MUSIC AND THE ACADEMECALLY TALENTED STUDENT LN SELECTED AMERICAN COLLEGES AND UNIVERSITLES Thesis for #319 Demo. of Ph. 3. MECHEGAN STATE UNIVERSITY fiordan Amer? Fiend 1964 THESiS 0-169 Date This is to certify that the thesis entitled Music and the Academically Talented Student in Selected American Colleges and Universities presented by Gordon Arnett Flood has been accepted towards fulfillment of the requirements for Ph. D ' degree in Music 1 1/30/64 L 18 R A R Y Michigan State ' University Room USE om ROOM. USE GiiLY. MUSIC AND THE ACADEMICALLY TALENTED STUDENT IN SELECTED AMERICAN COLLEGES AND UNIVERSITIES BY Gordon Arnett Flood A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOC TOR OF PHILOSOPHY Department of Music 1964 M‘ ih'T‘ \‘, Rina- aqr ‘P I ABSTRACT MUSIC AND THE ACADEMICALLY TALENTED STUDENT IN SELECTED AMERICAN COLLEGES AND UNIVERSITIES by Gordon Arnett Flood It was the purpose of this study to determine to what extent provisions for music are made in curriculum offerings for the academically talented non-music major in college and, if it appeared that such offerings were inadequate or were not drawing these students, to conduct an experimental class designed in such a way as to appeal to such students and to develop in them a positive attitude toward musical aspects of life. The procedures used to implement the study were the following: 1. Survey of programs through related readings, personal interviews, and examinations of college records. 2. Selection of tests and other measures to be used in assessing the variables made a part of the study, for the selection of the study population, and for the evaluation of the experimental class. 3. Determination of the experimental and control groups to be involved in the experiment. 4. Design of the experimental class to provide for inter- disciplinary participation. 5. Evaluation of the experiment. l. Tne "new? ; H;r' named? 04. 1.-.. ewe rando m : .n1 ‘5 DLCJ b,r . . rgdi ~ « h Ours _ .Qtrle 1 Q r tn-“ Q“ tin: Au L 5; 55.9 “d-t0 Part Ev‘ “Hfirirh Gordon Arnett Flood The following limitations were imposed: l. The curriculum offerings and practices of a representative sample of nine colleges and universities, rather than a comprehen- sive random sample, were examined. 2. Only academically talented non-music majors were con- sidered in the study. Academic talent was limited to the upper 20 per cent of the national norms on commonly used college ability tests. 3. The experimental class was conducted at Northwestern State College of Louisiana during the 1963-1964 school year. Examination of records of academically talented students at the nine participating schools produced the following findings: 1. Approximately 89 per cent of the academically talented non-music majors failed to elect any music course. All of the par- ticipating schools provided a variety of activity and academic music courses available to the non-major. 2. One school of those in this study required a music course for all undergraduates. The students in this school elected more additional music activities than students in any other school. De- partmental requirements of some schools excluded the possibility of participation in music offerings. 3. Students' major interests, whether verbal or quantitative in nature, appeared to have little influence on participation in college music offerings. The most obvious determining factors appeared to be those of curricular requirements and restrictions. Those students who took music courses, in spite of curricular requirements or credit hours available, tended to take the performance activities rather than the academic courses. At Northwestern State College of Louisiana an inter- disciplinary experimental class was designed to appeal to the major interests of the academically talented non -music majors who volun- teered to participate. The students were divided into control and experimental groups which were equated on the basis of scores on 51:3. 1 and C grand expe r; L'.‘.'er.t:r‘-.-'. a: Aptitude Test - \ ‘—_ attitude towar T; '7‘13'» . lyswssdr} non- Fr- “'0'” . .w ”It b- . QC K: F.- . :"JS' Gordon Arnett Flood School and College Ability Tests, and on the bases of socio -economic factors as contained in the American Home Scale, musical back- ground experience as revealed by the Erneston Musical History Inventory, and musical aptitude as measured by the Drake Musical Aptitude Tests. Used as a measure of initial attitude and change of attitude toward music was the Oregon Test iAttitude Toward Music. The experimental group attended class lectures on a voluntary non-credit basis. Representative faculty members from nine areas of Study conducted the class lectures and discussions. The professors invited to participate in the experiment represented the major areas of interest of the participating students. Each lecture dealt primarily with the relationship of a particular area, such as physics, to music. From the data secured for this study, the following conclusions were drawn: 1. The inter-disciplinary approach for the academically talented non -music major in college resulted in a significant improvement in attitudes toward music. 2. Pre -college music training, music aptitude, and socio- economic backgrounds were in no way a deterrent to acquiring a positive opinion of the world of music. DEDICATED To the three people in my life My mother, Dr. Hazel Flood, who has helped me since I was helpless My teacher, Dr. Arthur Westbrook, whose memory guides me still My wife, Pat, who is with me always ii ACKNOWLEDGEMENTS A special acknowledgement is due several persons who gave their valuable assistance in the preparation of this dissertation: To Professor William R. Sur, Adviser and Chairman of the Graduate Committee, who has advised and directed, guided and supported, so that this dissertation could come into existence; To the Advisory Committee, Dr. Walter Hodgson, Dr. H. Owen Reed, Dr. Robert Sidnell and Dr. J. Murray Barbour, for their many suggestions and continued support; To Dr. Tandy McElwee, Director of Testing Services, for his help in the initial stages of arranging the experiment on the campus of Northwestern State College of Louisiana; To Dr. C. B. Moody, Director of Educational Research, Northwestern State College of Louisiana, for his help in the statistical sections of the study; To Mr. Jack Testerman, University of Southwestern Louisiana, whose handy IBM Computer saved the day when seventeen variables had to be correlated; To the guest lecturers, scholars, educators, who pre- pared parts of the experimental program, and without whose efforts there could have been no experiment; To the registrars, admissions officers, and their assist- ants who gave of their time to secure the material compiled in Chapter 111; To the educational and musical leaders quoted within these pages, who expressed concern over the problem of the academically talented student and music, and whose many ideas found their way into the unique organization of the experiment discussed in Chapter IV. iii ACKNO‘. 'LEI L“ W? .'.' C3 {oat—gnu-- Li, SL‘R\.E TE TABLE OF CONTENTS Page ACKNOWLEDGEMENTS ............................... 11 LIST OF TABLES............ .............. . .......... vii LIST OF APPENDICES ................................ x Chapter I. DESCRIPTION OF THE STUDY AREA . . . . ....... 1 Introduction Purpose of the Study Importance of the Study Definitions of Terms Used Assumptions Scope of the Study Limitations of the Study Tests and Measurements Procedures Used in the Study II. SURVEY OF RELATED LITERATURE ........... 15 The Academically Talented Student Identification by Intelligence and Achievement Test Scores Identification by Characteristics of Personality and Behavior Ability, Achievement, and Socio- economic Factors The Academically Talented Student and His Education The Academically Talented Student and Liberal Arts The Academically Talented Student and Music in the Liberal Arts Program Summary iv PAR 'I AC. ‘Yi ’1 (/7 (f) AN E} COT; NOT; Page III. PARTICIPATION IN MUSIC OFFERINGS BY ACADEMICALLY TALENTED STUDENTS ....... 50 Procedures Employed Schools Participating in This Study Student Population for This Study Music Courses Available to Non-music Majors School A School B School C School D School E School F School G School H School I Summary IV. AN EXPERIMENT IN PROVIDING A MUSIC COURSE FOR ACADEMICALLY TALENTED NON-MUSIC MAJORS ..... ....... 81 The Plan of the Project Selection of a Study Population Experimental and Control Groups Course Format and Content Miscellaneous Aspects of Organization Results of Individual Measures School and College Ability Tests (SCAT) Description of the Test Results of the Test Major Fields of Study The American Home Scale Description of the Test Results of the Test The Erneston Musical History Inventory Description of the Test I" , Sr x1}. : APPENDIX Page Results of the Test Drake Musical Aptitude Tests Description of the Tests Results of the Tests The Oregon Test of Attitude Toward Music Description of the Test Results of the Test Analysis of the Experimental Group Changes in Attitude Class Attendance Socio -economic Factors; Aesthetic and Total Home Values Pre -College Music Training Tests of Musical Aptitude Students' Major Fields of College Study Verbal and Quantitative Academic Abilities Summary Student Evaluations V. SUMMARY AND CONCLUSIONS ..... . . . . . . . . . . . . 134 Recommendations for Further Study APPENDIX ................................. . ........ 140 vi Table LIST OF TABLES Institutions of higher learning participating in thiSStudy I... ...... 0.0.0.... OOOOOOOOOOOOOOOO Music course offerings available to non-music majors in selected institutions of higher learning . Frequency of distribution of V, Q and T scores on School and College Ability Tests by 233 selected academically talented students in school A, 1962-3 .......... . . . . ....... . ...... . ........ . . Distribution of music courses elected through spring, 1964 ...... . ................ Summary of statistics determining the selection of academically talented students in nine institutions of higher learning and their participation in music courses, January, 1962, to April, 1964 . . . . . . . . . Academically talented student enrollment in all colleges of school I, and participation in music courses (electives) .. .. ............ Academically talented students enrolled at Northwestern State College of Louisiana, January, 1962, through June, 1963 .......... . . . Selection of academically talented students for participation in experimental classroom research at Northwestern State College of Louisiana . . . . . . . Areas of instruction of guest lecturers participating in a classroom research at . Northwestern State College of Louisiana, spring. 1964 OOOOOOOOOOOOOOOOOOOOO 0.. ....... 0.0.0.0... vii Page 52 56 60 61 63 79 84 85 92 Table Page 10. Frequency of distribution of verbal and quanti- tative scores on School and College Ability Tests by selected academically talented stu- dents of Northwestern State College of Louisi- ana, January, 1962 through June, 1963 . . ....... 98 11. Frequency of distribution of total scores on the School and College Abilitl Tests by selected academically talented students at Northwestern State College of Louisiana, January, 1962., through June, 1963 ....................... . . . 99 12. Frequency distribution of major fields of study of selected academically talented students of Northwestern State College of Louisiana, spring, 1964 ........ . ................. 101 13. Frequency distribution of verbal and quantitative areas of academic talent as determined by SCAT scores, verbal and quantitative fields of study of selected academically talented students of Northwestern State College of Louisiana, spring, 1964 ................. . ......... . ..... . ....... 102 14. Year in school of selected academically talented students of Northwestern State College of Louisiana, spring, 1964 ........................ 103 15. Frequency distribution of total raw scores on The American Home Scale by selected academicaII-l; talented students at Northwestern State College of Louisiana, spring, 1964 ...................... 105 16. Frequency distribution of raw scorew of the aesthetic section of the American Home Scale, by selected academically talented students at North- western State College of Louisiana, spring, 1964 . . . 106 17. Frequency distribution of scores on the Erneston Musical History Inventory by selected academi- ' cally talented students of Northwestern State College of Louisiana, spring, 1964 .............. llO viii (I) 22' Sissic Table 18. 19. 20. 21. 22. Frequency distribution of raw scores on Musical Memory section of Drake Musical Aptitude Tests by selected academically talented students of Northwestern State College of Louisiana, spring, 1964 ..... ..... .. ...... Frequency distribution of raw scores on the Rhythm section of Drake Musical Aptitude Tests by by selected academically talented students of Northwestern State College of Louisiana, spring, 1964 ..................... . .................. Frequency distribution of pre- and post-test raw scores on the Oregon Test_o_f Attitude Toward Music by selected academically talented students of Northwestern State College of Louisiana, spring, 1964 ................................... Summary of coefficients of correlation between variables in a classroom research at Northwestern State College of Louisiana, spring, 1964 ......... Student evaluation of lecture topics presented to selected academically talented students of Northwestern State College of Louisiana, spring, 1964..... ...... ............ ......... ix Page 113 115 119 122 128 LIST OF APPENDICES Appendix Page I. Erneston Musical History Inventory ............. 140 II. Instructor's Outline--Lecture Series ........... 142 III. Oregon Test for Attitude Toward Music ......... 146 IV. Formulas Used in Statistical Computation ....... 150 V. Student Evaluations A. Experimental Group ...................... 151 B. Control Group .......................... 152 C. Essay Guideline .......................... 153 szhaol impula . i 73h .;eceSSar‘. Ettcators an “‘A ‘ s “t We TH nese poi CHAPTER I DESCRIPTION OF THE STUDY AREA Introduction Among the issues of concern to music educators today is that of the breadth of the music program. A rapidly increasing school p0pulation, the growth of mass communications media, and the necessary emphasis on scientific. endeavor have forced a re- examination of the entire curriculum. Administrators and music educators are finding it increasingly difficult to maintain and im- prove the position of music in the educational program. For the last two decades, the rapid growth of the music program in the nation's schools has been based upon the plan to provide some degree of music education for every student. State and local school systems have been developed to see ”every child in 1 music" at one time or another in his school career. Countless varieties of performing ensembles, instrumental and vocal, make possible direct experience for all ages. Courses in general music and music appreciation have been offered from grade school through _ ’The Child's Bill _o_f Rights _i_r_1_ Music (Washington, D.C.: Music Educator's National Conference, 1950), Quoted in Robert and Vernice Nye, Music i_n.the Elementary School (Englewood Cliffs, New Jersey: Prentice -Hall, 1957), p. 19. H P ceiiege :or ’ :.g ab;1;t". 15.? me T18; 4163216 DOD". 29.1mm to “a; saw +5 - uLa..On be u. i" J.‘e\ SUE“ ‘: l.‘ ME is 1:17. V”- ,LAT college for those who would have music without developing perform- ing ability. At first glance, the music education program appears to have the necessary breadth for the development of a musically literate population. However, music educators often are dismayed by their failure to win the "battle of the juke box. " The present formal music education seems unable to compete in a battle in which the local radio station controls the time factor. Our fine graded series of books for elementary schools, excellent performance and apprecia- tion opportunities for secondary students, and concert attractions on most college campuses comprise but a fraction of the effort and money spent to produce another "rock 'n roll” craze. If musical taste is influenced by familiarity, the mass communications media have the battle won. Only the reminder that classical record sales have multiplied in recent years soothes the worried music educator. The population and mass media growth are nothing com- pared tothe science explosion, where the body of knowledge is said to double every ten years. As a result, in many areas, music is st ill regarded as one of the extracurricular subject areas, to be suggested to an advisee only if his required subjects are ahead of schedule, and his grades completely unassailable. In this science age, the continuing discussion of a ”liberal" education is at the heart of the matter. At the college level, the problem is basically gainedl‘; so: this: does a specialized student have time in his program for "liberal arts" education? Does he have time to become musically literate ? "Music for everyone" may still be the motto. But, if music education is to function properly in its self-appointed task, the intelligent consumption of music by our citizenry needs to be pointedly sought . Purpose 2f the Study It is the purpose of this study to determine the degree of actual participation by academically talented non -music majors in college music offerings. Specifically, the investigation will attempt to answer the following questions: 1. What course offerings in music are available to academically talented students ? 2. To what extent do academically talented students participate in available course offerings ? 3. What music courses are required of or elected by academically talented students exclusively? 4. What efforts are being made to provide courses for such students, though not yet in effect? 5. What is a possible plan for the provision of a music course geared to the interests, vocabulary and speed of comprehension of academically talented students ? abjective of Importance g 213 Study If the cultivation of desirable musical taste is a major objective of music in general education, the availability of oppor- tunities for such cultivation should be determined. If it is discov- ered that courses offered do not draw a segment of the population, for example, the academically talented, the "music for everyone" slogan must be re-evaluated. If there are specific efforts being made to interest the highly intelligent consumer of the future, these efforts should be made public. If there is a definite plan of pro- cedure that has been attempted in the development of musical taste and positive attitudes toward music, the success of that plan should be evaluated. All of the arguments that rage for and against a "liberal arts" emphasis are concerned with the future leaders of our country. They are concerned with the best of our education majors, and teachers; of law students, and lawyers; of medical students, and doctors. By limiting this study to the academically talented non- music majors in our colleges and universities, it is hoped that the argumentative subject of liberal arts in general, and "music for everyone" in particular, can be brought into sharper focus. If it is determined that these students are already being liberally educated, including a specific amount of music study, there is no argument. If it is determined that they are not, the problem is not "shall they belbut "12: serchose: i T HE! man ‘5 terewards be?" but "how can they be, without diminishing the effectiveness of their chosen programs ?" Further, the academically talented student of today is under many pressures. He is aware of his ability, and is sensitive to evaluations that indicate his ability to others. But, as he gains the rewards of his high ability and formal education, his leisure time will demand more intelligent direction than he is aware of during his college career. He will then have time for expensive recording and record-playing equipment. In society, he will find himself in symphony associations, on school boards, or on his church music committee. If his school pressures today are so great as to make him musically illiterate through the remainder of his adult life, perhaps we as music educators should admit that we have lost this second round in the battle of the juke box. On the other hand, if the highest twenty per cent of our population in intelligence were musi- cally educated, could one not foresee the turning of the tide in that battle ? Definitionsif Terms Used For the purposes of this study, the terms used have been limited to the following definitions: Academically talented--Previous investigations into the determination of musical taste, preferences, aptitude and attitude theme :7. law intellig: ”I r—4 ‘6“? r1 v- 1 - "“6 it is 1» -A E a. \:t is . adtmlCau ‘ic'iur: have been concerned in one way or another with intelligence. They have indicated the degree that general intelligence does or does not influence musical aptitude, and that high intelligence compared to low intelligence is more or less responsive to musical stimuli. Most investigations have placed the high and low intelligence levels in accordance with the normal curve of the general population. Those subjects falling below one standard deviation below the mean are of "low" intelligence; those falling above one standard deviation above the mean are of "high" intelligence. In this study the criterion for judging whether or not a student is in a high intelligence group will not be that of intelligence test scores. Colleges and universities more frequently use tests which indicate a student's probable success in college. In such tests as the School and College Ability Tests, a student may indicate high academic ability in "verbal” or "quantitative" fields, or in both. The term "academically talented" will be used for those college students who rank at or above the 80th percentile in either verbal or quanti- tative areas, providing the total score is at or above the 80th per- centile, based on college norms for the entire country. Only academically talented students who are non-music majors are inCluded inthis study. Students in different schools may rank below or above the 80th percentile of their own student bodies. geared to a {151310me 1‘. (70 O (_) 5. \‘ =‘\E‘%? ‘ I afi‘r“ " Musical taste--In this study, in an experimental class geared to academically talented students, emphasis is placed upon a development of musical taste. Since taste is one of the so-called "intangibles" in psychology, the measurement of the subjects' taste in music must be specifically limited to known factors which have been assumed to play a part in taste deve10pment. Paul Farnsworth describes taste . . . as the overall attitudinal set one has toward the phenomena which collectively comprise music. The com- munication expectancies one has, the attitudes built up in one toward modality, finality, key and other effects, all quite clearly form a part of musical taste. 2 Kate Hevner summarized it as the interaction of . . . good intelligence, auditory acuity, musical memory, good pitch and rhythm discrimination, and extended experience in hearing musical sounds. 3 The use of the terms ”attitudes, " "good intelligence, " "discrimination, " and "experience" form the psychological con- structs which we may assume apply to musical taste. These con- structs manifest themselves in a behavior, and it is musical be- havior in which we are interested. In this study, we will consider the subject's "taste" as it is influenced by his home background, his 2Paul R. Farnsworth, The Social Psychology ngusic (New York: The Dryden Press, 1958), p. 117. 3John H. Mueller et a1. , "Studies in Appreciation of Art, " University o_f_Oregon Publications, IV, No. 6 (February, 1934), p. 106. nunsical ex; attitude tows measured b} l . ' ‘1: ‘v-g _ q ‘es‘orma iv. .‘ L_‘Y' iron? ‘ E!“ musical experience, changes in his attitudes toward music, and his musical talent. To the degree that behavior can be measured by attitudes, changes in experience with resultant changes in attitudes will indicate a taste development factor. Attitude toward music--For the purposes of this study, attitude toward music will be that aspect of musical taste that is measured by the Hevner-Seashore Te stif Attitude Toward Music. Musical talent-- Usually denoting musical ability coupled with successful music training, the term "musical talent" in this study will include only those factors of musical ability as are meas- ured by the Drake Tests p_f Musical Abilitj. Experience--Experience will consist of pertinent factors in a student's background as indicated by ( l) a compilation of formal and informal music education activities; (2) the student's home environment as it pertains to music as indicated on the aesthetic section of the American Home Scale . As sumptions For the purposes of this study, it must be assumed that a positive attitude for music and good taste in music are not inherited. It is further assumed that, as in all learning experiences, mental ability plays a part in taste and attitude development. Ll , _ . . . v a f,» . . . q I, ..o a .a . . 