Pub Date : 2024-07-27DOI: 10.1177/00224294241259483
Brian P. Shaw
The purpose of this study was to describe the grades given to students in U.S. public high school music courses and to examine the relationships between student characteristics, music course grades, and grades in additional subjects. Using descriptive statistics, logistic regression, and latent profile analysis, I analyzed over 5,000 student transcripts from the U.S. Department of Education’s High School Longitudinal Study of 2009 that contained at least one grade in music. Fifty-six percent of all music grades were As, and 79% were As or Bs. Ensemble grades were generally higher than general music grades, which were more evenly distributed. Regression modeling revealed that ethnoracial identity, socioeconomic status, and having an individualized education program (IEP) were closely associated with students’ music grades, with students representing two or more minoritized populations being particularly unlikely to earn an A in music. Latent profile analysis illustrated that student demographics explained differences in music grades even among students with equivalent grades in other school subjects.
{"title":"A National Analysis of High School Music Course Grades","authors":"Brian P. Shaw","doi":"10.1177/00224294241259483","DOIUrl":"https://doi.org/10.1177/00224294241259483","url":null,"abstract":"The purpose of this study was to describe the grades given to students in U.S. public high school music courses and to examine the relationships between student characteristics, music course grades, and grades in additional subjects. Using descriptive statistics, logistic regression, and latent profile analysis, I analyzed over 5,000 student transcripts from the U.S. Department of Education’s High School Longitudinal Study of 2009 that contained at least one grade in music. Fifty-six percent of all music grades were As, and 79% were As or Bs. Ensemble grades were generally higher than general music grades, which were more evenly distributed. Regression modeling revealed that ethnoracial identity, socioeconomic status, and having an individualized education program (IEP) were closely associated with students’ music grades, with students representing two or more minoritized populations being particularly unlikely to earn an A in music. Latent profile analysis illustrated that student demographics explained differences in music grades even among students with equivalent grades in other school subjects.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"40 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-07-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141794932","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-07-26DOI: 10.1177/00224294241256929
Sandra Sanchez Adorno
This collective case study explored the musical lives of second-generation immigrant children in Miami, Florida, USA, to gain greater insight into music’s role in the negotiation, construction, and expression of their “identities in music” and “music in identities.” Four children between the ages of 8 and 12 who had at least one parent born outside of the United States participated in the study. Data were collected through participant-created artifacts, observations, and semistructured interviews with the children and other key figures in their homes and communities. Findings suggest that the children explored and evaluated their musical identities through a continuous cycle of musical experiences and social comparisons and that formal, informal, and nonformal music experiences in school, at home, and with the media informed the children’s understandings and expressions of musical identities. Additionally, music allowed the children to explore the values, traditions, and expectations of particular social groups. Children’s musical experiences also served as a source for understanding, maintaining, and expressing their ethnic, gender, and youth identities.
{"title":"Navigating Identities: The Musical Lives of Four Second-Generation Immigrant Children","authors":"Sandra Sanchez Adorno","doi":"10.1177/00224294241256929","DOIUrl":"https://doi.org/10.1177/00224294241256929","url":null,"abstract":"This collective case study explored the musical lives of second-generation immigrant children in Miami, Florida, USA, to gain greater insight into music’s role in the negotiation, construction, and expression of their “identities in music” and “music in identities.” Four children between the ages of 8 and 12 who had at least one parent born outside of the United States participated in the study. Data were collected through participant-created artifacts, observations, and semistructured interviews with the children and other key figures in their homes and communities. Findings suggest that the children explored and evaluated their musical identities through a continuous cycle of musical experiences and social comparisons and that formal, informal, and nonformal music experiences in school, at home, and with the media informed the children’s understandings and expressions of musical identities. Additionally, music allowed the children to explore the values, traditions, and expectations of particular social groups. Children’s musical experiences also served as a source for understanding, maintaining, and expressing their ethnic, gender, and youth identities.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"28 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-07-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141768443","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-29DOI: 10.1177/00224294241247267
Kenneth Elpus, Carlos R. Abril
In this study, we examined demographic patterns of participation and persistence in high school elective music ensembles. We extend prior research that has only compared music and non-music students by explicitly modeling persistence across multiple years of ensemble enrollment. The research draws on data from the High School Longitudinal Study of 2009 and employs a zero-inflated Poisson regression model to analyze the data. This hurdle model, suitable for count data with a large number of zero observations, allows us to jointly examine factors related to enrolling in at least 1 year of a music ensemble (moving from 0 years to 1 year of music) and those factors related to accruing additional years of music ensemble enrollment (moving beyond 1 year to multiple years). We found that family socioeconomic status, birth-assigned sex, academic achievement, shared parent/student outside arts event attendance, and out-of-school arts engagement were significant predictors of both students’ music participation and persistence. By examining persistence, we add important nuance to the prior research examining demographic predictors of elective high school music enrollment, particularly for issues of birth-assigned sex and socioeconomic status in the choral context.
