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LIBRARY

Michigan State
University

lllllllllllfllllllllllllllllllll

12 3 01083 7403

This is to certify that the

thesis entitled

Style Perception By High School Choral
Students

presented by

Bonita Neeley Thursby

has been accepted towards fulfillment
of the requirements for

Master Music

degree in

 

 

@4171 law

Major professor

Date )77fl/CL 4L/ 9 76
d /

0-7639

a" 1‘ W'M'
1M 3 .051 mm,

 

 

 

STYLE PERCEPTION BY HIGH SCHOOL CHORAL STUDENTS

BY

Bonita Neeley Thursby

A THESIS

Submitted to
Michigan State University
in partial fulfillment of the requirements
for the degree of

MASTER OF MUSIC

Department of Music

1978

ABSTRACT

STYLE PERCEPTION BY HIGH SCHOOL CHORAL STUDENTS

BY
Bonita Neeley Thursby

Purpose

To determine the level of COgnitive musical achievement
by high school choral students of Michigan in dealing with
musical style and its relationship with melody, harmony,
rhythm, form, and color and to discover if festival

performance ratings were a factor in this achievement.

Procedure

 

The Performance Achievement Listening Test which
contains a questionnaire, definitions of styles, directions,
and choral test selections was developed and administered
to students from size AA, A, B, and C high schools who
received either I, III, or IV festival ratings. Data were
analyzed using fequencies and analyses of variance as
computed using the SPSS 7.0 programs on the CDC-6500

computer at Michigan State University.

Conclusions

 

The conclusions drawn based on the findings of this
study are:
l. The listening test (Performance Achievement

Listening Test) is a useful resource and suitable instrument

for measuring cognitive musical achievement in the Michigan
choral classrooms.

2. The years of choral experience, age, year in
school, private instruction of piano, an instrument, or
voice have a postive effect on the student's aural perception
of musical style and level of achievement on the P.A.L.T.

3. Choral performance groups who receive superior
festival ratings have a better aural concept of the music they
hear and sing;and a higher level of achievement on the

P.A.L.T. than those who receive less than superior ratings.

ACKNOWLEDGEMENTS

The writer wishes to acknowledge the members of
her master's committee, Dr. Robert G. Sidnell, chairman,
Professor Ethel Armeling, and Professor Daniel Russell
who generously gave of their time and effort to further
her educational and intellectual growth. A note of special
thanks is given to Dr. Sidnell for his encouragement and
insight throughout the entire project.

A special thank you to Bill who gave much support

and dedication from the very beginning.

ii

TABLE OF CONTENTS

Page

LIST OF TABLES . . . . . . . . . . v

LIST OF APPENDICES . . . . . . . . . vi
Chapter

I. THE PROBLEM . . . . . . . . . 1

Introduction 1

Need for the Study 2

Purpose 3

Hypothesis 3

Definitions 4

Limitations 5

Overview 5

II. REVIEW OF LITERATURE . . . . . . . 7

Related Studies 7

Relevant Studies 13

Relevant Literature 15

Conclusions 19

III. DESIGN OF THE STUDY . . . . . . . 20

Sample 20

Measures 21

Design 23

Data Gathering Procedure 23

Data Analysis Procedure 24

IV. PRESENTATION OF DATA . . . . . . 25

Review of Procedure 25

Hypotheses 27

Discussion of Data 33

Summary 38

iii

Page

V. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS. . 40

Summary 40
Conclusions 42
Discussion 43
Recommendations for Further Research 45
APPENDICES 46
BIBLIOGRAPHY 61

iv

Table

4.1

LIST OF TABLES

Page
Means, Variances, and Standard Variations
for each classroom . . . . . . . 26
Descriptive Data for Year in School, Age,
and Sex. . . . . . . . . . 27
Analysis of Variance of Total Score by
Year in School, Age, and Sex . . . . 28
Descriptive Data for Years in Choir and
Number of Previous Music Classes Taken . . 29
Analysis of Variance of Total Score by
Years in Choir and Number of Previous
Music Classes Taken . . . . . . 29
Descriptive Data for Private Piano,
Instrument, and Voice . . . . . . 30
Analysis of Variance of Total Score by
Private Piano, Private Instrument, and
Private voice . . . . . . . . 31
Descriptive Data for Festival Ratings and
School Size . . . . . . . . 32
Analysis of Variance of Total Score by a
Festival Ratings and School Size . . . 32
Raw Data Answers for each Question by
the highest number of students from each
classroom tested. * indicates correct . . 34

Appendix
A.

B.

C.

D.

LIST OF APPENDICES

Subject Traits by Classroom . . .

Performance Achievement Listening Test
Form I I O O O I O O 0

Performance Achievement Listening Test
Final Form . . . . . . .

Practice Selections and Test Selections

Example Selection Procedure . . .

Page

46

47

51
56

58

CHAPTER ONE

THE PROBLEM

Introduction

Music Education has become one of the areas of the
public school curriculum which has been in focus for accounta-
bility and assessment the last ten years. Much is being
done to evaluate music at the elementary level by state and
local efforts in Michigan. Music theory and music appreciation
at the secondary level have yet to be included in such an
evaluation procedure. Group and solo performances at the
secondary level are evaluated by the Michigan School Vocal
Association and by the Michigan Band and Orchestra Association
through district and state solo and ensemble festivals.

These festivals grade only two aspects, performance and
sight reading abilities.

There is an apparent lack of assessment and evaluation
at the secondary level for its music education curriculum.
Like other areas of curricula, if music education is to stay
in the curriculum and become a part of true quality education
then the question arises: should not educators look, discuss,
and begin to deve10p an evaluation that can help bring to the
secondary level all the aspects of a quality music education

curriculum?

Need for the Study

 

As a student progresses through today's educational
environment, the things learned are to be used and applied
to future encounters. This same attitude does not stop
outside the choral classroom door. If the student acquires
a basic knowledge about a piece of music and attaches labels
and other devices to help him store the information, he can
use this in learning a similiar piece with more awareness
and have a better concept of its framework. From the choral
classroom the residual of musical experiences becomes the
basis for further interaction with music. The residual
gives some useful, musical, educational tools which can be
used to further musical knowledge and experience even if one
chooses not to continue using performance skills.

The State of Michigan allows the choral classroom and
its instruction as a credited experience toward high school
graduation. In many of the high schools this credit is
specifically designated as an academic credit, not as a fine
arts credit. Therefore, the implication of a certain educational
and intellectual achievement is present. Due to this
implication, an evaluation of this level of achievement is
needed here so that students who are gaining this educational
and intellectual knowledge have some measure for their

ability to use this retained material.

The goal of this research is to increase the choral
educator's awareness of the level of cognitive musical
achievement which seems to be the standard at this time.
It is also an aim of this study to become an aid to the
choral educator who can use this research to look at the
needs and achievements of a program; then, assess and
use descriptive achievement data to its fullest potential

in the classroom.

Purpose

The focus of this research is to determine the level
of cognitive musical achievement by the students of the
High School Choral classroom in the State of Michigan in
dealing with musical style and its relationship with
melody, harmony, rhythm, form, and color. A further
purpose will be to discover if festival performance
ratings were a factor in the cognitive musical achievement

of these students.

Hypothesis

 

There will be a significant (p‘.05) difference
between the cognitive musical achievement of students
from a mixed choral classroom from size AA, A, B, and C
schools in the State of Michigan who received superior (I)
ratings at district festival and those who received fair
or less than fair (III or IV) ratings as measured by the

Performance Achievement Listening Test.

will

Definitions

 

For the purpose of this study, the following terms
be defined as below:

Musical Style - the manner in which music elements
are explored during a period in music history
which is constituted by characteristic recognizable
differences.

 

Renaissance - the style of music from 1450 to 1600.

 

Baroque - the style of music from 1600 to 1750.

Classical - the style of music from 1750 to 1800.

 

Romantic - the style of music from 1800 to 1920.

 

Twentieth Century - the style of music from 1920
through the present.

 

Melody - the important musical line.
Harmon - the structure of music with respect to the

combination of simultaneous sounding musical tones.

Rhythm - the meter and (or) patterns built of and
around the beat or pulse.

Form - the overall design of the piece as designated
by the text or musical punctuation.

Color - the tonal quality; texture; and (or) instru-
mentation.

School Size - as stated in the Michigan School VOcal
Association Handbook: AA: 1500 and above students;
A: 900-1499 students; B: 500-899 students; C: 300-499
students; and D: 0-299 students. These are figured
with repsect to grades 10 - 12. Schools containing
grades 9 - 12 were apprOpriately reproportioned.

 

 

JOWO

1Michigan School Vocal Association Handbook, (Troy:
Pepper of Detroit, Inc., 1973-1974), p. 13.