1. r F . u .6. .o a .6 MW.» - All I S S L c C O S F. C . .1. «.6 HL C S 5 C a . . . . . 1.: e m .t a . PL Wu «H a n 3: .C .2 T. . . M-“ . . .mu F“ .C. P. am .3 5 v . . . u . ‘1 “A m . .3‘ 1 .Am F . 7|; ,1» iv .. M u x v o . an ...\ .tu _ & Id. 1; 0 . 1163‘ Scope 9i This Study This study is large enough in scope to provide significant statistics in order ( 1) to determine the extent of emphasis in related writings upon the relationship of academically talented students to college course offerings; (2) to determine the actual relationship of academically talented students who are not music majors to music courses offered by a. variety of institutions of higher learning in America; and (3) to determine the extent of change of attitude toward music as a result of participation. in a music course especially geared to students of high academic ability. Literature has been surveyed which has a relationship to ( l) the identification and education of academically talented students, (2) the practical and theoretical concepts of liberal arts education, and (3) the place of music in the liberal arts program. Nine institutions of higher learning were studied to determine the degree of participation in available music course offerings by academically talented non-music majors. The nine institutions were selected to provide a population that would repre- sent a cross-section of different types of colleges, rather than a random sample of all colleges and universities. Statistical results of a series of pre- and post-tests administered to control and experimental groups of academically talented non-music majors participating in a music course were r“ e A...» L“ S I r 3-... .C n“ n4. u?“ «R,u .. c . .C I 10 evaluated to determine the extent of change of attitude toward music during the course of the experiment. Adding to the scope of the study, interviews were held and personal correspondence entered into with leading music edu- cators around the country. Limitations 2_f the Study For the purposes of this study, the following limitations have been impose d: 1. The term academically talented students will apply only to those students who are non-music majors and who rank in the upper 20 per cent on the School and College Ability Tests, the American Council _o_n_Edu— cation Psychological Tests, the Collefi: Entrance Examination Board tests, the American College Te st, or the College Qualifying Test. There was no attempt to secure a random sample of all the colleges and universities in the United States. The sample was limited to nine colleges which were assumed to be representative of various types of institutions. Inasmuch as data concerning the enroll- ment of academically talented students and the rate of their attrition from specific institutions will be used, the names of the institutions will be withheld. Only the following tests and measurements were employed: Drake Tests of Musical Ability Erneston Musical History Inventory American Home Scale Hevner-Seashore (Oregon) Test of Attitude Toward Music 900”” Limitations which apply more specifically to limited sections of this study will be included in the appropriate section. I , ECOI‘ .- .3 V8 I8 90 .o :f s leve "sated b thi "fl‘ _.u- a E “lug .Q 11 Te sts and Measurements The experimental section of this study involved the use of five test instruments. The general nature of these devices is indicated below. They will be discussed in greater detail in subse- quent chapters. 1. The first of these instruments, the School and Col- lege Ability Test (SCAT) , was used to define academic ability and to select prospective participants for a classroom music experiment. Since this study is concerned only with students of high intelligence, test records were examined for those scores which fell at or above the 80th percentile on national norms. If the total raw score was at this level, the student was selected for possible inclusion in the study, although either the verbal or quantitative scores may have been below the 80th percentile. 2. To determine the incidence, variety and extent of previous musical experience of selected participants, an inquiry form developed by Erneston was administered. 4 A copy of the form appears in the Appendix, page . The purpose of the inquiry was to determine the extent of pre -college music experience and its influence on the musical attitude as indicated by Test 3. 4Nicholaxas Erneston, "A Study To Determine the Effect of Musical Experience and Mental Ability on the Formulation of Musical Taste" (unpublished Ph.D. dissertation, Florida State University, 1961). _ ,‘ ”XXIX a-.. 4 J.» ‘b‘ . . r aux 12 3. To determine attitude toward music, the Kate Hevner and Robert H. Seashore Test gAttitude Toward Music was used.5 The test has a reliability coefficient for college students approximating . 90 when both forms are used, as they were in this study. Easily administered, the high reliability of the test indicates that it may be considered an accurate measure of this aspect of musical taste. 4. Students' home backgrounds were measured by the American Home Scale. 6 The scale is in four sections but only Aesthetic and Total scores were employed, having reliability coef- ficients of . 68 and . 91, respectively. The Economic and Cultural scores on the test were not considered important as separate factors; these scores do play a part, however, in the Total score. 5. To measure musical ability, the Drake Tests 2 Musical Ability were used.7 This test consists of two parts, Musi- cal Memory and Rhythm, with reliability coefficients of . 85 and . 88 respectively. The academically talented non-music majors involved in the experiment were assumed to have no more than average 5John H. Mueller et al., "Studies in Appreciation of Art," University ngregon Publications, IV, No. 6, 2p. _C__il:. 6The American Home Scale, H. H. Remmers, ed. (Chicago: Psychometric Affiliates, 1962). 7Raleigh M. Drake, Drake Musical Aptitude Tests (Chicago: Science Research Associates, Inc., 1957). meatal ail would be t: musical at: J: «he c ‘1. H- 2 2}‘ T‘LEx ~ \» T H .fi ‘ kdt.‘ 13 musical ability. If the Drake tests indicated that they did, that fact would be taken into consideration in the assessment of change of musical attitudes or ability at the conclusion of the experiment. Procedures Used Ethe Study A survey of literature relevant to academically talented students and to college curricula was made to determine techniques for identifying the talented student, to determine what has already been accomplished in colleges toward providing for the academically talented student in the liberal arts programs and specifically for the inclusion of music in the liberal arts programs. Chapter III contains a compilation of the courses which are available to academically talented students in a selected sample of nine colleges and universities, and the extent of enrollment in these courses by academically talented students. Specific procedures used in compiling this information will be discussed in that chapter. Chapter IV outlines a plan for a music course designed especially for academically talented non -music majors. The re- search design for this study may be classified as a classroom experimentation in which selected students are divided into equated control and experimental groups. Students in the experimental group attended a weekly class for one semester. Identical tests were given both control and experimental groups at the beginning and end of the a 2.... _ e 1.. . . r H1 e I e . .u . o .. 4 u Fl “ a: m.“ vi at w . O - M” e .L "l . A file .51 5.» a: n: . :- 14V ital“. s. u. y nib 14 semester. The results of the tests were analyzed statistically to determine the significance of the difference between the means and the correlation of several variables . Chapter V contains an analysis of the findings of the study, with recommendations based on those findings. 9h .Olir. 134 «0" ‘A CHAPTER II SURVEY OF RELATED LITERATURE The survey of related writings will be limited to data concerning academically talented students and to a review of music courses for non-music majors. The vast body of data gathered since the advent of psychological testing prohibits more than a selected sampling of literature pertaining to the academically talented. The survey is further limited to academic talent rather than musical talent. Exceptional music talent probably would have become manifest prior to college age; if not, perhaps a new approach to music and the academically talented non—music major will precipitate that manifestation. The review of music courses for non-music majors will have for its foundation the liberal arts and humanities programs of the past and present. Literature specifically related to both is scarce; however, there appears to be a rapidly increasing interest in their relationship in experimental colleges, honors curriculums, provisions for undergraduate flexibility and advanced placement. 15 T C V. . ‘ e L n ;:ent.I.Ca-— I r.. \ .t e a lo uh; .h“ o; .4» F. A e » ‘fliu Q.’ .l _ r .Iu . , ,w~+’ =.; .- II a. to thos ‘ hi 1.. vulk . u 16 The Academically Talented Student Identification by Intelligence and Achievement Test Scores The great preponderance of literature in this area comes under the heading of "gifted children. " Terman classified a person as gifted who had an IQ score of 130 or higher. Such a score was a measure of six of perhaps thirty talents; subsequent research has isolated more of these talents, including music aptitude. Since Terman's definition was given, there has been a variation of the meaning of the term, from "IQ 110 and above''1 to ”above 140. "2 But the term is still with us, and though "gifted" no longer refers only to those with IQ scores of 130 or more, available literature comes under that original heading. Conant has used the term "academically talented" to denote the "top 15 or 20 per cent, " and a finer distinction based on the normal curve limits ”gifted" to the upper 2 per cent of the population. "Exceptional child" is another widely used term. Although there is a great amount of literature concerning bright lFay Adams and Walker Brown, Teaching the Brighi Pupil (New York: Henry Holt, 1930) . Z "The Gifted Child in the Secondary School, " Bulletin 9_f_ ElfiNational Association .o_f_ Secondary School Principals, 33:259-264. April, 1949. “a ’_ .l (I) 17 students under that title, the majority of these materials are con- cerned with the less capable learners and the physically handicapped. For the remainder of this study, those references using the terms "gifted, " "exceptional, " or "academically talented" have been chosen for inclusion only‘when appropriate to the specific group known as "academically talented. " For the purpose of statistical analysis in this study, the academically talented will include the top 20 per cent. Terman's first study of importance was in 1921, with the following well-known results: the gifted are superior in physique, health, and social adjustment; they are much higher in moral attitudes by character and trait ratings; and evidence completely refutes traditional belief that gifted children are usually one-sided. 3 As to the results of their overall interest in school activities, he found that the achievement quotients of the gifted were not equally high in all school subjects. For the fields of subject matter covered in our tests, the superiority of gifted over unselected children was greatest in reading, language usage, arithmetical reasoning, and in science, literature, and the arts.4 3L. M. Terman, "The Discovery and Encouragement of Exceptional Talent, " The American Psychologist, Vol. 9 (June, 1954), p. 221. ‘L. M. Terman and M. H. Oden, The Gifted Child Grows Up (Stanford, California: Stanford University Press, 1947), p. 28. 18 Even more specifically, Yates discovered that the pupils with superior intelligence, compared to those of average intelligence, were more interested in music, but less in art. 5 Identification_b_y Characteristics 9: Personality and Behavior Special problems relative to the identification of aca- demically talented students were explored at the 1958 invitational conference on the subject, sponsored by the National Education Association.6 In their 160-page summary they propose the identi- fication of the academically talented, by observation of behavior characteristics rather than by testing devices, school records, or teachers' estimates. According to Kough, academically talented individuals possess the following qualities: 1. A high degree of sensitivity and an inner urge to explore their world--a world which may or may not be acceptable to all elements of society, but within which the individual will quickly develop new understandings, new modes of behavior, and an increasing awareness of environmental factors 5Dorothy H. Yates, A Studypf Some High School Seniors _c_)_f_Superior Intelligence (Bloomington, Illinois: Public School Pub- lishing Company, 1922), p. 75. 6Henry Chauncey, 'fMeasurement and Prediction--Tests of Academic Ability, " The Identification and Education g t_he_P_1c_a- demicalbr Talented Student i_n the American Secondary School, Report of the Invitational ConferenCe” on the Academically Talented Secondary School Pupil (Washington, D.C.: National Education Association, 1958) . (1‘ 19 2. A high degree of curiosity about the arts, the sciences, and the humanities, as they relate to their environment 3. A capacity for being challenged rather than frustrated by difficulties; a tendency to regard difficulties as stepping stones rather than as insurmountable walls 4. A capacity for identifying and clarifying problematic situations; a capacity for going quickly to the heart of the situation, even though persistent research or continued effort may be required to remove blocks 5. The ability to use hypotheses as tools in the search for solutions; the ability to draw upon past experiences or related endeavors in the formulation of courses of action 6. The ability to act in critical situations; the habit of rejecting conclusions based on prejudice 7. The ability to grasp new insights, profit by new concepts, and develop new generalizations 8. A high sense of intellectual integrity. 7 Even in lay magazines the subject of identifying aca- demically talented students has been emphasized. The gifted child may be recognized by one of these traits; he learns easily, early in life; he seeks answers for everything; he collects things; he is physically advanced; he enjoys complicated games; he is highly creative, has unusual skill in fine arts; he has a good sense of humor; he likes school at first; he understands the concept of time; he analyzes himself objectively; he prefers older children; and he generally has a passive attitude toward those around him. 8 Following such students into adult life was a major concern of Terman and Oden. In their report on "The Gifted Child 7Jack Kough, Practical Programs for the Gifted (Chicago: Science Research Associates, 1960), p. 192. 8Willard Abraham, "Is There a Gifted Child in Your Family, " This Week Magazine, January 1, 1961. 1" (1 :-year s' y .. Super them “I “Or 1 s" la 31:- S 191 (B 20 Grows Up, " they emphasized the conclusion that for those of high intelligence "adult success is largely determined by such factors as social adjustment, emotional stability and drive to accomplish. "9 Witty drew additional conclusions from a subsequent ten-year study of fifty gifted children, among which are these: The interests of the children reflect their general superiority. Versatility and vitality of interest characterize them. The rather superior social adjustment of the gifted child is maintained. They participate generously in school life and receive honors more frequently than the control group at every academic level.lo Bringing together the two areas of intelligence scores and behavior characteristics, Hollingworth advanced the theory of an "optimum" degree of intelligence, between 130 IQ and 150 IQ. She pointed out the traits which give these children certain advantages (such as superior size, strength, health, and beauty, along with emotional balance, self-control, good character, and ability to win the confidence of their contemporaries) and thus give them leadership.ll 9 "The Gifted Child in the Secondary School," Bulletin 9_f_ the National Association _o_f Secondary Schools and Principals, 33:2 (April, 1949). P. 59. 1° Paul Witty, Intelligence: Its Nature and Nurture, National Society for the Study of Educat-ign, Thirty-ninth Yearbook, Part II (Bloomington, Illinois: Public School Publishing Company, 1940), p. 401. ”Leta s. Hollingworth, Children Above 180 $3 Stanford- Binet (Yonkers-on-Hudson, New York: World Book Company, 1942), p. 332. ‘ V . .J Wm. .. .b . rat ’ 1 of c‘ TEE] non em QEStQEt S~i 21 Ability, Achievement, and Socio -economic Factors Terman set one group of adult "non-producers" against "producers" of the same high intelligence and discovered an important socio -economic factor at work. He found that the successful gifted were superior in prudence, self-confidence, perseverance, and desire to excel. In addition they evidenced much more leadership, popularity, and sensitiveness to approval or disapproval. In our gifted group success is associated with stability rather than instability, with absence rather than with presence of disturbing conflicts; in short, with well-balanced tempera- ment and with freedom from excessive frustrations . Of the non-producers, the main item always seemed to be the home environment. 12 But in the Davidson study of intelligent children in 1943 to determine how much of the variation in personality traits can be attributed to socio-economic factors, the conclusions drawn substantiate previous studies as to the characteristics of highly intelligent children and indicate very little relationship between socio -economic status as measured by income and certain aspects of personality. ’3 A complete study of the relationships that exist between aesthetic sensitivity, musical ability, intelligence, and socio-economic status was made by Parker. He concluded from his study that when l~’-L. M. Terman and M. H. Oden, The Gifted Child Grows Up (Stanford, California: Stanford University Press, 1947) . 13 Helen H. Davidson, Personality and Economic Back— ground: A Study_o_f Highly Intelligent Children (New York: Kings Crown Press, 1943), p. 189. mmihge: there was mteliger. ecatomic as a leer grad tent tisitivm I h- K m' “‘VErsit). 22 intelligence and socio -economic status factors were held constant, there was a slight positive relationship of aesthetic sensitivity to intelligence, and there is a negligible relationship between socio- economic status to aesthetic sensitivity. 1‘ Erneston, in a general study of mental ability and musical taste, concluded that taste scores of high mental ability students compared to those of lower ability show significant differences, sug- ge sting that high mental ability contributes positively to taste forma- tion. However, this held true only if musical experiences of the two groups were held equal. He found that there are two main inter- working factors for the development of music taste: any form of music activity, and high mental ability. ‘5 Miner, in a summary study of intelligence in the United States, gave a sociological explanation for the Erneston results: People are exposed in general to environments that are as a whole equally rich or barren. The illiterate is not apt to learn arithmetic or complex mechanical skills. The college graduate is apt to have been exposed to a great variety of con- tent areas . . . . Further, any society to exist must exert 14’0. G. Parker, "A Study of the Relation of Aesthetic Sensitivity to Musical Ability, Intelligence, and Socio -economic Status" (unpublished Ph.D. dissertation, Department of Music, University of Kansas, 1961) . 15 Nicholaxas Erneston, "A Study To Determine the Effect of Musical Experience and Mental Ability on the Formulation of Musical Taste" (unpublished Ph.D. dissertation, Department of Music, Florida State University, 1961). SOI‘.‘ 2'“qu 1‘] COR SI 23 some pressure on its members to learn a set of values, which govern the behavior and thought within that society. 16 The Academically Talented Student and His Education In addition to the statistics gathered through years of test development, much has been written about the need for a guiding philosophy in new methods of teaching the academically talented student. It is in this area that the bridge is being laid to the main topic under consideration, music courses for these students. Emphasis has been placed on the type of teacher necessary for bright students, and specific programs such as offered by the Hunter College School in New York are cited. Until recently, efforts have been centered in elementary and secondary schools. "An Annotated Bibliography on Gifted Children, " a comprehensive source list of references about the gifted through 1951, was compiled by Elise H. Martens of the United States Office of Education. 17 This bibliog- raphy includes 234 articles and publications, of which 154 are pri- marily concerned with elementary-age students, 65 with secondary students, and only 15 specifically with college -age students. There is, of course, much overlapping of content and intent in all findings '6 John B. Miner, Intelligenceip the United States (New York: Springer Publishing Company, 1957), p. 15. 17 The Gifted Child, Paul Witty, ed., American Asso- ciation for Gifted Children (Boston: D. C. Heath, 1951), Chapter 15. 1 and sugge- paper real “Sue of ti- 24 and suggestions. An example of such overlapping may be found in a paper read for the Music Therapy Association meeting in 1959. The very nature of the human nervous system in all its complexity provides the basic need of sensory experience, colors, rhythms and tones, among others. This is a physio- logical need and demands satisfaction on the human plane just as much as food hunger demands food. These sensory drives from which we derive aesthetic experience are just as impor- tant as are activity and visceral drives . . . in summary, it has been evident ( 1) that all children must have sensory and aesthetic experience if they are to have a normal development and (2) that the whole personality is changed by aesthetic experience. 18 Although speaking of younger children, Gaston's plea was for aes- thetic experience for all human beings. The Music Educators National Conference has met the issue of the academically talented student and his music head-on with an excellent booklet, "Music for the Academically Talented Student." Basically a course of study for secondary schools interested in enriching the curriculum with a broadened music program for their talented students, it contains points of view that should be considered at the college level. The following quotation from the booklet is an example: The academically talented student, who may or may not have special gifts in the arts, is likely to be a leader in the society of tomorrow, just as the present leaders in the business, political, and professional life of our country were the 18E. Thayer Gaston, "Music for Exceptional Children, " paper read before the meeting of the National Association for Music Therapy, September, 1959. acac excel gove tion. inns; will riche to Drr 4L educ. stud. equa) 25 academically talented of a generation ago. Some of these exceptional young peOple may become leaders in scientific or governmental affairs that could significantly change civiliza- tion. It is of the utmost importance that they be able to find in music or in some other fine art a source of beneficence that will strengthen spiritual values in their lives. The academically talented student of today is perhaps the richest resource of our nation. It is of the utmost importance to provide the best minds with the best possible education--an education that is broader and deeper than that provided for most students. It has been said, "There is nothing so unequal as the equal treatment of youth of unequal ability. ’9 The Academically Talented Collegg Student and Liberal Arts Since 1958, the National Education Association has been sponsoring a series of conventions and reports which summarize recent research and educational endeavors directly concerned with the academically talented student. The MENC booklet quoted above was one of that series. Conant, who had coined the phrase "aca- demically talented" in his book on the comprehensive high school?