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(ya . vi . #11254»; n ... iii)», . 7;] Wm.“ \\\\\\\\\\\\\\\\\\\\\\\\\\\\\3§\3\)\\§\5\\\g\\\\8\\(\§\\g\\ 3 ‘ ______ THESIs 3 1293 1O 9“ ' I {BRA}? ‘3 Iviicingaz. Nap. ‘ 7 '1 “silt: Umx m s j , die F... -“ This is to certify that the thesis entitled THE EFFECTS ON SIGHT SINGING OF VOICE CLASS INSTRUCTION UTILIZING VARIANTS OF TRADITIONAL VOCALISES presented by Eunice Wilcox' has been accepted towards fulfillment . of the requirements for Ph.D degree“, Music Date __‘_JH_1X_ 0-169 ABSTRACT THE EFFECTS ON SIGHT SINGING OF VOICE CLASS INSTRUCTION UTILIZING VARIANTS OF TRADITIONAL VOCALISES by Eunice Wilcox Body of Abstract The purpose of this study was to examine whether the use in voice class of vocalises which are structured on other than major scales and triads would have an effect on the ability of the student to read traditionally structured music, or music built on less familiar sound relationships. Two sections of voice class were used for the study. The experiment occupied a period of one academic year. One class, the control group, used only vocalises of the type tradi- tionally associated with voice study. The other class uti- lized vocalises structured on chromatic and whole tone scales, on diminished and augmented triads, and on various combina- tions of these. The general course of study was the same for both classes, with the exception of the vocalises, Each student in the two classes was given several sight singing tests. Be- fore the experiment began, the students were asked to sight sing a melody which included a variety of intervals. At the Eunice Wilcox end of the experiment they were again asked to sing this intervallic melody. At this time they were also given a melody with a well established tonal center, and a lZ-tone melody, to sight sing. All tests were sung individually and were tape recorded. In addition, the Kwalwasser-Ruch Test of Musical Accomplishment, which tests skill with music symbols, was administered. The students completed a question- naire regarding music training, and the music background page of the Thayer Gaston Test of Musicality. The cumulative averages of the students were also ascertained for possible correlation with sight singing scores. The basic statistics involved correlation, analysis of variance and covariance. Of the two types of vocalises employed in the study, the variants of the traditional vocalises, which were struc- tured on chromatic and whole tone scales, on diminished and augmented triads, and on various combinations of these, pro- duced no statistically significant difference in sight sing- ing gain, in ability to read lZ-tone music, or in ability to read tonal music. It may be that the use of vocalises which differ more radically from the traditional, would have a greater effect on the students' ability to read music. THE EFFECTS ON SIGHT SINGING OF VOICE CLASS INSTRUCTION UTILIZING VARIANTS OF TRADITIONAL VOCALISES By Eunice'Wilcox A THESIS Submitted to Michigan State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY Department of Music 1968 ' 55/3 57/0 may: 4 7 ACKNOWLEDGEMENTS The writer wishes to express sincere appreciation to Dr. William Sur, her Thesis Director and Guidance Committee Chairman, for his wise counsel and his many helpful suggestions throughout this study. Appreciation must be eXpressed to others who contributed to this investigation: Dr. H. Owen Reed; Miss Ethel Armeling; and Mr. Richard Klausli, members of the writer's Guidance Committee, for their advice and direction. Dr. George Duerkson was most helpful in analyzing and presenting the data. The writer also wishes to thank Culver Wilcox, her father, for his understanding and encouragement. E. W. ii Chapter I. II. III. IV. TABLE OF CONTENTS I NTRODUCTI ON 0 O O O O O O O O O O O 0 O PrOblemcoooooooooooooooo DefinitIOHOfTermSoooooo00000 REVIEW OF RELATED LITERATURE . . . . . . Studies on Sight Singing o o o o o o o o PROCEDURE. . . C O O O . O O O O O 0 . . Differences Between Control and Experimental Groups. . . . . . . . . . Devising the Vbcalises . . . . . . . . . Questions Asked at End of Study. . . . . Organization of Data . . . . . . . . . . RESULTS 0 O O 0 O O O O O O O O 0 O O O 0 Mean Scores of Skill with Music Symbols, Music Training, Music Background, and Cumulative Grade Point Average, with Standard Deviations for Both Groups. . Sight Singing Scores for Both Groups and Standard Deviations. . . . . . . . Correlations Between Scores on Skill with Music Symbols and Scores on Sight Singing Tests. . . . . . . . . . Correlations Between Scores on Music Background and Scores on Sight SingirlgTQStSooooooooooooo Correlations Between Scores on Music Training and Scores on Sight Sing- IngTEStSooooooooooooooo Correlations Between Scores on Sight Singing Tests and Cumulative Grade Point Average. . . . . . . . . . . . . Correlations Between Scores on various Sight Singing Tests. . . . . . . . . . iii Page U190 14 14 16 21 22 25 26 27 28 29 3O 31 32 Chapter Significance of Differences Between Mean Scores on Skill with Music Symbols, Music Background, Music Training, Cumulative Grade Point Average, and Sight Singing Tests. . . Analysis of Variance and Covariance of Pretest-Posttest Gain Scores Holding Constant Skill with Music Symbols, Music Training, Music Background, and Cumulative Grade PointAverage............ Analysis of Variance and Covariance of Sight Singing Intervals Scores Holding Constant Skill with Music Symbols, Music Training, Music Back- ground, and Cumulative Grade Point Average . . . . . . . . . . . . . . . Analysis of variance and Covariance of Tonal Sight Singing Scores Holding Constant Skill with Music Symbols, Music Training, Music Background, and Cumulative Grade Point Average. . Analysis of variance and Covariance of 12-tone Sight Singing Scores Holding Constant Skill with Music Symbols, Music Training, Music Background, and Cumulative Grade Point Average. . . . Test Scores for Entire Group and Standard Deviations . . . . . . . . . Discussion of Results . . . . . . . . . V. SUMMARY, RESULTS, AND RECOMMENDATIONS . RESUItSoooooooooooooooo Recommendations . . . . . . . . . . . . B IBLI mRAPHY O O O O O O O O O O O O O O O 0 iv Page 33 34 35 36 37 38 39 41 42 44 46 LIST OF TABLES Table Page 1. Mean Scores of Skill with Music Symbols, Music Training, Music Background, and CUmulative Grade Point Average, with Standard Deviations for Both Groups. . . . . 26 2. Sight Singing Scores and Gains Achieved by Control and Experimental Groups and the Standard Deviations. 0 o o o o o o o 27 3. Correlations Between Scores on Skill with Music Symbols and Scores on Sight SlngingTestS................ 28 4. Correlations Between Scores on Music Background and Scores on Sight SingingTests................ 29 5. Correlations Between Scores on.Music Training and Scores on Sight SingingTests................ 30 6. Correlations Between Scores on Sight Singing Tests and Cumulative Grade Point Averages . . . . . . . . . . . . . . . 31 7. Correlations Between Scores on various Sight SirlgingTeStSooooooooooooo 32 8. Significance of the Differences Between Mean Scores on Skill with Music Symbols, Music Background, Music Training, Cumulative Grade Point Average,and Sight Singing Tests. . . . . . . . . . . . . 33 9. Analysis of Variance and Covariance of Pretest-Posttest Gain Scores Holding Constant Skill with Music Symbols, Music Training, Music Background, and Cumulative Grade Point Average . . . . . . . 34 Table Page 10. Analysis of variance and Covariance of Sight Singing Intervals Scores Holding Constant Skill with Music Symbols, Music Training, Music Background, and Cumulative Grade Point Average . . . . . . . . . . . . . . . . 35 11. Analysis of variance and Covariance of Tonal Sight Singing Scores Holding Constant Skill with Music Symbols, Music Training, Music Background, and Cumulative Grade Point Average. . . . . . 36 12. Analysis of variance and Covariance of 12-tone Sight Singing Scores Holding Constant Skill with Music Symbols, Music Training, Music Background, and Cumulative Grade Point Average. . . . . . . . 37 13. Test Scores for Entire Group and Standard Deviations. 0 o o o o o o o o o o o 38 140 RaWDataoooooooooooQOooooooo 50 vi LIST OF APPENDICES APPENDICES A. Table of Raw Data. . . . . . . . . B. Melody Fragments for Sight Reading C. Examples of Traditional vocalises. D. vocalises Used in Experimental Class . . . . . . . . . . . . . E. Thayer Gaston Test of Musicality . F. Kwalwasser-Ruch Test of Musical Accomplishment. . . . . . . . . G. Questionnaire for Music Training . vii Page 50 52 56 59 61 63 CHAPTER I INTRODUCTION A survey of methods of instruction used to teach sight singing in western civilization seems to indicate that most of the literature on.this subject utilizes only major and minor scales and chords. Other combinations of sound are not usually included. The modes of instruction which are used are numerous and varied. Systems which were devised centuries ago are still in use today. One example of this is solfege, or solfeggio, which evolved from a mode of instruction instituted by Guido d'Arezzo in the eleventh century. Other courses of procedure have been developed which also utilize major and minor scale patterns and chord outlines, but which make use of nomenclature other than the syllables of the solfege system. These include: num- bers which indicate the scale degree, one, two, etc.; and letter names of pitches, A, B, C, etc. Most pe0ple at one time or another in their education receive an introduction to the notational system. For those who elect to learn more about the elements of music, instruc- tion in music theory is a possibility. Sight singing and ear . . - . , I . . \ u _ -‘ l ’ . ' I . s . - . . . I ‘1 / . ‘- . . , I. \ c , . . . \ . . \ I I ‘ - ‘ ,_ A training are usually an integral part of music theory. Students may study music privately, and some of them may receive training in sight singing in either private instruction or in the public schools. The ability of most people to sight sing, however, is woefully inadequate. Even those students who read music easily seem to experience difficulty in sing- ing at sight any music whose structure varies from the conven- tional and familiar major-minor scales and chords. Studies of transfer of learning tend to yield simi- lar results. Schulz found that, " . . . an organism's present performance in a given situation is to a large extent a function of that organism's past performances in somewhat similar situations."1 That being so, the study of music should include combinations of sounds representative of the twentieth century, if students are to sight read contemporary music. It might prove useful to include in their training some studies, etudes, or vocalises, which are structured on bases other than major or minor scales or chords. 