 

District Festival Ratings - are those measurements
given by professionals in the field of music at a
choral contest within a certain geographic location.
The final rating (which is used in this research) is
the result of three judges rating performance and

a sight reading rating given by one judge. The
following ratings will be used:

 

First Division (I) - An excellent level of
performance and musicianship for the event
and classification being judged.

 

Third Division (III) - A fair performance,
but not outstanding. Shows accomplishment
and promise, but still is lacking in some
essential qualities.

 

Fourth Division (IV) - A performance which
is lacking in many essential qualities.

 

Limitations

 

The research subjects of this study will be limited
to the following high school choral classrooms: Battle
Creek Central, H.H. Dow, Hillsdale, Mattawan, Monroe,
Romulus, Linden, and Shepherd High Schools. The instrument
which will measure the cagnitive musical achievement will
be limited to the Performance Achievement Listening Test
which will be administered once to each of the above

mentioned classrooms.

Overview

 

The material which is discussed in Chapter 2 contains

synopses and results of the pertinent literature that relate

 

21bid., p. 15.

to the aims and emphasis of this study. Chapter 3 contains
a detailed explanation of the method of inquiry around
which this research is structured. The presentation and
analysis of data will form the body of Chapter 4. This
information will explain the data and its relationship to
the purpose and hypothesis of this study. The final
chapter will bring together the material described in the
preceding four chapters with discussion and recommendations

for further research.

CHAPTER TWO

REVIEW OF LITERATURE

Related Studies

 

Music educators have felt a need for assessment and

evaluation since 1892 when Benjamin Gilman1

reported on an
experimental test dealing with musical expressiveness.
Throughout the next seven decades, music educators have
continued to discuss and develop new ideas for evaluation;
however, the need for evaluation in music education has
been questioned by many others since music is an art and
its aesthetic aspect is difficult to measure. One must

remember that

.... the prgcess of living requires constant
evaluation.

The educational process is built upon goals and
objectives which are used by the teacher to structure

what is taught. Evaluation then is important in that

 

1Benjamin Gilman, "Report on an Experimental Test of
Musical Expressiveness," American Journal of Psychology,
IV: (1892): pp. 558-576.

2Richard Colwell, The Evaluation of Music Teaching and
Learning, (Englewood Cliffs: Prentice-Hall, Inc., 1970), p.1.

 

 

.... progress toward a goal can be meaningful

only when the students understandthhe goal

and his progress toward that goal.
Evaluation may be used to teach as well as to appraise a
student and the

....entire purpose for evaluation is to 4
aid the learning process, not to find fault.

There are many valuable reasons for the use of evaluation.

Leonhard and House5 cite six major points:

(1) appraisal of pupil progress

(2) guidance

(3) motivation

(4) improvement of instruction

(5) maintenance of standards

(6) research
Each of these points are important to the totality of
quality education. These reasons also apply to a quality
music education and should be the foremost goal for all
music educators.

The overall impact of this subject has not been a

great one. However Dr. Richard Colwell in his article

 

3Louis Thorpe, "Learning Theory and Music Teaching,"
Basic Concepts in Music Education, Fifty-seventh Yearbook
of the National Society for the Study of Education, ed. Nelson
B. Henry (Chicago: University of Chicago Press, 1958), Chp. 7.

4Colwell, The Evaluation of Music Teaching and Learning, p.6.

 

5Charles Leonhard and Robert House, Foundation and
Principles of Music Education, (New York: McGraw-Hill Book
Co., Inc., 1972), pp. 389-417.

 

 

9

6

Difficulties and Directions in Evaluation cites nine

 

reasons why evaluation is avoided by many educators, music
educators in particular. These reasons indicate the lack
of previous research done on evaluation of the music
education curriculum at the secondary level.
Evaluation of cognitive musical achievement in the
choral classroom has had very little emphasis in the realm
of research. Dr. John Fluke7 contends that
....at present, the only criterion for the
evaluation of achievement of high school
music performance groups seemg to be music
performance for its own sake.

This appears to be true, since Dr. Fluke's doctoral

9 written in 1963 is the first documented test

dissertation
developed for high school performance groups which deals
with achievement in an area other than performance.

Dr. Fluke's test represents the similiar attitude which

 

6Richard Colwell, "Difficulties and Directions in
Evaluation," Music Educators Journal, 57: (1971, #8):
pp. 41-43.

7John Fluke, "The Construction, Validation, and
Standardization of a Test in Music Perception for High
School Performance Groups," (Ph.d. Dissertation, Colorado
State College, 1963).

8John Fluke and Jack Sparks, "The Construction,
Validation, and Standardization of a Test in Music Perception
for High School Performance Groups," Journal of Research
in Music Education, 13: (1965, #4): p. 220.

9

 

 

 

John Fluke, Ph.d. Dissertation, 1963.

10

is held by this study as

....an attempt to create an instrument

that would measure the extent to which

students in high school performance groups

had obtained some of the tools necessary

for an undefistanding and appreciation

for music.
In his test, Dr. Fluke concentrates on the measurement of
musical perception through the aspects of rhythm, melody,
and harmony. The final test was constructed of sixty items,
twenty for each of the areas to be tested. The examples
were taped and the questions for each example were multiple
choice. The directions were also included on the tape so
that administration could be done in a consistent manner.
The standardization was done by selecting schools according
to size, geographic location within Colorado, and type of
performance group with a reliability coefficient of .78 as
obtained with the Kuder-Richardson formula number 20.

In the final statement of his J.R.M.E. article, Dr.

Fluke proposes

....Tests similiar to this one could also

be constructed to measure the ability of

high school performance groupilto perceive

and understand musical style.

This statement has become one of the bases for this research

in the area of the choral classroom.

 

10Fluke and Sparks, "The Construction, Validation, and
Standardization of a Test in Music Perception for High School
Performance Groups," p. 220.

111bid., p. 226

11

The same need for a musicianship test at the high
school level is also felt by Dr. Charles Hoffer of Indiana
University. In looking at the performing organizations as
did Dr. Fluke, he saw the emphasis was quite

.... one-sided. While the technical
skills related to performance are
developed to a creditable level, the
musical knowledge and listening skills
of these studgnts have largely gone
undeveloped.

During January of 1973, the Indiana Music Educators
Association began to explore ways to improve this situation
and discovered that the best effort could be given by developing
a test which would be administered at the music contests and
festivals throughout the state. This proposal received
Opposition from the contest organizers. The alternative
used was having teachers volunteer one of their rehearsal
periods. A random sample of 1665 students (22 groups) from
the volunteered 8700 students (88 groups) were selected with
a resulting mean score on this test of 51.5 out of 100. The
Kuder-Richardson reliability method showed a coefficient of
.80. This effort has been somewhat interrupted due to lack
of funds and effort for the justification of repetition.

Dr. Albert LeBlanc, professor of Music Education at

Michigan State Univeristy is interested in a similiar idea

of testing for college music majors. His test is the

 

12Charles Hoffer, "The Development of a Musicianship
Test of Students in High School Performing Organizations,"
Council for Research in Music Education, (1977, #50): p. 37.

 

12

13 which is related to this

Listening Test of Musical Style
study as musical style is an integral part of both studies.
The final form of his test was given to 328 college
music majors from both the undergraduate and the graduate
levels. The test consisted of 150 multiple choice items
dealing with 28 taped musical examples and was standardized
by its administration to students of eleven colleges and
universities of different sizes and geographic locations.
Dr. LeBlanc includes the Medieval, Renaissance, Baroque,
Classical, Romantic, and Twentieth Century historical
periods as they deal with style, melody, harmony, rhythm,
form, texture, and timbre. Several of the same categories
of style periods and elements were incorporated into this
research. His results were analyzed by computer, using a
package of programs designed for treatment of test and
questionnaire data. This method of analysis is very similiar
to that of this research.
In summary of the literature discussed thus far, the
importance of cognitive musical knowledge and achievement
in the performance classroom is apparent to music educators.
The need for evaluation and assessment of this aspect of
music education is present and will be fulfilled by continuing

concern and efforts.

 

13Albert LeBlanc, "Development and Validation of a
Listening Test in Music History and Analysis," (Ph.d.
Dissertation, University of Illinois, 1975).

13

Relevant Studies

 

The use of listening as a way of learning and testing

14

of students has been used by E.J. Schultz and Ben E.

15 with the measure of achievement as the determined

Bailey
outcome. Dr. Schultz's test was developed through the
desire to show that

....knowledge, information, feeling, and

ability or skill, and discrimination are
all functional as applied to the listener.

16

His testing situation and instrument is geared toward students

from the intermediate grades through the college level.

