THE DESIGN AND EVALUATION OF STUDY MATERIALS FOR INTEGRATING MUSICAL INFORMATION INTO THE CHORAL REHEARSAL DISSERTATION

Transcription

1 319 N 8/J N. I8IH THE DESIGN AND EVALUATION OF STUDY MATERIALS FOR INTEGRATING MUSICAL INFORMATION INTO THE CHORAL REHEARSAL DISSERTATION Presented t the Graduate Cuncil f the Nrth Texas State University in Partial Fulfillment f the Requirements Fr the Degree f DOCTOR OF PHILOSOPHY By Ruth H. S. Whitlck, B.A., M.A. Dentn, Texas December, 1981

2 Whitlck, Ruth H. S., The Design and Evaluatin f Study Materials fr Integrating Musical Infrmatin int the Chral Rehearsal. Dctr f Philsphy (Music Educatin), December, 1981, 279 pp., 12 tables, 109 titles in bibligraphy. The purpse f the study was t design and evaluate materials fr integrating musical cncepts and stylistic cncepts int the high schl chral rehearsal. Need fr the study was established by examining related literature and by means f a survey f Texas high schl chral directrs. A systems apprach mdel f curriculum develpment, cnsisting f a ten-step prcedural utline, was adpted fr frmulatin f the study. The fllwing criteria fr the curriculum, called Integrated Musical Infrmatin fr Chirs (IMIC), were set: (1) Materials shuld be in the hands f each student; (2) Materials wuld relate directly t music being perfrmed by the chir; (3) Use f the materials shuld assist the teacher in rganizing his/her wrk; (4) Teachers shuld be able t put materials int use withut adaptatin; (5) Teachers' ut-f-class preparatin shuld be minimal. Three sets f student analysis wrksheets were designed. The first set, called General Wrksheets, was intended t

3 assist students in studying a piece f chral literature thrugh the elements while simultaneusly learning musical terminlgy. Sets tw and three instruct students in the stylistic characteristics f Renaissance and Barque chral music thrugh analysis f the music. Six Texas high schl chirs were used t field test the curriculum. Three hundred fifty-fur students and six teachers were invlved in the prject. A written test was given in September, 1980, t ascertain entrance knwledge. Participating teachers were instructed t integrate the instructinal materials in a manner mst advantageus t his/her prgram. In April, 1981, a psttest was administered as well as a student attitude questinnaire and teacher evaluatin. There was an verall imprvement f 29.7 percentage pints frm pre- t psttest with greater gains being made in stylistic than in general musical cncepts. Additinally, 92 percent f the students indicated that students as well as teachers shuld study the music. Teachers expressed the belief that perfrmance was enhanced by use f the IMIC curriculum.

4 TABLE OF CONTENTS LIST OF TABLES Page vi Chapter I. DEFINITION OF THE PROBLEM 1 Purpse f the Study Basic Apprach t the Study Plans fr Presentatin f This Reprt II. RELATED RESEARCH AND LITERATURE 26 Intrductin Instructinal Objectives Curriculum Revisin Musical Terminlgy, Histry, Style, Frms, Cmpsers and Perfrmance Practice Measurement Tls and Techniques Summary III. DEVELOPMENT OF THE CURRICULUM 63 Intrductin Step 1: Identificatin f the Prblems frm Dcumented Needs Step 2: Identificatin f Instructinal Objectives and Perfrmance Standards Step 3: Identificatin f Entering Cmpetencies Step 4: Preparatin f the Evaluative Instruments Step 5: Identificatin f Pssible Curriculum Strategies frm Alternatives Step 6: Designing f the Instructinal Materials Step 7: Implementatin f the Curriculum in a Pilt Prgram Step 8: Revisin f the Curriculum and Evaluative Instruments iii

5 IV. IMPLEMENTATION AND EVALUATION OF THE CURRICULUM 85 Implementatin f the Curriculum Evaluatin f the Curriculum V. SUMMARY, FINDINGS, CONCLUSIONS AND RECOMMENDATIONS 107 APPENDICES Summary Findings Cnclusins Recmmendatins Appendix A: Spkespersns fr Teaching Musical Infrmatin in the Music Perfrmance Class 115 Appendix B: Results f a Survey f Texas High Schl Chral Directrs 119 Appendix C: Musical Infrmatin Test (MIT) Appendix D: Student Attitude Questinnaire Appendix E: Teacher Questinnaire and Evaluatin 144 Appendix F: Altered Reprductin f University Interschlastic League Entry Blank and Cmment Sheet 150 Appendix G: Validatin Cmmittee 152 Appendix H: Teacher Participants in Dissertatin Study 154 Appendix I: Letter t Participating Teachers in Primary Study, Infrmatin Sheet and Agreement Frm 156 Appendix J: Letters t Participating Teachers During the Study Year 161 Appendix K: Item Analysis f MIT Psttest IV