{"title":"Participation and Persistence in High School Elective Music Ensembles","authors":"Kenneth Elpus, Carlos R. Abril","doi":"10.1177/00224294241247267","DOIUrl":"https://doi.org/10.1177/00224294241247267","url":null,"abstract":"In this study, we examined demographic patterns of participation and persistence in high school elective music ensembles. We extend prior research that has only compared music and non-music students by explicitly modeling persistence across multiple years of ensemble enrollment. The research draws on data from the High School Longitudinal Study of 2009 and employs a zero-inflated Poisson regression model to analyze the data. This hurdle model, suitable for count data with a large number of zero observations, allows us to jointly examine factors related to enrolling in at least 1 year of a music ensemble (moving from 0 years to 1 year of music) and those factors related to accruing additional years of music ensemble enrollment (moving beyond 1 year to multiple years). We found that family socioeconomic status, birth-assigned sex, academic achievement, shared parent/student outside arts event attendance, and out-of-school arts engagement were significant predictors of both students’ music participation and persistence. By examining persistence, we add important nuance to the prior research examining demographic predictors of elective high school music enrollment, particularly for issues of birth-assigned sex and socioeconomic status in the choral context.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"31 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140820036","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-29DOI: 10.1177/00224294241250087
Peter Miksza
{"title":"Editor’s Forum","authors":"Peter Miksza","doi":"10.1177/00224294241250087","DOIUrl":"https://doi.org/10.1177/00224294241250087","url":null,"abstract":"","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"33 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140820037","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-26DOI: 10.1177/00224294241247578
Karen Salvador, Saleel Adarkar Menon
Many adults do not see themselves as musical, and about 17% believe they are tone deaf. People who identify as tone deaf often believe this condition is congenital and permanent and prevents them from ever singing accurately. In many early childhood music (ECM) classes, adults participate as musical models, interacting with their children by moving, chanting, vocalizing, and singing. Using phenomenological inquiry, we explored the lived experiences of six adult self-identified nonmusicians/nonsingers as they made music with their child over the course of a 10-week session of ECM. Participants reported changes in their thinking about what makes someone a musician, evolving feelings about their singing voices, and increased enjoyment of singing and willingness to sing. We conclude with implications for ECM teachers and other music educators working with adults who see themselves as unmusical.