The information on the test covers a wide range of material

from modes, elements, and form to instrumental lyric types,

song types, and thematic development, nineteen catgories in all.
Ben Bailey's test was developed to measure the achievement

of southern college non-music majors in eight areas: tonality,

texture, media, melody, rhythm, structure, style, and expressive

devices through a total listening test. Bailey remarks

that all but one of the teachers who participated in the

test administration felt it accomplished its objectives well.

 

14E.J. Schultz, "Testing Listening Power in Music,"
Music Supervisors National Conference Yearbook, (1933):
pp. 306-312.

 

15Ben E. Bailey, "The Development and Validation of a
Test of Listening Skill,” Journal of Research in Music
Education, 16: (1968): pp. 59-63.

16

 

 

E.J. Schultz, "Testing Listening Power in Music," p. 307.

14

Dr. Robert Glidden17

reviewed Bailey's study and
felt that

.... the final product of this study is

seriously marred by the qulity of the

recorded muSical stimuli.
This, as well as other criticisms by Dr. Glidden, is a
common error of the listening test and should be carefully
considered in the design and implementation of this research.
Dr. Glidden did comment that if these problems were reworked,

Bailey's test would become

.... a highly satisfactory instrumenfgfor
the measurement of listening skills.

These two tests are just two examples of the efforts
made by music educators to evaluate the aspects of music
through its most viable source. These and other studies
are working to equip the student with an effective listening
ability which he can use to further his horizons in music.

To summarize this section of literature: listening is
the avenue which allows the presentation, analyzation, and
evaluation of many aspects and skills in dealing with music.
The achievement test which incorporates the listening example

permits the student to apply previously acquired knowledge

 

l7Robert Glidden, "A Review of the Development and
Validation of a Test of Listening Skill by Ben E. Bailey,"
Council for Research in Music Education, 19: (1970, #19):
pp. 48-55.

131bid., p. 53.
19Ihid., p. 55.

15
to familiar and unfamiliar pieces as well as label concrete
musical terms given through aural stimuli.

Relevant Literature

 

The concept of musical style is used by many but defined
by a very few. The general opinion held by music educators

is that

.... Music comes into being when musical
material is meaningfully manipulated, when
the resources of music are employed to
establish communication between human beings,
especially between creative and receptive
minds. At any one time in the long course
of music through the human experience a
particular aspect of the material is
organized in a particualr way, and most

of the music originating during that time
has certain characteristics in common.

At another time the organization of material
proceeds along different lines; that music
in turn develops characteristics which make it
distinguishable from other music - earlier,
later, and even music of the same period
written under different conditions - and
which will ahlow it to be considered
separately.

This organization or combination of the elements of music

is disscussed by Cannon21, Crockerzz, Salop23, Dickinson24,

 

20Homer Ulrich and Paul A. Pisk, A History of Music
and Musical Style, (New York: Harcourt, Brace, and World, Inc.,
1963), p.4.

21Beekman Cannon, The Art of Music, (New York: Thomas Y.
Crowell Co., 1960), pp. 142-455.

 

 

22Richard L. Crocker, A History of Musical Style, (New
York: McGraw-Hill Publishing Co., 1966), pp. 182-526.

 

23Arnold Salop, Studies on the History of Musical Style,
(Detroit: Wayne State University Press, 1971), pp. 17-38.

 

24George S. Dickinson, A Handbook of Style in Music,
(Poughkeepsie, N.Y.: Vassar College Press, 1965), pp. 3-126.

 

l6
and Apelz5 in their publications as musical style. This
definition is that on which many other writers base their
writings and they treat their material accordingly.

The term "period" in music history has come to denote
the same meaning as style. This can be explained by the
separation of the term, "style period". Dr. Homer Ulrich
defines style period as

.... the period of time in which certain
style elements dominate or in which those
elements significantly affect the sound
and the shape ogémost of the music then
being composed.
This view is also supported by Dr. Hoffer's statement that
.... Although a style of music is not
confined to a particular time and place,
it is named for the historical period in
which it was most conspicugpsly developed
and brought to prominence.
The interchange of the two terms, although often accepted
and used, shall be stated as style for the purpose and
meaning of this research.

28

Dr. Ulrich mentions that communication is a part

 

25Willi Apel, Harvard Dictionaty of Music, (Cambridge:
Belknap Press of Harvard University Press, 1969), pp. 811-812.

26Homer Ulrich and Paul A. Pisk, A Histggy of Music and
Musical Style, p. 5.

27Charles R. Hoffer, The Understandingfigf Music,(Belmont:
Wadsworth Publishing Co., Inc., 1967), p. 77.

28Homer Ulrich and Paul A. Pisk, A History of Music and
Musical Style, p. 4.

 

17

of style. Dr. Arnold Salop agrees as he states that
....music must involve communication.29
The concept of communication in or of music is best done
through the vein of performance. It is here that the
music of one composer can be transmitted to many listeners
who at this point now have access to the music. Dr. Edward
Cone feels that

....the comprehension and communication

of musical style may well be the ultimate

morality of performance - shat is to say

its final responsibility.3
Dr. George Dickinson also believes that

....Performance assumes the obligation

of inferring and interpreting the composer's

intent from the notated record, imparting

to the musical work auditpry reality and

palpable style identity.
This emphasis on style and performance's role in imparting
style is important to these music educators and should also
be important to the choral educator who in his classroom
uses the vein of performance as the subject matter and the

method of teaching.

In teaching style to the choral classroom, the choral

 

29
p. 19.

30Edward T. Cone, Musical Form and Musical Performance,
(New York: W.W. Norton and Co., Inc., 1968), pp. 57:87.

Arnold Salop, Studies on the History of Musical Style,

 

 

31George Dickinson, A Handbook of Style in Music, p. 115.

 

18
educator can teach the various elements of music. This
gives his students a means of expression and a set of
labels for music that they may use in future performance
or listening experiences.
Dr. Charles Hoffer has developed two programmed text-
books32 discussing the treatment of the various elements
of music in differenct styles which will aid the young
performer in a better understanding of the music and its
composer. This is an example of one of the efforts to
acquaint the performance-oriented student with musical style.
This research is an effort toward the evaluation and

measurement of the cognitive musical achievement in the
choral classroom as defined and measured by musical style.
Style was chosen, rather than the area of music theory
as it is more recognizable and easier to relate to students
who have little or no backround in music. It also enables
the choral instructor to acquaint the students with all of
the elements of music rather than just one or two individual
elements. The concluding statement of its value has been
very well said by Dr. Charles Hoffer, who relates:

.... the concept of style in music can be

a useful aid to you as a student of music.

Lt enables you to organize your thinking

about music and recognize the way musical

material is treated. Not only are styles
useful, they are valid. When you understand

 

32Charles R. Hoffer and Donna K. Anderson, Performing
Music with Understanding - Orange vol. and Green vol.,
(Belmont: Wadsworth Publishing Co., Inc., 1970), pp. 1-238.

 

 

19

what constitues musical style, you are
learning the very stuff of music. An
understanding of style helps you listen
for the right things in music. Knowing
that the Renaissance ideal was purity
and restraint of sound, you should not
be surprised or disappointed by the lack
of volume or flashing brilliance in
Renaissance music. You will be able to
listen to the music of that or any other
period with more realistic expectations
and greater reward.

Conclusions _

 

On the basis of the literature reviewed in this chapter
certain conclusions have been drawn. They are: (1) There
is a need to assess and evaluate the performance classroom
at the secondary level in the area of cognitive musical
achievement. (2) The aspect of cognitive musical achievement
is an important part of the curriculum of the performance
classroom. (3) Listening is a viable source for evaluating
cognitive musical achievement. (4) Musical style is a useful
and valuable way to teach and evaluate the cognitive
musical achievement of the student in the choral performance

classroom.

 

33Charles R. Hoffer, The Understanding of Music, p. 77-78.

CHAPTER THREE

DESIGN OF THE STUDY

Sample
Three hundred thirty six Michigan high school students

from the choral classrooms of Battle Creek, Hillsdale,

Linden, Mattawan, Midland, Monroe, Romulus, and Shepherd

were randomly chosen from all schools of the same size with
either I, III or IV ratings at district choral festival to
participate in this research. This size of each individual
choral classroom ranged from 18 to 93. Of the subjects who
participated, 110 of them were male and 256 were female with
36 of them being freshmen, 141 being sophomores, 109 being
juniors, and 80 being seniors. The range for age was from

14 to 18 with only 12 being 14, 97 being 15 years, 123 being
16 years, 93 of them being 17 years, and 41 being 18 years of
age. 33 persons in this sample have had seven or more years
of private piano study, 16 had private study for five to six
years, 26 had studied for three to four years, 55 had studied
for one to two years and 236 students had had no private piano
experience at all. The experience range for the number of
years of private instrumental study was 19 with seven or more
years, 19 with five to six years, 19 with three to four years,

69 having one to two years, and 240 having no private instrumental

20

21
instruction at all. Only 1 student of the entire study had
studied voice privately for seven or more years, 7 had studied
for five to six years, 6 studied privately for three to four
years, 50 for one to two years, while 302 had never studied
voice privately. When asked about the number of previous
music classes taken excluding choir, 158 students had never
taken any music classes, 176 responded that they had taken
one or two classes, 22 had taken three or four classes, 6
had enrolled in five or six classes, and only 4 students had
taken seven or more music classes. A listing by classroom

of all included subject traits appears in Appendix A.