1Rudolph Schulz, "Problem Solving Behavior and Transfer," Transfer of Learning, ed. Robert F. Grose, Robert C. Birney (Princeton, New Jersey: D. van Nostrand Company, Inc., 1963), 164. Problem The purpose of this study is to examine whether the utilization in voice class of vocalises which are structured on other than major or minor scales and triads will have an effect on the ability of the student to read traditionally structured music, or music which is built upon less familiar sound relationships. The process of singing at sight, assuming that the student can sing, or, more specifically, can match a given pitch, and can read the printed page, actually in- volves: (l) recognizing notational symbols, (2) forming a mental impression of the sounds which the symbols repre- sent, and (3) producing those sounds. Lieberman suggests that students be required to practice intervals and tonal studies daily, in order to attain a sure sense of relative pitch.2 The student must build associations between sight and sound. The use of vocalises in one form or another is an integral part of the discipline employed by most teachers 2Maurice Lieberman, Ear Training and Sight Singing (New York, N. Y.: W. W. Norton & Company, 1959), pre- face. t . a e . A ‘ . W A s I I t - l o \ , . . ~ 1 . 1 . l of singing. Some of these vocal exercises are specifically designed to aid in building associations between sight and sound in order to improve the sight singing ability of the 3,4 student. Other vocalises may serve to improve tone quality,5 to increase vocal agility,6 to widen the range of 7 and to warm up the voice.8 the voice, The student's previously acquired associations with particular structural patterns upon which music is built are likely to have some effect upon his sight reading performance. Assuming this to be true, the student should be exposed to as great a variety of structural patterns as is feasible, in preparation for reading, practicing or performing music which is structured in various ways, including music comprised of unfamiliar sound relationships. 3Edgar Crowe, Annie Lawton, and W. Gillies Whittaker, The Folk Song Sight Singing Series (London, England: Oxford University Press, 1963). 4William Appleby, Sing at Sight (London, England: Oxford University Press, 1963). 5Harper C. Maybee, Vbcal Ensemble Exercises (New York, No Yo: Go SChimer, 1936)o 6Frederick H. Haywood, Universal Song, (New York, N. Y. G. Schirmer, 1932). 7Niccolo vaccai, Practical Italian vecal Method (New York, No Yo: Go SChimer, 1923). 8ZoltanKodaly, Epigrams, Choral Method (New York, N. Y.: Boosey & Hawkes, 1954). Definition of Terms Non-tonal music is defined as that in which the tonality is in a constant state of flux. Sight singing is defined as the ability to sing at sight as measured by tests. (See Appendix B) 9 Twelve-tone music is defined by Dallin as a technique in which, ". . . the system consists of setting up a sequence of twelve notes of the chromatic scale and repeat- ing them in a fixed order constantly and exclusively throughout a composition. Twelve different notes are used, and none is repeated. The crux of the series lies in the order of the tones in the intervals be- tween them . . . In addition to transposition, all the methods of systematically modifying the contour of themes and motives are applied also to the series. The use of it in the original form and in inversion, retrograde, and retrograde inversion is part of the fundamental concept of the method." Vocalise is defined as an exercise or etude used in the study of voice, whose function is to accomplish one or more of the following: to improve tone quality; to increase the range of the voice; to acquire agility; to warm up the voice; and to improve the pupil's sight singing ability. 9Leon Dallin, Techniques of Twentieth Century Composition (Dubuque, Iowa: Wm. C. Brown Company, 1957) 181-184. CHAPTER II REVIEW OF RELATED LITERATURE The singer may be at a greater disadvantage than the instrumentalist in building associations between sight and sound. He forms a mental impression of the sound, then he must reproduce it entirely from within himself, without the help of valves or keys to aid him. According to Kagen, "A singer has no keys, valves, or strings which he could learn to manipulate . . . the singer, above all musicians, needs most the ability to imagine pitch."10 Bergan suggests, ”The correspondence between imagery and pitch implies . . . that whether the musician be composer or performer, his artistic behavior is directed in part by an internal representation of musical sound, that is, by imagery.11 If the students are not accustomed to forming internal representations of contem- porary sounds, will they be able to sing at sight those same sounds? 10Sergius Kagen, 0n Studying Siggigg (New York, N. Y.: Dover Publications, 1950), 15. 11John R. Bergan, "The Relationships Among Pitch Identi- fication, Imagery for Musical Sounds, and Musical Memory," Journal of Research in Music Education, XV, No. 2, (Summer, 1967), 108. In view of these suggestions, perhaps exposure to vocalises which are based on augmented triads, diminished triads, whole tone scales, chromatic scales, and combinations of these, will aid the singer in reading either traditionally structured music, or music which is structured on new sound relationships. It is Ottman's contention that the singing of intervals may facilitate sight singing. He found that, ” . . . hearing intervals with a melodic background apparently had the highest degree of influence on sightsinging skill."12 An investigation by Marquis confirms the fact that the ability to sight sing is substantially correlated with the ability to recognize and use contextual elements of a melody.13 This emphasizes the need for variety in structure of the ele- ments of music: scalar, harmonic, and tonal, if the sight singer wishes to read music which is structured in a variety of ways. 12Robert Ottman, ”A Statistical Investigation of the Influence of Selected Factors on the Skill of Sight Sing- ing," Abstract, Dissertation.Abstracts, XVI, l, (1956) 763. 13James H. Marquis, "A Study of Interval Problems in Sightsinging Performance with Consideration of the Effect of Context," Abstract, Dissertation Abstracts, XXIV (1963-64) 767. The hypothesis that, "Progress in the aural and visual perception of music through instruction based upon atonal organization.will transfer to progress in the aural and visual perception of tonal music,"14 underlies a proposed project upon which Sherman is working. Should this hypothesis prove to be true, it would indicate the need for utilization of more music comprised of unfamiliar sound relationships in learning to sing at sight. Sherman's study is concerned with taped self-instruction drill in intervals, dictation, etc. His subjects are freshman theory music majors and the main con- cern is programmed instruction. The study being conducted by the writer is concerned with utilization of vocalises based on augmented triads, diminished triads, whole tone scales, and chromatic scales in voice class composed of both music and non- music majors. The conditions of the latter study include a controlled class environment in which immediate and purposive correction by the instructor is possible. It is also feasible that through hearing the attempts of others in the class, the subjects might acquire additional familiarity with the voca- 11365 0 14Robert W. Sherman, "Aural and Visual Perception of Melody Presented in Tonal and Atonal Musical Environments," Council for Research in.Music Education, 4 (Winter, 1965), 38. A perusal of recently written texts dealing with sight singing reveals an abundance of published materials for use in this area. Of the twelve texts examined which were published between 1954 and 1964, only two used music struc- tured on unfamiliar sound relationships. An examination of the literature written for use in voice classes, in private vocal study, or in choral groups, reveals much the same situation. Out of a total of ten books, only one mentioned, much less used music structured in other than traditional ways. Studies on Sight Singing An examination of studies related to sight reading and sight singing reveals an abundance of published material on sight reading. The amount of research which has been done on sight singing is not so extensive. Kyme15 conducted an.eXperiment comparing the effectiveness 15George H. Kyme, "An Experiment in Teaching Children to Read Music with Shape Notes," Journal of Research in.Music Edu- cation, 8 (Spring, 1960), 3-8. 10 of different methods of teaching children to read music at sight. Experimental groups were taught this skill through the use of shape notes. Three control groups used traditional methods, i.e., sol-fa syllables for the second verse of a fa- miliar song, numbers used in a similar manner, and supplementary instrumental training. The experimental groups were superior to the control groups at the .01 level of significance. Kyme concludes, "In the light of this evidence, music educators may wish to reappraise the shape note system of teaching sight- singing . . ." A study was made by Barnes16 concerning the effect on sight singing of interval drill. He reported that in sight singing intervals and melody the experimental group which was subjected to drill performed significantly better than the control group. Nye and Nye17 found that the use of the piano keyboard minimizes many of the problems of understanding music notation. 16James Woodrow Barnes, "An Experimental Study of Interval Drills As it Affects Sight Singing Skill," (Unpub- lished Doctoral Dissertation, Indiana University, 1960). 