-0 was chairman of the first NEA conference on the subject of academi- cally talented students . Conant, a widely-known educator with a background in science, was caught in the general swirl of activity occasioned by the launching of Sputnik 1. Much of the increased interest in academically 19% f_o__r the Academically Talented Student ("Washing- ton, D.C.: National Education Association, 1960), p. 13. 2° James B. Conant, The American High School Today (New York: McGraw-Hill Book Company, 1959), p. 20. talented ': i O :11"). 101' I w. "'I‘IA’ , Add... a.) : far ' “rt, L‘succrllC ".. .1). 26 talented students stems from the clamor of the general public at that time for more scientists in order to meet the Russian threat to our military supremacy. Fortunately, such men as Conant were more concerned with the education of all our talented students than those talented only in science and mathematics. There are more dangers in early overspecialization in these fields than in art and music . . . . There is always the problem at the high school level of achieving a balance between advising a student to get a wide base of academic subjects for his further development in college and later as an individual, and at the same time not blocking the development of those creative powers in the one field in which he is highly gifted. 21 The NBA is continuing to champion the cause of the academically talented in all fields of education. They have published booklets on guidance, research, administration, foreign languages, science, mathematics, business education, economics, music, art, English and social studies. Almost all of this emphasis is on the secondary school student, since the greatest drop-out of intelligent students from formal education occurs between high school and college. Educators are not alone in this concern. Many scientists have made public statements to warn us of the dangers of developing a nation of scientists who have been allowed to choose too narrow a ZlPaul Witty, James B. Conant and Ruth Strang, Creativity pf Gifted and Talented Children (New York: Columbia University Teachers College, 1959). p. 19. school c; Office of the Bronx co» U- _,‘I Cl... 0111‘ war Sci- (I) 11’ 27 school curriculum. Dr. Vannevar Bush, formerly Director of the Office of Science Research and Development, had this to say about the Bronx High School of Science: Convinced as I am that there has never been a time when cultivation of science talent is so important to the welfare of our nation and the world, I welcome the Opportunity to speak a word for the kind of program which the Bronx High School of Science has been carrying on during the past seven years. . . . The breadth of the program--in its inclusion of ample study of the humanities--is not only a safe guard against the hazard of narrow specialization, but also the best guarantee that its graduates will have the depth of understanding necessary for the full utilization of scientific skill in their later careers. 22 Samuel B. Gould, Chancellor of the University of Cali- fornia at Santa Barbara, gave a series of lectures on the subject. The part that science has to play in the future of this planet is an awesome one. But it is a part which science is coming to recognize more clearly each day as only one of the tremendous forces of life. Through such recognitions we reach toward the maturing aspects of science and also the real hope for the world, for they are guarantees that scientists of the future will be men as well as specialists, human beings as well as researchers, humble as well as confident and courageous.23 There is, in addition, the beginning of an outreach of the scientist and the humanist toward one another. The student who is scientifically minded is discovering that education is beginning to ask him to be a humanist as well. The liberal arts and humanities are finding an honored place in the science curricula. 24 22 Dr. Vannevar Bush, an address given at the Bronx High School of Science, quoted in Paul Witty, The Gifted Child (Boston: D. C. Heath, 1951), p. 231. 23Samuel B. Gould, Knowledge I_s Not Enough (Yellow Springs, Ohio: Antioch Press, 1959), p. 162. 2-“lhid., p. 226. live ver do ' IE: I‘ of- C0mmiti inn: amt—I’m In 28 J. Robert Oppenheimer, a scientist who incurred the displeasure of many Americans for his lack of "social awareness, " had this afterthought: If I had to advise a young man, to give him some rule to live by . . . I would be inclined to say, Try to learn something very well indeed . . . learn it as a practitioner; learn how to do it . . . . But learn something else as well that is quite dif- ferent. Get some sense of the span of things human, the span of things that the intelligent man can cope with. 25 President Eisenhower called together a Science Advisory Committee after Sputnik was launched. In their report to the presi- dent the scientists made this plea: While this report centers on the needs of science, we repudiate emphatically any notion that scientific research and science education are the only kinds of learning that matter to America. The responsibility of this committee is limited to scientific matters, but obviously a high civilization must not limit its efforts to science alone. Even in the interests of science itself it is essential to give full value and support to the other great branches of man's artistic, literary, and scholarly activity. The advancement of science must not be accomplished by the impoverishment of anything else. 26 Various university studies have emphasized the need for a careful broadening of the scientists' education. Among these are such studies as the Oberlin College review of its_liberal arts 25J. Robert Oppenheimer, quoted in Charles Frankel, Issues _i1_1_ University Education (New York: Harper and Brothers, 1959). p. 60. Z6"Scientific Progress, the Universities, and the Federal Government, " flgher Education (Washington, D.C.: United States Department of Health, Education and Welfare, Decem- ber, 1960), p. 4. 29 education for medical students.27 As far back as 1950 we find . . . widespread curricular reform is under way, especially on the undergraduate level in those American universities where early and narrow specialization had been fostered in an effort to create research centers. For the most part, the reforms now being tried turn back, by one route or another, to the concept of education through the liberal arts as the final stage in formal education for many and as a necessary pre- liminary to specialization in a profession. 28 Nine years later, a study was completed which docu- mented the trend toward the liberal arts concept. Paul Dressel candidly admitted that . . . our own beliefs at the beginning of this project were that the majority of technical and professional faculties were dis- interested in--even antagonistic to--the liberal arts. We have been forced to discard this view, and in its place have come out with an impression that these faculties are genuinely interested in the liberal arts, but are confused as to the ingredients and proportions that should be put together to pro- vide something of a liberal education for specialized students.29 Some of the results of this study are interesting to those concerned with the impact of music on non -music majors in college. Approximately 97. 4 per cent of the faculty agree that all students 27 Blair Stewart, Liberal Arts and Medical Education, A Report of the Committee of the Faculty of the College of Liberal Arts and Sciences of Oberlin College (Oberlin, Ohio: . Oberlin Col- lege, 1957). 28 The Modern University, Margaret Clapp, ed. (Ithaca, New York: Cornell University Press, 1950), p. 105. 29 Paul L. Dressel, Lewis B. Mayhew and Earl J. McGrath, The Liberal Arts as __Viewed_b_y Faculty Members _i__n Professional Schools (New York: Teachers College, Columbia University, Bureau of Publications, 1959). should be agree the better off $1., .“I .Ilt C Che. Experieng H. 30 should be required to take liberal arts courses, and 85. 5 per cent agree that people with both liberal and specialized training are better off vocationally. Approximately 64. 5 per cent disagree with the contention that bright technical students will pick up liberal arts experience on their own. With the notable exception of those who have a profes- sional interest in music, this subject does not occupy a high priority among the subjects that would be required or even encouraged by these faculty members. In six of the groups the percentages shown in Table 21 in favor of requirement are negligible. In four groups, over 11 per cent would discourage or actually prohibit students from enrolling in music courses, at least for credit. These facts are all the more arresting when it is realized that in many institutions, in contrast to other subject-fields, broad courses in the appreciation of music are available for non-specialists. Moreover, a report pub- lished three years ago indicated a lively interest on the part of the engineering profession in the fine arts, including music. If one may judge from Table 21, not all members of the profession share this view. It is quite possible, however, that many faculty members regard music more as recreation than as a subject for formal study. Table 21. Music Profes sional Optional, 132.5 Optional Dis couraged, 3° Group Encouraged 2 Prohibited Engineering 9. 7 73.8 13.6 Pharmacy 14. 7 66. 3 17. 9 As universities moved to meet the needs of technical and professional students for liberal education, many developed a pattern of general education, concentrating this work in the first two years of college. The responses from these faculty members suggest a strong belief that such courses should be 3°Ibid., p. 28. excepELOI: possible T the curte Sttdents, Ch items 1 adopt a. Cu gram ONE] hmOUSsc 3mBerti: JSIUdEntS . 31 spread over a four -year period. During the next decade, as curricula of existing institutions are revised and as many new institutions come into existence, the values of distributing work in the liberal arts through all four years should be seriously considered. 31 It may be assumed that professional faculties, when debating curriculum changes in their own fields, keep in mind those exceptional students who they feel should devote as much time as possible to their chosen major interests. Such students, whether in engineering, pharmacy, mathematics, education or in any other professional college, are those who always find themselves "setting the curve" for their classmates. These are the academically talented students. The engineering professor would want to keep his talented students in engineering; and the music professor would hesitate to adopt a curriculum so broad as to "water down" the fine music pro- gram offered to his top performers. All of the above quotations of famous scientists and educators can become even more meaningful by inserting the phrase "academically talented" before the word "students. " As attempts are made to deve10p our leadership for tomorrow by the curriculum changes of today, we are urged to re- member that leadership will probably come from the group we call academically talented. Typically, of the students in the top 20 per cent, . . . about 45 per cent will do honors work; an additional 52 per cent “Ibid” p. 62. wi‘ 7 fail his \ 32 will do satisfactory work; and only about 3 per cent will fail.” An investigation made several years ago of men in Who's Who and American Men 9£Science disclosed that the higher the score on the Scholastic Aptitude Test, the greater the chance of being in either of those two books. These individuals had achieved promi- nence in a variety of fields: government, writing, education, busi- ness, law, banking, engineering, the sciences, anda number of other vocations . 33 Here is found the initial contact made in the bridge between the academically talented non-music major and the liberal arts education. Before proceeding to a discussion of music in their education, a quotation from Thomas H. Huxley appears to be appropriate: That man, I think, has had a liberal education who has been so trained in youth that his body is the ready servant of his will, and does with ease and pleasure all the work that, as a mechanism, it is capable of; whose intellect is a clear, cold, logic machine, with all its parts of equal strength, and in smooth working order; ready, like a steam engine, to be turned to any kind of work, and spin the gossamers as well as forge the anchors of the mind; whose mind is stored with a knowledge of the great and fundamental truths of nature, and of the laws of her operations; one who, no stunted ascetic, is full of life and fire, but whose passions are trained to come to heel by a vigorous will, the servant of a tender conscience; 3ZHenry Chauncey, "Measurement and Prediction--Tests of Academic Ability, " 2p. _<_:_i_t. , p. 32. 33lhid., p. 34. art C1 .47- .d be r148 H 255.. I. \15 (c, 31:: 33 one who has learned to love all beauty, whether of nature or of art, to hate all vileness and to respect others as himself. 34 The Academically Talented Student and Music-iii the Liberal Arts Program That the trend to give specialized students a liberal edu- cation is gaining momentum, few would deny. However, the clamor for more specialization is far from being diminished. America needs scientists, it is true, and she needs them now. The students of exceptional ability, are urged to enroll earlier in advanced classes, from junior high school through college. Terman himself said in 1954, "The talents most favored by the current Zeitgeist are those that can contribute to science and technology. "35 He urged that gifted students enter colleges no later than seventeen years of age, and be rushed into their productive areas so that they would be on the job between the ages of 25 and 35, when the best work (maximum creativity) is supposedly done. 36 Thus, the call is for educated scientists, with a time limit on the education. When an adviser discourages a student from electing a course in music, he is, in effect, saying "you haven't 3‘ Thomas Henry Huxley, Autobiography and Selected Essays (Cambridge: Riverside Press, 1909), p. 43. 35 Lewis M. Terman, "The Discovery and Encourage- ment of Exceptional Talent, " The American Psychologist, IX (June, 1954), p. 221. 36lhid., p. 220. non-mils Ofimrs a fiction 1 oipartic. 34 enough time. " Music courses available to the specialized student of other subject fields are very diversified in their content. Almost all colleges and universities offer membership in performing groups to the non-music major who is sufficiently talented and/or trained in music to meet minimum requirements. Some academically talented non-music majors do "take time" to participate in such groups. Others are required or elect to enroll in such courses as "Intro- duction to Music" which is offered on most campuses. The degree of participation in all of these courses is discussed in Chapter III. Most institutions have also made efforts to interest a larger segment of the non-music -major student body by emphasizing certain aspects of the course which are designed to appeal to a par- ticular p0pulation. To introduce them to musical notation and grammar we offer a course in the fundamentals of music. To introduce them to important aspects of musical style, we offer courses in discussing, reading about and listening to great works. To introduce them to a controlled world of discourse about music we offer a course in Aesthetics or Musical Criticism. Perhaps we combine these in one way or another. 37 Randall Thompson, a noted composer and music educator, put it this way: Methods of presenting material can be divided into three general procedures: (1) the logical; (2) the chronological; 37 Robert M. Trotter, "General Music in Education, " paper read before the meeting of the National Association of Schools of Music, Chicago, Illinois, November, 1963. mt" :flé I‘E .. _ \i w ». g) ’flv‘ I‘ysu - , “VI..- j‘u3. 35 (3) the psychological. Concurrently there may be an approach to music through the study of forms, the study of composers and their works, the study of instruments, etc. Any of these approaches can be pursued from the three general viewpoints mentioned. 38 Thomas Briggs, however, long ago pointed to some of the reasons for dissatisfaction with "music appreciation" courses for non-music majors. I hope that the type of course which attempts to escape technicalities by desultory playing of recordings, accompanied by much biographical material and an overdose of the anec- dotal, will soon disappear. It is already on its way out. 39 Although the word, possibly because of such misuse, is now in considerable disrepute, the aim of these courses in the fine arts is "appreciation, " a love of the beautiful. Providing such courses, under any title, for a student body which includes the academically weak as well as the academically talented, "will always present the problem of making adjustments for individual and group differences that will challenge the patience and wisdom of the most capable dean. "40 Two examples of efforts to do this come from California . 38Randall Thompson, College Music (New York: The MacMillan Company, 1935), p. 18. 39 Thomas H. Briggs, "Music in Secondary Schools, " Music Educators National Conference Yearbook, 1936, p. 44. 40W. F. Cunningham, General Education and the Liberal College (St. Louis: B. Herder Company, 1953), p. 21. ‘1’ O ”T ‘71 ‘1) f 11'): 1 . 36 Los Angeles City College has called a music course for non-majors "Music for Listening." This course is based princi- pally on music in the student's experience which may be heard in concerts, on the radio, and in motion pictures. Stockton College offers "Music in Family Living." The course is designed for those . . . students who are interested in how music may be used more effectively in the home . . . how to buy, operate, and care for musical instruments such as the phonograph and tape recorder; how to build record libraries; what kind of music is effective for child growth and development; kinds of music desirable for different social occasions and times of the day; the citizen's responsibility in supporting civic music 0 r ganizations . 41 Various studies have been completed in the last decade which summarize the nature and content of music courses for the non-major. In a study of 24 colleges and universities to "ascertain the objectives and functions of music in the humanities portion of the college program of general education, " those objectives, as Thomp- son had pointed out earlier, were as follows: . . . acquisition of historical and technical knowledge; devel- opment of analytical skills and identification of specific works and styles; and a sensing of the interrelationships of the arts, and developing a critical evaluation and appreciation. ‘2 “Lamar Johnson, General Education __12 Action (Washington, D.C.: American Council on Education, 1952), p. 177. 4'ZRandolph N. Foster, Jr., "Music in the Humani- ties” (unpublished Ph.D. dissertation, Department of Music, George Peabody College for Teachers, Nashville, Tennessee, 1959). conductc content ‘. .9 (It 9—4 Dd (b I 4 H acquisit: 126 C16 ve. Participa actzvitie s f) o 'w—l p—vJ m (IO (D no 37 But Foster discovered also that when the courses were conducted by the humanities department of the college, the music content was negligible when compared to the literature content. Aside from the music content of the course which was limited to the acquisition of knowledge, very little effort was made Specifically for the development of taste for music. At the University of Texas a study was made of the participation by general college students in music courses and activitie s . 43 One result of the study was the determination of the fact that "participation in music courses by general college students is very limited (2. 3 per cent). Phillips recommended "changes in offerings . . . to let music occupy a greater place in the culture of college graduates. " The most frequent reason for non-participation in music courses offered in Missouri state colleges was "insufficient time. " These students had evidenced far more interest in high school music than in college music. Where 36 per cent had been in high school bands, only 5 per cent continued in college band work. Approxi- mately 52 per cent had been in high school choruses, and only 8 per cent continued choral work in college. Of those trained in high 43Frank Phillips, "A Study of Participation by General College Students in Music Courses and Activities at the University of Texas" (unpublished Ph.D. dissertation, Department of Music, University of Texas, 1957) . 38 school to be musical hobbyists, 80 per cent completely dropped the study of music, in performing groups and in academic classes, when they reached college. 4‘ Regardless of the content of academic courses in music at the college level, Steward arrived at the surprising conclusion that ( l) a student's appreciation for music is changed relatively little after entering college, and (2) from two to four credit hours in music appreciation courses does not significantly change the degree of appreciation during college years. He felt that only by participa- tion could a college student develop a higher degree of appreciation for music . 45 This corroborates the findings of the Erneston study which indicated that participation, when coupled with intelligence, produced the only significant change in appreciation of music. In the courses referred to above, the appeal is to the student body at large. No effort is made, other than the course requirements for credit, to especially interest the student of high academic ability. But such an effort is made at the Air Force Academy in Colorado Springs. There, cadets who can demonstrate 4“John LeRoy Smay, "An Analysis of Musical Offerings for General College Students in Selected Missouri Colleges" (un- published Ph.D. dissertation, Northwestern University, 1957) . 45W. E. Steward, "Evaluation of the Deve10pment of Appreciation for Music as Implemented by the Liberal Arts College" (unpublished Ph.D. dissertation, Department of Music, University of Oregon, 1960) . ence s COKTSt 39 an acceptable accomplishment in communications skills receive a special course in literature and the fine arts during the junior year. To qualify, the students must have passed SOphomore English as freshmen, and junior English as sophomores. In such cases the students find themselves in the junior year with sufficient "time" to take the literature and fine arts course. Other than this single reference to the Air Force Academy, the United States Department of Health, Education and Welfare, Division of Higher Education, in its monthly publication "New Dimensions in Higher Education" does not contain any refer- ence since September, 1954, to music or to any other fine arts courses geared to the academically talented student in college. However, the publication "Flexibility in the Undergraduate Cur- riculum, " is especially designed to show those practices across the country that permit a student to progress in his college program at the rate and depth of which he is capable. This flexibility in the curriculum is designed particularly to compensate for differences in abilities of students admitted to college. "Another major reason for enhancing curricular flexibility is to reduce undergraduate attrition. "46 46"Flexibility in the Undergraduate Curriculum, " New Dimensions_i_r_1 Higher Education, X (Washington, D.C.: United States Department of Health, Education and Welfare, 1962) . .C . K .t .c av. \. -asy‘ v '51.. SK \‘L VJ. . rlU ctr . V is o .e n .. .,1 hi y 40 Most of the demand for this flexibility centers around the needs of the academically talented student. The policy of early admission is discussed, and placement examinations and advanced credit at various universities are examined.47 Special courses are offered at many schools, although not in music. "It is perhaps in the sciences that special courses for students with marked ability are most productive. ”48 The University of Chicago offers a year -long course in the Humanities, one -third of which is devoted to music, and which is taken by entering freshmen. It is not designed as a conventional music -appreciation course, historically or "knowledge" oriented, but attempts to develop appropriate habits of perception and cog- nition in the students. 