Measures

The instrument being used to determine the educational
and intellectual achievement of the subjects involved is
the Performance Achievement Listening Test (P.A.L.T.). This
test was developed, as there are no standardized achievement
tests concerned solely with the choral performance classroom
which contain only choral music examples.

The first form of the P.A.L.T. (see appendix B) was
piloted during the fall of 1977 at East Lansing High School
in the freshmen S.A.T.B. chorus and the Girls Glee Club and
at Michigan State University in the junior level conducting
class. The students completed a questionnaire and then were
read directions and definitions by the researcher. Two

practice examples and ten test examples each 45 seconds in

22
length with 15 seconds intermittent silence were used and
produced on a reel to reel tape recording. These examples
were chosen after interviewing five members of the Michigan
State University Music Faculty who are recognized authorities
on choral music. The same two questions asked for each test
example are used on the final form of the P.A.L.T. The
results indicated that students with greater experience in
music did better on the overall score for those items which
contained correct/non-correct answers. Other variables
analyzed were grade, age, sex, piano, instrumental, and voice
experience, number of years in choir, and number of previous
music classes taken.

The final form of the P.A.L.T. (see appendix C) consists
of directions for scoring the questionnaire, the questionnaire,
definitions, test directions, scoring for two practice
examples, two practice examples, a score sheet for the fifteen
test examples, and the test examples (see appendix D). Each
example was one minute long with ten seconds of silence
between each example. The P.A.L.T. was taped on a reel to reel
tape and was transferred to a cassette tape by high speed
duplication.

These choral examples, for which there were two questions
per example, were selected by a committee of seven faculty
members and three graduate students of the Michigan State
University Music Department. Their process of selection was

based in part on the recordings of choral music available in

23

the Lansing-East Lansing area during the month of January,
1978. The selections and directions are found in Appendix E.
The committee was to rate each piece in rank order from most
representative to least representative of a musical style.
The three examples with the lowest total score from each
designated style were placed on the test by a random drawing
for order of examples. The reliability estimate as computed

by the Kuder-Richardson #20 was .64.

Design

Data were gathered in a single test experience. The
students were randomly chosen and administered the P.A.L.T.
to measure the dependent variable - choral music style
achievement. The independent variables to be considered
are ratings at district festivals, school size, grade, age,
sex, years of choral experiences, years of private piano,
instrumental, and vocal study, and number of previous music
classes taken. These variables will permit analysis according

to categories thought to be related to style achievement.

Data Gathering Procedure

 

The P.A.L.T. was administered to the students of the
previously mentioned high schools during one of the scheduled
rehearsal periods. The test was given by the choral educator
at the school. This procedure was chosen as the most efficient
and convenient use of time and effort. Students were given

a test booklet and a computer mark sense sheet on which to

24
record their answers. It was explained to them that the
test would not in any way affect their grade for the class
and were asked to do their best.

In order to mark the answer sheets for identification of
school, a number was devised which the researcher coded on
answer spaces 42 and 43 after the answer sheets were returned.
The first digit represents the rating received at district
festival - I, III, or IV. The second digit indicates the
school size, AA, A, B, or C as coded 1, 2, 3, or 4 respectively.

Students were instructed to choose the style from which
they thought the example came and to choose the element which
best describes the reasoning for their answer of the style.
The acknowledgement that the student's answers were important

led to the completion fo all test questions with no omissions.

Data Analysis Procedure

 

The use of frequencies of answers for all variables and
several analyses of variance (ANOVA) using different combinations
of all variables were chosen for analysis of the data. These
were computed using the Statistical Package for the Social
Sciences 7.0 programs as revised for the CDC-6500 computer
at Michigan State University by the Vogelback Computing

Center at Northwestern University in Evanston, Illinois.

CHAPTER IV

PRESENTATION OF DATA

Review of Procedure

 

The purpose of this research was to determine the level
of achievement of choral music style by high school choral
students. In the present study, factors of the year in
school, age, sex, years in choir, private piano, private
instrument, and private voice experience, number of music
classes taken, festival ratings and school size were
considered.

Three hundred sixty six students participated during
the spring of 1978 at various geographic locations in
Michigan. All students were administrered the P.A.L.T.
during a scheduled choral rehearsal period. The data
collected from the P.A.L.T. were recorded on computer cards
and prepared for statistical analysis by the CDC 6500
computer at the Michigan State University Computer Center.
Data were analyzed using three computer subprograms designed
for the Statistical Package for the Social Sciences 7.0.

Table 4.1 shows descriptive data for all eight choral
groups on the criterion instrument used for the research.
Analyses of variance were the means of determining acceptance

or rejection of the null hypotheses.

25

26

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27

Hypotheses

 

This study tested four hypotheses which stated
here are in nondirectional form. All four were tested
using analysis of variance. Year in school, age, and sex
are the factors for the first hypothesis. The second
hypothesis tested the factors, number of years in choir
and number of previous music classes taken. Private study
of piano, instrument, and voice are the factors of hypothesis
three and festival ratings and school size are the factors
which pertain to hypothesis four. The dependent variable
for all hypotheses is choral music style achievement.
The four hypotheses were tested as follows:
Hypothesis I: There will be no difference among high
school aged students according to year
in school, age, or sex (or interactions

there of) on the dependent variable of
choral style as measured by the P.A.L.T.

 

Table 4.2 -- Descriptive Data for Year in School, Age, and Sex

 

Source ” Mean

 

Year in School

 

0 Freshmen 6.42
l Sephomore: 7.06
2 Junior 7.38
3 Senior 7.60
Age
0 14 7.25
l 15 7.09
2 16 7.04
3 17 7.64
4 18 6.78
Sex
0 Male 7.30
1 Female 7.17

 

28

Table 4.3 -- Analysis of Variance of Total Score by Year
in School, Age, and Sex

 

 

 

 

 

 

 

Source of SS df MS F P
Variation
Main Effects
Year in Sch. 98.767 32.922 3.865 .010
Age 84.303 4 21.076 2.474 .044
Sex 3.432 1 3.432 .403 .526
2-Way Interaction
Y x A 68.885 6 11.481 1.348 .235
Y x 8 1.455 3 .485 .057 .982
A x S 11.062 4 2.765 .325 .861
3-Way Interaction
Y x A x S 52.177 3 17.392 2.042 .108
Within 2904.980 341 8.519
Total 3174.219 365

 

Table 4.2 shows that as the student increases in years in
school the achievement level gets better. The mean score for
age also increases with a slight drop at the senior year.
Table 4.3 reveals significant differences by year in school
and age, hence the null hypotheses for those main effects
are rejected. No other significant differences in main

effects or interactions were found.

Hypothesis II: There will be no difference among high
school students according to the level
of number of years in choir or number
of previous music classes taken on the
dependent variable of choral style as
measured by the P.A.L.T.

 

29

Table 4.4 -- Descriptive Data for Years in Choir and Number
of Previous Music Classes Taken

 

 

Source Mean

 

Years in Choir

 

 

 

0 One to Two Years 6.38
1 Three to Four Years 6.9
2 Five to Six Years 7.67
3 Seven or more Years 8.48
Number of Classes
0 None 6.92
1 One to Two Classes 7.32
2 Three to Four Classes 8.19
3 Five to Six Classes 8.17
4 Seven or more Classes 7.25
Table 4.5 -- Analysis of Variance of Total Score by Years
in Choir and Number of Previous Music Classes
Taken

 

 

Source of

 

 

 

 

Variation SS df MS F P
Main Effects

Years In Choir 188.098 3 62.699 7.558 .001

# of Classes 46.734 4 11.683 1.408 .231
2-Way Interaction

Y x #C 64.440 10 6.444 .777 .651
Within _ 2878.792 347 8.296

Total 3173.589 364

 

Table 4.4 reveals that the longer one is in choir the
higher score on the P.A.L.T. The number of previous classes
has no effect. Table 4.5 shows a significant difference by
years in choir therefore the null hypothesis for that main

effect is rejected. No other significant differences in main

30
effects or interactions were found.

Hypothesis III: There will be no difference among high
school aged students according to the
private study of piano, instrument,
or voice (or interactions there of) on
the dependent variable of choral style
as measured by the P.A.L.T.

