Pub Date : 2013-07-01DOI: 10.1177/194849921300200403
Jacob M. Dakon
I examined the strategies that beginning-level string students use to memorize aurally and visually presented musical material over 15-minutes of self-monitored practice. An observational descriptive design was implemented. Results indicated only 12 (48%) of the 25 participants were able to memorize the simple 8-bar melody successfully. The visual treatment group performed fewer pitch and rhythmic errors than the aural treatment group. Participants in the both treatment groups used non-motoric strategies (i.e., listening, singing, chanting) infrequently and preferred using motoric strategies (i.e., strategies involving the left or right hand and the instrument). Successful participants in the aural group preferred using segmental motoric strategies during the first practice session, and then alternated to a holistic motoric strategy during the second and third practice session. They also played without the recording substantially more than unsuccessful participants. Successful participants in the visual treatment group used more holistic practice strategies and were able to isolate measures 5-8 earlier than unsuccessful participants. Applications are discussed.
{"title":"A Descriptive Examination of Aural and Visual Practice Strategies Exhibited by Beginning-Level String Students when Memorizing Music Material","authors":"Jacob M. Dakon","doi":"10.1177/194849921300200403","DOIUrl":"https://doi.org/10.1177/194849921300200403","url":null,"abstract":"I examined the strategies that beginning-level string students use to memorize aurally and visually presented musical material over 15-minutes of self-monitored practice. An observational descriptive design was implemented. Results indicated only 12 (48%) of the 25 participants were able to memorize the simple 8-bar melody successfully. The visual treatment group performed fewer pitch and rhythmic errors than the aural treatment group. Participants in the both treatment groups used non-motoric strategies (i.e., listening, singing, chanting) infrequently and preferred using motoric strategies (i.e., strategies involving the left or right hand and the instrument). Successful participants in the aural group preferred using segmental motoric strategies during the first practice session, and then alternated to a holistic motoric strategy during the second and third practice session. They also played without the recording substantially more than unsuccessful participants. Successful participants in the visual treatment group used more holistic practice strategies and were able to isolate measures 5-8 earlier than unsuccessful participants. Applications are discussed.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2013-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921300200403","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905034","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2013-07-01DOI: 10.1177/194849921300300404
David A. Pope
The purpose of this study was to examine the influence of primary performance area, education level, and performance quality on pre-service music teachers’ evaluations of middle school string orchestra performances. Participants (N = 78) were pre-service band, choral, and orchestra teachers who self-reported their academic status as lower (n = 39) and upper (n = 39) classmen. Participants assigned ratings to interpretation-musicianship, dynamics, balance/blend, and other factors on a 7-point Likert-type scale with criteria-specific descriptors. Repeated-measures ANOVA tests revealed that participants were able to distinguish between both good and poor performances. Upper classmen pre-service music teachers assigned more favorable ratings to interpretation-musicianship and balance/blend than lower classmen. Pre-service choral teachers gave less favorable ratings than pre-service orchestra teachers for interpretation-musicianship and balance/blend. Descriptive analysis revealed that upper classmen pre-service music teachers assigned more favorable ratings than lower classmen. For all evaluation statements, pre-service choral teachers gave the least favorable ratings and pre-service orchestra teachers assigned the most favorable.
