46. NIOOLE 445 I 0 44 II 0 0 0 SA AISTE'ITIAL IiiRTETLTi'T'I'OTNTTT" T‘TTTT.34T3'A'”T' _- 13...03 70! -19! 08 - 08 08 100i! 'OWYMJQEEEQQQL- .4615. LONER 215 0 I 20 II 0 0 0 32 STIIOENTS T POR TEST OP P_O_IN1 .__ ' _ 'TTT— 05TTTTTTTT—TTTTT5T35 43 34 WWWRW TTT 37m TOTTEL I I 95 25 0 0 0 122 TTNETTAN WTRTTENTSTT" T" T 3'02““ I5 .31 1;; 395...}; , ”NJ; 10930_ NEAN SCORE- NRONCS 21.51 80 IVE! 17 OF 39. VHE CORIEC' OPTION [5 24 'T T ' ' ITEN RE550NSE PATTERN" TT 'I'T‘EN STATISTICS T T I 2 3 4 5T ONIT ERROR TOTAL INOER OP SIPPIC'uLTT .- _. ...- .... -- ,. _ _INOE! 9F 9.15“"l99'10'.‘ men 215 , L__21__-__g___-0__-_.0_ -.0_._ 9_ __32“ NARINON OISCR_ININATION . ' 35 A45 135 05 05 O5 05' 10059TbISCRIiIi1TiNCT‘EE PTETIERF N'IOBLE'T445' " AT ”'34' 'T ' 4'TT'T10TTT 'OTT T 0 T O'T 55TT 'TAISTERITATL EGTRRELITIOTNT T T -- ..-..193- .92! - .78- 1.7!- .93. -93. - .0! _ ..IOOL‘ LOLNLAISEMAL CDRIEUJIO!‘ L ER__ 215 9_, 13 . 4 _5__ 0____ “I__“ _O_- 32 ST__u_OEN___TST POR TEST OP POINT_ TT 255 415 135 145 05 35 0 _IO'TTI59 AISERITTTAL C'ITIITIRELA'TIOTTI'T TOTALTT TTTTT Ii i? TT 12 TTTITST 0T TITT TT OT'T12T2TTT'NEAN SCOIIF-TIiITCTNTS --. -__. ..._11!. -91! -193- 131.. .01 -.Is - .03 -.10092-I16N.S.C.0£1fl9!6§ -- .. ------_ ..-- -- ---—-------- -- - JEELJLOF 39..- - - Vflfiflflistjeflm! £5.9- ._.___-__ _- ---- T TTT TTTTTT I EN RsE' PTON SETPTATTER‘N "T T TT TT TTITEITSTBITSTR'ST TTTTT' T T T T TI TT2 T 3 TT T T' S TONiTT ERROR TITTTATLT INOERWFIPPICERLTT' ' _ - _. - - ,- - - - - - _ _ - ... INDEX 9'. PISQflMMHQ". 9'.“ .313. - -9--_.° - -.°-. :3..- -9. ..0. ---9-._3_§. . '19.!!le ELSEEIMMHON--- 05 05 05 1005 05 05 05 10059 OISCRWINATINCTEPP'ICTIENCT 'TiIOOLTETT’4T45TT "I TT4 TT I T 5T0TT ITITT T0 0 T 55' ATISERTITA'L TCOTRIFELTATION T . - 2! 19! ..n. 96!. Q! _ 05__ 05.10059 POIN!__QISEM.AL_CO§§£_§AILOQ LORER ..2"- ..2 ‘4 _ 2__ _24 __ 9... 0 fi 0_ _ 3; S_TIIO_ENTS_T :95 TEST OF_ POINT 45 I35 45 T155T 05 05 05 10059 AISER‘ITL' CORRELATION TOTAL 'T '3 10' T3” 104 0T 0 0 122 NEAN SCORE - RICNTS 25 55 25, 515 05 0,5, 05_ 9959 NEAN SCORE - NRONCS _ ,_ITEN _I9_OP _39._ _ TNE_C_ORR_ECT OPTION IS-[,_ _ __ _____ _ -- T TT T TTT ITETN ITIE'SPTONTSE BETTERNTTT T TT TT _T'ITTETN—STTATTSTIETST T ’1 TT 2 T 3““ 4 5' OTNITTT ERROi TTOTAL TTTITNOETR 6E ISIPTPTITIculTTT -. . .- . ._ - - .. -. _. .1”:qu DISSBJEIMIION ,uP_P_ER _.2,15_ _32 -_ _0.-_9__,__9___ ..9. _Q__, 9__ _3_2_ NARINIIN OISCRININATION 1005 05 05 05 05 05 05 10059 TiTISETRINTITTNATTINCTETPPITEITEN'CT TNIELE T435T T44" AT T' I TTTT3T T73 TTTOTTT TO'TT TSTA' fiSETRTIATL'CofiETLiTTIIiI .. .798. [9.8. -.13 .- .51. -..Q' - 08.- -03. 1093‘. £011“. 0115M.“ 909331.5th _LQUFJ'- 111--.“--. u... ...l ....3. .9. - 9.--. 9- -12. . itufléfllLLJl. IE5]. 0!. 29"" 505 355 35 95 05 05 05T10059 AISERIAL CORRELATION TOTTATL 9'4T 26 T T 2 T "5 T 5 _To TTT" '0 'T TI'sz' T TTiiEAN SCERTE T3 TRITCNTS . 71!. 193.- .3! ...}! - .03... 9.3--- 0!. 19.0" .06“ “9'3. '. URONGS [TE'4 29 Of _39._ __ - THE. cwecjjnlou, IS 3. , ,_, _ _ . - T TT T T ITEN RTE'SPONTSTE TiATTETR'N TT "TT T' 'T TTTE‘N 'STA‘TTS'I‘TICS T I T 2 '3' 4 3' Toi'TTTERRoR 'TITI'T'AL 'ITNOETR' TOP OIPPICuLTv . _ - _ _ , , INOER OP OISCRININATION OPPPR .215 --.q , 0__ _3_2“ ‘0“ 9....9... ,0__ 32 _NARINuN OLSCRININATION 05 05 1005 05 05 05 10059 TITIISCTRITNI'NETTINE EEPI'CIETNCT 05 TNIOOLET 445T TT 0 "2 T54T TT 2T' 0 0 0'" 55' Ti'ISER‘ITA'LT CTORTRTELATION . 05 __ 35, _935, 35 0.5_ 05 05__ 9959 POI_NT_AI_S_ERIA_L CORRELATION 0 32 SYUDENTS' FOR VEST 0F '0!!! 0 E5 15 I 3 25 3 o 0 I- 9- _3_- -- - ~- -* - 3““ a? 715' 9T95T9TATISEITAL WITHIN ONT 35 95 155 "9? ‘ 0 TOTALTTTT I '9' 111 5 T 0' 0' T0 152 TNEA'NTSTCIi'RE T- TRICNTS I5 45 915 45 05 05 05 100_59 3!!!! SCOREH-ARONCS 3. 43 --- _ S? .31 3'! .3135 TT4.‘914T T31.fi _ 21.43 _ - 13.. 25 __ 25 100 .4111 .3145 3.455” 30.79 254.7 '23 50 20 100 .5414 46656 54163 31467 25461 22 22 100 .5013 . 3093 ‘ 33341 304.5 25.00 81 ITEN 21 OP 39. TNE CORRECT OPTION IS 3. ITEN RESPONSE PATTERN ITEN STATISTICS I 2 3 4 5 ONIT ERROR TOTAL INOEII OP OIPPICOLTT 25 .- -- . - INOEII 0P OISCRININATION 35 0295.8. .71.. 1. 9 -. -219- -9 . ,..0--.-.9 - .9. -32....1511”! .DJSC'UEW‘VION- - 5.3. .- -- -- 95 05 915 05 O5 05 05 10059 OISCRININATINC {FPICIENCT 44 TNIOOLE 885’ 5 9 T‘ 41 T '0 0 T' '0 O TT5T5T iisFRIA'L' CoiTR‘ELTATTIONT T .4393 ,_ _ _- I45 I45 _11_5 . -05 O5_ 05 __05 10153 _Pg_IN_T OISER_IAL__CORR_ELATION .3314 LONER__215 __ 7 _,_,_ __ ,_ __ . ___Q___ .1. _ 0“ _3_2 §IUO§_NI_§___§Q§_IESY 9P PO_INT . _ I45 255 545 05 05 35 O5 ITOTOT59T OISERIAL CORRELATION T3Jsb TOTALT TTT 14' 11' 55 T TO 'T 0’ ' 1' T 6 12T2TT 'NELiTSCOTRET-TRTTENTST TT 31.22 _ . - -. _ .19.! -191. -121- -98 91 15 9.5 19912-!EAN.$¢01E..-..!1_0N65 _ 21.35 ‘ _ ugN, -22 0P, 39.- ._ -1115 COMES]. 9."!0!‘ Li 2.