17Robert Evans Nye and Vernice Trousdale Nye, Music in the Elementagy School (Englewood Cliffs, New Jersey: Prentice- Hall, Inc., 1964), 377. 11 The reason is that the keyboard constitutes a highly significant audio-visual tool for learning. Children enjoy "picking out tunes" and in doing so on the bells or piano they‘ggg and feel and hear the interval relationships of tones. This can lead to a real comprehension of the meaning of the notes on the staff -- a comprehension frequently lacking in children whose musical experiences have been con- fined to a singing approach. 18 Her Hargiss' findings are in agreement with this. study revealed that, "The piano keyboard . . . provides a space- frame for tonal relationships . . ." This study was conducted with elementary teachers as subjects. Most of the aforementioned studies have dealt with children as subjects, or with an instrumental approach. Some of them dealt with the use of drill to aid in interval singing. Need for Greater Utilization of Contemporary Music The need for more extensive utilization of music which is representative of the present time is stated in a report in Music in American Education, "Time and patience will be needed to convince teacher-training institutions that an ex- perience with, and understanding of, contemporary music is an essential part of the training of music teachers . . ."19 18Genevieve Hargiss, "The Development and Evaluation of Self-Instructional Materials in Basic Music Theory for Ele- mentary Teachers," Council for Research in.Music Education, 4, (Winter, 1965) 1. "—- 19Elizabeth Meloy, “Contemporary Music for American Schools," Music in.American Education, Music Educators National Conference, (1955), 239. 12 Contemporary music is defined in this article as, " . . . that which departs from the conventional in tone or rhythm or both."20 The same report states, "The modern music educator knows that he must present the ghglg of musical experience to those students under his guidance, including music of their own time."21 It may be that all music study (exercises, etuces, voca- lises, etc.) should include music structured on,a variety of bases, rather than simply major and minor. This might provide better preparation for reading and performing music structured in old.§ng new ways. According to Darazs, in reference to present teaching methods and materials, "There has been considerable neglect in not using new approaches and materials as a basis for future improvement."22 Assuming that the students in the experimental group will show a greater gain in sight singing ability, and that they will be enabled to read tonal, non-tonal, and 12-tone music with greater ease, it may be that these students will more readily accept music which is structured in new ways. They might also 201bid., 239. 211bid., 242. 22Arpad Darazs, "The Kodaly Method for Choral Training," Council for Research in.Music Education, 8 (Fall, 1966) 60. 13 be more inclined to perform contemporary music. Fitzgerald suggests that the use of contemporary music as part of the crea- tive activities in elementary school music curriculums is in- frequent partly because of, " . . . the limited background of music teachers with respect to contemporary music."23 Mitchell states it in a different way, " . . . toward the solution to specific and related problems: The need to enlarge the small, constricting world of musical experience in.which most of us live.“24 23R. Bernard Fitzgerald, Introduction to Experiments in Musical Creativit , Contempgragy Music Project, Music Educators .EéElSEél Conference, (1966), 1. 24William J. Mitchell, "The Role of Music History and Literature in the Development of Musical Understanding," Comprehensive Musicianship, Contem ora Music Pro ect, Music Educators National Conference, (April, 1965), 59. CHAPTER III PROCEDURE The experiment was conducted in the Music Department of Michigan State University during the academic year 1967-68. Two sections of voice class were used for the study: students enrolled in Music 141, 142, and 143; three consecutive terms, or approximately 9% months. The classes met twice a week, 50 minutes each meeting. One quarter hour credit was given for each of the three terms. The course is required for: (1) music education choral majors whose applied major is not voice; (2) music therapy majors whose applied major is not voice; and (3) applied piano pedagogy majors. For other students the class is an elective. The aims of the class are several: all students should learn to sing alone with some degree of ease; students should learn something of the singing problems of others and possible solutions for these problems; and they should acquire some knowledge of vocal repertoire. The students also practice sight singing, acquire knowledge about diction, and become fa- miliar with books about singing. Differences Between Control and Experimental Groups In the control group, 15 students out of the 20 were music majors, while in the experimental group, 12 students out 14 15 of the 22 were music majors. The non-music majors represented the areas of agriculture, elementary education, mathematics, dramatics, physical science, speech, social science, literature, and special education. There were more freshmen involved in the study than any other category; however, every class level was included. Females outnumbered males in both groups, with the experimental group numbering 15 females and 7 males. In the control group there were 17 females and 3 males. The two sections were already intact as university classes. Both classes were of greater size at the beginning of the study; however, schedule changes, withdrawals from school, etc. brought the groups to the above-mentioned sizes. The music majors in the group took other music courses simultaneously with voice class. These courses were distributed between the two groups as follows: (1) basic theory and aural theory; 6 in experimental group, 7 in control group; (2) advanced theory and advanced aural theory; 4 in experimental group, 8 in control group; (3) instrumental ensemble: 1 in eXperimental group, 2 in control group; (4) vocal ensemble: experimental group 5 to groups with auditions and 5 to grOUp with no audition neces- sary, control group 8 to groups with auditions and 6 to group with no audition; (5) private instrumental study: experimental group 9 on piano or organ and 2 on other instruments, in the control group, 13 on piano or organ, and 2 on other instruments. 16 For the most part, the non-music majors were not occupied with other music courses. The distribution of music classes taken simultaneously with voice class was much the same for both of the groups. As a consequence, the results of the study were probably not in- fluenced by music courses taken simultaneously with voice class when making comparisons between the two groups. One class, the control group, used only vocalises of the type traditionally associated with the study of voice. (Appendix C) These are based on major scales and major chord outlines. The other voice class utilized vocalises structured on whole tones, chromatic scales, augemnted triads, diminished triads, and combinations of these. (Appendix D) The amount of class time spent on the vocalises varied from eight to fifteen minutes per class, a total of twelve hours for the year. Equal amounts of time were Spent in the experimental class and in the control class. Devisigg the Vocalises The vocalises for the experimental group were developed over a period of time, with the assistance of singers and theorists on the faculty of Michigan State University. It was felt that 17 the vocalises should be singable, capable of accomplishing the desired ends, and theoretically correct. Two composers who also taught theory and composition helped in designing them. Two voice teacher-performers on the faculty assisted in verify- ing the singability of the vocalises. The experimental vocalises are patterned somewhat after the traditional vocalises while incorporating musical structures which are less familiar, though not too strange, since part of the goal of vocalises is to improve tone quality. Were the stu- cients required to sing a series of augmented fourths, for ex- ample, they might be entirely preoccupied with achieving the intervals, and give little or no attention to the quality of the tone. By combining minor thirds and minor seconds (Appen- dix D, numbers 7, 8, and 11), or perfect fourths and minor seconds (Appendix D, number 10), or augmented fourths and minor seconds (Appendix D, number 9), the students perform combina- tions with which they probably have a degree of familiarity. At the same time, there is enough repetition in the sequential patterning to allow attention to tone quality. The whole tone and chromatic scales vocalises were used because they lack centralization, and evade tonality, while still retaining a sequential pattern. It was felt that these vocalises might be helpful in the reading of lZ-tone music with its usual lack of tonic feeling. 