{"title":"Influence of Primary Performance Area, Education Level, and Performance Quality on Pre-Service Music Teachers’ Ratings of String Orchestra Performances","authors":"David A. Pope","doi":"10.1177/194849921300300404","DOIUrl":"https://doi.org/10.1177/194849921300300404","url":null,"abstract":"The purpose of this study was to examine the influence of primary performance area, education level, and performance quality on pre-service music teachers’ evaluations of middle school string orchestra performances. Participants (N = 78) were pre-service band, choral, and orchestra teachers who self-reported their academic status as lower (n = 39) and upper (n = 39) classmen. Participants assigned ratings to interpretation-musicianship, dynamics, balance/blend, and other factors on a 7-point Likert-type scale with criteria-specific descriptors. Repeated-measures ANOVA tests revealed that participants were able to distinguish between both good and poor performances. Upper classmen pre-service music teachers assigned more favorable ratings to interpretation-musicianship and balance/blend than lower classmen. Pre-service choral teachers gave less favorable ratings than pre-service orchestra teachers for interpretation-musicianship and balance/blend. Descriptive analysis revealed that upper classmen pre-service music teachers assigned more favorable ratings than lower classmen. For all evaluation statements, pre-service choral teachers gave the least favorable ratings and pre-service orchestra teachers assigned the most favorable.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2013-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921300300404","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65905055","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-07-01DOI: 10.1177/194849921200300106
John M. Geringer, R. MacLeod, Justine K. Sasanfar
We studied young string players’ perception of intonation in accompanied solo performances of trumpet, voice, and violin. We were interested in whether pitch deviations of equal magnitude in the three solo performances would be judged as equivalent in intonation. Listeners were 71 middle and high school string players who heard trumpet, voice, and violin performances of “Ave Maria” (Bach/Gounod) accompanied by piano. Pitch levels of the soloists were in-tune or became progressively more sharp or flat (by 10, 20, and 30 cents) relative to the accompaniment. Intonation changes in the sharp direction were judged as more out-of-tune for the violin than equivalent alterations of voice and trumpet. In flat direction changes, violin was also heard as slightly more out-of-tune than the other soloists for deviations of 30 cents, but was judged similar to the other two for deviations of 10 and 20 cents. Additional research is necessary to investigate whether this outcome was a result of these string players’ heightened sensitivity to string intonation.
{"title":"High School String Players’ Perception of Violin, Trumpet, and Voice Intonation","authors":"John M. Geringer, R. MacLeod, Justine K. Sasanfar","doi":"10.1177/194849921200300106","DOIUrl":"https://doi.org/10.1177/194849921200300106","url":null,"abstract":"We studied young string players’ perception of intonation in accompanied solo performances of trumpet, voice, and violin. We were interested in whether pitch deviations of equal magnitude in the three solo performances would be judged as equivalent in intonation. Listeners were 71 middle and high school string players who heard trumpet, voice, and violin performances of “Ave Maria” (Bach/Gounod) accompanied by piano. Pitch levels of the soloists were in-tune or became progressively more sharp or flat (by 10, 20, and 30 cents) relative to the accompaniment. Intonation changes in the sharp direction were judged as more out-of-tune for the violin than equivalent alterations of voice and trumpet. In flat direction changes, violin was also heard as slightly more out-of-tune than the other soloists for deviations of 30 cents, but was judged similar to the other two for deviations of 10 and 20 cents. Additional research is necessary to investigate whether this outcome was a result of these string players’ heightened sensitivity to string intonation.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921200300106","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65903678","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-07-01DOI: 10.1177/194849921200300102
R. MacLeod, Constance L. McKoy
The purpose of this research was to investigate the music performing and learning mode preferences of fourth- and fifth-grade elementary students who were enrolled in an elective orchestra class in a culturally diverse elementary school. We were interested in exploring whether students’ self identified race or ethnicity influenced the songs that they preferred learning on their string instruments and whether they preferred learning “by ear” or by reading music notation. Thirteen fourth-grade and 14 fifth-grade students (N = 27) participated in the study. During a nine-week period, they studied one song each associated with the African American and Mexican American culture, and one song from the standard Western European classical repertoire for orchestra. There was an overall trend for students to prefer music from a culture other than their own. Participants were nearly evenly divided in their preference to learn the songs by reading notation or “by ear.”