-- - ---- .. - --.- _- T T TTT TTT TTTTT TITT'ENT RESPTONSE TTTPTATTTERN TTTT'TTTT TTT ‘TITETNT'ETTAfiiTICTT‘ T ‘T T TT T T' T T TT TITTT T2 T' 3 T T3 T5 OTNITT ETRTRoR TTTTOTALTTT TITNOTEITI 'OPTITiTFiICIITT ‘ ' 41‘ .. .__ -.- --..-- .....- - -....- . - .... _ __ ___ITQER Ogjfiuw_fl_lfllg_ .40 yePE_R___113___ __l___-1_l__,__3___ .9..- ..9. 0 g JI‘JXINfllgsgjllllflpfl - 54 _ 35 555 95 05 05 05 05 10059 OITSTCTIININATTINcTFPICIFicT ' TI TNIOTIUETT4T45 T '11" "3'5 “”1? TT TT 6 ”TO T To TT5'i TTTOTITSTE'RITET COiRTELAfION TTT .4024 - _ _ __ - 195 30,5 , 315 __ O5_ __05 __05 - O5 1005: __POLII _Msgillgucplaglfiflou .4154 _LOILE! "215 3- __9__11- 0 ‘_O_” 32 STOOENTS T POR TEST OP_ POINT ._ _ _ I95 255 535' 'TT'OT'5T'T o‘iTT 05TET06IT9TT51T§EIITALTTCBTRRTETLITION 5.941 TTOTALTTTT TT "1T5" TTzT '32 T TTT)" TTTTI TTO T" TO TIiz'TTTTNETATNT STCTORTET- RIONTST T 32.23 ,-___,____,__L55_.,595___245,_~ .98- -91. .91. 9' 1991!..-1911QIL- "."ONGS . - 21.1) L -- -. --.- ---.-. -...-._--- - _. _. .------_. -. _- .. - _. --- ._- .- ‘J-\. .1 '. -.- ".65. 1.3.91- 39. ..mssmmrngnfii. --.----..._.. ...... -..- .. -- T ITEN RESPONSTET PATTTERTNT ITTETI STATTISTICSTTT T T T 'TTTTTTTTTITT 2 3 4 5 ONIT—EiibiTTOTTTALTTTTINOTETxTOTFTOTIPTPICTuLTT ‘T 51 T ' T T _, _ ---..- .--- _.__._____,._-____ ___-___ _ __ _IN9_E5OP_9_IS_I;RI_NINATION__ 35 _Ong—31_5___,4_ ; 22 0 o 0 0 NA): NON O SCIIIINmON __100_ _ -. I35 I95 495 05 05 05 05 101 OISCR NINATINS EPPICEET 3T TNIVOLTETZfi—TiI—TTITTTzI 0 0' 55 OISETRITAL TTCOTRTETu—TTONT TTT TTT TT.T3454 .-.. .... 195 -451. 11-11.. 38....91.._91_1991__|’9.L!L7_91§.E1LUMEELAU9N_- 4275.2. 491111.111._1.-_.L9. 19 9 A. 9 9 914%.} "3.!18 9.2.9.“? .- - .. 225 415 315 O5 05 05 05 10059 OISERIAL ORRELATION’ 3.155 TT'TETATLT TT 41 0 122 iEAN STCORE - RITCNTTSTT TTT TT T3TIz‘i9 -.-----1:3..33_5....435_.91.- .91._91..._91.19.9.1‘._IE.A! 3.9911... - "056.5 -----.39390- -JLEJ..9L_1L_..W9£IMJ1 h - ----.. . _ I ESPON N WmTTTT—TTT TTT" TT ' I 2 3 4 5 ONI ERROR OTALT—IITIERTEETETPFITCTGLTVTTTTTTTTTT'WT TTT ' INOMLSCLININALIL , _ _25_ .. _, , 39 PR: 213 13 3 n g 0 g % NANINON OISCRININATION __ 95 1}... NIOOLE 445 35 1112 O 0 0 0 55 OiSE'iTTALTCTTTETORR LrTffir—TTT'TTTR. WT r.---.._...191._l'8..1}1_-.91_°1-£....91.fl080 Poll? H359“.- C09“.‘.IL°"..-..--.L’.¢l- ONER T 9 5 5 0 0 O 0 32 STOOENTS T POR TEST OP POINT __ 5 4 5 WWW” . T TOTAL 42 T2T9 31 0 0 IT: TTTIiETAFTSTEmT-‘fims— ' TT“!1.TIIT‘TTT' .-..--111—291_-3}1._--91__:1-..91.- .91.. 1.992.121.1593- ‘ "EN“ ..--.. -. 3.229.! 82 IT IOF 39. _ ng CORRECT OPTION IS 3. ITEN RESPONSE PATTERN Ifii STITISTICFT‘ T" I 2 T '3— TTT4TTT 'TBTONTITTEWTTWERTWCEW" 2 TT __‘ ___ ___,____ _ INOEJI 0P DISCRIMINAIIOI 0 _ ____ _ OP'PER 215 O O 32 0 0 0 0 32 NAAINON OISCRININATION . 0 0T T'05T' T 1065—“ T05 TOT—WWI Iimncmw TTOOLE 445 I I 55 0 I 0 O 55 OISERIAL CORT—ETTR LATT‘I T—TT-TibT—T'3549NR'9T _ 25 J1 955 O5 23 25 03 10159 POINT OISERIAL CORRELATION «0151.915; JONER 215 0 0 1!. '0 0 0 STOOENTS T POR TEST OP POINT 05 05 1005 05 O5 O5 O5" 'TIfiii 5' BERIE CTETRETLRTIE T __éTflWT TOTAL 1 I 119 0 I O 122 NEAN SC COTRTE -TTiITCNT TTS - 30.13 _ 4, I5 15 Lo; 11 05 05 33339 gAN 33955 - NRONC 30.44 __IIWIS 3. _‘ TT ITEN REEPONSE PATTI“ 1m TT 1 2 3 4 5 ONIT E'TRROR TO'TTALTT ' 'INOT'T—TTER 0P OIPPICOLTT 9 T __ 1NOEN OP 01SCI_1.ININAT_I£ 22 _ _gLPPgR 313 g 3 33 3 NANINuN OISCRININATION 22 05 05 1005 O5 O5 05 05 0059 CR 11 NA NO T 100 "NTIIIOLE 445 O 54 4 O O 55 5131141 CORTTRiT'T'LA ITTON' 'T T TWIST T . 05 03 _935 15 05_ O5 O5 10059 POINT AISERIAL CORREL_AT__ION ___" .3122“ _.__ONER 315_ 3 3 25 2 O 0 32 STOOENTS T POR TEST OP 90m._ _ 95 35 155 45 R 12'!!! TOTAL 3 I III 122 TEATNTT STTETOR HWSTT‘TTT T T3O.T43TT’T a_, 25 I5 915 33 11 9.1 3339 NEAN SQE - NRON_C_§, _ ___ _25._2_1 ) “81;:99 411.31-!!! -123—39min 11211911431... . -_ -. ITETRESPONSE PATTERN ITEN STA S ICS TTTT 'T'T' TT 'TT "T T T' "TTTI'T 2 3 '4' TTsTbiITTTEiITOTTTTOTT'ATLTT T INOEx 0P OIP'PICOLTT T TT" 23' _ .- --..-.-_- --.... .. .. - - -.. -..... 019911 93.015125111114110"- . 59 _ .9129}! 118 9 .19. 9 - ...9 9 9 9 MIWQQN- - -..- .59. 05 1005 05 05 05 05 05 10059 OISCRININATINC EPPICIENCT 100 NIOOLE T 445 5 45 O 5 'T'" o 0 OT 55 iTITS'ETRITA'L CORRETLTATTTTIOTNT T' T T441T0T -..- ..--.--.-.91.-_931- 99...". -...91...91--.98..1911:. QIBUIEEIAL..QM§UI!9& - .9299! 4.991.! 118 9 l5 3 11--..-9_.9_.R... MEMOLEI9LEQI1I..- - . - I35 445 95 345T OT5TT O5 10059 OISERIAL CORRELATIINI 4582 T" 'TTOT'AE TTT TTTTT4T "3"TTTI'4TTT' TT0T'T -0..- T3 “127" NTETN EOiETT-T i’iTOTN'TTST T 31:53" - - .. -18 -111. - 21.- I}! 9.8 .- . 91...91-.198‘ -191151911 .- .IRONQS - 25.-5° - .1159. 2.9. 9.! -11.. .. ..I!!! €911.69! WHOLLQ .9..- .. ... .- .. .. --..