18 The diminished and augmented triad vocalises were utilized because of their greater degree of dissonance than the major or minor triads. These triads are also probably less familiar to music students generally than major-minor triads. All these vocalises were also devised with vocal aims in mind. They had to be within a reasonable range for singers with little or no experience. They had to assist in achieving vocal goals. These goals include agility, widening the range, improv- ing tone quality, and warming up the voice. The same teaching materials and methods were utilized for both classes. The instructor was the same for both sections. The students in both classes wrote out and transposed, either up or down, the vocalises which were utilized. The justi- fication for this involvement with motor impulses is confirmed in a study by Hargiss. In a study concerned with teaching music theory to elementary teachers, she found that, “The ability to perceive tonal relationships, essential to musical insight, is most easily and rapidly developed when hearing, sight, and touch are employed together, the senses reinforcing one another."25 In this present study, the motor impulses involved in the notation and subsequent manipulation of the vocalises were intended to 25Hargiss, op. cit., p. l. l9 reinforce the reading, hearing, and singing of the vocalises. It was felt that simply copying the vocalises might be a purely mechanical process, but in order to transpose them, the students would have to analyze them. Carlsen also confirms the value of this type of activity, " . . . behavior apprOpriate to learning, such as writing, playing, or aurally identifying."26 In order to give the students additional exposure to music structured in unfamiliar ways, both classes attempted the sight reading of songs by contemporary composers such as Bela Bartok, Arnold Schoenberg, and Igor Stravinsky. The songs which were utilized represented a variety of structure, including tonal and atonal. The sight singing of these songs occurred in the third term for both groups. It occupied approximately fifteen minutes one class period a week, a total of 2% hours, for both the eXperimental and the control group. Each class sang through the compositions together, discussed their first attempt, then tried again. If time permitted, they discussed it once more and sang it again. The students were requested to complete the music back- ground page of the Thayer Gaston Test of Musicality, hereafter 26James C. Carlsen, "The Role of Programmed Instruction in the Development of Musical Skills," Comprehensive Musicianship, Music Educators National Conference, (April, 1965), 29. 20 called music background. (Appendix E) A specially constructed questionnaire was devised by the writer to ascertain music train- ing. The Kwalwasser Ruch Test of Musical Accomplishment was ad- ministered at the beginning of the study to measure skill with music symbols. (Appendix F) This will be referred to as skill with music symbols test. The students' cumulative grade point averages were also used to determine possible correlation with sight singing ability. The students in both classes were asked to attempt a sight singing test which was designed to emphasize the singing of intervals. This test was given again at the end of the study. (Appendix B, number 3) At this time the students also attempted the sight singing of a 12-tone melody, (Appendix B, number 2), and of a melody with a well-established tonality (Appendix B, number 1). These melodies and the sight singing test were all designed in such a way that the range involved was not more than a tenth, and the rhythm was as free from complexity as possible. All of the tests were administered individually, and were tape recorded. The students were not informed of the reason for the testing. It was felt that knowledge of the experiment might affect their performance. The actual administration of the sight singing tests in- cluded the following steps: (1) student given pitch; (2) student . 1 e I . 1 - \ 4 . , _ ' I u - \ t s \ \ - \ .’ \ I \ r \ \ 4 r ' I u "\ I , . g a ‘ ‘ t ' ‘ x A i i o . . . _ I \ ' "I . ‘ . , ~ — . . t , , A .1 T ‘ . _w . ' . \ I . . . . A r - \ , . y . _ . . . ‘ \ I ~ , > n \ . ‘ 3‘ ‘ I \ . , . | t 2 f \ ~ . . \ i - . \ 21 allowed 60 seconds to survey the test; (3) student given pitch again and asked to set tempo for himself, and (4) student sings. The recorded results of the sight singing tests and of the reading of melodies were checked by a panel of five persons, all of whom were on the staff of the music school at Michigan State University. The members of the panel were all given the same directions for checking and scoring the tapes. Each member made his judgments independently of the other members. The panel was asked to score in such a way that one point was allowed for each pitch sung correctly by the student. A note sung in- correctly in pitch received no credit. However, if the next pitch achieved the interval correctly, the student received a point for that pitch and for each interval sung accurately. Frequently, a student would find his way back to the correct pitch. He was not given credit for the first note on pitch again, but for each note sung correctly thereafter, he received one point again. Questions asked at End of Study At the end of the experimental period, comparisons were made of the data obtained pertaining to the influence of tradi- tionally structured vocalises and variants of these vocalises on growth in sight singing,facility in reading 12-tone music, and facility in reading tonal music. 22 1. Is there a difference in sight singing of intervals resulting from the use of traditionally structured vocalises and variants of these vocalises, when.music training, music background, grade point average, and skill with music symbols scores are held constant? 2. Is there a difference in tonal sight singing ability resulting from the use of traditionally structured vocalises and variants of these vocalises, when music training, music background, grade point average, and skill with music symbols scores are held constant? 3. Is there a difference in lZ-tone sight singing ability resulting from the use of traditionally structured vocalises and variants of these vocalises, when music training, music background, grade point average, and skill with music symbols scores are held constant? Organization of Data The following data was printed on index cards, one card for each subject: the scoring of each of the five judges for each of four recorded tests of sight singing; the group to which the subject belonged; the music training score; the music background score; the skill with music symbols score; and the grade point average. The data was then organized on IBM punch cards. 23 The Michigan State University Computer Center provided all statistical computations, using statistical programs prepared by the Agricultural Experiment Station at Michigan State University to calculate basic statistics. Five new variables were created from the panel's judg- ments: four new variables were the mean scores for each of the sight singing tests. The fifth new variable was the sight sing- ing gain score, the difference between the pre-test sight singing mean score and the post-test sight singing mean score. These mean scores were computed for the control group, and for the ex- perimental group. Comparisons were made of the sight singing scores of the control group and the eXperimental group. Unmatched t statis- tics between means were computed for both groups for the signifi- cance of the following: skill with music symbols; music training; music background; and cumulative grade point average. Correla- tions between sight singing scores and all the independent variables were calculated separately for both groups: skill with music symbols; music training; music background; and grade point average. Correlation.was computed between the experimental group's sight singing scores and the control group's sight singing scores and skill with music symbols; music training; music background; and grade point average. 24 The .05 level of significance was accepted as the standard. The raw data is to be found in Appendix A. CHAPTER IV RESULTS The two groups with which this study was concerned were composed of individuals who had enrolled in voice class, Music 141, 142, and 143 at Michigan State University in the academic year 1967-68. It was necessary to determine whether there was any statistically significant difference between the two groups. Table I shows the mean scores of: skill with music symbols ascertained by Kwalwasser-Ruch Test; music train- ing; music background ascertained by Thayer Gaston Test; and cumulative grade point average for both groups, along with the standard deviations. Table I shows that the control group is separated from the experimental group by only a few points in ability to manipulate music symbols. Their music background is also similar. There is a noticeable difference between the two groups as to music training. The experimental group shows a higher score. There is some difference in the cumulative grade point average also, with the experimental group again showing a higher score. The standard deviations on these fac- tors were approximately the same for both groups. 25 l-K 26 TABLE 1. Mean scores of skill with music symbols, music training, music background, and cumulative grade point average, with standard devia- tions for both groups Skill Music Music GPA with. Training Back- Music ground Control Group 224 140 20 2.60 Standard 1902 11001 208 051 Deviation Experimental Group 221 163 21 3.09 Standard 1805 9306 206 062 Deviation Table 2 shows the pre-test sight singing scores, post- test sight singing scores, tonal sight singing scores, and 12-tone sight singing scores. Included also are the gain scores in sight singing and the standard deviations for each group. Table 2 shows that the experimental group scored .77 lower than the control group on the pre-test sight singing. The post-test scores, however, show a difference of 1.69, with the experimental group gaining more than the control group. 27 TABLE 2. Sight singing scores and gains achieved by control and eXperimental groups and standard deviations Pre- Post- Tonal 12-tone Mean test test test test gain Control Group 16.68 20.10 17.56 10.63 3.43 Standard 704 601 600 207 607 Deviation Experimental Group 15.91 21.79 17.50 11.74 5.82 Standard 5.8 6.5 5.3 3.5 4.3 Deviation The gain for the experimental group was 5.82 while the con- trol group achieved a gain of 3.43. The scores on the sight singing of the tonal melody are nearly the same for both groups. The scores for the lZ-tone melody show a difference, with the experimental group scoring 1.11 higher than the control group. The standard deviations are approximately the same for both groups. The level established for achievement of statistical significance was .05. . 28 Table 3 presents the correlations between skill with music symbols (Kwalwasser-Ruch Test) and scores on each of the sight singing tests. TABLE 3. Correlations between scores on skill with music symbols and scores on sight singing tests Pre- Post- Tonal 12-tone Gain test test test test Control .37* .34* .42* .34* -.10 grohp Experimental .36* .66* .59* .55* .50* group *Statistically Significant The results of Table 3 show that there was some statistically significant correlation between the control group and the experimental group scores on skill with music symbols and their scores on sight singing tests, with the exception of the control group gain score. 