{"title":"An Exploration of the Relationships between Cultural Background and Music Preferences in a Diverse Orchestra Classroom","authors":"R. MacLeod, Constance L. McKoy","doi":"10.1177/194849921200300102","DOIUrl":"https://doi.org/10.1177/194849921200300102","url":null,"abstract":"The purpose of this research was to investigate the music performing and learning mode preferences of fourth- and fifth-grade elementary students who were enrolled in an elective orchestra class in a culturally diverse elementary school. We were interested in exploring whether students’ self identified race or ethnicity influenced the songs that they preferred learning on their string instruments and whether they preferred learning “by ear” or by reading music notation. Thirteen fourth-grade and 14 fifth-grade students (N = 27) participated in the study. During a nine-week period, they studied one song each associated with the African American and Mexican American culture, and one song from the standard Western European classical repertoire for orchestra. There was an overall trend for students to prefer music from a culture other than their own. Participants were nearly evenly divided in their preference to learn the songs by reading notation or “by ear.”","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921200300102","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65903570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-07-01DOI: 10.1177/194849921200300103
David W. Sogin
The present study is an attempt to better understand musicians’ aural perceptions of violin performances in a musical context with three different variants of bow skew. Forty-six music majors from a large college of music participated in the study. Listeners heard the same music excerpt performed by a professional violinist with varying degrees of bow skew. The excerpt was performed three times: 1) normal performance, 2) in constant contact, with the bow placed at a fixed point between the bridge and fingerboard with skew to the bow added by the swing of the arm, and 3) with a straight bow, bowing as perpendicular to the strings as possible. Asked to rank the three excerpts according to their preference for the most musical performance, participants aurally preferred overwhelmingly the normal bowing excerpt, which exhibited the most skew in the bow.
{"title":"Musicians’ Preferences for Different Variants of Bow Skew in a Violin Performance","authors":"David W. Sogin","doi":"10.1177/194849921200300103","DOIUrl":"https://doi.org/10.1177/194849921200300103","url":null,"abstract":"The present study is an attempt to better understand musicians’ aural perceptions of violin performances in a musical context with three different variants of bow skew. Forty-six music majors from a large college of music participated in the study. Listeners heard the same music excerpt performed by a professional violinist with varying degrees of bow skew. The excerpt was performed three times: 1) normal performance, 2) in constant contact, with the bow placed at a fixed point between the bridge and fingerboard with skew to the bow added by the swing of the arm, and 3) with a straight bow, bowing as perpendicular to the strings as possible. Asked to rank the three excerpts according to their preference for the most musical performance, participants aurally preferred overwhelmingly the normal bowing excerpt, which exhibited the most skew in the bow.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921200300103","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65903310","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-07-01DOI: 10.1177/194849921200300104
David A. Pop
The purpose of this study was to investigate the effect of playing position, fingers used, and level of training on vibrato rate and width, and possible pitch differences between non-vibrated and vibrated tones of cellists. Participants (N = 30) were volunteers from a high school orchestra program (n = 15) and a large public university (n = 15). Cellists performed three ascending pitch sets in first, fourth, and thumb position. Each pitch set included whole notes performed initially without vibrato, then vibrato was added to the second half of each note. Analysis showed that playing position significantly influenced cellists’ vibrato rates, widths, and pitch of non-vibrated versus vibrated tones. Comparisons revealed a slower mean vibrato rate in first position than the fourth and thumb positions. Cellists’ vibrato became wider in higher playing positions (closer to the bridge). Participants’ vibrated tones occurred slightly above the non-vibrated tones in first position, but slightly below the non-vibrated tones in thumb position. The fingers used or level of training did not affect vibrato rate, width, or pitch.