49 Studios are available and at certain stages in the Humanities I course, "each student has an art project in which he tries to paint something and then writes a paper about the experience. The same approach is used in music where the students at one stage in the course try composing. "50 47lbid., pp. 9-18. 481bid., p. 19. 49 Leonard B. Meyer, Chairman, Department of Music, University of Chicago, personal letter to the author, March 4, 1964. 5 °"Flexibility in the Undergraduate Curriculum, " 2p. 2.13" p. 22. .3 I T, 0 LL. 0 O h ’L 5.21. 41 The same university's approach to the summer session of Humanities I is similarly unique. A year's work in humanities is condensed into a lO-week summer course dealing with music, art, and literature. The course is limited to 20 students, who have access to concerts at Aspen, Colorado. The senior symposium at Reed is another special pro- gram worth mentioning in detail. This course, taken on a voluntary basis, is divided into sections of 12 students each. Each section is taught by two or three professors. The gen- eral purpose is the exploration of value problems (social and psychological, moral and religious, scientific and artistic) that confront contemporary man. 5 l Curricular flexibility can also be achieved through special off-campus programs for residential students, such as that at LaFayette College. Under this program 25 juniors and seniors, selected on the basis of ability and creative promise and coming from different disciplines in the arts, sciences, and engineering, resided together near the campus and, in addition to carrying normal academic programs, participated in weekly colloquia and seminars at which faculty members, visiting scholars, and the students themselves read and dis- cussed papers on various scholarly subjects. 52 While many institutions have developed Honors Colleges, few have incorporated a study of music, or the relationship of music to other fields of study. A limited group of Yale freshmen with ex- ceptional preparation take part in interdepartmental studies, empha- sizing the interrelationships of the sciences and mathematics, of 51lbid., p. 48. 52lbid., p. 52. - v‘ his. .P» . «Iv C.» - ~>_v A: LR. . $ t h t. . . . 11 l . . L r. v. . . . Fa 1L a nu“ a l 1 . m1 . n . e l i . 4 if. .5 D. .r. T. ..t. c . .1. .9. an I .1. E» . . 3. .5; .1 . a s. C. .n a lpiu .s—u .ofuv C tun. 42 history and philosophy, and of literature and the visual arts-—but not of music. Honors students at M.I.T. , after three years of being in the top seven per cent of the class are invited to dinner meetings at which guest experts in the humanities discuss non- engineering subjects . Comprehensive information about various Honors Col- leges is available, such as that compiled by the Honors College of the University of Oregon. Small sections of the honors students ( 15) are enrolled in a minimum of two Colloquia, which meet for three hours each week. Two hours are spent in one evening class period, the third is arranged as a special lecture or concert. The colloquia are concerned with music, art, literature and the theater, and the major requirement is a paper or some original production on the part of the student. Typical papers are of publishable qual- ity, and many are of a creative nature. Attendance is mandatory; students not in the class are not allowed to attend, in order not to dilute the program. During the 1963-64 year, sessions on music included electronic music and avant garde music and painting. In the 1963 report to the university faculty, the Honors College claims for itself a definite influence on the esprit _de corps of the entire campus. Many of its innovations, such as the use of dormitory din- ing rooms as seminar rooms in an effort to bridge the gap between v...EZ( u . P§fiflr ~ “Jud 3 ..,.',. ,, A. _HL . , . 9L. 1 HI. . u . . if. 1 r.\ C r: vi . .1. {IA ., . a v». _ . Tm y i it . n. O T. C . h. C a O ‘C C TJ » 1 Ch .T 6 i. .26 a; I 1w a S Du . i‘h. . w n «J. . p L. a 7 vi I a. . l i C P 3 . u H S S 0 O PU .A. . .1 v I u .4» AJ- ‘Afi 91“. n ‘hilu 1n“ . h» 0 i1. . '4‘: Pu. '1 ( Ac . . . .0 | iillllll} 43 living organizations and classroom, are soon to be emulated by non- honors classes . 5 3 At the State University College at Potsdam, New York, one step in the direction of suitable courses in music for academic- ally talented non-music majors has been a Seminar in Arts. Taught jointly by representatives of the English Department, of the Art Department, and the Music Department, the course has sought to approach the arts from an aesthetic nature rather than a. technical one . It has . . served as a means whereby superior students have been exposed to ”difficult" music of all periods and, we hope, they have left the course with an awareness and perception not only of the intrinsic merit of various musical works, but also of their importance in the general artistic development of civilization. In addition to this credit course, a non-curricular phe- nomenon at Potsdam has been the Arts Association. On a completely voluntary basis, the group meets monthly, with as many as seventy in attendance, and hears talks and lectures on various phases of the arts, followed by animated discussions . 54 The Inter-University Committee on the Superior Student has additional information on such colloquia and non-curricular offer- ings, a few of which, like Oregon and Potsdam, have sections devoted 53Lucian Marquis, Director of the Oregon University Honors College, personal letter to the author, May 19, 1964. 5‘i’Robert Washburn, composer, personal letter to the author, January 29, 1964. . [fa‘r ‘ \.\O"“ AT-w .Lk -» .A..,. Li..- in .a. H 1.3%.. “VEI l. - dial-CL Pv 44 to music. However, the committee files have nothing to date con- cerning music courses alone for the superior non-music majors. “Actually, there are very few honors programs which contain such courses.”55 Another group, the newly-formed College Music Society, is promoting the increase of music opportunities for the general student; but the Society has nothing in its files concerning a course geared to academically talented non -music majors . 5 6 Many of the ideas of the Honors Colleges, the Col- loquia, the Seminars, and the Humanities courses for the general students were incorporated into the experimental class for academ- ically talented students discussed in Chapter IV. Many excellent suggestions of material to include in such a course were made in response to personal letters to interested musicians and educators around the country. From a well-known composer came the suggestion . . to involve any individual whatever in some form of artistic creative effort at any level just for the happiness of it. This 55Philip I. Mitterling, Director, Inter-University Com- mittee on the Superior Student, University of Colorado, Boulder, Colorado, personal letter to the author, March 19, 1964. 56Robert M. Trotter, President, College Music Society, University of Oregon, Eugene, Oregon, personal letter to the author, March 6, 1964. 45 way they learn values and meanings more organically than by any amount of lecturing at them. 57 From the author of many publications in the Music Education field: You are looking for an approach which will bridge the gap between the varied interests of your people and the art of music. It seems to me that you could have two or three extremely interesting lectures on reading music, and how to follow a score. Most peOple want to know how to read music, but are fearful of it. The audience you are attempting to reach certainly would have no difficulty in translating sym- bols, so this would be a natural area for them, and one in which they would easily be able to achieve comprehension of the syrnbology of music. My own feeling is that in the teaching of appreciation courses we have been missing the main idea of how the whole art of music developed and what it has contributed to our cul- ture. If you could get this into your course, it seems to me that your students would be able to fulfill their futures as leaders of the communities in which they will reside. 58 Whatever the content of the course, the Inter-University Committee on the Superior Student makes, among several others, the following recommendations regarding the teaching of courses geared to the academically talented student: 1. Employ methods and materials appropriate to superior students. Experience has shown that this involves: a. Bringing the abler students together in small groups or classes of from 5 to 20 students. 57 George Frederick McKay, composer, personal letter to the author, February 4, 1964. 58Frances M. Andrews, personal letter to the author, January 14, 1964. 46 b. Using primary sources and original documents rather than textbooks where possible. c. . . . encouraging student adventure with ideas in open discussion--the colloquium method. d. Supplementing the above with increased independent study, research and summer projects. 2. Select faculty qualified to give the best intellectual leader- ship to able students and fully identified with the aims of the program. 3. Assure that the program will be a permanent feature of the curriculum and not dependent on temporary or spasmodic dedication of particular faculty men or administrators.59 These recommendations have particular import for music educators concerned with students of intellectual ability. “In any college even the most elementary musical instruction can be and should be conducted in a manner that corresponds to the intellectual standards required in the other arts and letters. "60 "In music par- ticularly, the intellectual level of undergraduate instruction is, in general, lower than the college students themselves would wish. "61 Summary The following quotations may be considered appropriate summary statements of the related literature which has been surveyed: 59"Flexibility in the Undergraduate Curriculum, " (_DB. _c_i_1_:., p. 35. 60Paul Lang, "The Department of Music and Its Functions," Proceedings if the Music Teachers National Asso- ciation, 1940, p. 261. 61Randall Thompson, College Music, o_p_. £55., p. 125. 47 l. The Academically Talented Student a. Identification by Intelligence and Achievement Test Scores 1) . . . the superiority of gifted over unselected children was greatest in reading, language usage, arithmetical reasoning, and in science, literature and the arts. 62 2) The talented or gifted child is one who shows consistently remarkable performance in any worthwhile line of endeavor. 63 3) . . . we used the phrase "academically talented" to refer to that 15 to 20 per cent of an age group who have the ability to study-~effectively and rewardingly--advanced mathematics, foreign language, physics and chemistry.64 b. Identification by Characteristics of Personality and Behavior 1) Versatility and vitality of interest characterize them. 65 2) Academically talented individuals possess the following qualities: (2) a high degree of curios- ity about the arts, the sciences, and the humani- ties, as they relate to their environment. 66 62L. M. Terman, "The Discovery and Encouragement of Exceptional Talent, " _o_p_. 52., p. 221. 63 ”Education for the Gifted, " National Society f_<_>_r £133 Study of Education, 57th Yearbook (Chicago: University of Chicago Press, 1958), p. 19. 64 James B. Conant, "Education of the Academically Talented, " School and Society, May 10, 1958. 65 Paul Witty, Intelligence: I_ts Nature and Nurture, 32° _C_it . , p. 40 l . 66 Jack Kough, Practical Programs for the Gifted, gp_.c_it., p. 192. 48 c . Ability, Achievement, and Socio—economic Factors 1) Native intelligence depends for its development on the availability of learning opportunities and on individual motivation. 67 d. The Education of the Academically Talented Student 1) A college education should enable the individual to form discriminating judgments about art and artists, and should lift his powers of aesthetic appreciation to high levels of moral sensitivity.68 2) Intellectual passions seek intellectual joys and the most general term for this source of joy is beauty--beautiful problems, beautiful discovery. Our powers of understanding control equally both these domains of science and art. Science and art complement each other, and make for greater human growth.69 2. The Academically Talented Student and the Liberal Arts a. The world of the humanities is the world of the individual . . . the artist can communicate this message to you and to me only as individual persons. . . . Groups do not appreciate art . . . . The end purpose of the study of the humanities is to make the individual a humane man.70 3. The Academically Talented Student and Music in the Liberal Arts 67 John B. Miner, Intelligence _it_i t_h_e United States, 93. cit., p. ii. 68John D. Millett, The Liberating Arts (Cleveland: Howard Allen, Inc., 1957), p. 18. 69 Michael Polanyi, The Study 9; Man (Chicago: The University of Chicago Press), quoted in E. Thayer Gaston, op. 9.1.3" p. 4. 70John D. Millett, 93. gi_t., p. 18. 49 3.. Gifted children of all ages seem to be more sensitive to sensory stimuli than average children. 71 b. . . . beauty is subject to laws and rules dependent on the nature of human intelligence. . . . what is aes- thetically beautiful is recognized by the immediate judgment of a cultivated taste. 72 c. Appreciation is the result of intelligent familiarity.73 (1. Needs for some sort of aesthetic expression and for escapes from reality seem universal.74 e. All mankind, every race and tribe, has taken time for beauty. 75 71The Gifted Child, Paul Witty, ed., 33. git” p. 251. 7‘ZHerman L. F. Helmholtz, Ogthe Sensations if Tone (London and New York: Longmans, Green and Company, 1895, Fourth Edition, Trans., Alexander J. Ellis), p. 366. 73Vincent Jones, Music Education _ig the College (Hollywood: Highland Music Company, 1949). p. 102. 74Ralph Linton, The Tree gCulture (New York: Knopf, 1955). P. vii. 75E. Thayer Gaston, <32. git” p. l. -1 atad EnCe: & Stu CHAPTER III ACADEMICALLY TALENTED STUDENT PARTICIPATION IN MUSIC It has been shown in Chapter II that many leading scholars, educators and musicians have expressed concern over the type of education being offered to the nation's talented young people. Different theories and practices of imparting various amounts of musical information and "appreciation" into their "liberal arts" programs‘were discussed. It would appear that a survey of student . participation in these offerings would be pertinent to this study of academically talented students . Procedure 3 Employed In order to determine the degree of participation by academically talented non -music majors in organized music experi- ences at the college level, various procedures have been employed. 1. Nine institutions of higher learning were selected to provide a study population comprised of students from a cross-section of different types of colleges rather than from a randOm sample of all colleges and universities . 2. The catalogs of these institutions were surveyed for all re- quired and elective music courses in which non-music majors might enroll. 50 to- 0|- .3 «‘u ‘L< .13. .4 T; I h s“. .5 ‘1 10?- .b. 4|. h. u,\.. ‘4 51 3 . Interviews were held with music department heads, registrars, ind admissions officers to corroborate the findings of the catalog sur- vey and to discuss any plans being formulated or implemented that might be assumed to hold particular interest for academically talented students . 4. The academically talented students of each school were identi- fied by admission test scores, and their enrollment records for succeeding semesters were investigated to determine the degree of their participation in required and elective music courses. Schools Participating i_n this Study Inasmuch as data concerning the enrollment of academ- ically talented students and the rate of their attrition from specific schools will be used, the names of the institutiOns will be withheld. Table 1, page 52, indicates the letter used to designate each school and the category to which it was assigned. It was not intended that one particular school be considered as representative of all schools in that category. Although individual institutions, course offerings, requirements and student enrollments are discussed, the population for this study is the total number of the academically talented stu- dents selected from the participating schools. It was assumed that by combining into one population students from institutions of various sizes, types, and area locations, the differences existing A. n 52 between individual schools by reason of localized interests and influences would be minimized, reducing the possibility of biased statistics . TABLE 1. --Institutions of higher learning participating in this study ===_—.—_————-_____—— School Category Size* A Technical 3, 500 B Sectarian (Catholic) 1, 000 C Sectarian (Protestant) l, 800 D Private, Selective, Men 5, 000 E Private, Selective, Women 900 F Experimental 1, 400 G Liberal Arts 5, 000 H State University, Southern 14, 000 I State University, Northern 25, 000 _ F fi - a.- 4— *Total annual enrollment, fall, 1962, to round figures The schools under consideration are more centrally located in the nation, and there is a predominance of southern over northern institutions. It would take a far greater population than that considered in this study to separate any area differences or to determine their importance; such an investigation was beyond the scope of this study. Student Population fo_r this Study In order to provide a statistically reliable sample of college enrollees, admissions records over a period of eighteen .3 .2 'n 53 ionths we re investigated. The period from January, 1962, through ‘uly, 1963, comprised five enrollment periods for schools on the semester basis, six for schools on the tri-mester plan, and seven for those using the term system. No breakdown of specific enroll- ment periods has been attempted in the analysis of the findings; only the total numbers of students who had matriculated for the first time at these colleges during the specified period were of interest to this study. Transfer students as well as freshmen were included. Thus, by the time of this investigation during the spring of 1964, students were representing sophomore, junior, and senior levels of attainment. The student population selected for this study was com- prised of those in the top 20 per cent of college students in scholastic aptitude, based upon the national norms of various examinations. All of the institutions participating in the study require that new enrollees take some form of scholastic aptitude test, or have scores on such tests transferred from institutions previously attended. The meas- ures encountered in this study were the School and ColleE Ability Tests (SCAT), the American Council 22 Education Psychological Examination (ACE), the Scholastic Ability Tests (SAT) of the Col- lege Entrance Examination Board, the American ColleE 16:51: (ACT), and the (30113:: Qualifying Test (CQT) . No attempt has been made in this study to separate the differences that exist between the various admissions tests in use; various publications are available which 54 show the correlations between scores made on different tests. How- ever, since some tests yield more scores than others, or are in- terpreted differently for men and women, individual examinations will be discussed briefly in connection with the institutions using them College catalogs were surveyed to determine the amount of verbal and quantitative course work required for each curriculum; for example, English majors were assumed to be in a verbal field of study, while physics majors we re assumed to work in a quantitative category. Some fields of study, more general in nature, were arbi- trarily assigned to either category, depending upon the relative amounts of types of course work involved. The major field of study of each academically talented student was noted and classified as either verbal or quantitative. Music Courses Available 29 Non-Music Majors Enrollment records of the selected academically talented students were then investigated to discover the incidence of partici- pation in organized music. However, schools in this study differ in the types and number of music courses required or offered. It was noted that students had enrolled in a variety of courses involving different amounts of performing actiVity, requiring various amounts of weekly participation, and available with or without credit. In order to relate the students' verbal or quantitative areas of study 55 with the types of music courses selected by them, their participation in music of an activity nature or of an academic type was noted. The choruses, bands, and orchestras were considered activities, and the appreciation, music education, and literature courses were considered as academic in nature, even though these last may have involved actual participation in music activity within the framework of the class. Table 2, page 56, is a summary of courses available to the non-music majors in the nine participating schools. Not shown in the table are the many variations of such offerings. For example, some institutions have large oratorio choruses in addition to the select choirs. All such groups, if available to the non-music major, have been included under the single heading of "choir. " Similarly, such variations as "Music for Pleasure" are simply listed as "Appreciation. " As can been seen from table 2, schools C and H have requirements of Music Fundamentals; in both cases the course is a joint requirement with school music as necessary for teacher certi- fication. Other than such requirements for those in the field of education, only one school requires any music course. School F requires that all students before leaving the Junior Division enroll in Introduction t2 Music. The basic college or core curriculum requirements of other institutions include music appreciation courses 56 in a list of available choices. The degree to which students choose appreciation courses as their Fine Arts ”requirement" will be shown later. TABLE 2. --Music course offerings available to non-music majors in selected institutions of higher learning ' Course SChOOl A B C D E F G H I Activity Women's Glee Club E E E E Men's Glee Club E E E E Band E E E E E E Choir E E E E E E E E E Orchestra E E E E E Ensemble E E E E E E Stage Productions E E E E Applied Music E E E E E E E E E Academic Appreciation ER E ER ER RA ER ER E School Music Methods R R R R R R R Music Fundamentals R R E Literature E E E E E E Theory E E History E E E Legend: E--elective to some students ER--elective to fulfill curricular requirements R-~required of some students RA--required of all students Since the institutions in this study range from» small col- a leges to large state universities, a variety of curricula are available. Only school A will be considered in detail in order to show the 57 procedures used in arriving at the statistics desired. Succeeding schools, their individual curricular offerings and the amounts of music required of or available to students in these curricula will be considered only as they vary significantly in some respect from school A. Schoolfi. --The reputation of this school is based upon its avowed purpose as a polytechnical institute. However, several departments that are not teChnical in nature are in existence that help the school compete for students within its drawing area. A summary of the curricula available follows: a. Arts and Sciences, including departments in art, chemistry, English, languages, journalism, mathematics, music, physics, social sciences, speech, zoology, geology, physical education, psychology. Engineering, including chemical, civil, electrical, general, industrial, mechanical, petroleum, research, and two departments of computer research and nuclear research. Business Administration, including accounting, business (pre- law), economics and finance, and office administration. d. Agriculture and Forestry 8. Home Economics f. Education Very few of these departments make specific requirements involving music study. The physics department catalog in Arts and Sciences states that approximately one -third of required courses are 58 in the humanities. The most specific requirement made is that this program include 12 hours of liberal arts electives during the freshmen and sophomore years. Business Administration students may elect the music appreciation course to fulfill liberal education requirements. Education students, having taken the necessary methods courses, are still free to elect from 4 to 7 hours of gen- eral studies, although these are usually taken in connection with the second major or two required minors. The social science curriculum lists electives of 24 hours. More specific mention of music is found in the engi- neering catalog. These curricular outlines state which electives the students are "free“ to select. "All non-technical electives must be approved by the engineering adviser and must be taken from courses offered in departments of art, economics, English, . " e_t cetera; but music is not one of those included. Only the mechanical, petroleum and geological engi- neering curricula permit electives in music; the words "depart- ment of art" are changed in these cases to read "fine arts, " including music. To the extent that academically talented students are in curricula of chemical, civil, electrical, general, industrial, or research engineering, participation in any formal music activity is pointe dly eliminate d . 