-. - - -- TT'TTTTTTTTTTT T' T‘TT’TITETTN RPET OTNTiTT PfiTfifi—TTTT'T‘TTT ‘TITETIYZTTSTICTS‘ 'T T T' TTT ' T TTT' T1 2T 3 ' 4'" 5 ONTITTERROTR TTOTATLT INoéRTTOPT BTIFPIITOL'TTTT T 2 -- - _, __, _, ._ ____ _ _ _ _ _INOEIL.OP_O_I_S_CR_ININ_ATION 4 9921!. 11,5_ 3 _ _Q _, 0___ 32___ 0_____g___9__ 32 NAxINON OISCRININATION . 4 05 O5 05 T1005 '05 O5 O5 TTIOOT59 OTTISCITINITTATTTINTCTRP‘ICTIENCT 106 TTIOT'ETE '34? TToT 'OT TOT'T5T5TT T 6T '6‘“ 3 ‘ 53' T TiiTSETRTITAL TCOiTRETLTATTTITON T ”T .4912 _‘ _ - _ “05“ ”95 _ O5 1005 05 05_ O5 100_59 PO_INT_ .OIQEIIM. CORRELATION .2424 Long .22...- .1 _ -__l_ __ 9.--. 30 _ 0 0 _ 0 __ STOOENTST POR TEST 0P _POI_N_T 39 35 05 945 05 6‘5 05 16619 115E011: CbRREl‘ATION‘ 2.915 T TOTAL T T "’1 T TI 0 120 O" O 0 122' T' NEANTSTCORETZ RICN‘TS 30.32 _ -15 ”15 __ 05__ 295 O5 _ 05 05 10.059" N_E_AN_SCORE - NRQNOS - _ 19.50 -II6132 9' . 3.9.- _._I.*!§ 999.39.? 9mm. ”2-1- -- - _ - -- _ - - - TTTT T —'T-'-TT 'ITTE'N RTETSPONSETTPTATTTT'ERTITT T" T TTT _I'ffiTSTiTB'flTBTT ‘ 'T TTT TT “T 'T T I T 2 'T’ 3 TT4 T T '5 OPTIITT ERRITIIT'TOTTAL T INOEII’OP'BIFPROTLTW” I'z .-- --... . .- .. -. .--- -, .-.. _ 1.095.! ILQLSQSMMIION .. _. 31 _uPPER 215 0 0 _O_ __O _O_ _9 NAIIINUN OISCRININATION .. 3I - __ I005T 0'5 TT0T5 05 05 T 05 O5 TIOO59 TTTTFB‘CTTTIFIN AT WWERT TTTNTE TNIOOLE “4'85T'T "53 TT TS" ITT'TTTI' "T0 'TT OTT'T'OTT'T 5 TT 'iISEiITATLTEGiITETLATTffii‘ “.4‘105 .. ..-. - ADI}- -13 .. 2.3.. -99.- 9!- 0.5 ‘ .9. _IOO_§_O___f9_lflj_l_lS_E__l_LAg COIQELAILON .4344 3.0.5.1..313 32...... _-J- ..- 2-_ __I_____0__ _O_ STOOENTS T POR TEST OP POIN_T_ _ , . 495 I95 35 45 35 05 O5 "Raff? 513E512]: 'CUITRTETLATIUI 5.2’54 TOTTATL TTT 'TIOTTT IO' TT2 ' '2 ' "I'TTT6" OT'TTIszTT TN‘ETATi STCTOTRE'T-TTRIéNTi '3’I.OO ..999. .. 9.! -33.- _ l! - .98.-. .98.. 3932-".5913999L-JWN“. 3%“ ITEN 30_ OP 39. ___TNE CORRECT OPTION IS 3._ - _ _ _ _ .__ ._ _ ' T T TTTTTT T-ITEi RTSIiONSTETPiTTf‘EiN ‘TT TT T'T'TTTT TTTIfFNTsTTATBT'ICST " TTT‘ T I 2T 'T '3 T 3 '5” ONIT ETRRITR' TTOTAL TTT'INBTETIITOP OiTPPICiIin T 1 -_ -__ .. .- _ INOEIPOP OISCRININATION I9 .U°£FR--ZL!.-... 9. -.-.9- 43- - ..9. ._ 9. .9- 9... .33.. .-"ALIW" OISCRIMMUQN- -. - l9 - 05 05 I005 05 05 O5 O5 I0059 OISCRIWAflTNO TITPPICIENCT I00 NITOOLE 445' ’b "I 55' “2T 0" TO 0 5'5” 5I5'ETRI5LTC'ORRELTATTTION .5412 .-. -_ _ 05 ”-25 955 35_ O5 05 05 I0059 POINT_ OISERIAL CORRELATION .3I32 Lola. 2:15“ _ ‘ 4 __ ,_I____24 .--J ,_ 0_ O 9 3_2_ STOOENTST POR TEST OP POINT I35 35 5I5 35 O5 05 O5 TIObT5TT9 TOITiTRTIATLT COIRELATTI ITTON 3.4I2 “TOTAL 4 2 T II3" T 3 O T '0 O 322T NEIN SCTGRE '-' RIONTS 30.4I 35 25_ 935 .25_ O5 _05 , O5 I0059 NEAN SCORE}. NRONOS 24.33 ITEN 31 OP 39. Tu; CMIIECI.99_IION_ I53. _ - --- _A T T 'TTT T T TITTTEN'IEEEPTTT NSE‘ PITTEI'INT TTT'T TTITE'N‘STA'TI’S‘TIC? T T 'T I 2 3' 4 5 ONIT ERROR TOTTATIT. iNTOTEII OP ETFPITCOLTT 39 - _ INOEII OP OISCRININATION 43 unit... a". .- 9. 9.. -31... 9. - _. 9 9_ ..3.._2 - '39-"!!! 91.59393997qu 9' 05 O5 915 O5 35 0T5 05 I0059 OISCRININATINO EPPICIENCTT 9I NIOOLE 44'5" '3 ‘I6 "33" 2 TT ITT 6T 55T OISTETITIITATL éERRELTATTION .4054 5 . 415 _.515 35_ I45 ,25_ 0_5 I00_59 , POINT OISELIAL CORRELATION .4520 39399-31; A_ , 3 _ I___I__5,___, __ 4_ 9_ .1, -32.-. ST_LE_N1_S~ 1 _POR _TES_T __OF PgINT _ . 95 225T 345 I45 I95 05 05 I0059 OISERIAL TITTORREL'AT'IONT 4.024 TOTALT 4 ITT T TST iT " I4TT T T OTT' TIz'zTT _I-E‘li i'cTORTE T-' RI'OTNTS 32.I4' _ _55__ I45_ 4I5 _ 45 I35 I; O5, 1918.9 ”gel SCORE - N_RONOS 24.95 "EN 3; OP _39. _-1NE CORRECT OPTION I13. _ _ _. , __ , TT'TTT'T T T T ITTENTRE'S'IioN'SE PATTETiN' TT ' T TT TTTTTTT ITEN TTAflSTTC's " ' T " T T T I '2 3 T 4' 5 ENITTERROTRT TOTTIICT TITIOEiI' OP 'OTPPICL'ILTT' 25 _- _ _-_- - .-- - -. . - _ , _INOEII Dfflsgllllufllm 54 yam- 31!— ..9- 3.9. -..9 -.- 1.. - L_. 9 3 _IIAJIIgN OISCRININATION .45 05 35 945 O5 35 O5 TI6059 OISCRININATINO EPPICIENCT 52 TITIIOOTI 745'" TI T "IT 43 T' '2' T 3 T OT TTOTT 5'5 TTOT'ISEfiA'L CORREITATION T.4TTIso _ __ _. ‘25 I05 195 35 ,_ 55 05 .05-_9959_ POINT SISER_IAL CORRELATION _.4442 I_ou R 31!. g“_9 ___ __I_2 gm- 1 _. g _ ,0 32__‘_ STOOENTST POR TEST OP_ _POINT - > i 45 255 355 45 22T5 05T 05TTTTIOO59T OTISmA'L TCORREL‘ATIONT 3. 14I TOTALT TTTTT3 “'15 55 ’T T4" TIIT‘ OT 0 ' I22T ‘N'E'AN SCOR'ET- RI'ONTS 3I.45 . 25 I35 125_ 35 95 05 05 . 9954 N_E_AN 5CORE ~-- NRONOS 24.23- 84 --I-I_LJ-LOLJ'Eo. 4-133.593 59...!!!I19L1332" _-__-_ _ _-_ , _ ITfi RETSTPTOTNEFTPATW , ITEN sfiTBYTBTTTT TTTT TT'TTT'TTT 'T TTTTTTT”'T"TT TTT 'T2TTT T3 TTTZTTTTTiTOTNTTTTTETRROR TOfiLTTTT‘iTNOTEYTOTPTOTIFTPiTcfiifiT' “TTT T TS” T ... -__-.-“ . -....- -----_ .__-.. _..