{"title":"An Analysis of High School and University Cellists’ Vibrato Rates, Widths, and Pitches","authors":"David A. Pop","doi":"10.1177/194849921200300104","DOIUrl":"https://doi.org/10.1177/194849921200300104","url":null,"abstract":"The purpose of this study was to investigate the effect of playing position, fingers used, and level of training on vibrato rate and width, and possible pitch differences between non-vibrated and vibrated tones of cellists. Participants (N = 30) were volunteers from a high school orchestra program (n = 15) and a large public university (n = 15). Cellists performed three ascending pitch sets in first, fourth, and thumb position. Each pitch set included whole notes performed initially without vibrato, then vibrato was added to the second half of each note. Analysis showed that playing position significantly influenced cellists’ vibrato rates, widths, and pitch of non-vibrated versus vibrated tones. Comparisons revealed a slower mean vibrato rate in first position than the fourth and thumb positions. Cellists’ vibrato became wider in higher playing positions (closer to the bridge). Participants’ vibrated tones occurred slightly above the non-vibrated tones in first position, but slightly below the non-vibrated tones in thumb position. The fingers used or level of training did not affect vibrato rate, width, or pitch.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921200300104","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65903379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-07-01DOI: 10.1177/194849921200300105
J. Mick
The purpose of this study was to investigate middle school and high school string students’ (N = 241) preferences for various alternative string styles. String styles selected for the study were those represented in published, age-appropriate method books available for heterogeneous string study and included American Folk, Bluegrass, Celtic, Jazz, and Mariachi genres. Participants listened to 10 musical examples, two from each style, and gave a preference rating for each example using a seven-point response continuum. Results indicated that the Celtic genre was the most preferred, followed by Jazz, American Folk, Mariachi, and Bluegrass genres. Celtic and Jazz examples received significantly higher ratings than American Folk, Mariachi, and Bluegrass examples. Results also indicated significant differences between the preference ratings of participants who indicated they were familiar with at least one of the examples from each style and preference ratings of participants who were unfamiliar with either of the examples. No significant differences were found in preference ratings based on participants’ grade level, primary instrument, or gender.
{"title":"Middle and High School String Students’ Preferences for Alternative String Styles","authors":"J. Mick","doi":"10.1177/194849921200300105","DOIUrl":"https://doi.org/10.1177/194849921200300105","url":null,"abstract":"The purpose of this study was to investigate middle school and high school string students’ (N = 241) preferences for various alternative string styles. String styles selected for the study were those represented in published, age-appropriate method books available for heterogeneous string study and included American Folk, Bluegrass, Celtic, Jazz, and Mariachi genres. Participants listened to 10 musical examples, two from each style, and gave a preference rating for each example using a seven-point response continuum. Results indicated that the Celtic genre was the most preferred, followed by Jazz, American Folk, Mariachi, and Bluegrass genres. Celtic and Jazz examples received significantly higher ratings than American Folk, Mariachi, and Bluegrass examples. Results also indicated significant differences between the preference ratings of participants who indicated they were familiar with at least one of the examples from each style and preference ratings of participants who were unfamiliar with either of the examples. No significant differences were found in preference ratings based on participants’ grade level, primary instrument, or gender.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921200300105","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65903541","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2012-07-01DOI: 10.1177/194849921200300101
J. Palac
Research in musicians’ health in the last 30 years reveals that anywhere from 37 to 87 percent of both adults and students suffer pain related to the practice of their craft; nearly as often as athletes do. ASTA was one of the first professional organizations to recognize the problem. But how much do we really know about performance injuries and their prevention? Musicians, music educators, and movement and medical scientists have all investigated these issues. String researchers have been particularly active in studying the biomechanics of playing and in testing preventions and interventions, and they are uniquely qualified to contribute to understanding in these and other aspects of music wellness.