59 Specific requirements of music courses are found in the programs outlined for the child development curriculum of the Home Economics Department, and in the speech and hearing therapy program, both with two hours of school music methods required. There is also a music requirement made in the Spanish curriculum where the music appreciation course of two hours is specified for the sophomore year. In addition, it is possible for students of some departments to fulfill requirements for an academic minor in the music department, majoring in theory or in applied music. Thus, in this technical school, the non-technical depart- ments are the only ones that require any music at all. The technical departments tend specifically to eliminate music participation by their students. Students at school A are required to provide the guidance center with scores made on the School and College Ability Test (SCAT. ) l The tests yield scores of scholastic aptitude in verbal activities (V), quantitative and computational activities (Q) and total academic ability (T). Students' scores were recorded in this study if the T score ranked at the 80th percentile on national norms. In many cases the V or Q scores were below this cut-off point; but 1 Cooperative School and College Ability Tests, (Prince- ton, N. J. : Educational Testing Service, 1957) . 60 the student was considered academically talented if the other of the two was of sufficient strength to bring the T score to the desired 80th percentile. Table 3 provides a summary of the test scores of these students; Table 4, page 61, shows the degree to which they have enrolled in music courses. TABLE 3. --Frequency of distribution of V, Q and T scores on School and College_ Ability Tests by 233 selected academically talented students in school A, 1962-3 :ercentile and Frequency Range of Mid-point of Mid-point Score Scores Score V Q T %ile F %ile F %ile F 291-295 293 54 5 39 -- 37 -- 296-3004 298 71 27 48 2 55 -- 301-305 303 78 48 60 7 68 -- 306-310 308 89 57 71 12 84 61 311-315 313 92 48 80 26 89 100 316-320 . 318 95 30 90 51 94 38 321-325 323 97 12 92 62 97 24 326-330 328 99 5 98 43 99 10 331-335 333 99 l 99 18 99 -- 336-340* 338 -- -- 99 12 -- .. Total number of cases 233 233 233 m *Norms are not provided for scores higher than V-337, T-335. TABLE 4. --Distribution of music courses elected through Spring, 61 1964 Range of Mid-point Mid-point Frequency of Music Scores Score Percentile Participation (T) Clio. Inst. Appl. Appr. Ed. 306-310 308 84 7 1 2 311-315 313 89 3 4 316-320 318 94 2 l 1 1 321-325 323 97 1 326-330 328 99 Total number of cases 12 7 3 0 1 Attention is called to the degree of participation in the music appreciation course, listed by several curricular catalogs as available to fulfill elective requirements. No student of this aca- demically talented group chose to enroll in the course. students qualified as having academic talent. During the enrollment period under consideration, 329 At the time of this in-, vestigation, 96 (29.2 per cent) were no longer students at school A. Of those remaining, the majority, 138, were engaged in fields of study of quantitative nature with 76 students in verbal areas and 19 with no stated preference of college major. One of the academically talented students was a music major and was not further considered. Five education majors had 62 yet to fulfill music education requirements. When added‘to the number of participants shown in Table 4, the total number of non— music majors who have had or may be expected to have music in college prior to graduation is 29. This constitutes 12. 9 per cent of the academically talented students remaining at school A. All of the above statistics have been placed in Table 5, page 63, a summary of the statistics determining the selection of academically talented students in all nine institutions of higher learning and the participation of these students in music courses available. SchoolB. --School B is a Catholic institution which was originally founded as a liberal arts college of Arts and Sciences. The degrees offered today reflect this emphasis: Bachelor of Arts, Bachelor of Social Sciences, and Bachelor of Natural Sciences. The colleges of Business Administration and Music have been added, and studies leading to dentistry, medicine, law and pharmacy are also included. Within the Arts and Sciences schools are those con- sidered in school A above, and additional curricula in library science, medical technology, philosophy, and communications (television) . Of all these course offerings, only the course in ele- mentary education requires any music credit. The music college offers music appreciation and an applied piano class for freshmen \\ \ (A C») TABLE 5. --Summary of statistics determining the selection of academically talented students in nine institutions of higher learning and their participation in music courses, January. 1962 --April. 1964 New Academically Talented School Students Jan., 1962— % of Means and Percentile Ranks Attrition M , July, 1963 N Enroll Music ment v %i1e o %ile 'r %ile N % ““5 SCAT-V SCAT-Q SCAT-T A ”83 329 7‘2"" 309.12 79 321.67 94 314.18 91 96 29'2 1 SAT-V SAT-M B 381 56 14.7 624.13-M 93 659.97-M 97 -- 10 17.8 2 650. 55-W 95 592.64—W 90 ACT-E ACT-M ACT-C 67 1 0 2 C 960 131 13.6 25.80 91 26.11 82 26.70 89 5 ' SAT-V SAT-M D 670 249 36.8 621.24 93 648.74 95 -- 50 20.0 0 SAT-V SAT-M E 331 111 33.5 635.83 93 616.60 89 -- 25 22.5 3‘ CQT—V CQT-N CQT-T F 646 13° 2°" 65. 57 9o 38. 96 75 164.01 90 28 Z 1' 5 0 ACT-E ACT-M ACT-C G 2444 138 5'6 24.93 87 24.94 78 25.85 86 50 36'2 7 ACE-1.. ACE-Q ACE—T H 4995 661 13'2 85.84 88 52.70 89 138.54 91 166 25.1 12 CQT -V CQT-N CQT-T I 8316 2985 35.9 61.16-M 85 42.37-M 85 163.72-M 90 757 25.5 20 61.27-W 85 37.49-W 90 152.11-W 90 Sum‘ 20226 4790 23 7 Mean 86 Mean 88 -- 1249 26 1 47 mary ‘ . Academically Talented Non-Music Majors Participation in Music . . . Type of Major Study Fields Required“ Elected Total Elective School N V Q No Pref. Per Cent N % N % N % N 07. N % N % Acad. Per ' form. A 232 75 32.3 138 58.0 19 9.7 6 2 6 22 9.5 28 12.1 0 0 100.0 44 16 36.4 28 63.6 0 0.0 O 0.0 2 4 5 2 4.5 0.0 100.0 C 62 35 56.4 25 40.3 2 3.3 2 3.2 16 25.8 18 29.0 0 0 100.0 D 199 16 8.0 38 19.1 145 72.9 0 0.0 10 5.0 10 5.0 50.0 50.0 E 83 -- -- -- -- 83 100.0 0 0.0 16 19.3 16 19.3 100.0 0.0 F 102 78 76.5 23 22.5 1 1.0 102 100.0 (39 38.2) 102 100.0 20.5 79.5 G 81 42 51.9 38 46.9 1 1.2 7 8.6 29 35.8 36 44.4 62.1 37.9 1-1 483 204 42.2 166 34.4 113 23.4 17 3.5 125 25.9 142 29.4 65.6 34.4 I 2208 851 38.6 856 38.8 501 22.6 124 5 6 181 8.2 305 13.8 36.5 63.5 .. : = 00 Sum 3494 1317 37.7 1312 37.7 865 24.6 258 7.4 401 11.5 659 18.9 N 200 N 2 mary 45. 5 54. 5 * or will be required prior to graduation. _Flr‘ H a fit. — an . a e. P. . fi... Cu (11- .1 :3 r3 .\~ 64 and sophomore non-majors. However, the electiVes available to Arts and Science majors for curricular credit do not include the possibility of any music or art. Students in the Business Adminis- tration courses must take 12 hours of social sciences, foreign lan- guages or physical sciences, but, again, no music. The admissions test given to students at school B is the Scholastic Aptitude Test of the College Entrance Examination Board (SAT) .2 Only two scores are provided; SEE-X is a score of verbal ability, and_S_A_T-M is a score of mathematical ability. Students were selected as having academic talent in either of these two areas if the score was at or above the 80th percentile. As can be seen from the summary table, no total score of academic ability is included. During the enrollment period considered, there were 290 Arts and Sciences majors, 74 Business Administration majors, and 17 Music majors, a total of 381 freshmen and transfers. Of this group, 56 were discovered to be in the academically talented group, or 14. 7 per cent. By the time of the study, 10 were no longer at this school ( l7. 8 per cent). Two of the remaining students were music majors, and only two others had participated in any music. Both of these non-majors were physics students who played in the band. 2Scholastic Aptitude Test of the College Entrance Examination Board (Princeton, New Jersey: Educational Testing Service, 1956). a. v. u. u r}. .e, ['I *1 e ‘« ‘s 65 School 9. --This institution is a Protestant school with an enrollment almost twice as large as School B. The degrees offered are similar, with curricula in the sciences, arts, and education. Only the Bachelor of Science degree in education requires any music participation, and that is a six~hour requirement in music education fundamentals and methods , The college requires a core curriculum of all students in the freshman and sophomore years, but includes no music courses for non-music majors in this core. One mention of music is made: two required physical education activity hours may be satisfied by electing marching band in the fall. The music depart- ment also makes available to non-majors their Survey o_f_ Music Literature and the performing activities. The admissions scores used at school C are. taken from the American College Testing program (ACT), 3 which includes aptitude scores for English, mathematics, social science, natural science, and a composite score. Again, the composite score was the criterion by which the academically talented were selected, even though specific scores in sub-sections were below the 80th percentile. In the summary table it will be seen that only the verbal score of English and the quantitative score of mathematics were used, paralleling the SCAT V and 9 scores. 3The American College Testing Program, I_n_c_:. (Chicago, Illinois: Science Research Associates, 1960) . To WI... 66 During the enrollment period specified, 960 students matriculated at school C. Of this group, 131 were academically talented ( 13. 6 per cent). By the time of this investigation, 51 per cent of these academically talented were no longer in attendance at school C. It can be seen from the summary table that two of the remaining students were music majors, and there were 18 non- majors who had participated in available music courses (29 per cent) . School 2. --School D is a highly selective school for men. A regular publication of the office of admissions includes a chart from which prospective students may compute their chances of being admitted. The charts are based upon the scores the students make on the Scholastic Aptitude Test (SAT) in conjunction with high school grade achievement, and provide "odds" of expectancy of academic success as well as admittance. Further limitations on admittance are in the area of the student's ability to finance his education at the school. Students with a chart index number of "50" will be admitted 95 per cent of the time; but a student with demonstrable need of financial aid will be admitted only if his index number is "75" or over. The first two years at school D must be taken in the Liberal Arts Division; at the end of two years, choices are. made to enroll in the schools of Architecture, Business Administration, ‘4' f.\ .414 67 Engineering, or in the usual Arts and Sciences departments. The core required of all students includes electives in humanities, which in turn include music. The music courses offered to fulfill this re- quirement are How To Listen t_o_ Music, Introduction t_o_Music, and various music literature courses, in addition to the usual perform- ance activities. However, the core curriculum provides an opportunity for students not interested in music to fulfill their humanities re- quirements in other ways. The six semester hours required of Bachelor of Arts degrees may be taken from music, art, the classics, mathematics, theater, or philosophy. Business Administration students may elect the Introductionfl Music or How To Listen £3 11411332 for six hours credit each, or they may take courses in art, or in the classics--if they do not take 12 hours of foreign language. The degree to which students elect music from this list is seen in the summary table . As may be expected, such a selective school will have fewer mid-year enrollees. Only 20 freshmen were admitted in the spring semester of 1962, whereas there was a fall enrollment of 637 freshmen and transfers. During the enrollment periods involved in this study, school D accepted 670 new students, of whom 249 were academically talented (36. 8 per cent). By the time of the inve sti- gation, 50 students (20 per cent) were no longer in attendance at this V"! 1‘1 . r‘l. h. 9v- u t,‘ 5.; 3n {—1. (I) n.‘ (I! r‘v u 68 school. Of the 199 academically talented students at school D, where the stated purpose of education is to acquire a liberal arts education, only 10 (5 per cent) had become involved in some form of music study. School E. --This institution provided an opportunity to view a school similar in concept to school D, but for women only. As with the men of school D, the women students of school E were from selected preparatory schools and from homes capable of financing such an education. Considerably smaller than D, E ad- mitted only 331 students in the investigation period; only 2 were admitted during the spring semester of 1962. College brochures list a maximum of 300 each year. Selective procedures using _S_A_T scores, high school grades and financial ability allowed a temporary increase of this number; the attrition rate is carefully considered in schools with such specified enrollment limits. As with the men's university, the first two years are basic college years in which all women must take the core curricu- lum. Though they may state their interest and begin emphasis in Some area of the Arts and Sciences, they are all considered as Liberal Arts majors. The fine arts requirements for all students include a minimum six semester hours of art, music or theater. Norms on S_A_'I_‘ scores are different for men and women. Women must generally score higher in verbal activities and lower in 69 mathematical activities than men in order to be placed at the 80th percentile. This can be seen in the summary table by comparison of schools D and E. Of the 331 women of school E who enrolled in the specified period, 111 (33. 5 per cent) were academically talented. Of this group, 25 (22. 5 per cent) were no longer in attendance at the time of this investigation. Three students were preparing for a music in“ major program, and there were 83 non-music majors. J The fine arts requirement for each student was the same, but students fulfilled their obligations in different ways. Rather than elect music, 41 students chose art and 10 elected theater. Only 12 elected music as their fine arts requirement. On the basis of past experience, it may be estimated that of the 22 students who had not yet complied with the fine arts requirement, 18 would elect either art or theater, and 4 would choose music. The total number of aca- demically talented students who have elected or may be expected to choose music as fine arts elective is 16, or 19.2 per cent. This figure may be seen in the summary table to be considerably higher than that of the men of school D. Also, it may be seen that the emphasis upon enrollment in the music literature courses appears to be greater than that upon participation in the performance groups. No academically talented women were registered in the chorus . School_1_:‘. --This university is a state supported, liberal arts-centered institution which in its first few years of operation 70 gained a reputation as an "experimental" school. It offers under- graduate programs in all major disciplines of the liberal arts and sciences, and preparation in three professional areas: business administration, engineering science, and teacher education. Every student, no matter what his special interests, must take approxi- mately one -half of his work in a prescribed list of studies which the university conceives to be the basis of a liberal education. All students are required to take work in both art and music, as well as several other subjects in the humanities. This is the only school in this study which has a specific requirement of music for all students. Selection of the academically talented students at school F was made from scores achieved on the Colleg: Qualifying Test (CQT) .4 As with the SAT scores, different norms are used for men and women. During the enrollment period, 646 freshmen and trans- fers were accepted, of whom 130 (20.1 per cent) were within the top 20 per cent of the national norms in academic talent. There were 28 dropouts (21. 5 per cent), and the remaining 102 academically talented students took the required Introduction to Music. As can be seen from the summary table, the degree of participation in music activities in addition to the required course is 4College Qualifying Test (New York: Psychological Corporation, 1957). 71 considerably higher than music participation in the other schools in this study. At the time of this investigation 27 students had not yet fulfilled their basic requirement; but of the 75 who had, 39, or 38.2 per cent, had elected to take an extra course in music as well. Of these, 29 participated in the chorus for no credit. In contrast, it is interesting to note that the catalog offers eight electives in music literature and fundamentals; however, only six non -majors had elected any of these, and all six had chosen one specific music history course. School _G. --The avowed purpose of this state university is one of providing a liberal arts education for its students as well as vocational training in many fields. The basic college core curricu- lum includes a choice between a course in music enjoyment and art appreciation. Arts and Sciences majors have an additional option of electing speech. Commerce and business majors have an added choice in philosophy. Education majors are required to take music methods courses for 4 hours. All other BS and BA degree plans include the core curriculum and its choice of music or art for a four -hour total. Only Home Economics students have no music choice, since the art course is required for them. All music courses are open to all students, with special emphasis upon literature courses such as a History _o_f Opera and 2_0_tli_ Century Music, as well as the core requirement of Music Enjoyment. 72 Academically talented students on this campus were selected on the basis of Ag composite scores. As can be seen in the summary table, 2,444 students enrolled in school G in the speci- fied period. Of these, 138 (5. 6 per cent) ranked in the top 20 per cent on national A_C_’I_‘ norms. By the time of this study, 50 had dropped school for an attrition rate among the academically talented of 36.2 per cent. There were 7 music majors with high academic ability. Of the 81 non-music majors remaining in school, the degree of their participation was as follows: 18 elected music enjoyment (70 elected art appreciation, speech, or philosophy); 5 education majors had taken their required music courses, 2 had still to do so; 11 students were in performing groups. At school G, 34 (42 per cent) of the academically talented students participated, or can be expected to participate, in some form of elective or required music. School E. --Over twice as large as school G, this insti- tution offers a greater variety of curricula, and puts particularly strong emphasis upon the non-music major and his enrollment in a music appreciation course. All Junior Division students are required to elect six or more hours of work from a list of courses in several departments, including music. Each semester over 1, 000 students enroll in the music appreciation course; these students are almost all s ophomo re s . 73 Performing groups are also available to the non-major, and music education courses are required of education majors. However, much less emphasis appears to be placed upon getting non-majors into other music offerings than into the music appreci- ation courses especially provided for the non-majors. In the fall of 1962, only 26 non-majors, two of them academically talented, par- ticipated in any music endeavor other than the music appreciation course. Selection of students of academic talent was based on scores made on the American Council _o_r_1_ Education Psychological Examination for college freshmen (ACE) .5 ACE scores closely correlate with SCAT and SAT-X and _M_ scores, but are listed as Language (L), Quantitative (Q), and Total (T) scores of scholastic aptitude. As with the §9_T and _S__A_T tests, different norms are used for men and women; however, norms are also provided for mixed groups, and selection of academically talented students at school H was made by the use of this set of norms. At school H, 661 students who matriculated in the speci- fied period were classified as academically talented. Attrition of these students was at the rate of 25. 1 per cent, leaving on campus 5American Council ggEducation Psychological Exami- nation (Princeton, N.J.: Cooperative Test Division, Educational Testing Service, 1954) . 74 495 students. The 125 non-music majors who participated in some form of music comprised 25.2 per cent of the academically talented students, the majority of whom elected the music appreciation course. There were 12 academically talented music majors, and eight non-majors participated in more than one music activity or class. During the 18-month period of this investigation, 14 aca- demically talented non -majors performed with the chorus and 24 played in the band. School 1. --Basic college requirements at school I include 12 term credits of humanities courses. Following is the catalog description of these courses which each student must take in this large state university: Humanities is the study of man as a unique, creative being. It comprehends, therefore, his most distinguished and most enduring achievements --intellectual, spiritual, aesthetic, and ethical--together with his social and political heritage. The sources for this study of man are drawn pri- marily from the fields of history, philosophy, religion, literature, and the arts. The middle course of the required three includes music in its stated plan: Creation of a Christian synthesis in spirit, thought, education, literature, art and music; emergence of modern man and modern forces in Western civilization; transition to a dynamic capitalist economy; the development of nation states; humanism as expressed in literature, art and music; the Protestant Reformation. This mention of the arts as an integral part of the study of man is the only one of this nature included in any catalog surveyed 75 for this study. The requirement of a series of three courses which even slightly touch upon the arts and civilization is unique. (It will be recalled that school F required one course in music appreciation, following the usual music literature and listening format. ) Each curriculum of the various colleges in this univer- sity was checked to discover the actual time that the humanities series was offered. Almost all programs specified sophomore and junior levels of attainment for enrollment in the humanities series. Notable in exception were the various engineering curricula. All but one engineering program called for the humanities series to be taken in the senior year. The humanities courses are segregated as follows: 1. Repeats (slower students) 2. Normal (four class meetings each week) 3. Students with 2. 