6 Appendix L: Test Data f Individual Schls Appendix M: Student Attitude Questinnaire Respnses 176 Appendix N: Respnses t Teacher Questinnaire and Evaluatin 185 Appendix 0: Respnses t Teacher Questinnaire and Evaluatin 188 Appendix P: IMIC (Integrated Musical Infrmatin fr Chirs) 199 Appendix Q: IMIC - Renaissance 227 Appendix R: IMIC - Barque 248 BIBLIOGRAPHY 270 v

7 LIST OF TABLES Table Page I. Results f Pretests and Psttests Pilt Study 79 II. Cities, Ppulatin Size, and Gegraphic Lcatin f Participating Schls III. Results f Pretest and Psttest Cmbined Schls 92 IV. Cmparative Results f Pretest and Psttest f Individual Schls 94 V. Mean Difference Between Pre- and Psttests n All Questins, n General Questins and n Style Questins 95 VI. Mean Difference Between Pre- and Psttests n All Questins, n General Questins and n Style Questins Cmbined Schls. 96 VII. Cmparisn f General and Style Questins n Psttest 97 VIII. Percentages Crrect n General Questins, Style Questins and All Questins IX. Student Attitudes Cncerning the Imprtance f Singing Great Music in a Gd Chir 100 X. Student Attitudes Cncerning the Value f Studying abut Music 101 XI. Student Attitudes tward the IMIC Curriculum 103 XII. Student Attitudes tward Using IMIC Curriculum Again 104 vx

8 CHAPTER I DEFINITION OF THE PROBLEM Thrughut the last tw decades, criticism f the secndary schl perfrmance prgram has munted steadily. Educatrs express cncern that there is an ver-emphasis n technical perfectin and the pressure f t many public perfrmances. It is recgnized that perfrming rganizatins have been and will cntinue t be the basic vehicle fr high schl music experience and credit is given t the ften high level f excellence in perfrming f high schl bands, rchestras, and chral grups. The belief exists that curriculum revisin is pssible within the perfrming rganizatins which wuld allw fine perfrmance t cntinue and yet prvide fr including ther kinds f significant musical learning in the rehearsal. The expectatin is that such musical learning will enhance perfrmance rather than detract frm it. The sentiments f numerus writers are reflected in these statements fund in prfessinal jurnals. Emphasis in music educatin at the secndary level is prperly fcused n perfrmance ensembles. Yung peple at this age nrmally

9 have nt had the musical experiences that wuld enable them t divrce music-making frm the kinds f cnceptualizing prcesses demanded f the adult. There is n valid reasn, hwever, fr the perfrmance rientatin f ur bands, rchestras, and chirs t rule ut the teaching f cncepts abut music, fundamental infrmatin abut meldy, harmny, frm, texture, and even sme histrical perspective which can be tied int the ensemble rehearsal. Larsn, a Minnesta high schl chral directr, takes n the rle as spkesman fr "educatin-in-music" frm within the ranks f the perfrmance teachers. Senir high schl music directrs are primarily bligated t prvide the students with an educatin in music rather than with merely a series f rehearsals fr perfrmance. Each directr shuld ask himself, "What musical knwledge have the students accumulated during the cuntless hurs spent in music classes and rehearsals? Are their discussins f music limited t titles f cmpsitins they nce perfrmed, r t nn-musical experiences?" Many music directrs wuld be appalled by graduating senirs' cmments n what they learned abut music during the precius three years.2 Even thugh Labuta addressed his remarks particularly t band directrs, his wrds are applicable t chir and rchestra directrs als.... the purpse f the schl grup is educatin thrugh perfrmance. Schl rehearsals shuld be planned t develp musicianship and brad musical understanding ^"William Thmsn, "new math, new science, new music," Music Educatrs Jurnal (MEJ), LIII (March, 1967), Le Ry Larsn, "Mre Than Perfrmance: It Can be Dne," MEJ, LV (February, 1969), 41.