Table 4.6 -- Descriptive Data for Private Piano, Instrument,
and Voice

 

 

Source Mean

Private Piano

 

0 None 6.73
1 One to Two Years 7.24
2 Three to Four Years 8.31
3 Five to Six Years 8.63
4 Seven or more Years 9.03

Private Instrument

 

0 None 6.95
1 One to Two Years 7.19
2 Three to Four Years 8.53
3 Five to Six Years 7.84
4 Seven or more Years 8.58

Private voice

 

0 None 7.22
1 One to Two Years 7.58
2 Three to Four Years 7.34
3 Five to Six Years 4.72
4 Seven or more Years 2.00

 

The preceding table indicates that the longer one
studies piano the higher the aural perception of musical style
as measured by the P.A.L.T. The study of a private instrument
also indicates the same with a slight exception between five
to six years and seven or more. The descriptive data for
private voice reveals that the longer one studies the less

one knows about musical style especially for the one case

31

with seven or more years of private voice study.

Table 4.7 -- Analysis of Variance of Total Score by Private
Piano, Private Instrument, and Private Voice

 

 

\

Source of
Variation

SS df MS F P

 

Main Effects

Pri. Piano

 

Pri. Instrument

Pri. Voice
2-Way71nteraction

P x I

P x V

I x V
3-Way_Interaction

P x I x V
Within

 

 

Total

222.726 4 55.682 7.170 .001
78.727 4 19.682 2.535 .040
113.726 4 28.431 3.661 .006

132.602 15 8.840 1.138 .321
136.119 9 15.124 1.948 .045
70.123 8 8.765 1.129 .343
25.387 7 3.627 .467 .858
2438.348 314 7.765

 

3174.219 365

 

Table 4.7 reveals significant differences by private

piano, private instrument, private voice and the interaction

of private piano-private voice. The null hypotheses for these

main effects and the interaction are rejected. No other

significant differences in the other interactions were found.

Hypothesis IV:

 

There will be no difference among high
school aged students according to
festival ratings or school size (or
interaction there of) on the dependent
variable of choral style as measured
by the P.A.L.T.

32

Table 4.8 -- Descriptive Data for Festival Ratings and
School Size

 

Source Mean

 

Festival Rating

 

 

 

0 Superior (I) 7.93
2 Fair (III) 6.79
3 Less than Fair (IV) 5.10
School Size
0 AA 8.28
l A 5.68
2 B 7.03
3 C 6.35
Table 4.9 -- Analysis of Variance of Total Score by Festival

Rating and School Size

 

Source of

 

 

 

 

Variation SS df MS F P
Main Effects

Rating 304.884 2 152.442 22.577 .001

Size 433.221 3 144.404 21.386 .001
2-Way Interaction

R x S 64.199 2 32.100 4.754 .009
Within 2417.294 358 6.752

Total 3174.219 365

 

In Table 4.8 the data indicates that the higher ratings
and larger schools will have a higher achievement level of
choral style perception as measured by the P.A.L.T. Table
4.9 reveals significant differences by festival rating, school

size and the interaction of the two variables hence the null

33
hypotheses for those main effects and that interaction
are rejected.

Discussion of Data

 

The examination of the frequencies on the raw data
dealing with choice of style and the element for style
determination brings forth some interesting information.
Table 4.10 lists the style chosen by the larger number of
students and the element for style determination chosen by
the larger number of students from all eight schools. This
shows that questions 1, 9, ll, 12, and 15 were answers
chosen by the larger number of students from all eight
schools. These five examples include the three Classical
selections on the test, one Baroque selection, and one
Twentieth Century selection. Several other questions were
chosen by either seven of the eight classrooms or six of the
eight classrooms.

The Classical and Baroque styles were chosen most often
with the breakdown of 120 answers as follows: Renaissance (19),
Baroque (33), Classical (37), Romantic (13), and Twentieth
Century (18). The Renaissance, Baroque, and Classical
styles had one element for style determination which was
predominately chosen. These were form, rhythm, and form
respectively. The Romantic style had color, harmony, form,
and rhythm of which none was the major element. The Twentieth

Century style was characterized by color, harmony, and rhythm.

Table 4.10 -- Raw Data Answers for each Question by
the highest number of students from
each classroom tested.

34

* indicates correct.

 

 

Classroom:

Classroom:

Battle Creek Central

\OCDNIO‘U'InwaH
o o o I o o o o o

H
O

11.
12.
13.
14.
15.

koarqchunhtnknd m

HHHH
wNHO

14.
15.

*Classical

Baroque

*Romantic

*Baroque
*Renaissance
Twentieth Century
*Baroque
*Twentieth Century
*Classical
*Renaissance
*Baroque
*Twentieth Century
*Renaissance
Baroque
*Classical

H. DOW

*Classical

Baroque

*Romantic

*Baroque

Romantic
Classical
*Baroque
*Twentieth Century
*Classical
*Renaissance
*Baroque
*Twentieth Century
*Renaissance
Classical
*Classical

Form
Rhythm
Form
Harmony
Melody
Harmony
Rhythm
Harmony
Form
Rhythm
Harmony
Color
Form
Form
Form

Form
Rhythm
Color
Form
Harmony
Color
Rhythm
Harmony
Form
Harmony
Rhythm
Rhythm
Harmony
Color
Color

35

Table 4.10 continued

 

Classroom:

Classroom:

Hillsdale

1.

*Classical
Baroque
*Romantic
*Baroque
*Renaissance
Baroque/Romantic*
*Baroque

8. *Twentieth Century
9. *Classical
10. *Renaissance
ll. *Baroque
12. *Twentieth Century
13. *Renaissance
14. Classical
15. *Classical
Mattawan
1. *Classical
2. Baroque
3. *Romantic
4. Renaissance
5. Baroque
6. Twentieth Century
7. Renaissance
8. *Twentieth Century
9. *Classical
10. Romantic
ll. *Baroque
12. *Twentieth Century
13. *Renaissance
14. *Romantic
15. *Classical/Romantic

Form
Rhythm
Rhythm
Harmony
Rhythm
Color
Rhythm
Harmony
Form
Rhythm
Rhythm
Color
Rhythm
Color
Form

Harmony
Rhythm
Color
Form
Rhythm
Harmony
Rhythm
Harmony
Form
Rhythm
Harmony
Rhythm
Rhythm
Color
Color

36

Table 4.10 continued

 

 

Classroom:

Classroom:

Monroe

1. *Classical
2. Baroque
3. *Romantic
4. *Baroque
5. *Renaissance
6. *Romantic
7. Classical
8. *Twentieth Century
9. *Classical
10. *Renaissance
ll. *Baroque
12. *Twentieht Century
13. Baroque
14. Classical
15. *Classical

Romulus

1. *Classical
2. Classical
3. Renaissance/Classical
4. *Baroque
5. Romantic
6. Twentieth Century
7. *Baroque
8. Classical
9. *Classical
10. Romantic
11. *Baroque/Classical
12. *Twentieth Century
13. Baroque
14. Classical
15. *Classical

Form
Rhythm
Color
Form
Harmony
Form
Rhythm
Harmony
Form
Rhythm
Harmony
Color
Rhythm
Color
Form

Harmony
Melody
Melody
Form
Harmony
Rhythm
Rhythm
Harmony
Harmony
Form
Harmony
Form
Form
Harmony
Rhythm

37

Table 4.10 continued

 

 

Classroom:

Classroom:

Linden

1.
2.
3.

\DQOUl-b
O O O O O

10.

12.
13.
14.
15.

*Classical
Classical
*Romantic

*Baroque
*Renaissance
Classical
*Baroque
*Twentieth Century
*Classical
*Renaissance
*Baroque
*Twentieth Century
*Renaissance
Classical
*Classical

Shepherd

1.
2.
3.

\OmflmUInb
O O O O O

11.
12.
13.
14.
15.

*Classical

Baroque
*Romantic/Classical
*Baroque
*Renaissance
Classical
*Baroque
*Twentieth Century
*Classical

Baroque

*Baroque
*Twentieth Century
*Renaissance
*Romantic
*Classical

Harmony
Melody
Color
Form
Harmony
Color
Harmony
Harmony
Color
Form
Harmony
Color
Form
Color
Rhythm

Form
Form
Harmony
Rhythm
Form
Form
Rhythm
Rhythm
Form
Rhythm
Harmony
Color
Melody
Rhythm
Rhythm

38

An interesting point is that of the 120 questions dealing
with the elements of style determination, melody was
chosen only five times as it dealt with either the Renaissance
or Classical styles. This was surprising as melody is the
element most choral students understand and are familiar
with as it functions in their music. A final observation
was that the element of form was most chosen of all elements.
This may be explained by the definitions the students were
given and the element of form and its association with text.
The following of the text may have been easier for the
students who could not relate to the concepts of harmony
or color or did not feel that they could distinguish
rhythm as the main element for choosing a certain style.
Summary

The data as analyzed and presented through analysis of
variance tests revealed that the independent variables:
year in school, age, years in choir, private piano, private
instrument, private voice, the interaction of piano and voice,
festival ratings, school size and the interaction of rating
and size all have significant F values and show statistically
significant differences between students at the various levels
within these variables.