6 average or above (2 lec- tures, 2 discussion meetings each week) 4. Honors sections, approximating 3.5 averages or above (individual work, readings, assign- ments, some lectures, special programs). Television has been incorporated on an experimental basis. It was agreed that the primary advantage of television came when a summarization of previously covered material was needed. Live lecturers are maintained for all individual lectures throughout the term, however. In regular meetings the individual instructors are reportedly reluctant to include the subject of music in their 76 presentations. In this humanities series, which appears to present such broad opportunities for the exploration of at least some facets of the subject of music, very little actually appears to be done. One faculty member suggested that the courses were completely filled with other important material, and there was some doubt that indi- vidual instructors would drop any of this in order to work music into the lesson plans. Instructors are solely responsible for the content of the course sections they teach. An unofficial check with some students who had passed through the humanities series confirmed that, at least in the classes they attended, no mention of music was ever made, although announcements were posted on bulletin boards reminding all students of pending concert, dramatic, or artistic events. In addition to the core requirement of humanities, most curricula offer elective opportunities to the students. For example, the Law Enforcement program allows 18 term hours of electives in the arts, science, and education. Pre-law students have prescribed courses which prevent any further such electives, as do students in chemistry, veterinary medicine, microbiology, and 13 other cur- ricula in the natural sciences division. However, the child develop- ment curriculum requires the music foundations course. The department of music offers as many as 14 courses which non-majors may elect. Half of these are in performance 77 activities and others are primarily for education and physical edu- cation majors. It would appear, however, that the greatest contact students at school I may have with organized study of music is pro- vided through two courses entitled Introduction to Music. The format of the courses is based upon the concept of starting the students where they are in terms of taste, preference and listening ability, and moving them into areas of increasingly better music. Although the course is not geared especially to the academically talented, it would appear that the approach to this course is one which would be satisfactory to students of all abilities. If unable to take the Introduction t_o_ Music course, stu- dents from almost any department are free to participate in some music activity, although perhaps not for hour credit nor to apply as an elective on their own programs. The degree of participation by the academically talented students at school I may be seen in the table on page 79, as well as in the summary table, page 63. The College Qualification Tests used at school I measure the student's scholastic aptitude, yielding four scores: Verbal (V), General Information (I) , Numerical (N), and the total score which is the sum of the three part scores. The V score is intended to be indicative of linguistic ability as needed in curricula based largely on verbal factors, while the N score is intended to assess quantitative ability which is more indicative of abilities necessary in scientific or 78 technical curricula. As the V and N scores with the total score parallel the L, Q, and T and the V, Q, and T of other tests dis- cussed in this study, the I score was not used. (The function of the I-test in the §_Q_T_‘profile is at this time not clear, although it does appear to be a good predictor of scholastic success.) And as with the §A_T and 13%. scores, the C_Q_T norms differ for men and women. In the enrollment period of 18 months, 8,316 freshmen and transfers (25 per cent) were accepted at school I. Academi- cally talented men were within the upper 27. 8 per cent of the enroll- ing group and academically talented women, the upper 25 per cent, for a total of 2, 970 students. Of this group, 757 students were no longer in attendance at school I, for an attrition rate of 25.5 per cent. By comparison, the attrition rate for the entire freshman and sophomore classes at school I approximates 40 per cent each year. Of students remaining on campus, 13 women and 7 men were music majors, leaving an academically talented non-music major group totalling 2, 208. Of this group, 303 were found to have participated or would be expected to participate in some form of music--l3. 3 per cent of the academically talented students. Table 6, page 79, indicates the enrollment in music courses by students in each of the various colleges of school I. It can be seen that the majority of students electing some form of music chose the performance groups. It is perhaps interesting to note that (5’7 79 the highest number of participants in performance groups comes from the Natural Science college, and that the highest ratio (6-1) comes from the Engineering school, both in the "technical" group. TABLE 6. --Academically talented student enrollment‘in all colleges of school I, and participation in music courses (electives) Participation in Music College No. En- Aca- Perform- Per rolled demic ance Cent Agriculture 62 -- 3 4. 8 Business 125 2 9 8.8 Engineering 314 2 12 4. 5 Home Economics 61 2 1 6 . 6 Arts and Letters 197 .9 12 10. 7 Natural Sciences 414 ll 25 8. 7 Social Science 187 10 19 15. 5 Veterinary Medicine ‘ 128 3 3 4. 7 Communication Arts 65 6 7 20. 0 Education 154 12 20 20. 5* No Preference 501 8 4 2.4 SUMMARY: 2208 65 115 8. 2 *Electives chosen by elementary and secondary education majors, irrespective of courses required for certification. fl 1 80 Summar y A wide variety of curricular requirements would appear to play the most important part in the enrollment of academically talented students in music courses. Some institutions require no acquaintance with music whatsoever; others require all students to take a course in music. Some schools pay lip service to music and a liberal arts education, but in actual practice are hardly touching their most talented student population. Students who elect to participate in either academic or performance activities in music come from both verbal and quanti- tative fields of college study. There has been no evidence in this study to support a contention that either technical or non-technical areas of college study are more or less inclined toward interest in things musical. If there is a difference in the degree of partici- pation by these two types of students, it appears to have been caused by curricular requirements rather than by the students' interest in music. CHAPTER IV AN EXPERIMENT IN PROVIDING A MUSIC COURSE FOR ACADEMICALLY TALENTED NON-MUSIC MAJORS It has been shown that the music courses offered by the selected sample of colleges and universities failed to attract 80 per cent of the academically talented students who had matriculated during the period from January, 1962, through June, 1963. There would appear to be some value in developing a course which would attract a larger number of these students. In order to determine the practicability of such a special course, experimental classroom research was conducted on the campus of Northwestern State College of Louisiana in the spring semester of 1964. Academically talented students who had enrolled in the specified period were given an opportunity to participate in a music course prepared especially for them. The Plan_o_f the Project A delineation of the procedures employed to implement the research project and to measure its effectiveness follows: 1. Identification and selection of academically talented non- music majors; 2. Division of the study population into experimental and control groups equated on the basis of selected variables; 81 82 3. Determination of their abilities in music, as well as a history of their pre -college music experiences; 4. Determination of their attitudes toward music; 5. Provision of a classroom music experience for the experimental group based upon the participants' apparent academic intere sts; 6. Determination of the degree of change of attitude toward music in the experimental and control groups; and 7. Determination of the relationships of this change to selected variables . The limitations applicable to each of the procedures have been discussed in the appropriate sections . Selection 91 2. Study Population No attempt was made to secure a random sample of academically talented students. For the purpose of this study it was assumed that a selected sample would be desirable since a more careful control of' variables could be maintained, even though the results could not be considered as predictive. On the campus of Northwestern State College of Louisi- ana, only two per cent of the academically talented students partici- pated in music courses. This appeared to indicate a need for a class which would have special appeal for these students . It will be recalled that the Dressel study suggests that liberal arts activities should be considered for all four years of 83 college work.1 Were a course for non-music majors to be included in regular curricular offerings at Northwestern State College, how- ever, it would, in all likelihood, be included in the first two years. The curriculum and guidance directors generally agreed that fresh- man and sophomore interest, coupled with a possibility of including the course in the "core" group of lower-division requirements, would outweigh reasons for providing special courses for juniors and seniors at this time. The decision was made, therefore, to organize the course initially for freshmen and sophomores with the idea of possible incorporation into the catalog if proven successful. Only academically talented students were selected for this study and no attempt was made to compare their scores with students who were not classified as having academic talent. Scores made on School and College Ability Tests were used as the criterion for the selection of the study population. 2 All entering students at Northwestern State College must take these examinations, or have similar scores transferred from institutions previously attended. National college norms were used: students who scored at or above the eightieth percentile on the total score were included for further consideration. In several cases scores for either quantitative or 1lbid., p. 62. ZCooperative School and College Ability Tests (Prince- ton, New Jersey:“ Educational Testing Service, 1957) . 84 verbal ability fell below that point, but the academic ability in the other area was sufficiently high to bring the total score to the de- sired eightieth percentile. A check was made of all grades received by these students during the enrollment periods considered. While most of these grades were further indication of academic ability, several were discovered which indicated a lack of correlation between test scores and grade achievement. Such students were included for further consideration; it was felt that an experiment with students of academic ability should include the under-achievers as well as the high -achievers . The total number of enrollees during the period from January, 1962, through June, 1963, was 1, 940, as shown in Table 7. TABLE 7. --Academically talented students enrolled at Northwestern State College of Louisiana, January, 1962, through June, 1963 Academically Talented (8. 4 Per Cent of Total) Total Number of Enrollees DrOpouts Remaining Total No. % No. % 1, 940 231 79 34.2 152 65.8 Identified on the basis of the SCAT total scores, aca- demically talented students from this group numbered 231. Based 85 on the national norms, the academically talented enrollees on this campus comprised only the upper 8. 4 per cent as compared with the upper 20 per cent of all college students. Determination of the rate of attrition of academically talented students was not a major purpose of this study, but the number of dropouts from the academically talented student group, for whatever reason, made considerable difference in the number of available participants. Of this select group, 79 (34.2 per cent) were no longer in attendance at this college where rates of attrition of freshmen and sophomore classes approximate 40 per cent.3 In addition 9 students were enrolled in the college off-campus nursing curriculum, and there were 13 commuters unable to participate in the study. Available for the study, therefore, were 67 men and 63 women, a total of 130. These figures are shown in Table 8. TABLE 8. --Selection of academically talented students for partici- pation in experimental classroom research at Northwestern State College of Louisiana a. Total number enrolled, spring semester, 1964 152 b. Commuters unable to participate 13 c. Registered in off-campus work, not available 9 d. Interested in participation 80 e. Music majors, removed from consideration 2 f . Random elimination due to limited facilities 18 g. Divided into experimental and control groups 60 h. Subsequent dropouts 3 i . Total students, control group 30 j. Total students, experimental group 27 3Tandy McElwee, Director, Testing Services, personal interview, June, 1964. 86 All of these students were contacted to determine their interest in participation. For two reasons, participation was made voluntary: the students who wished to participate would be required to secure permission from their advisers; and scores obtained from unwilling subjects would be of doubtful value. In volunteering to participate, the students agreed to meet in a weekly class and to take the necessary series of examinations before and after the ex- perimental period of one semester. Of the 130 contacted, 80 students (61. 6 per cent) agreed to take part. Included in the volunteers were two music majors, who were eliminated from further consideration. During the semester of the experiment two additional students, with majors in English and in education, made arrangements to change their majors to music in succeeding semesters. These two remained in the experimental class to its completion. In a brief explanation of the experiment, students were told that it would involve their own major interests and the relation- ship of those interests to music. An effort was made to present the plan in such a light as to insure that interest in participation would not be influenced by pre -established attitudes toward music . Experimental and Control Groups Limited classroom facilities forced the random selection of 60 volunteers who were divided into control and experimental 87 groups of 30 each, matched only on the basis of the SCAT scores. Further school dropouts during the semester and eliminations due to schedule conflicts brought the number of participants to 27 in the experimental group and 30 in the control group. Although this num- ber in the experimental class was still above that recommended as desirable by the Inter-University Committee on the Superior Student, it was maintained in order to provide a more statistically reliable base.4 Many students, assigned by lot to the control group, asked to participate in the experimental class. However, because of possible bias of the statistics due to higher initial motivation, the original group assignment was maintained. Data for the purpose of comparing experimental and control groups was obtained from the following measures: School and College Ability Tests Students' major fields of study American Home Scale Erneston Musical History Inventory Drake Musical Aptitude Tests Oregon Test of Attitude Toward Music “0000‘” The results of these measures are discussed in detail in this chapter. Items _a_, 13' g, and iwere used primarily as control 4"F1exibility in the Undergraduate Curriculum, " New Dimensions _12 Higher Education, X (Washington, D.C.: United States Department of Health, Education and Welfare, 1962), p. 35. 88 factors; items 3 and f_were given as re -tests at the end of the experiment. The men-women ratios for the experimental and control groups were 10/17 and 14/16, respectively. No further reference will be made to the sex of the participants as it has been shown in several previous studies that the sex of students of academic ability is not a significant pedagogical factor, nor is it significant in the development of taste when experience and intelligence factors are held constant . 5 Course Format and Content "Appreciation is a product of the relation between the art object and the past experiences (the apperceptive mass) of the indi- vidual. "6 In order to develop an appreciation for the broad field of music, measured by a positive change in attitude toward it, the course offered to the experimental students was based upon their individual interests and past experiences. Relationships were to be drawn between music--the art object--and these experiences and motivating interests. Since the students were academically talented, the relationships drawn were not necessarily to be of an obvious 5Nicholaxas Erneston, "A Study To Determine the Effect of Musical Experience and Mental Ability on the Formulation of Musical Taste" (unpublished Ph.D. dissertation, Florida State University, 1961). 6Mueller‘eian 33° C_i_t., p. 31. 89 nature, but rather more subtle than would be possible in a class containing students of lower intellectual ability. Insofar as listening to demonstration tape recordings is an "active" experience in music, whether listening for the music itself or for other objectives, the students "actively" participated; but the course was not designed to provide activities to develop positive attitudes toward music such as listening to selected recordings or personal performance within the group. It was assumed that any attitude change in evidence at the end of the experience was to be the result of the intelligence of the participants interacting with the challenge of the material presented, describing a relationship to music that was acceptable to the indi- vidual mind. Thus, the lesson format was developed from the con- cept of providing an experience not in music appreciation but in music apperception. A variety of demonstrations, open discussions and other deviations from a "lecture" format made it undesirable to assign one particular name to the entire series of class meetings. Basically, however, it remained a lecture series; representative of all, the outline of one lecture appears in the Appendix, page 142. The guest lecturers, preparing for only one or two sessions with students of abilities and temperaments unknown to them, felt more at ease at the planning stage of the program when considering a "lecture" format. However, following their periods of presentation, several expressed 90 the opinion that more value would have accrued from a shorter lecture and more open discussion. This feeling coincides with that of colloquia and seminar directors and the recommendations of the Committee on the Superior Student, both discussed in Chapter 11. Further, in determining the nature of the course meet- ings, it was felt that any previous music experiences of students in the experimental group which were negative in nature would be best circumvented by an approach as completely different as possible from any the students were likely to have had. If a negative attitude had been fostered by a less-than-perfect music teacher at any time in a student's past, the course would be better taught by an instructor less likely to recall those negative impressions. If proclaimed interests were, for example, in the fields of physics and mathematics, a better rapport with such students might be established by a physi- cist than by a musician. Therefore, the course was based upon the investigation of a variety of life areas which in different ways and to different degrees are tangent to or actually cross the field of music, as viewed by professors whose interests were known by the students to coincide with their own. The areas for investigation were selected for their pos- Sible interest to the participants as could be determined by their Chosen fields of study. The subject areas were proposed to a group of interested faculty members, each of whom had been invited to 91 participate not only because of his established reputation on the campus as a scholar in his major area of instruction but who was also known to have interests in many other fields . The subjects to be discussed were proposed only in general terms, with the reminder to the guest lecturers that the details and organization of the material were in no way prescribed, and the nature of the presentation was limited only in the following ways: the lectures presented were to be geared to the vocabulary of academically talented students; they were to be geared to the speed of comprehension of academically talented students; but they were to be as "philosophical: " "aesthetic," "objective, " "scientific, " "obvious" or "subtle" as the lecturer wished. The students were told at the first class meeting that the only requirement of them was that they participate by their attendance, their effort to consider the lecture each week in its possible relation to the broad subject of music, and their continued thinking of that relationship between weekly meetings . The usual areas of instruction of the guest lecturers who Were invited to take part in this experiment are shown in Table 9, page 92. From this table there would appear to be a preponderance of instructors and lectures of verbal nature over those of a quanti- tative nature. However, several of the lectures were given by men Ilot representing their usual areas of instruction. For example, 92 the zoologist, an expert in ornithology, was well prepared by vast experience in the field to demonstrate the science of sound repro- duction. The emphasis of his presentation was the equipping of a laboratory (or a home) with the proper tape recording and playback equipment. By such "mixing" of interests and abilities it was felt that interest on the part of the students might be captured and maintained. TABLE 9. --Areas of instruction of guest lecturers participating in a classroom research at Northwestern State College of Louisiana, Spring, 1964 Department Number of Lectures Physics Zoology Biology Speech Special Education Anthropology Philosophy Art Languages lv—or—Ir—op—nNNv—INW Total t—i vb As a result of the preceding considerations, 14 lectures were presented in the following order: The Science of Sound--the phenomena of sound waves and vibrating bodies; Echitectural acoustics; the mathematics and acoustics of musical sounds. Three lectures. Due to a conflict the third lecture was taken over by a showing of a selected film on the nature of “wave behavior. " The impersonality of this particular session 93 was noticeable, and reaffirmed the advisability of following the suggestion by the Committee on the Superior Student that first- hand materials and presentations should be used, with as much personal contact between instructor and student as possible. Sound Reproduction--the makeup, the purchase, the operation and care of recording and playback equipment. Two lectures. Hi-fidelity, stereo and monaural equip- ment, the right price to pay for the right equipment, and how to read a catalog and select equipment were a few of the items discussed and demonstrated. These lecture -demonstrations by a professor of zoology also included some "music listening, " under the guise of ”record quality listening. " The Human Ear--the phenomena of hearing; the anatomy of the ear; the unknown as well as the known aspects of hearing and the mechanism of the ear. One lecture. Complete with diagrams, charts and con- jecture, this presentation by an expert in the remedial programs for handicapped children made the connection from the scien- tific aspects of the first five lectures to the anatomical and mental aspects of the phenomena of hearing. The Sounds 93 Musical Communication--the nature of "communication" as it involves the chain of events from pro- ducer to perceiver; the connection between the acoustical phenomena of music to the perception by the ear and brain; a demonstration of the makeup of sounds produced by the French horn, the clarinet, the cello, and the human voice, with the use of diagrams of partials and the stroboscope; communication of "ideas" carried by the science of sounds, as demonstrated by selected passages for the instruments, singly and in combina- tions, producing effects of “bright, " "dark, " "happy, " "sad, " etc. One lecture. This was an attempt to demonstrate how the ear and brain perceive the scientific aspect of sound, translat- ing it into meaning. The Human Voice--the anatomy of the voice; the com- plexity of speech and singing; difficulty of training a singing voice quickly. One lecture. This presentation was by a biology profes- sor who was also president of the local "music club. " His variety of interests in things human, coupled with a sense of humor that quickly caught the attention of the students, make 94 what he called a "dry lecture in anatomy" a positive experi- ence in music. Diction--the manipulation of the speech mechanism to produce intelligible sounds; continuation of the anatomy of the voice, presented for the purpose of giving students acquaintance with good diction as compared to bad, particularly in singing. One lecture. A film portion of this presentation was about cleft palate victims, contrasting the imperfect and per- fect mechanisms . Anthropology and Music--an anthropological view of music in the world, especially in America, and specifically in Louisiana; what an anthropologist looks for in music besides rhythm, harmony, and melody. One lecture. This lecture by a popular young professor of anthropology included demonstrations of Louisiana folk music, sacred and secular, by himself and a Louisiana country singer of French (Cajun) background. Philosophy and Music--varying viewpoints of philosophy as they relate to the arts; the nature of aesthetic discourse. One lecture. Included were sections on the three forms of discourse--scientific, aesthetic, and technological--and the difficulty involved in attempting to separate the three when wishing to communicate in one. Religion and Music--emphasis on the place of music in the service; the meaning of several musical occasions in corporate worship. One lecture. The same professor who presented the anatomy of the ear presented this one on religion. The lecture was complete with tape recording examples of secular music used in the church, and sacred music in secular life, and in- cluded as well an emphasis on the acceptance of music in public worship from early hymns to jazz masses. Form-~emphasis on Form as it is understood in its broadest sense; an attempt to separate form 13 art from the immediate form art takes--its structure, its technical makeup. One lecture. Using visual arts to convey meanings the art professor transferred them to aural arts and such related forms as dance. His own research for the one hour lecture included 20 books. A discussion period was offered at the end of the lecture. 