10 f students.... By cncentratin upn cntent as well as technique, the student learns mre abut his individual part. He learns music. Learning abut music and develping individual musicianship are the mst imprtant gals f the high schl band prgram.^ These writers and many thers have cmmented n the subject f devting sme rehearsal time t the educatinal needs f students beynd the area f perfrmance. The cmments have been in the fllwing mdes: criticism f the lack f educatin-in-music within perfrming rganizatins; prmtin f the pinin that mre musical infrmatin shuld be taught in the perfrmance rehearsal, and suggestins f hw t slve the prblems inherent in teaching abut music in a perfrmance setting. (See Appendix A fr a selective listing f authrs wh advcate teaching musical infrmatin in the perfrmance class.) Beynd evidence frm natinal jurnals and textbks, Texas music educatrs acknwledged the need fr a "mre than perfrmance" apprach t music teaching at the Texas Music Educatrs Assciatin Sympsium held in June f The final reprt f Tpic II, Musical Understanding Thrugh Perfrmance, included the fllwing statements: The study f the cmpnents f music and their rganizatin must be incrprated in the cntext f the preparatin f literature fr perfrmance 3 Jseph A. Labuta, Teaching Musicianship in the High Schl Band (West Nyack, New Yrk, 1972), p. 25.

11 which encurages a wrking vcabulary n the part f the student. These cmpnents include pitch, rhythm, dynamics, frm, timbre, texture, articulatin and style. Music shuld be chsen that represents a variety f appraches t these cmpnents, cnsidered in the specific cntext f varius cmpsitinal styles. The validity f musical grwth thrugh perfrmance is determined by the extent f the develpment f musical insight and aesthetic awareness, as well as technical skills.4 Tw questins arise ut f the preceding remarks and qutatins: (1) Is it really desirable r practical t expect high schl perfrmance teachers t include musical infrmatin in their rehearsals in additin t the ther wrk they must d in rder t prduce adequate t superir perfrming rganizatins? (2) D teachers already teach abut music in their rehearsals? The first questin has been answered by the numerus authrities wh have expressed cnfirmatin f the desirability f teaching musical infrmatin in the perfrmance rganizatin (see Appendix A). There is n clear-cut answer t the secnd questin. It wuld appear that mst authrities believe that there is nt sufficient teaching abut music in the rehearsal, therefre, the criticism is spken. There is evidence, hwever, that at least ne grup f teachers des teach 4 "Sympsium Participants Final Cmmittee Reprt, Tpic II" frm "A Reprt f the Texas Music Educatrs Assciatin Summer Sympsium," Suthwestern Musician Cmbined with the Texas Music Educatr, XLVI, Special Issue (December, 1977), 27.

12 abut music in their rehearsals. A survey f sixtyeight Texas high schl chral directrs frm varius gegraphical regins revealed that all directrs wh respnded t the survey attempt t teach musical and stylistic cncepts t their students (see Appendix B fr a cpy f the survey questinnaire and the results f the survey). Amng thse wh respnded, 33 per cent reprted that they were satisfied with their teaching f musical and stylistic cncepts in the rehearsal. Sixty-seven per cent reprted that they were either dissatisfied r nly fairly satisfied with such teaching. In May f 1978, Texas Music Educatrs Assciatin Vcal Divisin Chairman Miltn Pullen wrte that Texas high schl chral directrs may "have neglected t teach the skills f music and music's heritage" and expressed the fear that there is "a deficiency f knwledge and understanding f the music" perfrmed by the Texas All State Chir members. T demnstrate his cncern fr the "teaching effectiveness f the music educatrs f the state f Texas," Pullen administered a 12-questin multiple chice test t the 240 members f the 1978 All State Chir. The questins n the test were related t the music and the cmpsers f the music being perfrmed 5 Miltn Pullen, "Vcal Divisin," Suthwestern Musician Cmbined with the Texas Music Educatr, XLVI (May, 1978), 18.

13 6 by the chir. The mean scre n the test shwed that the students answered apprximately half f the questins crrectly. Data n reliability and validity was nt available, nr was any ther statistical infrmatin. Since the All State Chir members are an elite grup cnsidered t be the best chral singers in Texas high schls, it might be assumed that ther Texas high schl chral singers prbably wuld nt scre any higher n the written test than the 240 students wh tk the test. The Vcal Divisin Chairman f the Texas Music Educatrs Assciatin expressed fear that teaching abut music is deficient in Texas high schls. Als, a significant number f Texas high schl chral directrs are less than satisfied with their teaching f musical and stylistic cncepts within the rehearsal. Perhaps the discrepancy between desire t teach abut music and a satisfactry level f success in teaching abut music is, at least in part, due t a lack f materials and methds t assist teachers in accmplishing their gals. In the survey f Texas high schl chral directrs reprted abve, 94 percent f the respndents answered "yes" t the questin, "If teacher and student materials fr use in studying musical and stylistic cncepts were available, wuld it be helpful t yu?" (See Appendix B fr results f survey.)