__._LN.ILE_X_0F OISCRIIIMILOQ- _- -29 -__ u'PPER 215 3 2 5 O O 32 NAIIINON OISCRININATION __ 54 95 45 35 3 55 O5 995 RININA N P CITTNTCTTE TTT T41TTTTTT'T "home 445 'T 'fi" 4 5 4T 33 O O 55 513 IAL ORR LA —TTT—T.m2“— .. -+— —-- — 1" " ’3-" ”l 99 9‘ 191£WJ§LEILL --22999. - L959 31; 1 2 5 3 12 L 0 g STOOENTS 1 POR TEST OP POINT __ 225 45 255 95 355 05 05 I0059 OISERIAL EOR"'TRETLATION 37559 T TOTAL 22 5 I4 5 10 I22 NEAN SCOITITTTTE -—.TT5RI4NT""'— TTT—3T.T54T'TTT " _ _ ___III 15 II5 45. 515 9! g; [991‘ NEAN SCORE - N 5_0_N_OS____ .- , __55.2g__, - -IMLm47mJQLmQZMJ. --- _ - _ 411E! RESPONS—WTE PA ERN "muncs —TTTTT I 2 3 TT4T—TTS—ONTITTEiROR fiTAT-WWTCETWTTTTT TTTT2'3T TTT ' T ___-___--- - MELINNI—M ___29 .. -_ .__ _IIPPER 115 (L O 11. 0 I O I 31 - IIINON O RININATION 50 __ .. 05 O5 915 O5 35 05 05 I0059 giS'CTRITIflfi—TWN N4 TICIE v — NIOOLE 445 I 44 5 O 55 5ISE’TRIAL CORRTT'TELATITONT TTTTTT T T.505ITT :--___._.--ZL...11-.1fl__.31--- 21.--91_.9§_m33_m181_fl.8_fl.t_ QUE-L401?! -. 4399!. - 3,935 215 0 .9_.L7 5 4 0 0 32 _ STOOENTS T POR TEST OP PO.|_!_I_____ . ___- 05 I95 535 I45 ISF 05 m TITS WW 4:313 TTT TOTAL T‘ I 94 0 I22 NETTTAN SC—TTORE - iIONTTS T " ' T 3I.‘20’ .__ ...--__u._ :3. .113_. 45__55_- 91. -3549!!! 433.539.35.19939: - - .. -. 292.99 """ - ' ‘3; J --II-E! -35. D.F.- .39..- ._mmmuu.” 1....-_ .. _ _ _ TTT ITEN RESPONSE PATTERN ITEN STATISTICS TT TT ”T T TTTTTTT T T'TTT TT TTT—ITT 2 3 4 TT TfifiWWIfiLTTTT'T' ‘T 40"" ' -- .. ___ -__... --.—-..- -__ ...-.1434; 3135339394119! 92 .- mail—.31!— 25 9 4.49 3 9 9.411.433 WU?" -. 99 - 155 I35 05 O5 95 O5 05 I0059 OISCRININATINO EPPICIENCT 45 iIOOLE 445 'I9 I? 4 T2"" 0 55 5ISERIAL CORRELATTION TTT T'TTT' ”.5340 ' _- --- .. .__-2354315434438. .253...- «__9349233 fllfimgwflfllflm - 2.9.2.31- L911! 218 9— 9 J 9 4L4M§L§+MSJLEQEJ -- . -- I45 255 I45 I95 255 05 05 I0I59 5ISERIAL C RELATION £124 T TOTAL 49 SI 5 T25 _TTO 0 I22 NEAN SCORE - RIONT'S ”T T 32.55 .__-_.__.99!_28.- _3_--13.. 3.91... 9141.43: 453139951..- MEL..- -- . 29.-3.2.. - ..Itga-lLflL 3.9.1.— memuntM I. - - .. --- _ - _ ITEN RESPONSE PATTTTERTN ImTT—T T'TT TTTT TTTTTT I 2 3 4T' 5 ONIT ERWT—T—TTITIBTEx—TTT OP OITFTITCVLTTTTTTT "TTT3'2'TT T _lm-EAMLQCLIEIMUQ“ _-... 39--- . __ - IIPPER :1! 25 1' 1 Q5 _ NARINON OISCRININATION __ 42 ___, . 015 05 ' IC TTTTIT'ITTTTER IN N FEVER? 4T NIOOLE 445 39 2 55 5ISERIAL CITIITIRELTA—TT Oi TTTTTTTTTTTJ‘BOT T - -- ---__-m_|;8 ._L51_-.--£_4!__:L.§9.93149.L__MELQL_QQBBEQIIQ! _.- 4.99.6.2. IQ; 31; I4 5 5 2 O 0 32 STOOENTS T POR TEST OP POINT _- _- _ 505 255 I45 45 +3 TWS err— Ian—T TTTTOTAL 53 I5 T_I5 4 I O 522 TTNTETANTTRWT-TITOTNTST T—TT'T'T 31.2?" 91341-54431... 3.4.1! I! 08 5903‘ -694" C911: 33.2”.“- .- .. 379.1 - JLEL!L9!-A!.9. TNE CORRECT OPTION IS I._ 85 ITEN RESPONSE PA ERN ITEN STATISTICS If T TTTTTT TTT TTTT TT—‘ iT—TT2TT 3 4 5 ONITTE—TTTTRRTTTTT—T OTAL IWATOTP‘O'IP’FTITCOITTT T41“ T —'.—-———— --. -_Imrmemmm _ .29 - OPPER 215 25 2 2 3 0 0 0 32 NAIINuN OISCRININATION ‘ IO'0 _-_-___ 155 45 45 TTT—«TTTfl—TO NI IN 7— TST TNITOBTLE 445 I4 I2 I5 II 0 I O 55 5ISERIAL COTTTRRELTATITUI - T3394 ‘T _ __-____,_._ 208__-_2_18 315 I95 05 25 05 IOI59 PM_OJ§_E£NL"CQI_E_LA_IIQC__ __.4_251 LOLER 215 T 4 IL IO 0 O 0 32 STOOENTS 1 POR TEST QLP9_l_N_Y_ ”___, .- _ 225 I35 345 3I5 05 45 O5 I0059 ERIAL CORRELATION 5.I53 TOTTiL TT TT4TATTT To" "31 24 O I 0 1'2? TTNETANT TCOTRTE-—RITCTNTTTS T T ‘32.T9I - - .398. --I”.-. 1.93.4.9}. --.9.9_..L..8 -9! 4994" .1531 5.90—95-5-999'095 . 2.99.35. ITEN 35 _O: _39. _ _ 1NE_COR_RE_C_T OPTION I__5_2.___ -_ __ __ _-____ _ ”_ - T TTTT TTTTTT T 'T'ITEN RTEWNS TAT—TETiI T TTT TT—i‘l'TE'N—{fi'IBTlcST'TTT T T TT TT T TI 2" T '3" T T4 "'5' ONIT EWO'R TOIZLTT "INEITTOTTO'ITPTICOLTT T 45 _ _ ,_ _ _ __ -_ __ _ INOE5_OP_ OISCRININATION 41 mu. .215-_.3. .24.- ...3- -..9. ..o.---9.-..9..._3_.2- mum LISCIIPINIJIQI- - 9?. 95 155 I45 05 O5 05 OS I0059T6TITSTC'ITIINITTNA1TITNC EPPICITTENCT 45 'NIOOTEE 'T44T'T'TII T3TI' II" 4" 'T B T 'i' 'T OT 55' 5TI§TE'RITAL' CORTRTE'LATIONT .5033 ~ _ _I95 535_ I35 15 o5, 25 5__I_09_59,, POIN1.5IS_E5I_AL CORRELATION .4425 LguEP _215 -31- _,9___,_g- _2_ .9---._9. _, 9.- _32 STOOENLS _1 POR TEST O_P_ POINI 345 255 255 45 O5 O5 05 I0059 5ISERIAL CORTITETITA TINT 4.520 TOTAL T 24 ”'44 if ' 4" 'T' I O 132‘ NEA'NTTSCOIi'E - RIONTTS 32.I5 - . .315 521-.. 2.05- 5.5 05. I5 05 _3_955 NEAN SCOIIE -_I_RONGS 21.93 II?! 39.0!: 1.9. I": CMfiECTOPIIQQ-IS. Z..__ _ ___ .-. _ _ , -.. T TT” TT iTTEN' REETPON'SE'PTKTTTfiN T T T T TTT—'TTTITEFI' si‘ATfiSTT'ICTS T T T I 2 ' 3 4 5T ONIT ETRRTORTTTOTAI' 'iNbEII OPT OI'P'PICOLTT I5 - .. INOEA OP OISCRININATION 25 UPPER 27.1. I . 3O _.0_._ 0“ .9. I ..- Ag_ 32_ NAxINuN _OISCRININALION 31 35 945 O5 05 05 35 05 I0059TOIsETININA1TNO EPPICIENC'TT 4T NIOOLE 445 "'5 45 I '0 ' 0 I 0T 55T TETIS'ETRIAIJTCOR'RELATION .352I J6! . 535 _25 05 -05- 25_ 9!- IOI59 _PO_IIIT_5ISERIAL CORRELATION .2492 LONER. 