95 Literature and Music--the similarities and dissimi- larities of music and prose or poetry; the rhythm and dynamics of speech and music; the form of poetry and music, and the attempts by writers and musicians to copy one another in form; a combination of the two in program music, opera and song; communication of ideas by music alone, once heard in conjunction with prose or poetry. One lecture. As several books have been written on the subject, the professor of Spanish who made the presentation summarized these, putting the material into the phraseology ‘ 1 and form that was on the level of these students. A discussion period followed which brought out such related material as music in Shakespeare's plays. Miscellaneous Aspects of Organization The time of the weekly meeting was decided in cooperation with the participating students. The many afternoon laboratories in the sciences prohibited a meeting earlier than 4:00 p.m. Duties of dormitories, church and social meetings on most evenings forced selection of Monday afternoon at that time. This meeting time was held constant throughout the semester. It was soon evident that course work was so heavy for a majority of the students that Monday afternoon sessions would find them at a period of physical and mental fatigue. That they continued to participate, meeting in an increas- ingly warm classroom as the summer drew nearer and with no course credit being offered, attests to the interest created by the guest lecturers. The students' evaluations made at the close of the semes- ter include their opinions of the late afternoon meeting period, and will be discussed in the appropriate section. 96 Absences were recorded as for any class. No recourse to "attendance officers" was possible, but personal telephone calls to absentees determined the reasons for absences, and offered re- minders to the students of the meeting the following Monday. Students we re not told each week of the topic of the ensuing week's lecture. Therefore, student evaluations of the lecture series at the close of the experiment would not be biased by the simple fact of their having stayed away from those they thought would not be of interest to them. If a. physics student had developed a negative attitude toward a sub- je ct such as literature, for example, his disinterest could have caused his absence. All initial examinations were completed before the lecture series was begun; post-tests were scheduled in the regular class examination schedule at the close of the semester. Control group Participants, who had taken the tests at the beginning of the semester but Who had had no weekly meetings to attend, reported for final e>‘iél»l.'1:‘.u'.nations at the scheduled times. No student in either group failed to report for the final examinations. The interest that caused them to volunteer participation, and in many cases to request place- ment in the experimental group, apparently held constant over the experimental period of four months. Following are the results of the individual tests and meaSures. 97 Results if Individual Measures School and College Ability Tests De scriptionif the Test "The Manual for Interpreting Scores" of the School and College Ability Tests lists several ways in which the test results might be utilized. 1. Identifying a student who is especially advanced or retarded in abilities needed for the next higher levels of schooling. 2. Suggesting the level of instruction which is appropriate to the needs of an individual student. 3. Grouping students of roughly similar levels of ability for some instructional purposes. 4. Conducting educational research, where an independent measure of abilities in a group is a necessary experimental "control. "7 In this experiment each of the above uses has been made 0f the SCAT scores. First, as previously indicated, the identification 0f academically talented students on this campus was made primarily by individual M scores. Second, the students were identified as 130338 8 sing a higher intelligence in either of two specific areas, verbal and quantitative; the course work outlined for the experimental class Was Proportionally verbal and quantitative in content. Third, the id . . . . . entlflcation of the talented students permitted a "grouping" according 7Manual for Interpreting Scores, SCAT, op. cit., p. 6. 98 to their academic abilities. Fourth, the SCAT scores provided one control needed in the statistical sections of this study. Re sults 2213 Test Scores made on the SCAT tests by the selected academi- Cally talented students at Northwestern State College are shown in Table 10. TABLE 10. q-Frequency of distribution of verbal and quantitative scores on School and ColleE Ability Tests by selected academically talented students of Northwestern State College of Louisiana, January, 1962 Through June, 1963 m Verbal Quantitative Mid-point Frequency Mid-point Frequency Range ‘ Range Score %ile Exp, Cont. Score ”/oile Exp. Cont. 29-33 31 44 -- 2 29-31 30 40 - - 34-37 36 59 4 2 32-34 33 48 1 - 38 -4 1 40 69 8 6 35-37 36 59 5 2 42 -45 44 81 7 13 38-40 39 69 5 6 46-49 48 86 1 2 41-43 42 79 8 6 50-53 52 93 6 1 44-46 45 84 4 10 54-55 55 96 1 2 47-48 48 93 4 4 56-58 57 98 - 2 49-50 50 96 - 2 \ Total no. of cases . 27 30 27 30 gleans of scores 43. 52 43.60 41.67 4320* tandard deviations 5. 67 6.33 3.92 3.81 \ . 30: A11 nImeers rounded to nearest hundredth. 37 99 It may be noted that single scores in many cases did not reach the 80th percentile. According to Conant's definition of aca- demic talent, a student may show consistently high achievement in one area of intelligence only; for the purposes of selection of the experi- mental group for this study, the student was considered academically talented if his major talent was of sufficient strength to bring his total score to the 80th percentile. Table 11 is a summary of the total scores of the selected talented students; none of the total scores, of course, will be below the 80th percentile. TABLE 11. --Frequency of distribution of total scores on the School and Collegp Ability Test by selected academically talented students at. Northwestern State College of Louisiana, January, 1962 through June, 1963 Mid-point Frequency Range Score %ile Control Exp. Total 78- 82 80 80 8 9 17 83- 87 85 85 10 12 22 88- 92 90 90 7 2 9 93- 97 95 94 3 3 6 98-103 100 97 2 1 3 Total number of cases 30 27 57 Means of scores 93.17 94.63 93. 86 Standard deviations 17. 53 20. 58 27. 14 100 It can be seen from Table 11 that scores of the students ranking at or above the 80th percentile on national norms vary only slightly from a conventional picture of the right end of a normal curve of distribution. Accordingly, the results of these tests appear to provide a valid constant for equating the experimental and control groups. Mr Major Fields of Study The relationship that such scores have to music ability has been shown in many studies to be negligible. One might expect, however, a positive relationship to exist between the area of highest intelligence (verbal or quantitative) and the selection of a college major. Table 12, on page 101, shows the total numbers of students who elected various fields of study designated as "verbal" (X) or "quantitative" (9) in nature. There is always a question of the degree of verbal activity within a quantitative field, and vice versa. Although business administration students master the mathematics of accounting and insurance tables, a check of the course requirements for these stu- dents indicates a majority of courses of more verbal content than quantitative. Each of the courses of study elected by the students was evaluated in the same manner. While it may be assumed that an English curriculum is verbal and one in mathematics is quantitative 101 in nature, other subject areas are not as easily evaluated; in such cases an arbitrary evaluation based upon course requirements was made for the designations used in Table 12. TABLE 12. --Frequency distribution of major fields of study of selected academically talented students of Northwestern State College of Louisiana, spring, 1964 Major Frequency (V) English Education Social Studies Business Administration Secretarial Science Library Science Home Economics Physical Education Speech Wildlife Management Spanish IHt—nt—nHt—oo—HNO‘NO DJ p—a Total (Q) Mathematics Zoology Chemistry Electronics Pre -med Pre -dent Medical Technology Accounting p—n p—av—nv—tNUJUJpht— N 0‘ Total It can be seen from Table 13, page 102, that control and experimental groups were well balanced according to these major interests. While a majority of the students had major interests 102 coincident with high academic ability in such areas, many students had selected study areas not coincident with these scores. The students who did the latter were more often of quite high ability in both verbal and quantitative areas. As a result of such "cross- overs" the two groups were well balanced. In the experimental group 12 elected 9 fields, and 15 were in X fields; in the control group, 14 were in Q and 16 in X areas of study. TABLE 13. --Frequency distribution of verbal and quantitative areas of academic talent. as determined by SCAT scores, verbal and quantitative fields of study of selected academically talented students of Northwestern State College of Louisiana, spring, 1964 A Experimental Control Total Scores at or above Major Major Major 80th %ile‘ Freq. Freq. Freq. V Q V Q V Q V 3 3 0 1 1 0 i 4 4 0 Q 13 5 8 18 9 9 13 14 18 V and Q 11 7 4 11 6 5 22 13 9 Total 27 15 12 30 16 14 57 31 26 Of the students whose major talent was of 9 nature, only 55 per cent elected Q subject areas. Of those whose ability was high in both X and gareas, 41 per cent elected 9 fields, and 59 per cent elected \_/' fields. Regardless of the relative degree of ability in either of the two areas, motivating interest as indicated by the 103 chosen major was, for this group, almost equally divided between the verbal and quantitative fields. Such information is of importance to this study in two ways: the degree of interest shown in X and C_l aspects of the experimental classroom activity, and the inter- correlation between this motivating interest and music ability when related to a change of attitude toward music. The S_Cfl scores have, therefore, provided a picture of the students who participated in this experiment. They have provided a means of selection of the study population; they have provided a means of equating the control and experimental groups on the basis of types of academic talent and fields of study of major interest; and they provided a control factor against which to measure other variables. It can be seen from Table 14 that the two groups were fairly well balanced according to year in school. In the experimental TABLE 14. am Year in school of selected academically talented students of Northwestern State College of Louisiana, spring, 1964 W Year in School Scores at-. or above Experimental Control Total 80th %ile" ' 4 Fr. So. Jr. Fr. So. Jr. Fr. So. Jr. v 2 1 0 0 .1 0 2 2 o D 5 6 2 4 12 2 9 18 4 V and Q 7 4 0 4 6 l 11 10 1 Total 14 11 2 8 19 3 22 30 5 104 group there were 14 freshmen, ll sophomores and 2 juniors. In the control group there were 8 freshmen, l9 sophomores and 3 juniors. The American Home Scale Eescriptionpj the Test The American Home Scale was utilized in this experi- r... ment as an additional control factor, providing scores which assess the socio -economic status of individuals and groups. Knowledge of such a factor is an important considera- tion . . . for vocational and educational planning and guidance, since home environment plays such a strong determining role in ultimate vocational choice and educational opportunity. 8 Since this is an experiment in educational planning, the use of the I_Kmerican Home Scale would appear to be justified. Reliability of the scale was determined by three methods, yielding coefficients of . 91, .84 and . 80, each indicating sufficient reliability to warrant use of the measure. Validity coef- ficients range from .91 to 1. 00. Norms for this scale have been established through the George Peabody study of 177 schools includ- ing 16, 455 students}. 8The American Home Scale (Chicago: Psychometric Affiliates, 1942), Manual, p. l. 9R. A. Gibboney, "An Experiment To Determine the Re lationship Between Socio -Economic Status and Achievement in the Social Studies" (unpublished Ed.D. dissertation, George Pea- body College for Teachers, 1957) . 105 As can be seen in Table 15, the mean score of the total group in this study was 43. 19. Checked against the norms, this figure indicates a mean score ranking at the eighty-sixth percentile. TABLE 15. --Frequency distribution of total raw scores on The American Home Scale by selected academically talented students at Northwestern State College of Louisiana, spring, 1964 Range of Mld-pOlnt Frequency Scores Scores %iles Exp. Control Total 57-63* 60 99 1 2 3 48-56 52 97 5 8 13 39-47 43 86 13 13 26 30-38 34 55 6 6 12 21-29 25 25 2 l 3 Total number of cases . 27 3O 57 Means of scores 42.26 44. 03 43.19 Standard deviations 8 . 39 9. 21 8. 80 * Published norms do not include scores higher than 59. The academically talented students participating in this study tended to come from homes considerably above average in cul- tural and economic influence as evaluated by the American Home Scale. Such a tendency has been indicated in numerous studies on the relationship of socio -economic background and academic talent. The discovery that the academically talented students chosen by means of 106 the S_C_A_T scores alone tended to be those from homes that cluster about the eighty-sixth percentile is worthy of note . The scale yields a total score and sub-scores in specific aspects of environmental background, of which the score entitled "aesthetic" was used in this study. "Aesthetic environment includes . . . various forms of art and artistic expression, " and was of particular interest to this investigation. 10 Table 16, which indicates aesthetic factors of the home backgrounds of the students, shows a mean score of 5.67. TABLE l6.--Frequency distribution of raw scores of the aesthetic section of the American Home Scale, by selected academically tal- ented students at Northwestern State College of Louisiana, spring, 1964 51:8“: %iles Frequency or S Exp. Control Total 3 10 1 3 4 4 20 3 l 4 5 35 6 8 14 6 50 10 12 22 7 75 6 6 12 8 92 O O 0 9 98 1 0 1 Total number of cases 27 9 3O 57 Means of scores 5.78 5.57 5.67 Standard deviations 1. 25 l. 17 l. 20 1 -_ 10The American Home Scale, 9p. 52;” p. l. 107 Since this figure approximates the fiftieth percentile on national norms, one may assume from a comparison of the total scores above to the aesthetic score alone that at least this one element of the students' backgrounds is not comparable with their home life in general. It may be noted, however, that the experimental and control groups are parallel both on the total score and on the aesthetic score. The Erneston Musical History Inventory Erneston designed and utilized a musical history inventory in his study of the inter-effects of intelligence and musical training 11 The use of this inventory is upon the development of musical taste. particularly pertinent to this study since it was developed and tested with the level of mental ability of the subjects a critical variable. Since high mental ability coupled with a variety of experiences and length of experience in music has been shown to produce a positive taste development, the study of academically talented students and their attitudes toward music could make use of the same inventory. A copy of the inventory may be found in the Appendix, page 140 . Description_o_f the Test Briefly, the inventory asks the student to provide data on the length of time he participated in formal and informal music ll Erne ston, 2p: gi_t . 108 activities from elementary school through high school. Specific reminders are made, such as "special children's chorus" and "senior high school music appreciation. " A report is asked also of the time spent on private music instruction as compared to public school instruction. For use in this study, the inventory provided a ready indication of the amount of public and private instruction the academically talented students had received prior to college attendance. Scoring of the inventory follows this plan: Each year of participation in a class activity -- l. 0 Each year of private study -- 1. 0 Each year of participation in an organization meeting from 3 to 5 days per week -- 2. 0 Each year of participation in an organization meeting once weekly -- 0. 5 Each positive answer to home influence questions -- l. 0 Erneston determined that the significance of differences between certain types of activities and the degree of musical taste development attained was greater between groups falling into the following categories: A. Those students having had none of the experiences listed. Amount and kind of home influence on these students was ne gligib le . B. Those students having had one basic type of activity, for example, elementary classroom music. C. Those students having had two basic types of activity, for example, music appreciation and high school band. D. Those students having had three types of activity. 109 The degrees of "little" or "much" experience in any one, two or three types of activities was thoroughly tested, and some of the conclusions follow: A variety of musical experiences is more effective than only one kind of experience in forming musical taste; and relative length of time spent in these activities is directly proportional to level of taste acquired. Interaction of variety and amount of experience, variety of experience and mental ability, and amount of experience and mental ability were highly significant, indicating that more experience, more variety of experience, and high mental ability in every combination are highly significant factors in taste formulation. 12 Results_o_f the Test Table 17, page 110, provides a summary of the pre- college music experiences of the academically talented students in this study as determined by the Erneston Musical History Inventory. It has been shown that the mean "aesthetic" score of the American Home Scale was at a far lower percentile rank than the mean of the total score, indicating less aesthetic influence from the home than other aspects measured by that scale. The coefficients of correlation between the totals of the experience scores (é through I_), inclusive) and the aesthetic score are -. 15 for the experimental group and . 09 for the control group, both figures notably insignifi- cant. However, the coefficient of correlation between the total of the 12lbid., p. 189. 110 experience scores and the total socio -economic background scores is .27, indicating a slightly positive relationship between home background and musical experiences. TABLE 17. --Frequency distribution of SCores on the Erneston Musical History Inventory by selected academically talented students of North- western State College of Louisiana, spring, 1964 Range Frequency of Experimental Control Total %iles sun“ A B C D A B C D A B C D l- 5 l 2 3 - 1 5 2 - 2 7 5 - 3-23 6- 10 .. 1 8 - - - 3 - - 1 ll - 29-44 Ila-15 - 1 - 2 - 1 3 3 - 2 3 5 48-61 16,-=20 - - 1 - - - 1 2 - - 2 3 64-71 21-25 - - - 4 - - 2 1 - - 2 5 75-82 26-30 - - l l - - 1 1 - - 2 2 85-90 31-35 - - - - - - - 2 - - - 2 92-94 36-40 - - - l - - - 1 - - - 2 96-97 41-45 - - - - - - - - - - - - 98 46-50 - - - - - - - l - — - l 99 Totals 1 4 l3 9 l 6 12 11 2 10 2 5 20 Means 12.93 15.37 14.21 S.D. 9.16 12.18 10. 83 Legend: . No formal experience One basic type of experience Two basic types of experience Three basic types of experience 9.95”" 111 In correlating both aesthetic and total home background scores with the Erneston experience scores, sub-groups A through E were not considered separately. Table 17 has shown an increase of length of experience as variety of experience has increased. This would appear to agree with the results of the Erneston study which indicated a significant relationship between length of experience and taste development when coupled with mental ability. Coefficients of correlation were computed to determine the degree of interrelationships between all the variables considered in this study. The coefficients of correlation appear in Table 21, page 122, All formulas used in statistical computations in this study are shown on page 150, Appendix. All computations were performed on the IBM 1620 Data Processing Computer. Drake Musical Aptitude Tests13 The Drake tests have been used extensively in this coun- try and abroad with subjects of different age levels, of different socio -economic backgrounds and of different races. Validity and Stability of norms have been repeatedly proven. Many studies have been made establishing the reliability of the tests. Specific training in taking the Drake tests fails to change the results significantly, and 13Drake Musical Aptitude Tests (Chicago: Science Re search Associates, 1954) . 112 the correlations between the tests and several general intelligence tests show that intelligence does not play a part in scores attained. 1‘ Descriptionif the Test Validity coefficients range from . 31 to . 91 with a majority attaining a value greater than . 58. Reliability coefficients attained by various methods range from . 56 to . 95 with a majority above . 80. There are two factors of musical aptitude tested by the Drake tests--musical memory and rhythm. These are . the two most important factors related to achieve- ment in music . . . . The tests do not measure all factors of either the inherent or acquired types. . . . both are positive measures of musical aptitude. 15 The Musical Memory test consists of hearing a two -bar melody, remembering it and comparing it to subsequent hearings of altered versions. The Rhythm test is actually a test of tempo sensitivity. Two forms of both tests are provided. Both of the Musical Memory forms are equivalent, but Form B is different from Form A in the Rhythm test. Students participating in this experiment took both forms of each test as pre-tests and as re-tests. 14Edwin Gordon, "A Study To Determine the Effects of Training and Practice on Drake Musical Aptitude Test Scores, " Journal fiResearchE Music Education, IX, No. 1 (Spring, 1964) . 15Drake, pp. gt” Manual, p. 13. 113 Resultsif the Tests TABLE 18. --Frequency distribution of raw scores on Musical Memory section of Drake Musical Aptitude Tests by selected academically talented students of Northwestern State College of Louisiana, spring, 1964 Frequency Range Mld-pOlnt (Pre-test = I Post-test = II) °f E C t 1 T t 1 Scores Score %ile* xp. on ro O a I II I II I 11 1-10 5 100 - - _ 3 - 3 11—20’ 15 97 - 3 - - - 6 21-30 25 91 5 3 3 4 8 7 31-40 35 75 3 6 5 8 8 14 41-50 45 51 7 4 6 8 13 12 514160 55 23 4 7 10 2 14 9 61-70 65 7 6 2 3 2 9 4 71-80 75 3 2 2 3 - 5 2 Total number of cases 27 27 30 30 57 57 Means of scores 49.11 42. 