14 7 Several writers have claimed that there is a lack f materials and/r methds t be used as an aid in the teaching f musical infrmatin in the chral rehearsal. The high percentage f Texas teachers wh reprted that they wuld be interested in such materials supprts that claim. In 1975, De Hg lamented the lack f materials suited t rehearsal use. There are sme texts and wrkbks fr supplementary use in the perfrming grup, but they are ften intended fr study utside f the rehearsal and bear nly the mst general relatinship t the music likely t be used fr cncert repertire by a schl perfrming grup.6 White states that mre than ever befre, music educatin tday recgnizes the need fr helping all yung peple t achieve an understanding f their vast and cmplex musical heritage. T equip teachers t bring abut this achievement, hwever, is a frmidable task, especially in the field f music which requires brad skills as well as knwledge cvering a wide area. The prblem can be partly alleviated thrugh the use f valid and reliable teaching materials which are cmpiled and rganized fr applicatin t a specific area f the curriculum.7 Herman William De Hg, "Develping Musicianship in the Schl Rehearsal Based n the Study and Analysis f Representative Musical Frms," unpublished dctral dissertatin, Clumbia University, New Yrk, 1975, pp Rbert Charles White, Jr., "A Surce-Bk fr the Study and Perfrmance f Renaissance Chral Music Including Applicatin t the Secndary-Schl Level," unpublished dctral dissertatin, Clumbia University, New Yrk, 1968, p. 355.

15 Bangstad expressed cncern that "mst studies... d nt give practical advice n hw t incrprate the learnings f the students in a mre expressive perfrmance f the music. Out f a desire t prvide materials and methds fr including musical infrmatin in the chral rehearsal, seven unpublished studies reprt the develpment f such methds r materials. Rbinsn develped prgrammed materials which prvide instructin in intervals, rhythms, meldic arrangements in music and becming acquainted with ur heritage in musical 9 literature. Hward devised listening lessns which 8 utilized prgrammed tape recrdings by which six representative chral cmpsitins were studied. De Hg prvided detailed analyses f six representative cmpsitins t be used as mdels fr teacher devised materials. The emphasis is n the frmal prperties f the six cmpsitins. g Gary Philip Bangstad, "Develping a Chral Rehearsal Prgram Designed t Increase Perceptin f Frm and Style in Chral Music," unpublished dctral dissertatin, Arizna State University, Tempe, Arizna, 1975, p Jean Ann Ziebell Rbinsn, "A Plan fr Utilizing Independent Study and Self-Directed Learning t Enrich Chral Activities in the High Schl," unpublished dctral dissertatin, University f Arizna, Tucsn, Arizna, "^Cleveland L. Hward, Jr., "An Experimental Study in Develping and Evaluating Musical Understandings in a High Schl Chir," unpublished dctral dissertatin, Bstn University, Bstn, Massachusetts, 1969, p. 2. ^De Hg, p. 12.

16 White designed a surce bk fr the study and perfrmance f Renaissance chral music fr use by high schl teachers. 12 Like De Hg, he included analyses f representative cmpsitins fr use by the teachers as preparatin fr perfrmance and/r fr use as mdels f analysis. Bangstad wrte a week-by-week (eleven weeks) curse utline "designed t increase perceptin f frm and style in music." The curse f study was planned fr use by 13 the teacher. Hedberg prpsed a "musical learnings apprach" which cnsisted f incrprating seven r eight verbal interjectins int each rehearsal. Maharg prepared a carefully designed curse f study intended "t develp brad insights int music alng with perfrmance skills." He described implementatin and evaluatin f the curriculum in detail. The materials were used with university chral students but culd be 15 used as a mdel fr high schl chral curriculum. 19 White. 13 Bangstad, p Flyd Carl Hedberg, "An Experimental Investigatin f Tw Chral Rehearsal Methds: Their Effect n Music Attitude, Music Discriminatin, Music Achievement, and Music Perfrmance," unpublished dctral dissertatin, University f Nrthern Clrad, Greeley, Clrad, 1975, p Jhn Newtn Maharg, "The Develpment and Appraisal f a Curse in Chral Music," unpublished dctral dissertatin, University f Illinis, Urbana, Illinis, 1968, p. 3.