29 Table 4 presents the correlations between scores on music background (Thayer Gaston Test) and scores on sight singing tests. TABLE 4. Correlations between scores on music background and scores on sight singing tests Pre- Post- Tonal lZ-tone Gain test test test test Control .06 .27 .44* .15 .17 group Experimental .03 022 032* 000 029 group *Statistically Significant Table 4 shows that there was negligible correla- tion between the scores on the sight singing tests and music background, except for the tonal test. 30 Table 5 presents the correlations between scores on music training and scores on sight singing tests. TABLE 5. Correlations between scores on music training scores on sight singing tests Pre- Post- Tonal 12-tone Gain test test test test Control .17 .11 .19 .07 -.09 group Experimental - 007 024 022 .03 ell-6* group *Statistically Significant The results of Table 5 show that there is no positive correlation between the scores on the sight singing tests and music training, which is statistically significant, except for the gain score for the experimental group. 31 Table 6 presents the correlations between the scores on sight singing tests and cumulative grade point averages of the students. TABLE 6. Correlations between scores on sight singing tests and cumulative grade point averages Pre- Post- Tonal 12-tone Gain test test test test Control 060* .26 029 038* ~042* group Experimental. .01 015 013 023 021 group *Statistically Significant The results of Table 6 show that there is little posi- tive correlation between cumulative grade point averages and sight singing scores. The exceptions are that the control group in the pre-test and 12-tone test showed a correlation between cumulative grade point average and sight singing scores. This table again shows a statistically significant, negative correlation for the control group between gain score and cumu- lative grade point average. It will be commented on in the Discussion of Results section of this chapter. 32 Table 7 presents the correlations between scores on various sight singing tests. TABLE 7. Correlations between scores on various sight sing- ing tests Pre- Post- Tonal Pre- Post- test test and test test and and 12- and and Post- Tonal tone Tonal l2-tone Control .52* .84* .76* .59* .84* group Experimental .76* .78* .54* .65* .51* group *Statistically Significant Table 7 shows that there is statistically significant positive correlation between various sets of sight singing test scores. This is perhaps to be expected, and may be attrib- uted, at least partially, to the fact that the sight singing tests presented essentially the same task, in varying degrees of difficulty. ‘vn... 33 Table 8 presents the significance of the differences between the mean scores of the two groups on skill with music symbols (Kwal- wasser-Ruch Test), music background, (Thayer Gaston Test), music training, cumulative grade point average, and sight singing tests. TABLE 8. Significance of the differences between mean scores on skill with music symbols, music background, music training, cumulative grade point average, and sight singing tests Skill Mus. Sym. Control 224 Experimental 221 . 10 40 ) 0. 05 Mus . Training Control 140 Experimental 163 2.20* 40 (0.05 Mus. Background Control 20 EXperimental 21 .70 40 )0.05 GPA Control 2.60 ExPerimental 3.09 .24 40 .20.05 Sing Intervals Control 20.10 Experimental 21.79 .37 40 .>0.05 Sing Tonal Control 17.56 Experimental 17.50 .004 40 .)0.05 Sing 12-tone Control 10.63 Experimental 11.74 1.42 40 )0.05 Sing Gain Control 3.42 Experimental 5.82 .77 40 -’0.05 *Statistically Significant At the level of .05, 2.02 would be significant for this size sample. There is a statistically significant difference between the 34 groups in music training with the experimental group showing more training in music. Table 9 presents analysis of variance and covariance of pretest-posttest gain scores, holding constant skill with music symbols (Kwalwasser-Ruch Test), music training, music background Thayer Gaston Test), and cumulative grade point average. TABLE 9. Analysis of variance and covariance of pretest-posttest gain scores holding constant skill with music sym- bols, music training, music background, and cumu- lative grade point average Source of Sum of Mean Signifi- variance Squares df Square F cance Skill with Between 68.519 1 68.519 2.158 0.15 mus. symbol Within 1238.184 39 31.748 Music Between 55.178 1 55.178 1.725 0.19 Training Within 1247.236 39 31.980 Music Between 46.357 1 46.357 1.503 0.23 Background Within 1203.036 39 30.847 GPA Between 68.675 1 68.675 2.130 0.153 Within 1258.625 39 32.272 In Table 9, the analysis of variance and covariance of gain scores, holding other factors constant, indicates no statistically significant differences between the mean gain scores. None of the variances reached statistical significance at the .05 level. 35 Table 10 presents analysis of variance and covariance of sight singing intervals scores, holding constant skill with music symbols (ggplwasser-Ruch Test), music training, music background (Thayer Gaston Test), and cumulative grade point average. TABLE 10. Analysis of variance and covariance of sight singing intervals scores holding constant skill with music symbols, music training, music background, and cumulative grade point average Source Sum of Mean Signifi- Variance Squares df Square F cance Skill with Between 47.867 1 47.867 1.562 .829 mus. symbol Within 1194.564 39 30.629 Music Between 21.506 1 21.506 .531 .470 Training Within 1579.215 39 40.493 Music Between 16.541 1 16.541 .421 .520 Background Within 1530.299 39 39.238 GPA Between 100823 1 100823 0271 0606 Within 1557.223 39 39.929 The results of Table 10, the analysis of variance and co- variance of scores on sight singing intervals, holding other factors constant, indicates no statistically significant differences be- tween the mean scores. reached at the .05 level. Statistical significance would have been 36 Table 11 presents analysis of variance and covariance of tonal sight singing scores, holding constant skill with music symbols (Kwalwasser-Ruch Test), music training, music background (Thayer Gaston Test), and cumulative grade point average. TABLE 11. Analysis of variance and covariance of tonal sight singing scores holding constant skill with music symbols, music training, music background, and cumulative grade point average. Source of Sum of Mean Signifi- Variance Squares df Square F cance Skill with Between 1.183 1 1.183 .0474 .829 mus. symbol Within 972.223 39 24.928 Music Between 1.046 1 1.046 .032 .858 Training Within 1253.219 39 32.134 Music Between 4.279 1 4.279 .149 .701 Background Within 1115.578 39 28.604 GPA Bemeen 0635 1 0635 0019 0891 Within 1302.408 39 33.395 The results of Table 11, the analysis of variance and co- variance of scores on sight singing tonal melody, holding other factors constant, indicates no statistically significant differ- ences between the means scores. Statistical significance would have been reached at the .05 level. 37 Table 12 presents analysis of variance and covariance of 12-tone sight singing scores, holding constant skill with music symbols (Kwalwasser-Ruch Test), music training, music background (Thayer Gaston Test), and cumulative grade point average. TABLE 12. Analysis of variance and covariance of 12-tone sight singing scores holding constant skill with music symbols, music training, music background, and cumulative grade point average Source of Sum of Mean Signifi- Variance Squares df Square F cance Skill with Between 18.187 1 18.187 2.174 .148 mus. symbol Within 326.142 39 8.362 Music Between 12.046 1 12.046 1.131 .294 Training Within 415.242 39 10.647 Music Between 11.507 1 11.507 1.083 .304 Background Within 414.470 39 10.627 GPA Between 80425 1 80425 0802 0376 Within 409.739 39 10.506 The results of Table 12, the analysis of variance and covariance of scores on sight singing tonal melody, holding other factors constant, indicates no statistically significant differ- Statistical significance would ences between the means scores. have been reached at the .05 level. 38 Table 13 presents the test scores for the entire group along with the standard deviation for each score. TABLE 13. Test scores for entire group and standard deviations Test Mean Standard Deviation Skill with Music 223.04 18.69 Symbols (Kwalwasser-Ruch Test) Music Training 152.60 101.22 Music Background 30.93 2.71 (Thayer Gaston Test) Grade Point Average 2.79 0.75 Pre-Test Singing 16.28 6.62 Post-Test Singing 20.98 6.36 Tonal Singing 17.53 5.65 12-tone Singing 11.21 3.24 Gain in Singing 4.70 5.69 Table 13 reveals a reasonable spread of scores, indicated by the standard deviations, though the test for music training does show unusual spread. 