{"title":"Lived Experiences of Adult Caregiver “Nonmusicians” and “Nonsingers” in Early Childhood Music Classes","authors":"Karen Salvador, Saleel Adarkar Menon","doi":"10.1177/00224294241247578","DOIUrl":"https://doi.org/10.1177/00224294241247578","url":null,"abstract":"Many adults do not see themselves as musical, and about 17% believe they are tone deaf. People who identify as tone deaf often believe this condition is congenital and permanent and prevents them from ever singing accurately. In many early childhood music (ECM) classes, adults participate as musical models, interacting with their children by moving, chanting, vocalizing, and singing. Using phenomenological inquiry, we explored the lived experiences of six adult self-identified nonmusicians/nonsingers as they made music with their child over the course of a 10-week session of ECM. Participants reported changes in their thinking about what makes someone a musician, evolving feelings about their singing voices, and increased enjoyment of singing and willingness to sing. We conclude with implications for ECM teachers and other music educators working with adults who see themselves as unmusical.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"10 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-04-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140651922","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-04-02DOI: 10.1177/00224294231222801
Thomas Mathias, Andrew Goldman
The purpose of this study was to investigate the effect of three schedules of practice on high-level violinists’ learning. The contextual interference (CI) effect occurs when two or more tasks are practiced in an interleaved manner, which has been shown to impair initial learning but improve retention. How a musician alternates between tasks during practice can have a great impact on learning. This study was designed to explore how an increasing schedule of CI within a practice session would compare to the traditional blocked and random schedules. Sport research has shown a dynamically adaptive schedule to be advantageous, yet this area is relatively unexplored in music. Twenty advanced violinists at a music school practiced three sets of musical excerpts under three practice schedule conditions: blocked (pieces practiced one at a time), increasing contextual interference (blocked and then random), and interleaved (pieces randomly alternating). Recordings were taken at the stages of sight-reading, acquisition (immediately after practice sessions), and retention (24 hours later). Expert ratings of each musician’s recordings revealed no effect at the acquisition stage. However, at the delayed retention test, the blocked condition proved to be most effective. Fifty percent of participants perceived blocked practice to be the most effective.
本研究旨在调查三种练习计划对高水平小提琴手学习的影响。情境干扰（CI）效应发生在以交错方式练习两个或多个任务时，它已被证明会损害初始学习，但会提高保持率。音乐家在练习过程中如何交替完成任务会对学习产生很大影响。本研究旨在探索在练习过程中增加 CI 的安排与传统的分块和随机安排相比有何不同。体育研究表明，动态自适应时间表具有优势，但这一领域在音乐方面的研究相对较少。一所音乐学校的 20 名高级小提琴手在三种练习计划条件下练习了三组音乐选段：封闭式（每次练习一首乐曲）、增加情境干扰（先封闭后随机）和交错式（乐曲随机交替）。在视奏、习得（练习结束后立即进行）和保持（24 小时后）阶段进行录音。专家对每位音乐家的录音进行评分后发现，在习得阶段没有任何影响。然而，在延迟保持测试中，封锁条件被证明是最有效的。50%的参与者认为阻断练习最有效。
{"title":"How Does Increasing Contextual Interference in a Musical Practice Session Affect Acquisition and Retention?","authors":"Thomas Mathias, Andrew Goldman","doi":"10.1177/00224294231222801","DOIUrl":"https://doi.org/10.1177/00224294231222801","url":null,"abstract":"The purpose of this study was to investigate the effect of three schedules of practice on high-level violinists’ learning. The contextual interference (CI) effect occurs when two or more tasks are practiced in an interleaved manner, which has been shown to impair initial learning but improve retention. How a musician alternates between tasks during practice can have a great impact on learning. This study was designed to explore how an increasing schedule of CI within a practice session would compare to the traditional blocked and random schedules. Sport research has shown a dynamically adaptive schedule to be advantageous, yet this area is relatively unexplored in music. Twenty advanced violinists at a music school practiced three sets of musical excerpts under three practice schedule conditions: blocked (pieces practiced one at a time), increasing contextual interference (blocked and then random), and interleaved (pieces randomly alternating). Recordings were taken at the stages of sight-reading, acquisition (immediately after practice sessions), and retention (24 hours later). Expert ratings of each musician’s recordings revealed no effect at the acquisition stage. However, at the delayed retention test, the blocked condition proved to be most effective. Fifty percent of participants perceived blocked practice to be the most effective.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"46 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140533201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-03-21DOI: 10.1177/00224294241236657
Nicole K. Ramsey, Heather Babb Graham, Tami J. Draves, Drew Brooks
The purpose of this grounded theory was to discover the process of undergraduate students’ music teacher identity development in the first 2 years of their preservice music education program. Participants in this study were 21 undergraduate students from an introduction to music education course. We collected multiple types of data, including interviews and written artifacts, from a course-based undergraduate research experience that focused on music teacher identity development. Consistent with Charmaz’s approach, data collection and analysis were grounded in a constructivist paradigm. We analyzed participants’ music teacher identity development in a cyclical, three-phase process during the early years of their undergraduate teacher education programs. The three phases involved (a) outer experiences and interactions, (b) inner reflective processes, and (c) actions based on their reflections. The phases were situated within the context of participants’ developing sense of self. Central to this process was the students’ personal development, particularly as individuals in the stage of late adolescence.