17 10 In review, Rbinsn and Hward have prvided materials that culd be used by high schl chral students t increase their knwledge abut music. Bth are in a prgrammed frmat, ne in the frm f reading material and the ther, listening materials. In neither case are the materials directly related t the music being rehearsed by the chral singers. Maharg's curse f study als invlves students directly but wuld need t be revised fr use by high schl singers. De Hg, White, Bangstad and Hedberg all suggest materials r methds fr teacher use. All wuld need t be adapted t fit the needs f specific classrm situatins. In spite f the merits f the wrk f the seven afrementined researchers, nne escapes ne r the ther f these deficiencies: (1) n direct relatinship t music being rehearsed, r (2) need fr extensive adaptatin befre use in the classrm. There are several published texts created fr the purpse f integrating musical infrmatin int the chral rehearsal. Nne are knwn t have been tested in any systematic manner. A federal gvernment cntract was granted t Stanley Lintn in the mid-sixties t develp a prgram fr teaching musicianship in the high schl chral class.

18 11 His wrk resulted in a tw-vlume series. "Under nrmal circumstances in which the class meets daily, each bk prvides ne year f instructin material t be integrated with regular rehearsal experiences with abut ne-third f the ttal time devted t explring the cncepts and illustratins frm chral literature prvided in the bks." Bk One isentitled The Structural Elements. It teaches the rganizatin f pitch, rhythm, frm, and harmnic texture frm the very beginning stages f the study f such cncepts. It "may be cnsidered prgrammed instructin even thugh it des nt have the frmat f a 17 prgrammed bk." Bk Tw is entitled Perid Style. Its cntents are: The Renaissance Perid, the Barque Perid, the Classical-Rmantic Styles, and The Cntemprary Perid. The vlumes are extensive, Bk One cntaining 297 pages, Bk Tw cnsisting f 311 pages. The materials are sequentially develped and the infrmatin wuld be easily understd by high schl students. During a phne cnversatin n June 24, 1978, Lintn stated that teachers in the Oshksh, Wiscnsin area had tested his j g Stanley Lintn, Chral Musicianship. Bk One and Bk Tw. A Pilt Prgram f Instructin fr Teaching Musicianship in the High Schl Chral Class, Wiscnsin State University, Oshksh, Wiscnsin, 1967, Bk Tw, p. ii. 17 Ibid., Bk One, p. ii.

19 12 materials and seemed t be pleased with the resulting imprved musicianship f the students. After the testing perid, hwever, the materials were n lnger systematically used. Cpies f tests fr student use are n lnger available. Why did such a well-develped curriculum fail t find acceptance in the Wiscnsin high schls? Perhaps the materials were t cmprehensive and implementatin in the classrm impinged upn rehearsal time t a greater extent than the teachers and students were willing t accept. Perhaps the fact that the infrmatin was nt directly related t the cncert repertire influenced the teachers' decisins nt t cntinue use f the materials. Hffer and Andersn have published tw bks t be used by high schl band, rchestra and chral students. The bks are written in prgrammed style and cntain a vast variety f musical infrmatin. The frames are written in casual language which wuld be appealing t high schl age students. The infrmatin in the bks is smewhat parallel. The bks culd be used sequentially but successful use 18 Charles R. Hffer and Dnald K. Andersn, Perfrming Music with Understanding Orange (Belmnt, Califrnia, 1970). 19 Charles R. Hffer and Dnald K. Andersn, Perfrming Music with Understanding--Green (Belmnt, Califrnia, 1971).

20 13 f either vlume is nt dependent n infrmatin learned in the ther vlume. The bks are cnstructed t be used independently utside f class with the entire class smetimes engaging in activities t aid in understanding what the students have read individually. The authrs suggest that the class wrk shuld help the students t better perfrm the particular type f music studied in the texts. The impressin made by these tw bks is an extremely psitive ne but it des nt appear that they are being used by Texas high schl chral directrs. There are several pssible reasns. The bks are relatively expensive and have nt been adpted as a state text. The students wuld have t purchase the bks individually r the chral music budget wuld have t be used. Since the bks are in prgrammed style it wuld nt be pssible t reuse them frm year t year. Few chral budgets culd affrd the heavy expenditure. Anther cnsideratin is that Texas high schl perfrmance students already spend a cnsiderable amunt f time n ut-f-schl activities such as individual practice, private lessns, sectin rehearsals, sl and ensemble cntests, all-regin tryuts, fund-raising prjects, cncert perfrmances, musicals and cntests. These students ften take the mre demanding academic fferings. Additinal extra-class academic wrk in music might nt meet