21,5 -9, _ ,22___ 9‘- I_ 9 -- O 9 32__ __SIOOENTS 1 _P_O_R TEST OP POINT 255 495 O5 35 O5 05 OS TTI0059 5ISERIAL CORRELATION 2.5I5 TOTAL TIO I00 I I' 'TO TTT2 T' 0' I22 "NEANTSCORET- RICNIS 30.15 I55 _ 525 _ , I5 _ I5 - 05 , 25- 05 IOI59 _NEAN_ SCORE «- NRONOS 21.34 86 _LLEHIAEALY§1§.- NONEER OP STUDENTS - I40 NONOER OP TEST ITENS - 30 TTTTNETTITNTOTETX'TOTFTOITPTPICULTT IS THE TEERTENTTTTAGETEP FIE-1617C 'G'Rciu'P’ TT-T ,_HHARK1NGHA.QBONG_A!§HE£_QBWQBITILEQHIHEHllfifl" _ ..... .____-__u.;___":_-_ TNE INOEx OP OISCRININATION IS THE OIPPERENCE OETNEEN THE PERCENTAGE_ OP THE UPPER GROUP NARRING THE RIGHT ANSNER AND THE PERCENTAGE OP .. ..-—.__— __.‘o———~——- . o- o—---_ _-- -----. -—_. — —--—- - ..~ _—o _ .__-“___. < .— -.. — .I .——...- —-_ - _ ___—— _TNPUT _QATA FRQH_ DPSQAN 100t_QFFICE_ QF EVALUATIDQ_SERVICES OUTPUT DATA FROM 18" 3605 DATA PROCESSING DEPARTMENT SONNART OATA TEST 0504 DISTRIBUTION OP TTEN OIPPICuLTv TNOTCES TTT" T TOISTRTOUTION OP OiSCRININATION INOICES NONOER OP PERCENTAGE T " NUNOER OP PERCENTAGE ITENS ITENS 9I -I00 I 5 91 -I00 0 GI - 90 2 __Io, __ _ ,,u__m,_m_ . QI.; 90. - 0 TI - 50 4 20 TI - 50 0 4I - 10 2 I0 _ _,‘Hm - 5 _4I r 10 0 5I - 40 3 I5 51 - 50 I 5 4I - 50 4 20 _ .- I . , 4I - 50, 5 25 3I - 40 3 Is 31 - 40 3 15 21 - 30 . I S--..- _- ..-. .. -9 . 31.? 30 5 25 II - 20 0 II - 20 4 20 00 - Io 0 .. _ ,, .90-? I0 2 Io LESS THAN 00 0 NEAN ITEN DIFFLCULTL ,Q. _ 59 _ NEAN ITEN OISCRININATION ‘ ‘29 ROGER RICHAROSON RELIA5ILITT 520 , .3042 STA!DA80_ERROR OP NEASyRENENT ., m,wl.9906 87 EVALUAT_IUN SERVI_CES T RAH SCORET DISTRIBUTICNS 9.. ~’ ._- --.. .__-— —- - TTTTTao ITENS ON TTETSTTT cTéTTz. OCTOBER 1970 --- ----c .- -..--~----.¢ . 4-- 9--- .,KF!-,u.._m-.m.nm-- C_UMUL_ATI_VE PERCFNTILE STANDAR)_ SCORE FREQUENCY FREQUENCY RANK SCORE TTT—Ti- 2 Z T” T ”379T" 'TT‘TTT‘TITOTJS T 1.2."--- - --.--l --.-----------.9.--....---.-... I 29 .- -6991 ll 13 22 88 01. 9 ----..1.0__--_-. .- _.49.--..__----- 1-13.5.-- -. 7.9-.-- . 5--7 .7 - 9 58 53. 5 .. 3 15.3 33 .-.. “3 .....:.?:1'._ 7 15 103 31 45. 2 -“mné. ............ IlunuflmanEP .......... .umw-ZQLm-_ufi1 0 - 5 8 128 1 36.8 ------_---__ ------..-_- “uni-’12).--" ----_-----_----- - .-.-32.99 - 139 2 28.4 __- 2 1 140 0 2 ,3 ..MEAB.----_§.-..1.‘z .......................... - ---- STANDARD DEVIATION 2.39 ._VARI_ANCE 05 _73_ _____________________________________ ” STANDARD SCORE HAS NEAN 0F 50 AND STAN)ARD DEVIATION OF 13 ITEN __-..——‘ —. .—.c—-— -. II OF 304 THE COIIECT OPTION IS 2. _ITT'EN' RETSFON—SET FATTERTNTT T 88 TTTTETN TSTTTTATTITST ITc'ST'TT I 2'" ’3 T4' T5 TONITT ERRORT TOTALT TINTOEII OTPT TOIPTP‘ICI'IETTTTT '11“ _ .. _ . _. --.- .. ._ ---..- -- _-__ .__"- .. ._LNQEX QEflQGIIFJNAIIOL . .22 _ _y_P_P_EE ,,115__~__9_ I4 22. L 0 _O_ 0 31 NA5I_NuN 0I_SCRIN_INA___TI0N ‘ _, 92..---- 05 355 595 35 05 05 05 I0059T OISTCTRININATING EPPICIENETT 9o NITOTOTLET T4T4’5”_ TTIT_ T 52 0 0 T 0 64' 5ISE€ITILTCORTTRETLATTOTNT .T3'352 ............. ., -_ 3.! __LlL- 1.9.3- ___28 L 0.! 0' J9.l..”__!_9_LN.T 9.1.5.3.! 1.“ Emilia!!! - - 033.1". _LQIEB.-_11!...J__.11 3 0 0 0 5T00ENT___S_ T _P_OR TE§T_ OP P_O___IN_T_. _ __ 1 __ 55— I45 105 55 05 05 05 9959 5ISERITTATLT CORRELATION 2.541 T'TOTTALTT TT {TTT—T 32 T IOO TTTTT5 _-_°_ 0 ‘T I40 NEAN SCORE - RIGNTTS TTTTTT T9T.IT5TT " - .25.- 431.- 71L__5!_ .93... 9! ___:1_.IM!__!LA.! $5.93.: 550555-.. 1309.. . _. _ ,ITEN __Iz 0F___3Q.__-_. -1."me 9111.05.11.34 --___---.---__.. -__ - - _ TT“ TT T ITEN RESPONSE—'Fmflm ‘TTTT TTITTETNTSTITBTTCITTT T “T TTT TTTTT T T TT IT TTTT2TTTTTT T3TT k'TTT'TONTITT‘EiTRORT 'TOTT'ATL'TT TITNOEII'OTOTFP‘ITCOTLTTT T 54 -. - ..- -.._.___....- - -__..__, .... .__, ,ENQER EOF_D!§C}IN.§§A_TION 4_9 _y.PQ_E5_ 3.1.5 ,_ 9 3 __ 0 25 0 0 0 31 NARIIRIN OISEELNINATION _ _- 51__ 245 55 05 455 05 05 05 I0059 OISCRININATING EFFICIETET 54 NTITOTOLE 4T4T5 TTESTTTTITITT TT 0 29 T_TO 0‘ TT 0 «T 5ISETRTITATL TCOR'TRELATTTIONT TT .53TITI - 3.95 IT}__ .95_ .98.- -98._-08 -- 2!. 50.0.8.2 MN! 9.159.15- COBRSUVLON . #22? _nggg 215__-___I_4 I0 4 ___0 0 -__- 31 STOOENTS T POR TEST 9F_P21_T_IT . __ __ 435 215 II5 I95 iii—T 55 R LATIN 5.414 TOTAL '5IT T TTT2T4TT 4 T- 4I 0T TTT T T 'OTT I40 TTRTATN SCOiETJTTR‘IGTITITS” 9.29 _ - 39.8.. -u__ .._13__-_59_1_ .0..___95 --95.-199!'_1§ALS¢£&E:.I89!6§_ 7929 , It." .1} 0‘ 39- -.YHE 591*.59! 92.710.113-59 .-- - -__ --_ ---- .- TT TT TT' ITT'EN RE SPONTSET PATTTEITINT ITEN TST'ATB'T'I'C TT TTT T T I 2T 3"“ ’4 5 T'OITIITT ERROR TTOTTTAL T INOER 0PT0TIPPICOLTT 19 _ _ , .... , .. ___ _ -. ___INOER 0! O_IECRININATION I5 .0390. ---21! _.EE“ 4 5 I2 .1 0 0 31 NARINON OISCRININATION . _44 . 435 II5 I45 325 05 05 05 I0059 OIWRININATING HP‘ICTENCTT 3'9 NIOOLE 425 '23” Tu T ‘iTTTI2 T I “T ‘0' T 0" TT4T4T TTTTTSTTSTERIA'LTCER‘ELATION .2135 355 -323. I45_._,_I55~ 25,_ 05 __05 ,I0_I59__PEINT 5ISERIAL CORRELATION .3595 __LoggR £15, ...1_9 T _. 