39 Discussion of Results In each group, there were individuals who abandoned the attempt at sight singing before they had finished. In some cases, this may have been due to a feeling of the individuals that they were hopelessly lost. It may have occurred when the individual became preoccupied or distracted over having made a mistake. In almost every case, the discontinued attempt occurred with the pre-test singing, with only a few occurring on the post-test. No one gave up on the tonal or on the lZ-tone melody sight singing tests. In the experimental group, 11 out of 22 gave up on the initial test. The majority of these individuals were within a few notes of finishing. Two of these same individuals also abandoned the attempt on the post-test sight singing, again when they were within just a few notes of finishing. In the control group, 9 out of 20 abandoned the attempt. Of these, 7 occurred with the pre-test sight singing. Though they were almost finished, two who had completed the pre-test sight singing gave up on the post-test sight singing. One individual out of the group gave up on both the pre-test and the post-test, though near completion both times. Most individuals in both groups, after a period of 40 study in voice class, with perhaps other factors outside of voice class being partially responsible, managed to continue to the end. A combined total of 5 gave up on the post-test, as compared to a combined total of 20 who had given up on the pre-test, before the eXperiment started. With the exception of 3 persons, all of the students in- volved in the study made a better score on the post-test sight singing test. Some of the individuals made outstanding gains and some made small gains, with a few staying about the same. In Table 6, there was a noticeable discrepancy between the experimental group and the control group. The control group shows a negative correlation between sight singing score and cumulative grade point average. The eXperimental group in this table shows a negligible, but positive correlation between sight singing and that same factor. This discrepancy might be due to any one of several factors, or a combination of them. It may be that certain students who happened to have a higher cumulative grade point average did not exert themselves as much as other students. CHAPTER V SUMMARY, RESULTS, AND RECOMMENDATIONS The purpose of this experiment was to examine whether a student's sight singing ability would improve if he were eXposed to variants of traditional vocalises rather than the traditional major scale passages and major triads which usually comprise the vocalises utilized in teaching voice. It was be- lieved that the use of vocalises which were structured on augmented triads, diminished triads, whole tone scales, chro- matic scales, and combinations of these, might aid the singer in reading both traditionally structured music and music struc- tured on new sound relationships. A review of the literature used for teaching voice and literature on the subject of singing, revealed that only a few authors employed or suggested the use of vocalises or music struc- tured on any bases other than traditional major scales and triads. A review of literature regarding experiments in sight singing and sight reading reveals that most of the experiments dealt with children as subjects, or with an instrumental ap- proach. The subjects for this present experiment were college students, and the approach was through utilization of variants of traditional vocalises. This experimental study occupied a period of one academic year. Two voice classes were used for the study. In one of the 41 42 voice classes, only the traditional vocalises were employed. The other class utilized variants of these vocalises. Both clas- ses were given a pre-test and post-test of sight singing. In addition, they were asked to sing at the end of the year a tonal melody and a 12-tone melody. These two melodies were to be sung at sight. The students were all asked to complete a questionnaire which.was concerned with music background, and another one which was concerned with music training. They were also asked to take a test on skill with music symbols. The questionnaires and the test were all given.numerical representations for statistical computations, as were the sight singing tests. Results The presentation of the statistical comparisons of data obtained relating to the influence of variants of vocalises used in voice class compared to traditional vocalises used in voice class, was the primary purpose of Chapter IV. The questions posed in Chapter 111 have been answered as follows: The two factors which were statistically significant were skill with music symbols and music training, and even these factors had no great bearing on the results. Factors with negligible significance were: music background, and cumulative grade point average. 43 There are specific answers to each of the questions posed in Chapter 111: Is there a difference in sight singing of inter- vals resulting from the use of traditionally structured vocalises and variants of these vocalises when music training, music back- ground, cumulative grade point average, and skill with music symbols are held constant? No, there is no statistically significant difference in sight singing of intervals when the other factors are held constant. Is there a difference in sight singing of tonal music re- sulting from the use of traditionally structured vocalises and variants of these vocalises when music training, music background, cumulative grade point average, and skill with music symbols are held constant? No, there is not a noticeable difference in ability to sing tonal music resulting from the use of traditional vocalises or variants of these vocalises. Is there a difference in sight singing of 12-tone music resulting from the use of traditionally structured vocalises and variants of these vocalises when music training, music background, cumulative grade point average, and skill with music symbols are held constant? No, there is no statistically significant difference between the experimental group and the control group in ability to sing 12-tone music when these factors are held constant. Of the two types of vocalises employed in the study, the variants of the traditional vocalises produced no statistically 44 significant difference, in sight singing gain, in ability to read lZ-tone music, or in ability to read tonal music. Recommendations It may be that the use of vocalises which differ from the traditional more radically than those in the present study, would have a greater effect on the students' ability to read music. An experiment might be conducted in search of an explana- tion for the students' ability to find the starting note when it was repeated in the melody, even though the student seemed to be completely confused by the intervening notes. B I BLI OGRAPHY 45 BIBLIOGRAPHY Appleby, William. Sing at Sight. London, England: Oxford University Press, 1963 Appleby, William and Fowler, Frederick. Sing in Harmony. London, England: Oxford University Press, 1960 Barnes, James Woodrow. "An Experimental Study of Interval Drills At It Affects Sight Singing Skill." Unpublished Doctoral dissertation, Indiana University, 1960 Benward, Bruce. Sightsinging Complete. Dubuque, Iowa: Wm. C. Brown Company, 1965 Bergan, John R. "The Relationships Among Pitch Identification, Imagery for Musical Sounds, and Musical Memory," Journal of Research in Music Education, XV, 2 (Summer, 1967), 99‘109 0 Berkowitz, Sol, Fontrier, Gabriel, and Kraft, Leo. A New Ap- proach to Sight Singing. New York, N.Y.: W. W. Norton & Co., 1960 Christy, Van A. Foundations in Singing. Dubuque, Iowa: Wm. C. Brown Company, 1965 ‘ Crowe, Edgar, Lawton, Annie, and Whittaker, W. Gillies. The Folk Song Sight Singing Series. London, England: Oxford University Press, 1963 Dallin, Leon. Techniques of Twentieth Century Composition Dubuque, Iowa: Wm. C. Brown Company, 1957 Darazs, Arpad. "The Kodaly Method for Choral Training," Council for Research in Music Education, 8, (Fall, 1966) University of Illinois and Office of Superintendent of Public Instruc- tion. 59-69. Fitzgerald, R. Bernard. Introduction, Experiments in.Musical Creativity, Contemporary Music Project, Music Educators National Conference, 1966, 1-3. Fuchs, Viktor. The Art of Singing and voice Technique. New York, N.Y.: London House and Maxwell, 1965 Graves, Richard M. Singing for Amateurs. London, England: Oxford University Press, 1954 46 47 Hargiss, Genevieve. "The Development and Evaluation of Self- Instructional Materials in Basic Music Theory for Elemen- tary Teachers," Council for Research in Music Education, 4 (Winter, 1965) Kagen, Sergius. On Studying Singing. New York City, N.Y.: Boosey & Hawkes, 1954 Kodaly, Zoltan. Epigrams, Choral Method. New York City, N.Y.: Boosey & Hawkes, 1954 Kyme, George H. "An EXperiment in Teaching Children to Read Music with Shape Notes," Journal of Research in Music Education, 8 (Spring, 1960) 3-8. Leonhard, Charles. A Sopg Approach to Music Reading. New York City, N.Y.: Silver Burdett, 1953 Lieberman, Maurice. Ear Training and Sight Singing. New York City, N.Y.: W. W. Norton & Company, 1959 Marquis, James Henry. "A Study of Interval Problems in Sightsinging Performance with Consideration of the Effect of Context," Abstract, Dissertation Abstracts, XXIV 1963-64, 767. Maybee, Harper C. vocal Ensemble Exercises. New York City, N.Y. G. Schirmer, 1936 Mitchell, William J. "The Role of Music History and Literature in the DevelOpment of Musical Understanding," Comprehensive Musicianship, Contemporary Music Project, Music Educators National Conference, (April, 1965) 59-69. Music Educators National Conference, "Contemporary Music for American Schools," Music in American Education, Chicago, Ill. 1955 Nye, Robert Evans, and Nye, Vernice Trousdale. Music in the Elementary School. Englewood Cliffs, N.J.: Prentice-Hall, Inc., 1964, 377. Ottman, Robert. "A Statistical Investigation of the Influence of Selected Factors on the Skill of Sight Singing," Abstract, Dissertation.Abstracts, XVI, l, 1956, 763. Ottman, Robert. Music for Sight Singing. Englewood Cliffs, N.J. Prentice Hall, Inc., 1956 48 Rosewall, Richard B. Handbook of Singing. Evanston, 111.: Summy-Birchard, 1961 Schulz, Rudolph W. "Problem Solving Behavior and Transfer," Transfer of Learnigg, Ed. Robert F. Grose, Robert C. Birney, (Princeton, N.J.: D. Van Nostrand Company, Inc., 1963), 160-180. Sherburn, Merrell. Help Yourself to Sight Singlpg. East Lansing, Michigan: Michigan State University, 1965 Sherman, Robert W. "Aural and Visual Perception of Melody Pre- sented in Tonal and Atonal Musical Environments," Council for Research in Music Education, 4, (Winter, 1965) University of Illinois, and Office of Superintendent of Public Instruc- tion, 36-45. Spaeth, Sigmund and Thompson, Carl 0. 