21 14 with parent r student apprval. The same students are ften invlved in ther schl and cmmunity activities which limit their time. Perhaps inexpensive materials which culd be used during the regular rehearsal perid wuld better serve the needs f the students. Kjelsn and McCray's textbk 20 attempts t integrate histrical, stylistic and theretical infrmatin int chral perfrmance. The bk is divided int histrical perids with tw cmpsitins used as stylistic examples frm each perid. General infrmatin n each perid is supplied with a little backgrund material n each cmpser and a shrt analysis f the cmpsitin. In an attempt t be cncise, the infrmatin is ften sketchy. The analyses are nt cnsistently useful. The apprach is very practical. The prepared lessns culd be used if the teacher desires t use the literature in the bk r they culd be used as mdels fr teacher-prepared lessns n ther literature. The vlumes f Cmprehensive Musicianship Thrugh Chral Perfrmance have perhaps the mst selfcntained materials fund amng the published texts. There are "fur chral bks fr grades nine thrugh twelve designed fr the Hawaii Music Prgram. The ratinale underlying the prgram emphasizes the 20 Lee Kjelsn and James McCray, The Cnductr's Manual f Chral Music Literature (Melville, New Yrk, 1973).

22 15 interdependence f musical knwledge and music perfrmance: an interdependence that is revealed thrugh seven fundamental cncepts (tne, meldy, rhythm, harmny, texture, tnality and frm)." The seven "cncepts" (tne, meldy, etc.) are used as the basis fr units in each f the fur vlumes. Fr example, Unit I is Tne. Fur specified chral wrks are t be used t exemplify the teaching f cncepts f tne which are listed as "vibrat" and "timbre." Anticipated utcmes are written in behaviral terms and definitins f key terms are given at the beginning f each unit. In additin t the cncentratin n the elements f music, each cmpsitin is intrduced by statements regarding the cmpser and sme general statements abut the cmpsitin. Evaluatin materials are included at the end f each unit. The teacher text cntains all the materials included in the student texts alng with detailed teaching ntes. Music is t be bught separately in ctav frm except fr sme examples f nn-western music which wuld nt be cnventinally available in anther surce. In sme instances, listening references are given. Malcmb Tait, Cmprehensive Musicianship Thrugh Chral Perfrmance, Zne 5, Bk A (Menl Park, Califrnia, 1937), p. v. 21

23 16 It wuld seem that the cnsistent use f these vlumes wuld give students an understanding f the materials f music and the interdependence f knwledge and perfrmance. The principal criticism f this series is that all the lessns are tied t specific cmpsitins. Either the same literature wuld have t be sung frm year t year r large revisins wuld have t be made in the study materials which wuld make the bks useless except as mdels fr teacher cnstructed lessns. Sme f the literature is similar t that used in Texas high schls but much f it, especially the nn-western music, wuld prbably nt find favr with Texas chral directrs. Mst f the selectins are mre simple than are sung by mature high schl chirs in this state. It is true that the fur vlumes wuld allw the students new literature each year if they mved lckstep frm grade t grade, that is, if all ninth graders were in ne cntained chir which then became the tenth grade chir and s n. In Texas schls this is rarely the case. In summary, published texts written fr the purpse f supplying musical infrmatin t high schl chral singers are available. As valuable as these publicatins may be, they d nt enjy wide-spread use in Texas chral classrms.

24 17 Authrities urge the teaching f musical infrmatin in high schl perfrmance rganizatins. Texas high schl chral directrs agree that it is imprtant that musical cncepts and stylistic cncepts be taught alng with perfrmance skills. Texas teachers als indicate a strng interest in having student and teacher materials which assist in the teaching f musical and stylistic cncepts. The perfrmance rientatin f Texas high schl chirs reflects the need fr musical infrmatin t be related t the perfrmance literature. Materials which relate musical infrmatin directly t the perfrmance literature being used in Texas chral classrms are nt presently available. There is a need fr materials fr student and teacher use which wuld assist in integrating musical and stylistic cncepts int the chral rehearsal. Purpse f the Study The purpse f the study was t design and evaluate materials fr integrating musical cncepts and stylistic cncepts int the high schl chral rehearsal. The purpse f the study was accmplished by (1) frmulating instructinals gals; (2) develping instructinal materials; (3) develping evaluative instruments t determine the effectiveness f the materials;