4 5”“ __.___,0_-_ _0_____ 31 STOOE_N_TST TPOR TEST 0P POINT _ 5I5 I95 I45 I45 05 05 T65 I0059 OTTITSERTITAL WELATTOTNT 2.110 T TOTAL T '55 T32TTT '2’0TTTTTi9 'TT TTIT TTTT0 ‘ T 0 T40 TNTETAN SCORE T-T RIGN'TST 9.03 4I5 - 23_5_. I.9.5. -215 .__ I5,_,__ 05, 05_ ,I0059,_N_EAN SCORE_-__NRONGE 1.91 ITEN I4 OP )0. MINE CORRECT _OP,TI0N_L5 I. , - T TTT T TTTT T -ITTTEN RT—ETSPONSTETPATTTTEiNTTT TTTT T‘TTTTTTTT_TTENTSTATYTSTTTIC§T“ T TI "2' T 3 T4 5 ONIT ERRORT TTOTTATL T TITNOE'R OTP TOIP'PICOLTT ‘ 19 _ ,_ _ - _ , - -.-- ___ “"1905! DE OISCRININATION 22 OPPER 21_5__,_7___I_I_ ”LL“ _L3____ _ -1... 0 . _3_ 31 NARINuN OISCRININATION .35 305 305 355 55 05 05 05 75639 TTITITSTCRININATTTING EPFICIENCT‘ 51 NTITOOTLE 345 ”If" 2ITT T 23TTTTT3T 0 TTTT 0 T 0‘ T T44 T TiTITSERIAL TCOTRRELATTITON .223I _ - 2.9.! - 328... 39.5. 98. .0! 05 05_ I9059 POINT 5ISERIAL CORRELATION .I51I Lyll.__ _2_z5__ _3 _ __ I0,_ _, I_5..___“_5_‘ ,I____0_ _ _ 0 _ __31 STOOENTST POR TEST m_OP POINT . Q 55 215 495 I45 35 05 05 IOI59 ATSE'RIA'L TCOR'REL‘KT I.545 TOTAL T T30 52 51 TTIO I 0 0 TI40 'NETAN SCORET - RIGNTS 5.54 235 . 308 918 1!. I5 05 05 10059 NEAN SCOR_E - NRONGS 1.95 ITEN UPPER_ RIOOLE LOdFI TOTAL ITEN UPPER MIDDLE lOd$R TOTAL ITEM UPDER MIDDLE lOHFR YOTAL [76H -UP'E'. 'iIOOLE beTAL 89 15 ns 30. TNE CORPECT OPTION IS 3. ITEN RESPONSE PATTERN ITEN STATISTICS I 2 3 4 5 ONIT ERROR TOTAL INOEx 0P OIPPICOLTT INOEx OP OISCRININATION 215" 2 II 22 2 7 0, ._ 0 0 31 NAxINuN OISCRININATION ‘ 55 305 595 55 05 05 05 9959 OISCRININATING EPPICIENCT 445 9 I4 3| 9' I To 0 44 5ISEiIAL CORRELATION I45 245 415 I45 25 .05 05 IOI59 POINT 5ISERIAL CORRELATION 215 1 III” II . 4. 2 _.._O ,0 _31 STOOENTS T fpl [E57 OP POINT I95 305 305 I45 55 05 05 10059 OISERIAL CORRELATION IR 35 44' I1 3 T T 0 T0 I40 TNEAN SCORE‘é'RICNTS I35 215 445 I25 25_ .05 08.-L998' NEAN_SCQRE - NRONCS [6 OP 30. TNE CORRECT OPTION_I5_2. __ _ < TITEN RESPONSE PATTERN' TTT' ifENTSfATISTICS IT 2 3 4 5 ONIT ERROR TOTiL INOER OP OIPEICOLva' INOEx 0P OISCRININATION 215 3. 3I 3 Q. 0 _ 0 __ 0_ 31___ NAnguN_0I§CRININATION 55 545 55 05 05 05 05 I0059 OIsciININATINO EPPiCrENCT 445 IO 41 9 0 0 0 TT0 44 "T 5xsERIAL CORRELATION I55 1I5 I45 05 05 05 05 I0059 POINT 5ISERIAL CORRELATION 215 4 25 5 I 0 _ 0 . 0 __31 SIUDENYS_I_fOR TEST OP POINT I45 455 I45 35 05 05 05 IOI59 5ISERIAL CORRELATION I9 IO3 I1 I 0 T 0 0 I40 NEAN SCORE - RICNTS I45 145 I25 I5 05 05 05 IOI59 NEAN SCORE - NRONOS I1 CF 30. TNE CORRECT OPTION I5 I. - _ _ ITEN RESPONSE PATTERN T TT T T ITEN STATISTICS" I 2 3 4 5 ONTT ERROR TOTAL INOER OP OIPPICOLTv INDEX-0‘ OISCRININATION 215 I5 I5 A, 4 - __O _ 0__ _ 0 __ 0 31 - NAIINON_gISCRININATION - 4I5 495 II5 05 05 05 05 IOI59 OISCRININATING EPPICIENCT 445 I4' 43 1 0’ 0 0 0 ‘44 5ISERIAL CORRELATION 245 455 II5 O5 05 05 05, I0059 POINT 5ISERIAL CORRELATION 215 5, 23- 9 9.. 0_____0 _,.0 , ‘31_ _§YUDENI§ T 50R TEST OP POINT I45 425 245 05 05 05 05 I0059 5ISERIAL CORRELATION 34 54 20 6' 0" T‘O‘ 0 I40 NEAN SCORE - RICNTS 245 405 , I45 ., 05 05_ 05_ 05 I0059 NEAN $C0l£_:myRONGS I5 OP 30. TNE CORRECT OPTION IS 2. - TTT TT ITEIiTRTESTPONSETTPATTTfR'N-TT- T TT TT TI'T’ENTSTAYISTICS IT TT2T TTT3 TTTT4 f“ 5 ONIT ERRORTTOTAL'“ TINOER 6F OIPFICOLTT “_ _“ .__ . _ 7 - . , INOER OP OISCRININATION 278 .._.2_ _ 19..-. 1.--__0 _.0 . .-Q. --9... 7 . BA'!"U!_P!$CRl"l!AIl0N I45 145 55 05 05 05 05 I 59 OI§CiTiINAfTihTEEPICIENCT T445 TTI5'TTT4ITT 1 TTO T' 0 TT 0‘ 15 T53 TTT5ISERIAL'COREELATION .215 __425 II5 , _05 05 05 _95 _I0059 POINT_5I§ERIAL CORRELATION ,"315 . ,Ig“ .lfi... 4__ ____ ..-L- 0’- _.Q.-- 31 _-J§IUOEN!$ 7 FOR TEST Of POINT 495 355 II5 0 35 05 05 IOI59 5f§ERiAL CORRELATION 42' “i3"TT I4 TTO I 0 'T 0“"‘140 T NEAN SCORE 4 RICNTS 305 595 _ Io: _.95 I5 -05 05 I0059 .HEQN SCORE”: NRONCS 56 29 89 32 .2522 .225I 2.1I3 8.73 7.65 26 lb 68 33 .1955 .1605 1.739 I.35 7.56 76 27 55 69 .3939 .2511 3.057 9.16 7.79 51 h 3. 54 :4II4 _ .3249 4.043 0.7. 7.2l 90 11.65.. It!!! .30.. _ ..-..mfi .C-OBHCIJPJION. 151- _ _ TTT ITEN RESPONSE PAT'TERN ITEN STATISTICS TTTTTTT‘ -..__ —“‘ ’ " T TT TT TIT TT 2TTT 'TTTSTTT4T T5 ONIT ERROR TOTATLT TTTITNbTEiI 6P OTIPTiITCTuCTT T T TTTT T T '34 _ .. -.-_. ---..-.._.. -- .-._._. . - _____ __- mung OFQISQQUHMIL , “.__ 3 _QBPEI 215 9 4 1L 0 0 O O NARINUNO ONISCRININATIO _ __ ““13“ _ _-____ _ 245 II5 455 05 05 05 05 I0059 OISCRININATING EPPICTTENET TNIOOLE 445 T—TTT I4 1 T 45 TTTO 44 5ISERIAL CORRELATION .0523 T -- _--_21L_U1_111__9!__gl_.93.__31__1993_POLJ_ 515.6545. £0MELAJJON_ _- .05.“ ,LONER _178 9 5 23 0 0 0 0 31 STOOENTS T POR ___I‘_ESI'_ O_P [CLINI_ -- .... ,_ 245 I45 425 05 05 05 05 I0059 5I5 ER RIAL CORRELA_TTTI6N_ .1’55 TFTTATLTTT 32 I4 92 0 0 0 0 I40 NEAN SCORE - RICTNTST T T 6.25 _ -- .13-3...”; ARI-__O; QLJI 05 ML. NEAN 190I{_:_I_I9NGS_V 1.93 IT_N _20__0_§_ 30. TNE (_O_!!gLLQPUOAJS 3. __ _____ _ TT ITEN RESPOEE PATTERN ITEN STATISTICS “T T TT T ' T "T T TTITT T 2 3 4 T?" EITITTTEFIOR TOTTAL INOTETIT TOP OIPTPIEOLTTT T _ __ _ _-_ -_ ..