Students tend to choose the style which is most like
the music they are familiar with and the styles not heard or

done as often were not as easily identified. The element of

39
form was the most frequently chosen as a style determiner
by all students who participated, with rhythm being the
second most frequently chosen element. These are evaluated
as logical choices because they are two of the three elements

which are emphasized from the elementary level and beyond.

CHAPTER V

SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS

Summary

The purpose of this study was to determine the level
of cognitive musical achievement by the students of the
high school choral classroom in Michigan in dealing with
musical style and its relationship with melody, harmony,
rhythm, form, and color. A further purpose was to discover
if festival performance ratings were a factor in the
cognitive musical achievement of these students. The
variables included were: year in school, age, sex, years in
choir, private piano, private instrument, private voice,
number of previous music classes taken, festival ratings,
and school size. Four hypotheses tested the effects of
these variables on the students' cognitive musical achievement
as measured by the Performance Achievement Listening Test.

The Performance Achievement Listening Test (P.A.L.T.)
develOpment procedure included: the survey of the Michigan
School Vocal Association Approved Festival Lists; gathering
Opinions concerning choral music and selection of examples
by Michigan State University faculty and graduate students;
construction of a questionnaire; definitions of style;

selection and recording of examples; and reliability checks.

40

41

Several revisions to the questionnaire, definitions, and
examples were made following preliminary administrations.
Reliability was based on the Kuder-Richardson #20 internal
consistency measure.

Three hundred sixty six students from eight choral
classrooms in the State of Michigan were employed in
determining the effects of the independent variables. The
P.A.L.T. was administered during a scheduled rehearsal
period of each choral group by the choral educator present
to measure the dependent variable. The grand mean was used
as the unit of observation. Data were analyzed using
frequencies and analyses of variance (ANOVA). The level of
significance was set a .05. Analysis was performed using
the Statistical Package for the Social Sciences 7.0 as
adapted for the CDC-6500 computer at Michigan State University.
Results from the four nondirectional hypotheses were as follows:

Hypotheses I: There will be no difference among high

school aged students according to year
in school, age, or sex (or interaction

there of) on the dependent variable of
choral style as measured by the P.A.L.T.

 

The hypothesis was rejected for year in school and age but
accepted for sex and all interactions of these variables.

Hypothesis II: There will be no difference among high
school students sccording to the level
of number years in choir or number of
previous music classes taken on the
dependent variable of choral style as
measured by the P.A.L.T.

 

42
Hypothesis II was rejected for years in choir but accepted
for number of previous music classes taken and their
interaction.

Hypothesis III: There will be no difference among high
school aged students according to the
private study of piano, instrument, or
voice (or interactions there of) on
the dependent variable of choral style
as measured by the P.A.L.T.

This hypothesis was rejected for all main effects and the
interaction of private piano-private voice. It was accepted
for the other interactions involved.
Hypothesis IV: There will be no difference among high
school aged students according to festival
ratings or school size (or interaction

there of) on the dependent variable of
choral style as measured by the P.A.L.T.

 

Hypothesis IV was rejected for all main effects and interactions.

Conclusions

 

The conclusions from this study apply only to the

sample from which the data were drawn; therefore, what is
true for these high school choral students in Michigan cannot
necessarily be assumed true for choral students of other levels
or geographic locations. Based upon the findings of this
study, however, the following conclusions can be drawn:

1. The listening test is a useful resource for
evaluation of the choral classroom.

2. The Performance Achievement Listening Test is
a suitable instrument for measuring choral musical style

achievement in the Michigan high school choral classroom.

43

3. Choral performance groups who receive superior
ratings at festival have a better aural concept of the music
they hear and sing than those groups who receive less than
superior ratings.

4. The years of choral experience does have an
effect on the cognitive musical achievement as it pertains
to musical style.

5. Private instruction in piano, instrument,and
(or) voice has a positive effect on the student's aural
perception of musical style.

6. The maturity of a student according to age and
year in school will give them a higher achievement level on

a test dealing with the aural perception of musical style.

Discussion

 

Although it was concluded that schools with superior
ratings produce students who are more aurally aware of the
music they hear and sing, it is certainly not an implication
of this researcher that schools with lower ratings not
continue to strive to give their students the information
which can help them become better listeners and hOpefully
better musicians. It is, however, a recommendation of this
researcher that all choral educators in the State of Michigan
teach some basic music labels and tools that will give their
students knowledge which will be useful to them after their

high school choral performance experience. This will enable

44
them to further their knowledge in the classroom and allow
them to apply their musical knowledge to the musical
experiences presented in other situations.
The use of musical style as the source of measure
was beneficial in the aspect of its wide use in the musical
world and can be understood by students. It allowed students
with little or no background in music to listen and relate
those elements for which they did not have technical names
or understanding. Cassette tape was used to minimize the
variance in the quality of sound systems from school to
school. The overall quality would have been at a higher
level had a reel to reel tape been utilized at each test sight.
Several limitations of this study were the lack of
choral recordings available, especially those containing
choral music at the level performed by most high school
students and previous research in this area. Music on the
high school level found in the five musical styles would
have made listening easier for the high school student.
Questions dealing with the appropiateness of the
selections used and the use of musical style were brought
to the attention of the researcher. Two of the choral educators
who participated cited these as possible flaws of this research.
Other choral educators who were employed in this study
were in agreement with the usage of choral style and its place

in the music curriculum of the performance classroom.

45

The lack of recordings, previous research concerning
the choral performance classroom, and emphasis of evaluation
of musical achievement in the performance classroom at the
secondary level indicates a somewhat complacent attitude
toward cognitive choral music achievement. The solution
to such an attitude could be the teaching of basic music
concepts and musical style in junior high and high school
performance groups. This would round out the musicianship
of each student and make him more aware of the music with
which he deals. The means of appreciation is through
understanding and understanding is one of the basic foundations

of education which all music educators should strive to achieve.

Recommendations for Further Research

 

1. More studies are needed to explore
different ways to measure achievement other than performance
in the choral classroom

2. An investigation of teacher attitude (or)
influence upon the achievement of students in the choral
classroom is warranted.

3. The inclusion of written examples of music in
dealing with musical style in an instrument which measures
cognitive music achievement is needed.

4. As the population represented in this study
was finite, replication with other populations would be of

value.

APPENDICES

APPENDIX A

46

 

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APPENDIX B

APPENDIX B

P.A.L.T. Form I

Questionnaire

 

What year in school?

 

What is your age?

 

What is your sex?

 

What type of choral group do you sing in? SATB SSAA TTBB

How many years did you sing in a choral group?

 

If you have studied piano, was it private lessons or a
class?

 

If you studied piano privately, how long? years mths.
If you have studied an instrument privately, how long?

What instrument do you study privately?

 

List below any other music classes you have taken in
Junior High or High School other than choir:

 

 

Answer the following questions at the end of the test:

1.
2.

Did you understand the questions and definitions? yes no

If you said no to #1 what didn't you understand?

 

 

Would you like to sing any of the music played on the
test? yes no

Which example did you like the best?

Which example did you like the least?

THANK YOU!

47

48

Test Directions and Practice Examples

Please listen carefully to each definition and example
played on this test. After the definitions have been stated
there will be two practice examples. You should mark your
answers to the practice examples in the spaces provided
below. Mark your answers as follows:

For question (a) in each example, circle the name of the
musical period from which you think that example comes.
For question (b) in each example, circle the word which
best describes why you chose your answer for question (a).

Practice Example I:

 

(a) Renaissance Baroque Classical Romantic 20th Century
(b) Melody Harmony Rhythm Form Color

Practice Example II:

 

(a) Renaissance Baroque Classical Romantic 20th Century
(b) Melody Harmony Rhythm Form Color

Definitions

 

The above directions and following definitions were read
aloud once to each choral group before hearing the practice
examples.

Renaissance - This mostly vocal music treats each vocal line
equally and the number of parts can range from 2-6. The
instruments will most often double the voice parts or play
very little. An example of Renaissance would be a madrigal.

 

Baro ue - The countrapuntal idea or exchange of a line is
quite characteristic of this period. The number of voices
can range from 4-8 parts. This idea of taking a musical idea
and passing it from one part to the next gives the effect of
a melody and accompaniment.

Classical - With the normal 4 voice parts, the sound is more
solid because the voices are now singing the same text.

There is some alternation of music between the chorus and the
soloists or the chorus and the instruments. The dynamics in
this period are more gradual than before.