25 18 (4) implementing the supplementary curriculum in several classrms; and (5) evaluating the effectiveness f the supplementary curriculum. Definitin f Terms Tp select chir: a mixed chir f the mst mature high schl singers selected fr placement in the "first chir" (as specified by University Interschlastic League rules) f a high schl. Successful chral prgram: a prgram in which the first mixed chir has been judged t be Superir (received Divisin I ratings) in cncert cmpetitin by University Interschlastic League judges fr the preceding three years. Stable chral prgram: a prgram whse directr has been in the same psitin fr three years. Musical infrmatin: specifics abut tnal frms which can be verbalized. Delimitatins In rder t establish and maintain cntrl in the study, the fllwing delimitatins were impsed: (1) The materials t be designed and evaluated were tested nly with tp select chirs frm Texas high schls. The chirs chsen were frm successful and stable chral prgrams. The ratinale behind

26 19 selecting high quality chirs was that nly directrs wh feel secure abut the perfrmance ability f their chirs wuld be likely t try an experimental supplementary curriculum. A new directr wh wuld use experimental curriculum might receive an adverse reactin frm the students; therefre, directrs wh had been "in place" fr three years r mre were selected. (2) Six chirs were asked t participate in the study. Six directrs and the large number f students invlved allwed fr sufficient size f test ppulatin. City, suburban and twn schls as well as schls frm Sutheast, Nrth, Central and West Texas were included in the study. (3) The study materials which were designed did nt attempt t teach (a) the "fundamentals" f music, i.e., pitch names, nte values, chrd symbls, majr scales, etc.; (b) the histry f music except fr sme basic facts related t the chral music f the late Renaissance and middle t late Barque; and (c) musical "frms" except thse vcal frms studied and rehearsed by the participating chirs. Basic Apprach t the Study The materials designed and evaluted in this study are classified as supplementary curriculum; "supplementary"

27 20 because use f the materials cnstitute nly a prtin f the ttal curriculum fr a high schl chir. This study may be characterized as a curriculum study. A systems apprach was chsen as a mdel fr the develpment f the study. The systems apprach is a cmmn sense mdel fr curriculum develpment which insures that the curriculum develper will fllw a lgical plan which has "purpse, prcess and cntent." c Banathy, Labuta, Brgen and Davis, Ppham and Baker, Biringer, and Segress recmmended the 22 Bela H. Banathy, Instructinal Systems (Belmnt, Califrnia, 1968), p t,.. Ibid. 24 Jseph A. Labuta, "Accent n the Output," MEJ, LIX (September, 1972), J. A. Brgen and D. E. Davis, An Investigatin f Curriculum Develpment and Evaluatin Mdels with Implicatins Tward a Systems Apprach t Curriculum Develpment and Evaluatin in Occupatinal Part f the Phase II Reprt (Jliet, Illinis, 1971). 26 W. James Ppham and Eva L. Baker, Planning an Instructinal Sequence (Englewd Cliffs. New Jersev. 1970). 27 Frank Adam Biringer, Jr., "The Develpment and Evaluatin f a Systems Apprach Curriculum fr a Hetergeneus Beginning String Class," unpublished dctral dissertatin, University f Miami, Cral Gables, Flrida, Terry D. Segress, "The Develpment and Evaluatin f a Cmprehensive First Semester Cllege Jazz Imprvisatin Curriculum," unpublished dctral dissertatin, Nrth Texas State University, Dentn, Texas, 1979.

28 21 systems apprach as an apprpriate mdel fr curriculum develpment. The systems apprach mdel used in this study was 29 adapted frm Segress and includes the fllwing ten steps: (1) identificatin f the prblems frm dcumented needs; (2) identificatin and writing f the instructinal bjectives and perfrmance standards; (3) identificatin f the entering cmpetencies; (4) preparatin f the evaluative instruments frm the instructinal bjectives; (5) identificatin f pssible curriculum strategies frm alternatives; (6) designing f the instructinal materials; (7) implementatin f the curriculum in a pilt prgram; (8) revisin f the curriculum and evaluative instruments as required; (9) implementatin f the curriculum in several classrms; and (10) evaluatin t determine the effectiveness f the curriculum. Frmulatin f instructinal bjectives, evaluative instruments, and instructinal materials were begun in 29 Ibid., pp