55 Art Songs. Evanston, 111.: Summy Birchard, 1954 Vaccai, Noccolo. Practical Italian vecal Method. New York City, N. Y. Walton, Charles W. and Wilson, Harry Robert. Music Reading Through Sipgipg. Belmont, Calif.: Wadsworth Publishing Co., 1966 Wilson, Harry Robert. Sing a Song at Sight. Chicago, 111.: Hall & McCreary Co., 1954 Wiseman, Herbert and Northcote, Sydney, The Clarendon Class Singing Course. London, England: Oxford University Press, 1960 APPENDIX A 49 TABLE 14 Raw Data Group No. Mus. Back- Kwalwasser- Pre- Post- Tonal 12- Train Grnd Ruch test test Tone 1 1 65 15 223 15 20 17 10 1 2 145 23 229 31 32 24 14 2 3 137 18 231 21 24 24 12 1 4 105 24 230 26 32 25 17 2 5 000 14 158 l 8 3 7 1 6 84 22 168 8 12 12 6 1 7 130 23 201 8 7 9 9 2 8 172 21 233 19 15 19 9 l 9 31 17 192 18 16 12 11 1 10 192 19 234 17 28 24 16 1 11 166 23 234 6 16 13 11 l 12 139 21 235 6 25 16 ll 2 13 101 21 198 22 29 25 14 2 14 120 23 234 12 24 21 10 2 15 33 20 222 21 22 14 9 2 16 178 25 224 13 19 21 10 1 17 294 24 232 19 28 25 6 1 18 145 22 239 16 32 23 15 2 19 138 17 238 21 12 12 7 2 20 149 23 235 4 16 13 9 2 21 21 18 201 9 12 13 7 1 22 189 23 229 11 22 14 9 2 23 63 16 234 28 32 25 18 2 24 131 21 239 19 17 12 9 2 25 186 23 223 17 22 14 10 2 26 480 23 227 15 19 14 9 1 27 456 24 226 15 24 19 11 2 28 101 21 240 16 19 l7 l3 2 29 56 19 220 21 13 11 9 l 30 182 20 223 21 28 15 12 1 31 180 22 231 14 18 22 15 1 32 284 24 230 13 20 19 12 1 33 220 19 235 14 23 16 20 1 34 176 19 219 l6 17 15 14 1 35 72 21 234 14 19 13 7 2 36 38 21 234 16 26 24 13 2 37 283 22 232 19 23 19 12 2 38 249 23 224 28 24 23 ll 2 39 230 24 229 25 25 25 15 1 40 107 24 234 19 25 24 16 1 41 100 18 184 12 16 11 7 1 42 81 19 230 23 23 20 14 50 \ ‘ 4 I ‘ .7 ‘ - \J , ) l \ . 1 v , ‘ . I \ I < A < l .7 ~ "' ’ ‘v 1 I p. , p \- , . I , ~ I ‘ , , . . / . \ ~ I .' - I x i ' ’ ‘ J ‘ I 7 ‘ . r ‘ ‘ l» . \ 1 ‘1 ‘ . ‘ l , \u . . ‘ ‘ ‘ . . \ \ ~ J \ . n v ‘ ‘ \ . \ p1- . ‘ e ' ~ . \ .‘ i ‘ I r . . , A z , . . Ar \ 7 . . ~> . ’1 I ~ ‘ ‘ ‘ APPENDIX B 51 MELODY? FRAGMENTS FOR SIGHT-READING lllll 52 ._u_..._ . i —— . .- -‘.uh"‘ —— . . u_~.. s-.- e .- . - - s. .r. =.—- . I _.~ . .w JL“ . . . ‘ —_ _-__ r-‘:——=_—;_.___ - ‘ . ~.~. “v“ -~ . . M... “‘m-—m "-— - - ~- ~ ~ . ww-fi_,‘- .- q..- - - -- g .- m-'_ 9'-- u. m.— - mg n _. .w- —m'—v—-—‘—I-fi-—v_ _ r V -_—v— _ . .a—mv—w ._____ -— - - _ s .- m—-———-._— —. .——. . u . _. t _. . ~—.n .u'n- _ - ._ .— . - .wr “_-—A‘“—m—‘ ” 3,—- ,,_., . . -. -- “I. n .- . -“n \--m— 43., ”a- . _ i... . n..—u——---..._- . . .s- n: ‘ - - - —c--«—.=-u— .w-~-—_--,-—-- _ . - -. -,.,. “Ago...— ?.—--.---I .. -. , ._ m“-—.v- .- ----I . .‘ m A. ~. - . . -—. u—I -. a-.. --..-.. -_-- _,.____ . .. _ ‘— . -—-. _ ,_,--,._ - — 4 , g 7’ .w.. - -- .r-~-. “nun“... -.- v . v. w‘—~—._-. P .. _ .. . . ..—.-. _..-.. - “—vhxr- :- -.. . . .. _...c. ..._, . . _. v. .. - « ~¢—_. —- . . ‘ .. .. .- -4v-~-. "' ... _,.-,. _..‘. ._ -.A .- . V.._.. _ ‘L .. € -~ .,. _. __ -. “‘ u ,__ .~. .,- 4.. g... . .— _... . - ...—t. -.—.-. -_-- .__ -u—u . . - ' 5...“- .. .- 5 ...._ _ q. . .... m... —,—. ~ ..v‘ . . .-,‘-.—. ._ ..._ .- a , . .. ._ -_._...__.W.v _ a -4 'v- — 4...“. ..—...._-..__.....' ._. . .._._-.~. ._.-._--... --- - _..—-_ ..—.—.—~--.—.-~- ‘ r- ‘ f .-.-.. .4. ...__..-—_“—w—'-- "- ,‘ —- -.. -~ ->..--§-.~-m-~---"’ ,1: ....._. -. 1_M--m- ~..-~ ' APPENDIX C 53 Examples of Traditional Vocalises These are done ascending in half steps, and descending in a similar manner. They may be done at varying rates of speed, and _....I:.a&.varicusAdznamic.lezels._andifurther.variety.may;be_obtained.by -..-—--—T-u '1' r— -. .— .._--~.¢ iu—e- -- I v: — I. i ran-- , m m— r-—— u- — .. -r- .11. - ,——'.. __ -_ a». .. -. .I 3. Lee- Lay- Lah- Lab- 2 May also be done humming Mee- Moh- ‘Hoh May also be done with other vowel sounds combined with M, N, or L. Tiff ULTWM"O}1é 50111111811 ..—.—-—--——-—u J"1' La,la,on each note. .. .m_ .1..- -,.,.. *lw. .uflufl _ __ . . u..- . . . , j" ’ "'7 ""'[— ""' I— _——-.—.A ”or mun-.m- fiihx j tee This is first sung two notes to a syllable, such as Loh, or Lab. Eventually it is “sneezing—eon- one. :vcwel summ— such_as Ala—reoremi 4.....t I'lnll“ . . . -n m. ’vv ‘“an...“ “ .1_'.“' -:-.r runn— \,.\\v,- u'/-,v1r I \x s I \\ Al mu \m ' nv: )‘lIJI"I“"J‘Vi\\' o v ‘-.4 n— , mum“:- n...- ——n_-- xI-avv-v Ina-n- 1.: s \ um. I- - ran-(lino - ail—a —_.- Inn-m pan “ll-5“.- 1' HA; Av1--.r “WAN WM _ , .MV w ..~_...\-,.~.... Wfi~fi\M-W 1 “.04... --..-—-.L..-..—...ee. wmflg.uww —« Other vocalises may be devised to suit particular needs, using combinations of vowel sounds and notes which are appropriate t9..-§.h.eaegsasion. 5?. . A . H“..- fl. . - -.» ____. __ . . . L‘.- . _ 1 - - .-- - a—-.a—-o.—A — ~ - .~._ A. _ v - _~.- -- .— 1 , . . -. . us-.. p... nan-.2 _ __ .‘q .._ w _ ._._. v . . .1- . .0 L-.. —— . . V - -_ . -— —- .-—-.y ., . . r- .- .. . «s - . - -v r~ —- v- . ——-: w . . flat—nu... u—‘—.'a~_-q=_——— . _ . - - ¢m -- ..‘_--—=_u _ , , . - JU—n —.~g .- .- . - ~ .., ._ . —- ._ —. n—- —.————_——..—_—l v \ .- .m . -. w-_v— -_m u.- _ __ —_q . . . _ ‘ --~—- mm '-___ .1- _ .- . —.. --m --a—-‘ .---. - - _— ”jg—1 —. and ~—— ~ m"—_‘—_——— —fl 1 - —-—.—-.~ M.- “-9.“;fl .- ‘ . ~“fl mm.——.‘_ — .- mn‘Lm :h _ ,- .—-—- - -..- ---. .m tun—hp-u: =_—- .... . -- '~.— fl-H—‘n-‘fl ~—.. g... .— .. ‘ ,. .. :h.‘ -_ —- "w-J-‘q-‘v —.—-_ 1__=_ J'fl‘ -—- L- 4.... .-.-r.--:—.—c-Vr~—'-'l‘“ . _ w-.—. _- “-un-w-AJ- - - .... ~--M-v..— snu —.~1~-‘_ .. .u-u—n a u .. ~m -~- _ . ‘_ fl-_—~——-- it” ---— ‘- .. -.-_ .. - .- _ _. --—-—_ -w-r-q-. I-Q-—--I'M--‘ . . 1 - .—-~-_-...... ___-_,. . .4 - ~.-.—vn-s..ar---.-~m.-m..~“‘u‘ _,¢r=w4 . . - \- -—-—--‘o-a—._—~....-us -——.n- --.. ......,-. —.--—g n..‘r-m—~—-rev . ._..,. —. .. ~-—m,_--—-“- c-—w>‘ . . . . ~ -.- *Mm-‘m—J“ “' APPENDIX D 55 E: :9 # VOCALISES USED IN ECPERIMENTAL CLASS $,Th ear snungo syllabesl such lee, lay,,lah lo,oohl ‘ J'JJ'IJJMIID DEIDIJI‘T‘ Edmmmmmnmmfiflm égfimeHNWHmem IIIII IIIII IIDJ‘JIDDIJI IflmImmII Im asungleagto andsta caot anflquW * KIN? fltoI II IUIflI JIETO 4Sung1gtandt cato ID“ J ”#113- IJ Inc $137,ng INF/736%, Im. Idd“: Id In I III? fle IIJDIfiIJIm QSunglegato éfl I’flo fislajfi:; IIWImImI-ID II; IIETC. MWWWWWMWWWIW _ o my“ v.2. a. 'I n. . , . . ....—.-.’—_.___AMw——- #‘ - ‘_ --..—‘—,.~-9 . .. .. --..-.- - y-.-“ . ‘~W~v-- ._ mun-M he". I - - -— .4 . s..,_..-.__.-wr——.-————— . ._., _ ,h. . ....i__ -1-.. ‘_-_-—._..___._‘-s—- .- _... . . n-r»—-."“ IIIII IIIII II'I E”I117 J1 J1 ID #1 III-”*1 I" I ”In In“? UJI; * IIIflIfl flIflIflIfl II’IIJIDI-U 4mm IIJ‘DJ "ETC IDI FIFI’IUIDIMI : éII‘mflI‘fi—Jflo IIIIJDIIJDIJDIIJIETC. IIII IyfiflIJD-flg I ImemI'fiI I bJIM. eImflflfldI’I‘UUUUJI IIW I”? “mg.“ IIIQIIJDIJDIJEIJ I57" I37: WW LIII I mum um IUD 51 "I II IWIWIMI‘W IM’ ELI “W 15:93 I'D IJ I "a _ ..... .. _.. ... w . _. _ ._. ".. APPENDIX E 58 --—'_—___.r 1...» 1_' 1 1 f f .1. Test of Musicality Please answer the following questions by using a cross. (+) EXAMPLES: Have you ever heard a piano? NO -11----- YES 11.11.. Have you ever directed a symphony orchestra? NO 1-1-111 YES 1111-. 1. Does your father play a musical instrument or sing? NO 1111---- YES 111..---- 2. Does your mother play a musical instrument or sing? NO .11-11- YES ---------- 3. Did any of your grandparents play or sing? NO ......... YES ------------ 4. Do any of your brothers or sisters play or sing? NO ----- 11 YES 11...... 5. Do you have a piano in your home? N0111111 YES ....... 1. 6. How many years have you taken lessons on a musical instrument? NONE -------------- ONE ---------------- TWO 11-11-11.- THREE 1 ........... FOUR or more --------------- 7. Is a phonograph played in your home? NO .11... YES ........ 11 8. Do your father and mother like music? NO ---------- _ YES-111-1-- 9. Have your parents ever told you that they would like to have you study music? -------------------- NO ----------- YES ------------ 10. Would you like to play in a school band? NO ----------- YES ------------ 1]. Would you like to play in a school orchestra? NO -------- 1 YES 1-11-11 12. Do you like your school music? NO __________ 1 YES 1 ------- 1 13. Would you like to sing in a chorus or glee club? NO --------- .1 YES -- - 14. Do you like to listen to phonograph music? ...... NO ............ YES ........... 15. Would you like to be a musician? NO ____________ YES ____________ lo. Would you give up some of your playtime or recreation in order to practice on a musical instrument? NO ------------ YES ____________ In the list below (question number 17), are several In the second list (question number 18), place a ”l” things which you are to number in the order in which after the instrument which you would most like to play. you enioy them. Place a ”l” after that thing which you Place a ”2” after your second choice and a ”3” after your most enjoy. Place a ”2” after that which you enon next third choice. Number no further than your third choice. best. Place a ”3” after that which you enjoy next best, and so on until you have numbered each item in the list. Be certain to place a number after every item in the list. l7. l8. SWIMMING READING __________________________ FLUTE EUPHONIUM -------------------- BASEBALL __________________________ DANCING OBOE ----- TUBA —- MOVIES ___________________________ FISHING ____-_-__,__,-_--.1_--_____, CLARINET SOUSAPHONE .................. HIKING ______________________________ RADIO BASSOON ........................ DRUMS .............................. SAXOPHONE .................... XYLOPHONE .................... FOOTBALL HOBBIES ____________________________ a-.- CORNET VIOLIN ______________________________ O 2 0 First you will hear a single note, and then you will hear a chord. If that same, identical note which you first heard is played in the chord, place a cross after YES. If it is not heard, place a cross after NO. We will first do several practice exercises. Fill in the cross after YES or NO for each of the two practice exercises. PRACTICE EXERCISES 1- NO ............ YES .......... 1 2. NO-1-1-11- YES Now we will do five trials in the same manner, beginning with No. 19. 19. N01... YES 1 ........ 20. NO ......... YES 1----1 2i . NO 1111111 YES 111111 22. NO ---------- YES 1 ....... 23. NO ........... YES-11111- Below is the music for three practice melodies and five trial melodies which you will hear played one at a time. You are to compare the melody you hear played with the same melody printed below. If the melody that is played is the same as your melody, then place a cross after SAME. If any notes are changed, place a cross after NOTE. If the rhythm is changed, place a cross after RHYTHM. We will first do the three practice melodies. i. SAME ............ NOTE ------- RHYTHM--1-- PRACTICE SAME NOTE --------_-- RHYTHM MELODIES 3. SAME 1. NOTE 11-1-..- RHYTHM--1- Now read the music of each melody very carefully as that melody is played, so that you may determine whether the melody you hear is the SAME, or has any NOTES changed, or has the RHYTHM changed. It will be only one of these three for each melody, so you will need to place only one cross after each printed melody. 