- ------_..- - ---—.__ --- Iggy-maulnmnm - UPPEQ- 31_5-_ 0 I5 42 0 0 0 O 31 NAxINuN OISCRININATION ---. ___13 _ - 5’10 4I5 595 05 05 05 05 I005'9' " BISC'TTRINIT—NATI'TN'C EPPICIFNCT 4 NIOOLTe— 4T45 TTTTTTTI 4I 23 0 I T 0 0 44 5ISER' IAL CORREIZTIONT TT TT T.4125 .__,” 1.425 35.5,___3.5__ _ 25~ - 0_5__,_05 mug-_POINLMSELIAL CORRELATION .344I LONERW 215" _ I0 \ 20 5 I I 0 0 31 STuOENTS T POR TEST pf‘fgl'g! _ . {1y 545 I45 35 35 05 05 IOI59 L “(RAMON . 4.42I TOTAL—T IITT T '14 TT T50TT TT I I40— NEAN T-SCOTiTE" IICNTS 9.3I - -_ -_ 1!. _.“1-293— LIL . -g!_--__19.0-S.‘_'El_"_§§9.*£-_ ' 280”“ 7-50 ITEN _2_I_O_F 3_. -.. "fig CORRECT 9P_TION I_S _3. __ __ _ T T ITEN RESPONSE PATTERN ITEN WISHCS TT I 2 ”3 T T4 T5 ONITT ETRTRTOTR TTTOTTATLTT TT ITNOETII' OETOITPI‘COLTT 4I - __ _ _ _ __ -. ___-_7_____ _IEQELQfiglicglIINAYIQN _ 49 ”Pg" 215 I 2 25 2 4 0 0 31 NARINuN OISCRININATION -.. _ 91 35 55 145 55 II5 or 5 R N NAfTTNTC' EPPICIEN‘CT 50 NIOOLETTT44T5TT T 0T 5 44 TTTTST 'TizT TTTOTTT TTOT 44TT 5TIT§éRTIATETCTOiITRFLTATIONT .4439 _ _,_, _.05 n... _415 _55 ‘ JO! _, 05_, 2!- L313: _P_OINT_ 5ISERIAL CORRELATION .3495 _LOI.E_I___ 215 3 4 I0 4 I4 0 O 31 STOOENTS T POR [ESI_.OF_PQI[W_ ‘ 55 I45 215 II5 355 05 05 10059 5ISERIAL CORRELATION 4.41I TOTAL T T 4 TT IT3T TTT52T ‘T TITiT TTT3T0T TT ”0 T 6 T‘TITZO TNETATNTSTC'OTRTET-T-TiICNTS 5.59 _ 3_‘ _ 95 _595“ _55 _255 __O; 95_ I099 _NEAN SCORE -. I_IRONCS 1.I0 "EN 2.2 GE. 30. _ -. 1N5 _c-Qllfl'J OPT-LON L5_ 2. ,_. _____ -.. __ _ - T T ITEN RESPONSTTET PATTT‘TERTN TTEN STAWI “:3 TT T "T T TTTTT T TIT TTTT2 TT T3TT TT4T T TT5 ONIT TERROiITTTTOTTATLTT TTITNOEA TOTPTT OIPFI'COLTT 94 _ __ - .__ _ __‘ __ __ _ _ _- - INOER OE OISCRININATION '5 ..ILEPE-I. 215 3. 3 I__—1L I0 0 0 31_ NARINON OISCRIIQNAVLQL‘ II 55 55 35 515 215 05 05 I0059 OISCRTITNTINATTTTINC EPPICIENCT 4S NIOOLTE' TT4T4T5T—T‘4TTTTTT5 TTTITT TT3T5T TTT2TI TTT 6T TTTOT TT T4T4TT‘TTT5TTISERITALT CTORTRELATION .2414 - _ ____ .- 45 _,_.5.5_ _25_ -535 _325 __ 95 __ _95._ I0 _I;9 __P_OI_NT_ 5ISERIAL CORRELATION .I302 LONE; 315 _3-____! , I__ I__A ___I_5__I.____0_. 0 31 ST OOENTST POR TEST O_P _POINT 35 35 T495 4I5 05 0i I0Ii9' ilSEflA‘i—CGRRELATIOTITT 5.542 TOTAiTTT 5 T T9T ‘TTSTTT1T4 T44 0 T 6 TTI40 T'NEANT'SCORTE‘ T-TRICNTS 9.33 . --- .5! “.__23. .233. 33.-3 - 0.3 - 28. -1029 ".5“ $99!! : “0"“ '9“ [76' 23.0? 30. T01: CQRESI _O_PTION IS 5. 91 ----———o TITTTEN RTETSTPTONTSTE TTPTATTTE'RTNT ITEN STATISTICS ' "T I "LI—TT5 T T 4' T 5 ONIT ERRTToiTTTOTTTLTTTT INOETII OF OTTITETIEITCULTT T TT 4T9 __ - -__ ._ - -- -- - .- -- _-,.__--- JN-DEX- 0..-F_QIS.§5-IQIMUQN 9.2-. gazes-41.1 L 1 I_ L 25 L O ___3!__§_ALI_N_H_ OISCRIMON_ .I9g____ O5 I95 35 35 145T O5 O5 IOI55 OISCRININATING EPEICIENCTT SI NiTObTLTETT 4T2T5TT T TSTTTTI4T‘TT5T T TTTTTTSS TTTOT O 44 SISTETITCTORTRTETAWONT .31‘3‘4 _ -.-. -. 55.-11L. 35.41.!- .5.3-8-..°!_-Q;-I°L!'-.P_W ALE-EmL-_¢0I_I§LANQ-. 4.12.1 .LQNEL. yL 3 41 _IL -._9.- -.0_- --.9__-2! ML "I__-l VEST- Q: '01"? -- -. - - I - II5 305 55 215 245 O5 O5 IOO5T9 5ISERIAL CORRTTTTTELATION 4.5I4 TTTTTOTALT TT TT 7TTTT3TzT TTTT 9T TTiTTT TT12TT—TOT—O—TI4O NETATTN' SCTORFTRTICNTTSTT T T9762 T -.- -- _ _.JIL -le___fl-_lu_2u--J1_91_ML1ME_L- M595- - _h22-. - LIE-N. _25_nf_10.5_.- .mfi- _C-QMHJQUDN- 1L4; _ _ - - - T ITEN RESPONSE PATTERN WT“ T‘T'T TTT T I 2 3 TT4TTTTT§T TOITITTTFRTTOTTTATLTTT TTITNTOEITITOFTOTIWTCIRTTT—T T T35 T ‘T _ _ _____ __, ___. _, __ “___- _I_NOER Qf OISCRININATION __. _I9 __ O_P_ag_ 215 O _2_ 3 __2_4__Q_ O 1 NAR NON OISCRININATION ___ ; O5 55 55 455 225 O5 55 IOO59 O RININATINTCTEFHCTETNGT‘ 2T TITBOTLTETT TEE—TTOT '5“ O 44 O O 44 OITSFRTIAL CORiTETinfOTNTT T T T T7242? , _ _ _O_5__,I 55___O5_ __1_O; __2_3_5__ _ 0.8-___Q3_19_L8°_- P_O_I_NT B__I__SEII.AL CORRELATION 7.1013 _gfi‘.’ "215 I 4 3 , I1 I2 O O 31 STOOENTS T POR TEST OP POINL --, - 35 II5 55 445 525 05:65— murmur»:- 2.25’5 TOTTAL TIT—TITIT TT4T TT5‘TIT 35 O O ISOT TTTN ANTTSTTCOIETITRTTGTNTST T 5.50 __--- - ---L¥. _-L!._.-6_1_. bis-_lSL- .9! . _3_-10.99- SEE-55$; 1.93-9".“- 1.54 115- 35.-J‘- --39:---- . m-£QB-E£!-9'-"9N-IS 2. - _ _ T-T TTTTTTTT T_ITTETNTTIESPONSE PATTERN Wf—TT TTTT TT T T IT 2 T_T'T3TTT T T4 TTT5 ONTTTETRTRITIKTTOTATCT T ITNTOETTOT‘OTETFICTIUTTT T 55 _ -_-- - .- .----- .----__... __ ___ MEL-Olgmwfllm l7 OPPE 215 4 5 I2 2 II_ O NARINON OISCRININATION__ _21 f: II5 225 325 55 305 OT OITT'TGIO T55TTTO SMIHENC NA NO F 42 go NTITOO—LTE 7.3? TTTITSTTT T1 TT2‘4 T T? TTIT2 O O 44 OTIS RIAL C TRFLTITTONT .3453 _ _ _2g_ II5_ ___315 g_.__!-!!- .-.