{"title":"Forum: Musical Wellness: Opportunities for String Researchers 2","authors":"J. Palac","doi":"10.1177/194849921200300101","DOIUrl":"https://doi.org/10.1177/194849921200300101","url":null,"abstract":"Research in musicians’ health in the last 30 years reveals that anywhere from 37 to 87 percent of both adults and students suffer pain related to the practice of their craft; nearly as often as athletes do. ASTA was one of the first professional organizations to recognize the problem. But how much do we really know about performance injuries and their prevention? Musicians, music educators, and movement and medical scientists have all investigated these issues. String researchers have been particularly active in studying the biomechanics of playing and in testing preventions and interventions, and they are uniquely qualified to contribute to understanding in these and other aspects of music wellness.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2012-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921200300101","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65903487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2011-07-01DOI: 10.1177/194849921100200003
Kevin L. Droe, J. Chenoweth, S. D. Galyen
The purpose of this study was to examine the before and after rehearsal pitch tendencies of college string and wind musicians and compare possible: (1) differences in pitch before and after rehearsal, (2) differences in pitch between string and wind musicians and (3) differences between string and wind musicians’ reported tuning practices. Participants consisted of 59 college musicians (30 string musicians and 29 wind musicians). Prior to a large ensemble rehearsal, all musicians were individually recorded playing a concert A without tuning. Musicians participated in a rehearsal and again recorded their concert A immediately following the rehearsal. Mean pitches of string and wind groups were significantly different before the rehearsal compared to after rehearsal. Both groups of musicians’ mean pitch level increased from before to after rehearsal, particularly for the wind group. Responses collected through a tuning questionnaire found that string musicians reported tuning more often and with others, and wind musicians reported using a tuner more often.
{"title":"An Examination of before and after Rehearsal Pitch Tendencies of String and Wind Musicians","authors":"Kevin L. Droe, J. Chenoweth, S. D. Galyen","doi":"10.1177/194849921100200003","DOIUrl":"https://doi.org/10.1177/194849921100200003","url":null,"abstract":"The purpose of this study was to examine the before and after rehearsal pitch tendencies of college string and wind musicians and compare possible: (1) differences in pitch before and after rehearsal, (2) differences in pitch between string and wind musicians and (3) differences between string and wind musicians’ reported tuning practices. Participants consisted of 59 college musicians (30 string musicians and 29 wind musicians). Prior to a large ensemble rehearsal, all musicians were individually recorded playing a concert A without tuning. Musicians participated in a rehearsal and again recorded their concert A immediately following the rehearsal. Mean pitches of string and wind groups were significantly different before the rehearsal compared to after rehearsal. Both groups of musicians’ mean pitch level increased from before to after rehearsal, particularly for the wind group. Responses collected through a tuning questionnaire found that string musicians reported tuning more often and with others, and wind musicians reported using a tuner more often.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921100200003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65902843","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2011-07-01DOI: 10.1177/194849921100200006
Michael Alexander
High school string orchestra students (N = 139) were measured on their ability to tune their instruments’ open A-string in response to either a pure tone stimulus or a complex tone stimulus within a classroom setting. Proximity to the stimuli and possible differences between string instrument types were also tested. No significant difference was found between the two types of stimuli. Significant differences were found on the variable of distance, however, a significant interaction between distance and instrument type was also found. Graphic analysis showed that the poor tuning of cellists who were farthest away from the tuning source accounted for the differences found for the effect of distance. Implications for tuning string instruments and suggestions for classroom application, particularly for cello and double bass are discussed.
{"title":"Effects of Stimulus Type, Distance, and Instrument on High School Students’ Open String Tuning","authors":"Michael Alexander","doi":"10.1177/194849921100200006","DOIUrl":"https://doi.org/10.1177/194849921100200006","url":null,"abstract":"High school string orchestra students (N = 139) were measured on their ability to tune their instruments’ open A-string in response to either a pure tone stimulus or a complex tone stimulus within a classroom setting. Proximity to the stimuli and possible differences between string instrument types were also tested. No significant difference was found between the two types of stimuli. Significant differences were found on the variable of distance, however, a significant interaction between distance and instrument type was also found. Graphic analysis showed that the poor tuning of cellists who were farthest away from the tuning source accounted for the differences found for the effect of distance. Implications for tuning string instruments and suggestions for classroom application, particularly for cello and double bass are discussed.","PeriodicalId":36814,"journal":{"name":"String Research Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2011-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1177/194849921100200006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"65903375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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