 

49

Romantic - Chromatic movement (or movement by half step) and
quick changes from major to minor or minor to major happen

in this period of music. The vocal line often adds a slight
surprise in how it gets where its going. The texture is
thicker due to the "jazz-like" harmonies and both the voices
and the instruments often paint the picture that the composer
is trying to draw.

Twentieth Century (20th) - At this point in time almost anything
goes. All types of melodies, harmonies, rhythms, words, etc.
can and are used today. All of the elements (or things

that make up music) seem to be pushed to their limits.

Examples of this period could be something by Daniel Pinkham,

a spiritual, or a jazz piece by Dave Brubeck.-

 

Melod - The main musical line.
_____Y
Harmony - The chords or accompaniment. (Tones or melodies

happening at the same time).

Rhythm - The beat and all the things that it does.

Hpgm - The blueprint or plan of the piece, such as ABA.

92195 - The type of tone in music. Music's variety and effects.

The category that catches anything that doesn't fall into the
above four places.

Test Examples

 

The following examples were used for Form I of the P.A.L.T.

l) Brahms: ”How Lovely is Thy Dwelling Place"

2) Monteverdi: Movements 2 and 3 from "Magnificat"
3) Handel: Amen fugue and chorus from "Messiah"

4) Schoenberg: "Friede auf Erde"

5) Schutz: "Saul, Saul"

6) Schubert: Kyrie from "Mass in G"

7) Poulenc: "O Magnum Mysterium"

8) Bach: fugue from "Jesu, Meine Freude"

9) Mozart: "Dixit Dominum"
10) Mendelssohn: section from "Elijah"

50

Test Answer Sheet

 

The following is an example of the answer sheet used in the

Form I of P.A.L.T.

corresponded to
circle the word

Example 1:

 

(a) Renaissance
(b) Melody

Example 2:

 

(a) Renaissance
(b) Melody

Example 3:

 

(a) Renaissance
(b) Melody

Example 4:

 

(a) Renaissance
(b) Melody

Example 5:

 

(a) Renaissance
(b) Melody

Baroque

Harmony

Baroque

Harmony

Baroque

Harmony

Baroque
Harmony

Baroque
Harmony

the ten examples.
which represented his/her response.

Classical
Rhythm

Classical
Rhythm

Classical
Rhythm

Classical
Rhythm

Classical
Rhythm

etc.

It included ten answer places which

Each student was to

Romantic

Form

Romantic
Form

Romantic

Form

Romantic
Form

Romantic

Form

Twentieth
Color

Twentieth
Color

Twentieth
Color

Twentieth
Color

Twentieth
Color

Century

Century

Century

Century

Century

APPENDIX C

BOOKLET
FOR

PERFORMANCE ACHIEVEMENT LISTENING TEST

Bonnie Thursby
Masters Degree Candidate

Michigan State University

51

52

QUESTIONNAIRE

What is your year in school?

1)
2)
3)
4)

freshman
soPhomore
junior
senior

What is your age?

1)
2)
3)
4)
5)

14
15
16
17
18

What is your sex?

1)
2)

How

1)
2)
3)
4)

How

1)
2)
3)
4)
5)

How

1)
2)
3)
4)
5)

How

1)
2)
3)
4)
5)

male
female

many years have you

one-two years
three-four years
five-six years
seven or more years

many years have you

0

one-two years
three-four years
five-six years
seven or more years

many years have you

0

one-two years
three-four years
five-six years
seven or more years

many years have you

0

one-two years
three-four years
five-six years
seven or more years

sung in any type of choral group?

studied piano privately?

studied an instrument privately?

studied voice privately?

53

QUESTIONNARIE page 2

8. How many other music classes have you taken? (Don't count
choir).

1)
2)
3)
4)
5)

0

one-two classes
three-four classes
five-six classes
seven or more classes

Please answer the following questions after listeningyto

 

this test.

 

9. Would you like to sing any of the music you heard on this test?

1)
2)
10. Was
1)
2)
11. Was

1)
2)

yes
no
there a selection that you liked best of all?
yes
no
there a selection that you disliked very much?

yes
no

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55

TEST DIRECTIONS AND PRACTICE EXAMPLES

Please read these directions carefully and listen
carefully to each selection played on this test. After the
directions have been read, there will be two practice
selections. You should mark your answers to the practice
selections below. Mark your answers as follows:

For the first question in each example, mark the number
of the name of the musical style from which you think that
selection comes. For the second question in each example,
mark the number of the word which best describes why you
chose your answer for the first question of that example.

Practice Example I

 

(l) Renaissance (2) Baroque (3) Classical (4) Romantic
(5) Twentieth Century

(1) Melody (2) Harmony (3) Rhythm (4) Form (5) Color
Question 1. (l) (2) (3) (4) (5)
Question 2. (l) (2) (3) (4) (5)

Practice Example II

 

Use the same set of answers as shown in practice example I.
Question 1. (1) (2) (3) (4) (5)
Question 2. (l) (2) (3) (4) (5)

 

The test will now follow with 15 selections. For each
selection answer two questions as you did above using the
same answers. These are:

Question 1 in each example:

(1) Renaissance (2) Baroque (3) Classical (4) Romantic
(5) Twentieth Century

Question 2 in each example:

(1) Melody (2) Harmony (3) Rhythm (4) Form (5) Color

Start with answer spaces #12 and #13 on your computer score
sheet for the two questions for Selection 1 on this test.

APPENDIX D

l)

2)

l)

2)

3)

4)

5)

6)

APPENDIX D

Practice Selections

 

Penderecki: St. Luke Passion
Recorded by Cracow Philharmonia conducted byHenryk Czyz
Philips. label

Victoria: Veres Languores Nostros

Recorded by the Roger Wagner Chorale
Angel label #S-36022

Test Selections

 

Mozart: Requiem

Recorded by the Wiener Singverein and the Berliner
Philharmoniker as conducted by Herbert V0n Karajan.
Deutsche Grammophon label #2530-705

C0p1and: In the Beginning

Recorded by the New England Conservatory Chorus
conducted by Aaron C0p1and.
Columbia label #M30375

Brahms: Liebeslieder, Op. 52, no. 18 Es Bebet das Gestrauche

Recorded by Elsie Morison, Marjorie Thomas, Richard
Lewis, and Donald Bell with pianists Vitya Vronsky
and Victor Babin.

Seraphim label #S-60033

Handel: Messiah

Recorded by the Royal Choral Society and the Royal
Philharmonic as conducted by Sir Malcolm Sargent.
Dynagroove-RCA Custom label

Victoria: 0 Magnum Mysterium
Recorded by the Roger Wagner Chorale
Angel label #S-36022

Berlioz: Requiem

Recorded by the Temple University Singers and the
Philadelphia Orchestra and conducted by Eugene Ormandy.
Columbia Label #MZS-730/ M2L-330

56

7)

8)

9)

10)

ll)

12)

13)

14)

15)

57

Bach: Magnificat in D
Recorded by the South German Madrigal Choir
Sine Qua Non label #SQN-7739
Penderecki: Stabat Mater
Recorded by the Cracow Philharmonia
Philips label
Haydn: Creation; The Heavens are Telling (#13)

Recorded by the Wiener Singverein and the Berliner
Philharmoniker as conducted by Herbert Von Karajan.
Deutsche Grammophon label #2707-044

Palestrina: Pope Marcellus Mass; Kyrie
Recorded by the Roger Wagner Chorale
Angel label #S-36022

Bach: Mass in B Minor; Cum Sancto Spiritus

Recorded by the Chorus of the Singakademie at Vienna
and the Stuttgart Chamber Orchestra.
London label #OSA-1287

Bernstein: Chichester Psalms; I:Psalm 108 & 100.

Recorded by the Camerata Singers and the New York
Philharmonic as conducted by Leonard Berstein.
Columbia label #MS-6792

Palestrina: Magnificat for 8 Voices

Recorded by the Choir of King's College at Cambridge.
Argo label #ZRG-5398

Brahms: A German Requiem; Den vir haben hie keine (#6)

Recorded by the Vienna Singverein and the Berlin
Philharmonic and conducted by Herbert von Karajan.
Angel label #SB-3838

Mozart: Coronation Mass; Agnus Dei (Dona Nobis)

Recorded by the John Alldis Choir and the London
Symphony Orchestra as conducted by Colin Davis.
Philips label #6500-234

APPENDIX E

APPENDIX E

Example Selection Procedure

Please look over the compositions in each musical period

and number them from 1 t0 ? in order of preference.

Preference should be made on the basis of which pieces you
feel are most representative of the period under which they
are listed. If you choose a larger work for the numbers
between 1 and 5, please indicate which section of that work
you think would be most representative. These will be
tabulated and will become a part of a listening test I am
developing for my Master's Thesis. Thank you for your efforts
and cooperation.