89 40.00 35.23 44. 32 38. 86 Standard deviations 14. 70 16. 48 14. 78 16. 43 15. 31 16. 75 *Percentiles for the Musical Memory test vary according to age level. For these students of ages 19-24 the percentile ranks are taken from those provided for ages 19-20. Drake gives mean scores of 55. 4 on the Musical Memory test and 50. 6 on the Rhythm test. It can be seen from Table 18 and 114 Table 19, page 115, that the scores of the academically talented students vary only slightly from these, and that control and experi- mental groups vary from each other insignificantly. Pre- and post- test results also indicate that, for the sample included in this study, the Drake Musical Aptitude Tests may be assumed to measure factors of musicality not closely correlated with intelligence or attitude. It can be seen also from the tables that slight changes in scores occurred in both control and experimental groups between pre- and post-tests. In every case the post-test results tend to indicate a higher music aptitude than was evident from the pre-test score. While the change is insignificant, it is important that atten- tion be drawn to it for one reason of importance to this study. The degree of change is remarkably similar for both control and experi- mental groups. Whatever factors were present to cause the change would not appear to have been the result of activity within the frame- work of this experiment. Furthermore, as a result of such score similarities, it may be assumed that the Drake tests have provided a satisfactory constant with which to assess other variables. In the correlations of the music ability tests with these other variables it can be seen that the degree of musical experience, as shown on the Musical History Inventory, correlates positively with the two sections of the Drake tests (r = . 48 and r, = .45, Musical Memory and Rhythm, respectively). (See Table 21, page 122.) 115 TABLE 19. --Frequency distribution of raw scores on the Rhythm section of Drake Musical Aptitude Tests by selected academically talented students of Northwestern State College of Louisiana, spring, 1964 Frequency Range Mid-point (Pre-te st = I Post-test = II) of Scores Score %ile* Exp. Control Total 1 11 I 11 I 11 “I“! i ll- 20 15 100 - - l l l l . 21- 30 25 99 - ' - l - l - 31: 40 35 93 3 3 2 4 5 7 41— 50 45 80 6 3 5 7 11 10 51- 6O 55 64 7 7 10 7 17 14 61- 70 1 65 46 3 7 2 4 5 ll 71- 80 75 34 1 3 5 3 6 6 81- 90 85 25 1 2 3 2 4 4 91-100 95 — 3 1 l - 4 1 101-110 105 - 1 - - 1 1 1 111-120 115 - l 1 - 1 l 2 Total number of cases 27 27 30 30 57 57 Means of scores 65.26 62.85 59. 30 58.87 62.12 60. 75 Standard deviations 26. 07 18. 71 18. 48 23.38 22. 39 21.20 * Percentiles for the Rhythm test are the same for all age levels. 116 Since training does not influence Drake scores significantly, it may be assumed that the two variables of experience and ability are cor- related not with each other but with a third factor. Drake tests are an indication of musical aptitude; it is possible that the degree of experience in music amassed by a student through 12 years of public schooling could be considered an indication of musical aptitude as well. That coefficients of correlation of . 48 and . 45 between the Drake tests and music experience exist is not surprising; careful interpretation of such results is necessary, however. Another item of interest concerning results of the Drake tests is that students who are predominantly intelligent in (_2 fields of college study show a higher degree of correlation with the rhythmic aspects of musical aptitude than their counterparts in X fields of study. Though the correlation is not statistically significant it is positive, interesting for anyone attempting to provide music oppor- tunities for outstanding science majors or students in other quanti- tative fields, and suggesting further investigation. Correlations between the two forms of Drake tests and other variables of the experiment may be seen in the summary table, page 122 . The Oregon Test of Attitude Toward Music Individuals vary widely in their opinions of the worth of music as one of the ultimate values of life. There are those 117 who believe it to be of paramount importance, who cannot contemplate an existence without it, and others who are com- pletely indifferent or bored with their musical experiences . Still others believe that music of certain kinds may have an unpleasant or even a detrimental effect. If one has found delight in the pure sense impressions from the music, or a satisfactory expression of some mood or emotion, or an intellectual pleasure in the form or structure, it is to be expected that the importance of music, in comparison with other valuable experiences, would be enhanced. On the other hand, if one has expected pleasure or other benefit and has found only disappointment and boredom, the value of music in comparison with other desirable experiences would fall to a lower place. 16 With this rationale Hevner and Seashore developed a subjective test of "attitude toward music, “ which purports to show the degree of value of music in an individual's life. If possible, a better indication of his "appreciation" of music would be the actual time he spends with music, and the amount of money he is willing to spend for it. But time and money are not equally distributed among human beings, and the task of compiling data on proportionate amounts of each spent for music would appear to be impossibly large . Deve1- Oped and tested in accordance with the method of measuring attitudes devised by Thurstone, this test of attitude toward music provides a valid criterion for the assessment of change of appreciation of music over a period of time. 17 1" John H. Mueller e__t a1. , "Studies in Appreciation of Art, " University of Oregon Publications, IV, No.6 (February, 1934), 138. 17L. L. Thurstone and E. J. Chave, The Measurement 9_f_ Attitudes (Chicago: University of Chicago Press, 1929), quoted in John H. Mueller_e_t _ai. . ibid. 118 Description3_f the Test The Oregon Test gAttitude Toward Music forces a series of value judgments. The consistency with which the testee chooses negative and positive responses toward the value of music in his own life indicates a measure of his attitude. Scoring is by positive responses only; but, the higher the total score becomes, the more negative is his attitude, since the higher scores are allotted to the negative values of music. For example, the statement "Music is the greatest of all the arts" has a positive response value of .4; but the statement, "Interest in music has been fostered artificially by rich philanthropists" (a more highly negative attitude toward music) has a positive response value of 9.2. (For ease in reading the results of the Oregon test, subsequent scores in this study have been multiplied by 100.) The Oregon Test for Attitude Toward Music may be found in the Appendix, page 146. The complete form, with reliability coefficients of . 79 and .81 for each half, was administered to the experimental and control groups. "These reliabilities indicate that the scale may be used in the longer form when differences in the attitudes of individuals are the factors of interest. "18 ”Mueller SEE-v 9_p_. _c_i_t_:., p. 141. 119 Results o_f_the Test The results and comparison between pre- and post -tests on the Oregon Test for Attitude Toward Music are shown in Table 20. TABLE 20. --Frequency distribution of pre- and post-test raw scores on the Oregon Test of Attitude Toward Music by selected academically talented students of Northwestern State College of Louisiana, spring, 1964 L Frequency Range Mid-point (Pre-test = I Post -test = II) Scoci'fes Score %ile Exp. Control Total I II I II I II 126-17: 150 l - l l l l 2 176-235 2201 15 6 1 r 6 9 8 15 14 226-275 250 34 4 4 3 6 7 1077 276-325 300 50 4 10 7 4 ll 14 326-375 350 68 7 3 3 5 10 8 376-425 400 83 4 l 2 l 6 2 426-475 450 92 2 2 3 3 5 5 476-525 500 97 - - l l l 1 526-575 550 98 - - - - - - 576-625 600 98 - - - - - .. 626-675 650 99 - - - l - 1 676-725 700 99 - - l - 1 .. Total number of cases 27 27 30 30 57 57 Means of scores 313.2 285.4 306.2 307.1 309.6 296.8 Standard deviations 83. 5 75.9 124.8 111.6 106.4 96.1 *Percentiles are based upon the total raw scores of the pre -test. The higher percentile ranks signify a more negative attitude toward music. Conversely, the lower percentiles indicate more positive attitudes toward mus'ic . 120 It may be noted that the control group had a slight in- crease in negative attitude, although the difference could not be con- sidered significant. However, the pre- and post-test scores of the experimental group show a definite decrease in negative attitude when tested for significance. The difference between the means (313. 2-- 284. 4) proved to be significant at the .05 level of confidence. It would appear, therefore, that the special course designed for the academically talented students improved their attitudes toward music, if the Oregon;T_es_t fo_r Attitude Toward Music may be accepted as a valid and reliable criterion. There was no "coaching" or other preparation for the re -t est of either group on the Oregon test. Having seen the test four months previously, there is a slight chance of some recall of re- sponses made at that time, although it would not appear to increase the differences between the two equated groups. Having participated in a music experiment each week may have suggested to the experi- mental group the more positive aspects of music that they had merely overlooked on the first test. Nevertheless, the presence of a control group which was equated with the experimental group and failed to Significantly change its attitude toward music over the four -month Period makes the difference readily acceptable. 121 Analysis 3_f the Experimental Group Changes £1 Attitude Inasmuch as the purpose of-the project was to evaluate any change of attitude resulting from the experimentation, the cor- relation that existed between that change and each of the other varia- bles should be considered since various factors may have affected the measurable change of attitude toward music. Class attendance. --Two aspects of attendance are pertinent. First, there is the degree to which students were attentive during the c1ass--a mental attendance factor. A noticeable feature of any class, this factor is all but immeasurable. The students' own evaluations discussed later indicate that this form of "attendance" played some part in the attitude of the class to music. Second, there is the degree to which students actually were absent from the meetings. Some missed more than others, of course. Usually the absences were for reasons of health. Intra- mural sports activity increased as the semester proceeded and a few of the men were participants. The average number of absences from the experimental class meetings was 2. 5; class attendance was com- puted to be at the level of 79 per cent throughout the semester. It can be seen from the summary table, page 122, that there was no relation- ship between the absence factor and the difference in attitude over the experimental period (r = . 09), indicating that attendance was sufficiently consistent to remove from further consideration. flan—SQJ 0 hit 3‘ 2.1 2.70 mag) , I . , ., . . .« : 1v a an H 4 £u.~..Z :m. £..L« ~f..~.~ 2:...chmTf—v d .: m.u~£2,HL?> CUU>2u1n~ CS-~u~Uh~ZV ‘3 n~CJ~Q-~ . A . 7 . . . .. 11,. ., CU ‘3 . LVCZCZA . .. . ,. 11.. ~N m we? .wziam .4: 443‘s 122 owcmnu NS. 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'<.)’- SD - — = + 111 '1 n2 - 1 *Allen L. Edwards, Statistical Methods for the Behavioral Sciences (New York: Rinehart and Company, Inc. , 1957) . 150 APPENDIX V STUDENT EVALUATION A . Expe rimental Group A. You have heard a series of lectures. Your opinion of these lectures is very important. Please look carefully at the list of titles below, and make a personal evaluation of the interest each one had for you. In Column A indicate by the numbers 1, 2, and 3 your first, second, and third choices of the topics in this series of the most interest to you. B. These programs may or may not have made a significant contri- bution to your understanding or attitude toward music. In Column B, place a check before those t0pics which you feel were superflu- ous and should be omitted in future classes. C. Your own satisfaction in this circuitous route to music study may have been enhanced by additional material in one or more of these lecture areas. In Column C, place a check before those subjects which you feel should be expanded for future classes. ABC The Science of Sound (Lecture) The Science of Sound (Bell Laboratory Recording) The Science of Sound (Films: Wave Behavior; Speech Chain) Sound Reproduction 1. (Lecture -Demonstration) Sound Reproduction 2 . (Lecture -Demonstration) The Human Ear (Lecture) The Sounds of Musical Communication (Demonstration) The Human Voice (Lecture) Diction (Film: The Cleft Palate) Anthropology and Music (Lecture-Demonstration) Philosophy and Music (Lecture) Religion and Music (Lecture) Form (Lecture) Literature and Music (Lecture) 151 152 B . Control Group A. The following list is a summary of the titles in a series of lec- tures heard by the experimental class. If such a series were presented to you, which three would you anticipate as being the most interesting to you. Use numbers 1, 2, and 3 to designate your first, second and third choices in Column A. B. Place a check in Column B before those you would anticipate as I? being of least interest to you. ‘- __J A B The Science of Sound (3 lectures) 1 Sound Reproduction (2 demonstrations) The Human Ear (lecture) The Sounds of Musical Communication (demonstration) The Human Voice (lecture) Diction (film) Anthropology-and Music (lecture -demonstration) Philosophy and Music (lecture) Religion and Music (lecture) Form (lecture) Literature and Music (lecture) C. These lectures have a common touchstone in music. If you were to attend a class concerned with music as approached from these points of departure, what would be your first choice of class format? (Underline one.) Lecture series Lecture and open discussion Panel discussions (more than one expert on each subject) Individual research and class report . Other: mfiWNt—t 153 C . Essay Guideline* Please take the time to discuss in detail your feelings about the course. You may follow the outline below, or you may depart from it. Brief notes may be written alongside the outline; a summary statement should be written on the next page. Your discussion should include criticisms as well as positive suggestions for improving the program. I. As a music course for non-music majors, should it be A. A Humanities course? (17-0) 1. 2. For credit? (21-5) For selected students, as it was this year? (7-5) Selected by ability? (7-8) , By advisors' recommendations? (0-9) By grades? (2-7) By invitation? (9-6) . By request of student? ( 11-3) For all students ? ( 10-4) a. As requirement? ( 12-0) b. As elective? (23-0) Student participation? a. Attendance? (23-0) b. Verbal? (17-2) c. Written examinations ? ( 13-8) d. Research paper? (10-11) Duration of one semester or ( 10-1) a. Concentrated in 6 or 9 weeks? (9-6) b. Two semesters, but remain weekly? (9-4) ('DQuOC‘W For what year in college? 1 - 1 2 - 5 3 - 2 4 -1 all - 9 a. Same time of day as this year? ( 11-12) b. Location on campus? ( 16-0) 11. Such a course should cover A. Additional material which has connection to music but no more detailed than we had this year, or (7-4) *Positive responses and negative responses appear in order in parentheses after each item. B. 154 More informative, detailed information about music itself ? (15-3) 1. How to read a page of music? (16-4) 2. How to sing a line from the page? (14-4) a. Hymns (ll-l). b. Popular songs (lO-l) c. Other (4-1) 3. Organized listening? (ll-2) a. Development of a private record collection? (3-4) 4. Individual creative opportunities? (4-3) a. Performing a phrase, sentence, etc. (5-3) b. Composing (6-3) c. Conducting a group (5-3) 5. Other areas of life or endeavor that were not touched this year? (6) 3 - Psychology 2 - Professional Musicians III. If aimed especially at students of high academic ability, by. what methods of instruction, change of format, or change of subject matter could such a course be made more interesting? A. B. C. Seminar -type discussions? ( 14-2) More than one "expert" ? (8-4) All lectures by musicians rather than by experts in other fields? (10-0) Other: More demonstrations (2-0) BIB LIOGRAPHY Books Abraham, Willard. Common Sense About Gifted Children. New York: Harper ¢ Bros., 1958. Adams, Fay and Brown, Walker. Teaching the Bright Pupil. New York: Henry Holt and Co. , 1930. Conant, James B. The American High School Today. New York: McGraw-Hill Book Company, 1959. Cunningham, W. F. General Education and the Liberal College. St. Louis: B. Herder Co., 1953. Davidson, Helen H. Personality and Economic Background: A Study of Highly Intelligent Children. New York: Kings Crown Press, 1943. Dressel, Paul L. Undergraduate Curricula in Higher Education. Washington, D.C.: Center for Applied Research in Education, 1963. , Mayhew, Lewis B. and McGrath, Earl J. The Liberal Arts a_1_s Viewed 11y Faculty Members 13 Professional Schools. New York: Teachers College, Columbia University, Bureau of Publications, 1959. Everett, Samuel. Programs f9; the Gifted. New York: Harper fi Bros., 1961. Farnsworth, Paul R. The Social Psycholgy quusic. New York: The Dryden Press, 1958. Frankel, Charles. Issues i_n University Education. New York: Harper ¢Bros., 1959. French, Joseph L. (ed. ) . Educating the: Gifted. New York: Henry Holt and Company, 1959. 155 156 Gifted Child, The. Edited by Paul Witty. Boston: D. C. Heath Co., 1951. Gould, Samuel B. Knowledge I_s Not Enough. Yellow Springs, Ohio: Antioch Press, 1959. Helmholtz, Herman L. F. C_ntfiz Sensations o_f Tone. 4th ed. Translated by Alexander J. Ellis . London and New York: Longmans, Green and Company, 1895. Hildreth, Gertrude Howell. Educating Gifted Children at Hunter College Elementary School. New York: Harper $ Bros., 1952. Hollingsworth, Leta S. Children Above 180 19, Stanford-Binet. Yonkers-on-Hudson, New York: World Book Company, 1942. Huxley, Thomas Henry. Autobiography and Selected Essays. Cambridge: Riverside Press, 1909. Johnson, Lamar. General Education i_n Action. Washington, D.C.: American Council on Education, 1952. Jones, Vincent. Music Education i_n the College. Hollywood: Highland Music Company, 1949. Kough, Jack. Practical Programs for the Gifted. Chicago: Science Research Associates, 1960. Linton, Ralph. The Tree o_f_Culture. New York: Knopf, 1955. Millett, John D. The Liberating Arts. Cleveland: Howard Allen, Inc., 1957. Miner, John B. Intelligence 2 tE United States. New York: Springer Publishing Company, 1957. Modern University, The. Edited by Margaret Clapp. Ithaca, New York: Cornell University Press, 1950. Music f9; 1:113 Academically Talented Student. Washington, D.C . : National Education Association, 1960. 157 Nye, Robert and Vernice. Music i_nth_e Elementary School. Engle- wood Cliffs, New Jersey: Prentice-Hall, 1957. Passow, A. Harry et a1. Planning E Talented Youth. New York: Teachers College, Columbia University, Bureau of Publications, 1955. Polanyi, Michael. The Study o_f Man. Chicago: The University of Chicago Press. Research o__r_1 the Academically Talented Student. Washington, D.C.: National Education Association, 1961. Shertzer, Bruce (ed. ) . Working with Superior Students: Theories and Practices. Chicago: Science Research Associates, 1960. Terman, Lewis M. and Oden, Melinda H. The Gifted Child Grows Hp. Stanford, California: Stanford University Press, 1947. Thompson, Randall. College Music. New York: The MacMillan Company, 1935. Witty, Paul, Conant, James B. and Strang, Ruth. Creativity of Gifted and Talented Children. New York: Columbia University, Teachers College, Bureau of Publications, 1959. Yates, Dorothy H. A Study o_f_ Some High School Seniors 2f Superior Intelligence. Bloomington, Illinois: Public School Publishing Company, 1922. Articles and Periodicals Briggs, Thomas H. ”Music in Secondary Schools, " Music Educators National Conference Yearbook, 1936. Chauncey, Henry. "Measurement and Prediction--Tests of Academic Ability, " The Identification and Education o_f the Academi- cally Talented Student in the American Secondary School, Report of the Invitation-ail anference on the Academically Talented Secondary School Pupil. Washington, D.C.: National Education Association, 1958. 158 Conant, James B. "Education of the Academically Talented, " School aid Society, May 10, 1958. "The Gifted Child in the Secondary School, " Bulletin if. the National Association c_>_f Secondary School Principals, 33:25-9-64 (April, 1949). Gordon, Edwin. "A Study To Determine the Effects of Training and Practice on Drake Musical Aptitude Test Scores, " Jour- £11 o_f Research 12 Music Education, IX, No. 1 (Spring, 1964) . "Flexibility in the Undergraduate Curriculum, " New Dimensions i_n Higher Education, X. Washington, D.C.: United States Department of Health, Education and Welfare, 1962. Mueller, John H. et a1. "Studies in Appreciation of Art, ” Univer- sity o_f Oregon Publications, IV, No. 6 (February, 1934). "Scientific Progress, the Universities, and the Federal Government," Higher Education. Washington, D.C.: United States Department of Health, Education and Welfare, December, 1960. Terman, Lewis M. ”The Discovery and Encouragement of Excep- tional Talent, ” The American Psychologist, Vol. IX (June, 1954). Reports and Yearbooks "Education for the Gifted, " National Society for the Study o_f Education, 57th Yearbook. Chicago: University of Chicago Press, 1958. "The Identification and Education of the Academically Talented Stu- dent in the American Secondary School, " Report 93% Invitational Conference 9_r_1 1113 Academically Talented Secondary School Pupil. Washington, D.C.: National Education Association, 1958. Lang, Paul. ”The Department of Music and Its Functions, “ Pro- ceedings tithe Music Teachers National Association, 1940. 159 Stewart, Blair. Liberal Arts and Medical Education. A Report of the Committee of the Faculty of the College of Liberal Arts and Sciences of Oberlin College. Oberlin, Ohio: Oberlin College, 1957. Witty, Paul. Intelligence: Its Nature and Nurture. National Society for the Study of Education, Thirty-ninth Yearbook, Part 11. Bloomington, Illinois: Public School Publishing Company, 1940. Unpubli she d Mate rial Erneston, Nicholaxas. "A Study To Determine the Effect of Musical Experience and Mental Ability on the Foundation of Musical Taste." Unpublished Ph.D. dissertation, Florida State University, 1961. Foster, Randolph N., Jr. "Music in the Humanities." Unpublished Ph.D. dissertation, George Peabody College for Teach- ers, Nashville, Tennessee, 1959. Gaston, E. Thayer. "Music for Exceptional Children, " Paper read before the meeting of the National Association for Music Therapy, September, 1957. Honors College 1960-1963. Report to the University of Oregon Faculty, 1963. Parker, O. G. "A Study of the Relation of Aesthetic Sensitivity to Musical Ability, Intelligence and Socio -economic Status . ” Unpublished Ph.D. dissertation, University of Kansas, 1961. Phillips, Frank. "A Study of Participation by General College Students in Music Courses and Activities at the Univer- sity of Texas. " Unpublished Ph.D. dissertation, Uni- versity of Texas, 1957. Smay, John LeRoy. "An Analysis of Musical Offerings for General College Students in Selected Missouri Colleges. " Unpublished Ph.D. dissertation, Northwestern Univer- sity, 1957. 160 Steward, W. E. "An Evaluation of the Development of Appreciation for Music as Implemented by the Liberal Arts College. ” Unpublished Ph.D. dissertation, University of Oregon, 1960. Trotter, Robert M. "General Music in Education. " Paper read before the meeting of the National Association of Schools of Music, Chicago, November, 1963. Other Sources Andrews, Frances M. Personal letter, January, 1964. Marquis, Lucian. Director of the Oregon University Honors College. Personal letter, May, 1964. McElwee, Tandy. Director, Testing Services, Northwestern State College of Louisiana. Personal interview, June, 1964. McKay, George Frederick. Personal letter, February, 1964. Meyer, Leonard B. Personal letter, March, 1964. Mitterling, Phillip I. Director, Inter-University Committee on the Superior Student, University of Colorado, Boulder, Colorado. Personal letter, March, 1964. Trotter, Robert M. President, College Music Society, University of Oregon, Eugene, Oregon. Personal letter, March, 1964. Washburn, Robert. Personal letter, January, 1964.