24. SAME ____________ NOTE ____________ RHYTHM -------- 25. SAME ____________ NOTE ____________ RHYTHM -------- 26. SAME ------------ NOTE ------------ RHYTHM ------ 1 27. SAME ------------ NOTE ------------ RHYTHM -------- 28. SAME ------------ NOTE ------------ RHYTHM -------- You will now hear five melodies, each of which is complete, except that the last note will not be played. If you think that the unplayed note should be higher than the LAST note which you HEARD, place a cross after HIGHER. If you think the unplayed note should be lower, place a cross after LOWER. We will first try two practice melodies. PRACTICE MELODIES i. HIGHER ............ 2. HIGHER ----------- LOWER ------------ LOWER ------------ an we will deal with the next five melodies in the some manner. heninninn with NA 90 APPENDIX F 60 PLEASE NOTE: Page 61 "Kwalwasser—Ruch Test of Musical Accomplishment, copy— righted 192% by J. Kwalwasser and G. M. Ruch not microfilmed at request of author. Available for consultation at Michigan State University Library. UNIVERSITY MICROFILMS KWALWASSER-RUCH TEST OF MUSICAL ACCOMPLISHMENT. For Grades IV-XII By JACOB KWALWASSER. Ph.D. Professor of Music Education Syracuse University, Syracuse. N.Y. And G. M. RUCH,PH.D. Professor of Education Universityof California, Berkeley Do not open this paper, or turn it over, until you are told to do so. Fill these blanks, giving your name, age, birthday, etc. Write plainly. Name ........................................................................... Date ......................................... (First name, initial and last name) Age last birthday ..................... years. Birthday-W... (Month and day) Grade ........................... . ........ Teacher ............................. , ...................................... .... School ................................................... , ...................... .City ...................................... How many years have you studied music in school? ................................ How long have you studied music outside of school? .............................. . ........... (state your answer in lialf- hour lessons) Do not write below this line. TEST NAME OF TEST SCORE 1 Knowledge of Musical Symbols and Terms 2 Recognition of Syllable Names 3 Detection of Pitch Errors in a Familiar Melody 4 Detection of Time Errors in a Familiar Melody 5 Recognition of Pitch Names 6 Knowledge of Time Signatures 7 Knowledge of Key Signatures 8 Knowledge of Note Values 9 Knowledge of Rest Values 10 Recognition of Familiar Melodies from Notation TOTAL Do Not Turn Over The ”Page Until The Signal is Given! Published by the Extension Division. University of Iowa, Iowa City, Iowa. Copyright. 1924.by Jacob Kwalwasser and G. M. Ruch. PRINTED IN U.S A [1 61 TEST 1. KNOWLEDGE OF MUSICAL SYMBOLS AND TERMS DIRECTIONS: Below are twenty-five questions about music. Five answers are given to each question. Read each question and then draw a line under the right answer. The sample is already marked as it should be. SAMPLE: 9 is called a sharp natural flat "_03 rest Begin here. 1 The first. tone of the scale is mi re do fa sol 1 2 J is called a rest natural sharp note flat 2 3 The fifth tone of a scale is do fa mi sol re 3 4 g is a flat note natural rest sharp 4 5' b is a sharp flat natural note rest 5 6 is a slur hold rest double-sharp repeat- bar 6 '7 _._ is called a sharp flat natural note rest 7 8 19 means soft loud slow fast smooth 8 9 £5 is called a bar staff measure accent clef 9 10 ti is a sharp flat natural note rest 10 11 i: is a clef staff measure accent phrase 11 12 9‘ IS called a clef staff measure accent bar 12 13 A is a clef measure staff phrase accent 13 14 if}: the curved line is a slur tie hold accent rest 14 15 7; is a rest slur hold double- sharp repeat 15 16 get-:5; the curved line is a slur hold rest tie accent 16 17 < means higher lower louder repeat pause 17 18 > means higher lower louder softer pause 18 19 Allegro means lively slow repeat accent sweetly 19 20 f means fast loud slow soft smooth 20 21 cresc. means softer louder slower faster smooth 21 22 dim. means smoother louder softer faster slower 22 23 Lento means repeat accent sweetly slow lively 23 24 Legato means soft quick separated connected loud 24 25 Stuccuto means quick soft separated connected loud 25 [2] Test 1. Number right-Score ...... TEST 2. RECOGNITION OF SYLLABLE NAMES DIRECTIONS: Below are five lines of notes. The first syllable in each line is “Do“; so the name do has been written below it. You are to write the syl- lable names on the lines under the other notes. Begin here. A l l i . f I I. .5 UT 5% ,3 I? «u ' 1 a do ................ ........ nnnnnnnn Test 2. Numoer rz'g‘ét- Score ...... TEST 3. DETECTION OF PITCH ERRORS IN A FAMILIAR MELODY DIRECTIONS: The song “America” is written below. One measure has been crossed out because the melody is wrong. Five other measures are wrong. Hum over the melody to yourself and cross out all five wrong measures. Begin here: Test 3. Number re'g/it.......x.5 =Soore ........... [3] TEST 4. RECOGNITION OF TIME ERRORS IN A FAMILIAR MELODY. DIRECTIONS: The song “America” is written below. One of the measures has been crossed out because it has the wrong number of beats.Five other meas- ures are wrong. Hum over the song and cross out all five wrong measures. Begin here: Test 4. Number mgr/cl. ..... X3 =S'core ........ TEST 5. RECOGNITION OF PITCH NAMES. DIRECTIONS: Below are four lines of notes. The first note in each line is already marked as it should be. You are to write the pitch or letter names on the lines under the other notes. B e g 1 11 here : Ah I y I n I a l l I, ’3 a 1 I A l l J l I l U a T l I 1 a 1 v I I n i [I i 1 U I f, 1 l I i Hi 4I i ‘1' I If I ' l 1 a V d. A I £10 n l" l L n J '0 I] n l I T I, I l I, T ’1 l I I _ I I ' V [I I l I I \l I a ‘1" i la l a i I fij . l l E l l l I a ‘ I a fi 7'83! 5. Numoer rzgfit - Score ............... [4] TEST 6. KNOWLEDGE OF TIME SIGNATURES DIRECTIONS: Below are ten full measures. At the right of each are five time sig- natures. You are to draw aline under the correct time signature for each measure. The sample is marked as it should be. . . . a a 3. a a SAMPLE. The time signature IS 4 4 4 8 8 Begin here: 1 Th t' ' t ' 3- 3— $ é 3- I e ime Signa ure IS 4 4 4 8 8 A i a 3 4 6 9 2 i aJ fl The time Signature is — Z Z '85- g 2 0 A i ’r i . . . a 4 e 9 3 3 k % 01 fl The time Signature is Z Z '8- B- B- 3 J A 1‘ i i . . . 6 4 5 .3 2 4 Sin The time Signature is g E- Z '5' Z 4 J) 2 5 4 3 3 5 m I T I The time signature is '4- 2; Z '8- Z 5 U I . . . 3 2 4 .3 6 , 6 m The time Signature 13 g 4 Z 2' 'g 6 QT C J 1 I] e 7 r L f I 1' The time signature is '2- ':- 12- '2- g— 7 U \ 3 / 8 m The time signature is 5% % 2- g 5*; 8 U A 2 4 9 g—f—H The time signature is E g E “g- Sg- 9 of T . " A r fl I 1 1 1’ I) 10 The time signature is 2' g 7:: $- % 10 Test 6'. A'mnoer rzg‘fil ......... X2 = Score ...... TEST 7. KNOWLEDGE OF KEY SIGNATURES DIRECTIONS: At the left below is a column of ten major key signatures. At the right is a column of five minor key signatures. You are to write the names of the keys on the lines at the right of each signature. Notice that there are two columns. one for major keys and one for minor. Sm E ........ D,.fla.t.,. E ....... Qminor ............ Begin here. hiAJOR KEY SIGNATURES MINOR KEY SIGNATURES 0t Cit p— 0t p—a C)! It .0 E ........................ Io Tees! 7. Mnnoer rig/(t ........ X2 =5'core .......... [6] TEST 8. KNOWLEDGE OF NOTE VALUES DIRECTIONS: In the measures below a note has been left out of each. You are to draw a line under the note needed to complete the measure. The sample is already marked as it should be. SAMPLE: The note needed is _i a db a5 0 Begin here. _ I w The note needed is dh J o J as 1 2 The note needed is J o' Jl .5 o 2 3 Th. m... e. o a A .t J 3 J3 Q__ EX 4: The note needed is J > 0:: 4 E Q p—t LIL o The note needed is 3 oh 0 J A 5 Test 8 Number rz'gbt .......... X3: Score .......... TEST 9. KNOWLEDGE OF REST VALUES DIRECTIONS: The five measures below are incomplete and need a rest to complete them. You are to draw a line under the rest needed to complete the measure. The sample is already marked as it should be. SAMPLE: The rest needed is 7 _— ‘7 1. L Begin here. 1 The rest needed is l 7' _- .-. ‘7 l 2 The rest needed is 7 3 1. ‘7 J. 2 3 The rest needed is 7 i 4.. ‘7 1,. 3 4 The rest needed is ._ 7 i ‘7 -- 4 fly The rest needed is ‘7 _r 7 A t 5 Test .9 Number 77'5"th . X3=S’core ........... Gt CTN: ' [7] TEST 10. RECOGNITION OF FAMILIAR MELODIES FROM NOTATION Below are phrases from ten songs that you know. Hum each line DIRECTIONS: of to yourself and then write the name of the song or the Words the phrase on the line at the right. The sample is already marked as it should be. aria!”emtt’smeseéra ZZfs.?f...1'fiee 4'2! E L P M A S Begin here. .10 XS Sabre. Test 10 Number rz'gbt......... APPENDIX G 62 Name Class Level College Music Courses Prior to Voice Class No. of Semesters History of Music Conducting Theory Others Number Of Persons in High School Graduating Class Number of Music Teachers Employed in High School Vocal Instrumental Check any of the following which apply to you. If the study occurred while in elementary school, place an E under class level; i for junior high school; S for senior high school; and g_for college. Music Study Class Level Number of Months Private Piano Private Instrumental (specify instrument) Class Piano Class Instrumental (specify instrument) Music Courses in Junior-Senior High School Class Level Number Of Semesters Music Literature Music Theory General Music Music Appreciation Other (specify) 63 Performance Experience Junior-Senior High School Number of years School Chorus Band Orchestra "”____fi__p __m. Small Ensemble. Stage Band _ Church Choir Church Instrumental Other (specify) College University Chorus University Orchestra State Singers Women's Glee Club Men's Glee Club Marching Band Informal Groups Other (Specify RScreational Instruments Number of years Guitar Ukelele Banjo Accordian _ Other (specify) lllllWHllHllllllllliillllfllHWHHHH!llllllllllliil 31293103040808