Renaissance (Number 1-20.)

 

Palestrina:
Pope Marcellus Mass
Stabat Mater
Magnificat
Hodie Beata Virgo
Senex Puerum Portabat

Josquin des Prez:
Ave Virginitas
Missa La Sol Fa Re Mi
Miserere Mei, Deus
Sanctus de Passione
Missa Ave Maris Stella
Salve Regina

Orlando di Lasso:
Missa "Ecce Nunc Benedicite Domine"
Prophetine Sibyllarus

William Byrd:
Mass for Four Voices
Mass for Five voices

Baroque (Number 1-10.)

J. S. Bach:
Mass In B Minor
Magnificat in D
Christmas Oratorio
St. Matthew Passion
Christ Lag in Todesbanden
Jesu Meine Freude

58

59

G. F. Handel:
Messiah
Judas Maccabeaus
The Lord is my Light

A. Vivaldi:
Gloria

Classical (Number 1-13.)

 

W. A. Mozart:
Coronation Mass
Ave Verum Corpus
Requiem
Missa Brevis (Sparrow Mass)K. 220.

J. Haydn:
Creation
Mass in Time of War
Lord Nelson Mass
The Seven Last Words
Harmoniemesse (Mass in Bb #12)

L. v.Beethoven:
Mass in C Major
Christ on the Mount of Olives
Missa Solemnis

C. P. E. Bach:
Magnificat

Romantic (Number 1-11.)

J. Brahms:
German Requiem
Liebeslieder Waltzes
Zigeuinerlieder, Op. 103
In Stille Nacht

F. Mendelssohn:
Im Walde, Op. 41, #1

F. Schubert:
Mass in G
Mass in Ab Major
Mass in Eb Major

H. Berlioz:
Requiem
Te Deum
L'Enfance du Christ, Op. 25.

 

60
Twentieth Century: (Number 1-9.)

L. Bernstein:
Chichester Psalms
Mass

A. C0p1and:
In the Beginning

L. Foss:
Behold! I Build An House
The Prairie

P. Hindemith:
Six Chansons
A Requiem for Those We Love

Penderecki:
Stabat Mater

W. Walton:
Coronation Te Deum

These selections have been chosen according to their
availability in the Lansing-East Lansing area on recordings
which I will be able to purchase in the next week. If you
feel that there are much better examples and would be willing
to lend me a recording (which will be taken care of and used
only on the finest recording equipment), I would be very
grateful and will certainly be glad to use your resources.

Thanks Again!!!

BIBLIOGRAPHY

 

BIBLIOGRAPHY

Books

Apel, Willi. Harvard Dictionary ofMusic. 2nd ed. Cambridge:
Harvard University Press, 1973.

Berry, Wallace. Form in Music. Englewood Cliffs: Prentice-
Hall, Inc., 1966.

 

Campbell, Donald T. and Stanley, Julian C. Experimental and
Quasi-Experimental Designs for Research. Chicago:
Rand McNally College Publishing Co., 1966.

Cannon, Beekman C. The Art of Music. New York: Thomas Y.
Crowell Co., 1960.

 

Colwell, Richard. The Evaluation of Music Teachipg and
Learning. Englewood Cliffs: Prentice-Hall, Inc., 1970.

 

Cone, Edward T. Form and Musical Performance. New York:
W.W. Norton and Co., Inc., 1968.

Cotton, John W.; Duncon, Carl P.; Spence, Janet T.; and
Underwood, Benton J. Elementary Statistics. Englewood
Cliffs: Prentice-Hall, Inc., I976.

Crocker, Richard L. A History of Musical Style. New York:
McGraw-Hill Book Co., Inc., 1966.

Dickinson, George S. A Handbook of Style in Music.Poughkeepsie:
Vassar College Press, 1965.

Donington, Robert. The Interpretation of Earlnyusic. New York:
St. Martin's Press, 1974.

 

Dorian, Frederick. History of Music in Performance. New York:
W.W. Norton and Co., 1942.

 

Gronlund, Norman E. Measurement and Evaluation in Teaching.
New York: Harper and Row, Inc., 1976.

Grout, Donald Jay. A History othestern Music. 2nd ed.
New York: W.W. Norton and Co., Inc., 1973.

61

62

Hoffer, Charles R. The Understanding of Music. Belmont:
Wadsworth Publishing Co., Inc., 1967.

 

Hoffer, Charles R. and Anderson, Donna K. Performing Music
with Understanding. Orange and Green volumes. Belmont:
Wadsworth Publishing Co., Inc., 1970.

 

 

House, Robert W. and Leonhard, Charles. Foundations and
Principles of Music Education. 2nd ed. New York:
McGraw-Hill Book Co., Inc., 1972.

 

 

Hughes, David G. A History of Europgan Music. New York:
McGraw-Hill Book Co., Inc., 1974.

 

Hutcheson, Jere T. Musical Form and Analysis. Volumes I&II.
Boston: Allyn and Bacon,Inc., 1972.

 

Kwalswasser, Jacob. Tests and_Heasurements in Music. Boston:
Allyn and Bacon,Inc., 1937.

 

La Rue, Jan. Guidelines for Style Analysis. New York: W.W.
Norton and Co., Inc., 1970.

 

Lehman, Paul R. Tests and Measurements in Music. Englewood
Cliffs: Prentice-Hall, Inc., 19687

 

Madsen, Clifford andMadsen, Charles,Jr. Experimental Research
in Music. Englewood Cliffs: Prentice-Hall, Inc., 1970.

 

Marshall, Jon Clark and Hales, Loyde Wesley. Classroom Test
Construction. Reading: Addison-Wesley Publishing Co., 1971.

 

 

Moore, Douglas. From Madrigal to Modern Music: A Guide to
Musical Styles. New York: W.W. Norton and Co., Inc., 1942.

 

 

Salop, Arnold. Studies on the History_of Musical Style.
Detroit: Wayne State University Press,*l97l.

 

Tuckman, Bruce. Measuring Educational Outcomes - Hpndamentals
of Testing. New York: McGraw-Hill Book Co., Inc., 1975.

 

 

Ulrich, Homer. A Survey pf Choral Music. New York: Harcourt,
Brace, Jovanovich, Inc., 1973.

Ulrich, Homer and Pisk, Paul A. A History of Music and
Musical Styles. New York: Harcourt, Brace, and World,
Inc., 1963.

 

 

Walberg, Herbert J. Evaluating Educational Performance.
Berkeley: McCutchan Publishing Corporation, 1974.

 

Whybrew, William. Measruement and Evaluation in Music.
Dubuque: W.C. Brown Co., 1962.

 

63

Periodicals

 

Bailey, Ben E. "The Development and Validation of a Test
of Listening Skill." Journal of Research in Music
Education. 16: (1968): 59-63.

 

 

Bullock, William J. "A Review of Measures of Musico-Aesthetic
Attitude." Journal of Research in Music Education.
21: (1973, no. 4): 331-344.

 

Colwell, Richard J. "Difficulties and Directions in Evaluation."
Music Educators Journal. 57: (1971, no. 8): 41-43.

 

Dykema, Peter W. "Tests and Measurements in Music Education."
Music Supervisors National Conference Journal of
Procedures. (1925): 248-266.

 

 

Fluke, John H. and Sparks, Jack N. "The Construction, Validation,
and Standardization of a Test in Music Perception for High
School Performance Groups." Journal of Research in
Music Education. 13: (1965, no. 4): 220-226.

 

 

Glidden, Robert. "A Review of the Development and Validation
of a Test of Listening Skill by Ben E. Bailey."
Council for Research in Music Education. 19: (1970, no. 19):
48-55.

 

Hoffer, Charles R. "The Development of a Musicianship Test for
Students in High School Performing Organizations."
Council for Research in Music Education. 50: (1977,no. 2):
37-430

 

Lehman, Paul R. "A Selected Bibliography of Works on Music
Testing." Journal of Research in Music Education. 17:
(1969, no. 4): 427-442.

 

Norris, Herbert T. "A Critical Review of Tests and Measruements
in Music Education." Music SHpervisors Journal. 13:
(1926, no. 2): 57-60.

 

Schultz, E.J. "Testing Listening Power in Music." Music

Supervisors National Conference Yearbook. (1933): 306-312.

 

64

Unpublished Materials

 

Fluke, John H. ”The Construction, Validation, and Standardization
of a Test in Music Perception for High School Performance
Groups." Ph.d. Dissertation. Colorado State College. 1963.

LeBlanc, Albert H. "Development and Validation of a Listening
Test in Music History and Analysis." Ph.d. Dissertation.
1975.

Michigan Vocal Association Handbook. Troy: J.W. Pepper of
Detroit, Inc. 1973-1974.