{"title":"A Grounded Theory of Early Preservice Music Teacher Identity Development","authors":"Nicole K. Ramsey, Heather Babb Graham, Tami J. Draves, Drew Brooks","doi":"10.1177/00224294241236657","DOIUrl":"https://doi.org/10.1177/00224294241236657","url":null,"abstract":"The purpose of this grounded theory was to discover the process of undergraduate students’ music teacher identity development in the first 2 years of their preservice music education program. Participants in this study were 21 undergraduate students from an introduction to music education course. We collected multiple types of data, including interviews and written artifacts, from a course-based undergraduate research experience that focused on music teacher identity development. Consistent with Charmaz’s approach, data collection and analysis were grounded in a constructivist paradigm. We analyzed participants’ music teacher identity development in a cyclical, three-phase process during the early years of their undergraduate teacher education programs. The three phases involved (a) outer experiences and interactions, (b) inner reflective processes, and (c) actions based on their reflections. The phases were situated within the context of participants’ developing sense of self. Central to this process was the students’ personal development, particularly as individuals in the stage of late adolescence.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"157 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140192800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-24DOI: 10.1177/00224294241229073
Marjoris Regus, Kate R. Fitzpatrick, Sean Grier
This descriptive collective case study explored the experiences of three Black women music educators through the framework of community cultural wealth. Analysis of data collected through Seidman’s three-stage phenomenological interview model revealed three themes. The first, “path to teaching,” represented the formative experiences that shaped participants’ development, including a deep level of embodied musical knowledge in multiple genres and the development of resilience. The second, “navigating the academy,” represented the experiences of participants during their collegiate programs, including mentorship and support they had received, perseverance through difficult challenges, and intersections of their experience with existing and often problematic structures in music schools. The final theme, “pedagogical approach,” represented the ways that participants wove aspects of their individual capital and experience into their pedagogical approach, including knowledge of families and community, ethnoracial representation for their students, culturally responsive approaches to pedagogy, and passing along tools for navigational success to their students. Alignment of the data with the framework of community cultural wealth is discussed, emphasizing participants’ prominent uses of both navigational and resistant capital and the development of “Black musical capital.” Implications for music education are discussed.
{"title":"“I’ve Sat in Your Seat Before”: A Study of the Experiences of Three Black Women Music Educators","authors":"Marjoris Regus, Kate R. Fitzpatrick, Sean Grier","doi":"10.1177/00224294241229073","DOIUrl":"https://doi.org/10.1177/00224294241229073","url":null,"abstract":"This descriptive collective case study explored the experiences of three Black women music educators through the framework of community cultural wealth. Analysis of data collected through Seidman’s three-stage phenomenological interview model revealed three themes. The first, “path to teaching,” represented the formative experiences that shaped participants’ development, including a deep level of embodied musical knowledge in multiple genres and the development of resilience. The second, “navigating the academy,” represented the experiences of participants during their collegiate programs, including mentorship and support they had received, perseverance through difficult challenges, and intersections of their experience with existing and often problematic structures in music schools. The final theme, “pedagogical approach,” represented the ways that participants wove aspects of their individual capital and experience into their pedagogical approach, including knowledge of families and community, ethnoracial representation for their students, culturally responsive approaches to pedagogy, and passing along tools for navigational success to their students. Alignment of the data with the framework of community cultural wealth is discussed, emphasizing participants’ prominent uses of both navigational and resistant capital and the development of “Black musical capital.” Implications for music education are discussed.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"19 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-02-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139945372","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-02-21DOI: 10.1177/00224294241228213
Ryan D. Shaw, David Hedgecoth, Andrew Bohn, Emily Moler Huddleston, Nathan Irby, Charles Oldenkamp, Gentry Ragsdale, Lorenzo L. Sánchez-Gatt, Austin D. Thomas
The purpose of this multiple case study was to investigate engagement in the collegiate concert band setting. Research questions were: (1) How do collegiate band students describe their engagement in large ensemble rehearsals? (2) How do collegiate band directors describe engagement in large ensemble rehearsals? and (3) What does rehearsal engagement look like in action? Cross-case analysis suggested that student engagement is related to personal/temporal factors, the repertoire and instructional strategies, and interpersonal factors among students and between the student and director. Directors spoke of the responsibility and pressure they felt to encourage independence and the challenges of establishing a collaborative, agentic environment. Observation field notes reflected variety in body language, liveliness, and hands-on interactions and technology distractions.