-9.1-- _O_5 IOO59 P_QINT _5ISERIAL_ CORRELATION .2245 .LOHEI 215 9 2 I2 4 IO O 31 STOOENTS T POR TEST OP POINT 245 55 325 II5 215 O5 WW6!!! L ION 2.7O4 TOTAL T2T9TTTTI1T-T5ITIT TTITITTTTT3 O TT5—TT4? TT TRAN—SCORE :WNTS T 9.55 - ___.. -zJL- 128_._;-6§-._-1§__258- .__”- .18-LOU... AMA-€03 - ...!!9'!9§. 7J5 - AYE-N. ._2-&-Q'___§9.-__ [--_QQIIEL? OQLL -l-S_!.-_.--_- -_ -__-___- _- --- - . II N RESPONSE ATTERN —" “"HETSTATI'STI‘CS—‘T """ T ” "T T ‘ TTTT— TT T l— iTTTTSTTTT 4T TT5 ONTTITT RROTT—OTTIT. T' INTOTETRTOTETOITP‘ITI'EOTLTTT T 45 _.- -.- .---.__-.-__--.- __.-- T__- -_,___--__-__ . ”26.5-99- 015.95151-851108 35 _uPPER 21; 9 O 24 __IL 4 O O 31 NA5INON OISCRININATION ...--. - 95 _ 245 O5 455 O5 II5 O5 O5 IOO55 mnmfiflfi 34 iiFELTET SET-IT“? T3TSTT TTOT TTT1TT TT OTTTTFTTT46TTTTITITISTETRTITILTTCORTRTELTITTI’ON .3965 -----. -__-25L --65_._-1_53-.-_93- -.ul---- 31_--21..191!!-..'.91'1L.!!§E!L‘§EDIEFUVWN JIZ} I_OggR _215_ 9 5 II 2 . 1L_____O O 31_ STOOENTS T POR TEST OE POINT 245 I45 305 55 "215 O5 O5 IOOT5T9 TfiTSTETRTiTAtTCORTiEifl I'ON 3.544 TOTATTL TT35 TT TITTT13TTT TT2TI TOT T ”3' TTI4OT TNEANTSTCTORE - RIMS 5.54 - - _ - - 295- 6L .511 “.15-15.!- . 55- .91.-”5'. 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" ‘" " ‘ “ "Ife'rn'ESFONEE ‘ufiei‘fi' “ “ ‘ xfii‘n‘lfl‘sfic's ‘ ‘ ‘ ‘ "' ' ' 1 ' '2 ‘3" ‘o "s on" anon totAL‘ I'u'osx ai'bnncu‘uv 33 _ luoex ogolscumunou u uvggL gum, _23 1 , 3__ n .-2_ - _o o _ 31_ _ «my! ogscunmnlon 92 n: 33 u: 3: 3: o: o: lou- ox§cunfiumc uncieucv u noble to: ’ ‘31 o H)— ‘ 3 2 ' o ' o‘ u ots‘e'i'IA‘L’éoansLAnou .3113 _ ”__113 oz 133 3: , 33 , o: oo too:— aoyg1_o_1_seuu coneunou .3669 may} 213 "”1; - .1. u 1 1 o o 31 stuoemst son 1531 Of pom 32: 3: 4.3? 33 u: o: 03 noon useful contention 3.033 mm “91 i 3: s u o o no new scans - Atoms 3.13 .533 , u 22: a o: 03 oz Loon um scone - «nous- o.» APPENDIX B DESCRIPTIVE DATA 0F ADDITIONAL INDEPENDENT VARIABLES 93 94 n¢.m mN.Pm mm.~ mm.- m¢.~ ~m.n Fe.m mv.- wow u .oz mngmm .(pop Fm.m Kw.—m m¢.N N¢.PP om.~ mo.“ w~.~ mu.mp _m n .oz v—o momma mp No.m eo.Pm mm.m om.Pp m¢.~ mu.“ mm.m wo.~_ opm u .oz upo momma up so.m mm.pm Nm.~ mN.p_ Pm.~ wo.n ~¢.N Fm.~F mow u .oz upo momma mp _m.m Pm.om em.~ om.pp ~¢.N No.m cm.m mm.p_ omp u .oz cpo momma mp mm.¢ mm.m~ mm.m «F.FP __.~ w¢.m Fc.m um.FP Fm u .oz npo momm» eF .o.m cam: .o.m cam: .a.m cam: .a.m cam: mgzogw Papa» cowpamugma cowpuopmo xgmmmsg amps; goggm owsguxga owsguxcm .wm< an mama cowuawgummouu.ppm m4m e mo.m mm.~m on.~ No.__ oe.~ an.“ mm.~ _m.m_ um u .oz mucmwgmaxm momm> m mm.m mm._m m¢.~ v¢.PP m¢.~ mm.~ mm.m mm.- mop u .oz mucmpgmaxm momm> N Fm.¢ o¢.Fm m~.N mm.- Fm.~ mm.n ¢P.N o¢.N_ mmp u .oz mucmwgmaxm me> p vo.m em.om oo.N N~._F mm.N mm.m mc.m mo.N_ mum u .oz mucmwgmaxu mgmw> o .o.m cow: .o.m com: .o.m cam: .a.m cam: much cowuamugma cowuumpmo zgmmmsm maaogw _ mm_=m Lo... owe;gxgm 0.5;.»5m .mucwwgmaxm m—nemmcm gmcuo an mama comqugUmmouu.mum m4mwgm momm> ¢ N—.m oo.Pm m¢.N om.op NN.N oN.w mm.N «N.NP mm u .oz zczum mum>wga momm> m mm.m om.om m¢.N m_.Fp m¢.N mm.u mm.N mo.N~ on u .oz acapm wum>mga momm> N mm.m Nm.om mm.N __._F Fm.N mF.N we.N eN.NP opp u .oz zusum mum>wgm me> F ov.m ww.om N¢.N em.P_ mm.N mp.n me.N Fv.NP mmN n .oz . adaum mum>wga momm> oz .o.m com: .o.m :mmz .o.m cum: .o.m com: muo cowugmugma cowaumpmo xgmmmsfi maaogw _ h mmFaa Lo... uwszngm 0.2;.»3a .mucmpgmaxm Anzum muo>vga An mama cowaawgummouu.msm m4m

ogoe~ mgoo> e NN.o mo.Nm No.N oo.P_ N0.N . N_.m mo.N mN.m_ oN u .oz mooopgooxm Pocowuomw>ogos~ mgoo> m PN.o NN.Fm oN.N No.FP _m.N mm.m mN.N oo.NF Nm u .oz ouco_gooxm Focowuomw>ogoEH mgoo> N ¢N.m m_.Fm mo.N FN.__ NN.N om.n N¢.N mm.N_ mm u .oz oucmmgooxm Pocowuomw>ogosm som> p ON.m F_.Fm mm.N wN.PF em.N cm.m mm.N N¢.N_ mmo u .oz muomwgooxm Focowaomm>ogosm oz .o.m coo: .o.m coo: .o.m coo: .o.m coo: Pogo» oowuoooooo cowuuopmo zoomosm mooooo om_=a goggm owszozzm goggoxzm .oocmmgmoxw Focowpomp>ogoefi an ouoo comuowgommoun.oum mzm\$‘I>\\I>‘\,$ 4“o§\$\|\$§1‘}.§ ° 3 2. ‘flmal\fi\$ .W‘ 1:."Ie m, ””‘Em\&‘ 28. 108 30 1 Eyegwmnwymw ‘ E\,§n\|\n\l|\gn\‘ ‘ 3. I‘mNmebW | ., LVN mvm H? \ a. W Imnmmnm q "W VJVVVVf .33-l3 4"_I_-.4: m Numbers 32 through 34 instructions: One of the rhythms noted below will be played once. Choose the correct one. One measure in tempo. will be clicked off before the rhyt?m begins. fil \ .. ’(H .1: av: ... 32. 1. .1: 2. Ego T #5:: 1m,- ‘_ *rm’. ' :13 >211 ,[fZi E ’ v; ’- 3. 33. 1. 1'3) 3., 1, '\.(>\\ \,(s an , G'W \" ’ Tr ) I" .1. . AIMS: . t" 6? vV 61’ 2| % 109 Numbers 35 through 39 instructions: Choose the number at which the played rhythm differs from the written rhythm. You will hear the played rhythm once. One measure in tempo. will be clicked off before the rhythm begins :1 5 I 2 3 (_A.‘ MM 4 ‘ “O 35. 3" “F“: ‘5 °" sucks 2 u ’\|'1‘fl“f\\ ‘ui' 6 ll ".4“ mt: 36. "5‘3