{"title":"Describing Engagement in the Collegiate Concert Band Rehearsal","authors":"Ryan D. Shaw, David Hedgecoth, Andrew Bohn, Emily Moler Huddleston, Nathan Irby, Charles Oldenkamp, Gentry Ragsdale, Lorenzo L. Sánchez-Gatt, Austin D. Thomas","doi":"10.1177/00224294241228213","DOIUrl":"https://doi.org/10.1177/00224294241228213","url":null,"abstract":"The purpose of this multiple case study was to investigate engagement in the collegiate concert band setting. Research questions were: (1) How do collegiate band students describe their engagement in large ensemble rehearsals? (2) How do collegiate band directors describe engagement in large ensemble rehearsals? and (3) What does rehearsal engagement look like in action? Cross-case analysis suggested that student engagement is related to personal/temporal factors, the repertoire and instructional strategies, and interpersonal factors among students and between the student and director. Directors spoke of the responsibility and pressure they felt to encourage independence and the challenges of establishing a collaborative, agentic environment. Observation field notes reflected variety in body language, liveliness, and hands-on interactions and technology distractions.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"59 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-02-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139938993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2024-01-31DOI: 10.1177/00224294231225408
Bryan E. Nichols, Logan Barrett
Previous research has variably indicated the role of working memory in error detection by which working memory played a role in rhythmic error detection but not melodic error detection. Here, we devised a longer melodic error detection task for college musicians in an auditory, rather than visual, condition using classical excerpts, which we compared to briefer visual and auditory control conditions. These tests were compared to performance on a test of verbal working memory (forward digit span test) and an experimenter-created tonal working memory test. The tonal working memory test was positively related to the forward digit span test, the melodic error detection, and the visual control but not to the auditory control. Performance on the error detection test was not significantly related to year in school, level of aural skills class, years of private piano, or level of group piano class. Our participants performed similarly on the aurally presented melodic error detection of classical excerpts and the briefer visual control but not on the briefer aural control. Among other variables, years of experience on a second instrument was a significant predictor of error detection skill. High familiarity ratings with a classical excerpt did not yield a relationship to error detection performance.
{"title":"The Effect of Memory and Presentation Mode in Melodic Error Detection","authors":"Bryan E. Nichols, Logan Barrett","doi":"10.1177/00224294231225408","DOIUrl":"https://doi.org/10.1177/00224294231225408","url":null,"abstract":"Previous research has variably indicated the role of working memory in error detection by which working memory played a role in rhythmic error detection but not melodic error detection. Here, we devised a longer melodic error detection task for college musicians in an auditory, rather than visual, condition using classical excerpts, which we compared to briefer visual and auditory control conditions. These tests were compared to performance on a test of verbal working memory (forward digit span test) and an experimenter-created tonal working memory test. The tonal working memory test was positively related to the forward digit span test, the melodic error detection, and the visual control but not to the auditory control. Performance on the error detection test was not significantly related to year in school, level of aural skills class, years of private piano, or level of group piano class. Our participants performed similarly on the aurally presented melodic error detection of classical excerpts and the briefer visual control but not on the briefer aural control. Among other variables, years of experience on a second instrument was a significant predictor of error detection skill. High familiarity ratings with a classical excerpt did not yield a relationship to error detection performance.","PeriodicalId":47469,"journal":{"name":"Journal of Research in Music Education","volume":"6 1","pages":""},"PeriodicalIF":1.4,"publicationDate":"2024-01-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139938982","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"教育学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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