29 22 the Summer f A secnd set f instructinal materials was written in the Fall f 1979 and tests were administered t high schl chral students and cllegiate music students t test reliability. In January, 1980, the pilt study was implemented in fur Texas high schls fr the duratin f the Spring semester. The tp select chirs frm Mesquite High Schl, Arlingtn High Schl, Weatherfrd High Scl, and the Chamber Singers frm Edinburg High Schl participated in the pilt prgram. A ttal f 180 students and 4 teachers was invlved. Revisins f the instructinal materials and evaluative instruments fllwed during the Summer f A third set f instructinal materials was written. As a result f teacher reactin, it was decided that the supplementary curriculum shuld be used ver the perid f tw semesters rather than fr nly ne semester. The dissertatin prject was begun in late August, 1980 and cmpleted by early May, 1981, with six Texas high schl chirs participating. Students frm the tp select chirs frm L. D. Bell High Schl (Hurst), Suth Hustn, and Sam Rayburn High Schls (Pasadena), New Braunfels High Schl (New Braunfels), Abilene High Schl (Abilene), and Canyn High Schl (Canyn) made up the study ppulatin. A ttal f 354 students and six teachers was invlved in the prject. There

30 23 were 285 students wh tk bth the pretest and the psttest. The instructinal materials cnsisted f three sets f Student Analysis Wrksheets. The first set, called thegeneral Wrksheets, were designed t guide the student in lking at any piece f chral music thrugh its elemental parts. Fr instance, the student investigated the piece f music in terms f text, frm, timbre, meldy, harmny, rhythm, texture, dynamics and articulatin. The purpse f the design was t assist the student in learning the vcabulary f music, what the elements f music are, hw the elements are interrelated, and hw learning is related t perfrmance. The secnd set f Student Analysis Wrksheets was designed t be used with any sacred plyphnic chral cmpsitin frm the late Renaissance Perid. Again, the student was guided thrugh a piece f sacred Renaissance plyphny by means f examining the music thrugh each f its cnstituent parts: text, frm, meldy, rhythm, etc. In additin t wrking n analysis and vcabulary, the student was t research the cmpser and give a brief descriptin f his life and wrk. The third set f Student Analysis Wrksheets is like the secnd set except that it cvers Middle t Late Barque multimvement chral cmpsitins. The three

31 24 sets f Student Analysis Wrksheets are fund in Appendices P, Q, and R f the study. The evaluative instruments included a pretest and a psttest, a student attitude questinnaire and a teacher questinnaire and evaluatin. The pretest was used t determine entrance knwledge f musical cncepts, vcabulary and stylistic cncepts related t the late Renaissance and middle t late Barque vcal wrks. The psttest was designed t assess achievement in knwledge f musical cncepts, vcabulary and stylistic cncepts related t late Renaissance sacred plyphny and middle t late Barque multimvement vcal wrks. The student attitude questinnaire was designed t assess student attitudes tward the supplementary curriculum and the teacher questinnaire and evaluatin was designed t evaluate teacher attitudes tward the supplementary curriculum as well as t ask fr pen-ended cmments and criticisms f the prject. Statistical analysis was applied n the pretest and the psttest which were different but equivalent versins f the test. Results f the tests were treated statistically in an attempt t evaluate the effectiveness f the supplementary curriculum. Plans fr Presentatin f This Reprt Chapter I has defined the study. In succeeding chapters details f the reprt are unflded. Literature

32 25 which cntributed t the cntent and/r frm f the study will be discussed in Chapter II. Develpment f the curriculum will be examined in Chapter III and presentatin f the data is made in Chapter IV. The final chapter will present summary, findings, cnclusins and recmmendatins. Appendices P, Q, and R cntain the curriculum called Integrated Musical Infrmatin fr Chirs, hereafter referred t as IMIC.

33 CHAPTER II RELATED RESEARCH AND LITERATURE Intrductin The reading which influenced the frm and cntent f this study falls int fur categries: (1) literature related t instructinal bjectives fr musical perfrmance grups, (2) literature related t curriculum revisin fr musical perfrmance grups, (3) literature related t musical terminlgy, histry, style, frms, cmpsers and perfrmance practice, and (4) measurement tls and techniques. Instructinal Objectives The term "instructinal bjectives" encmpasses a brad band f meaning, ranging frm very generalized statements f gals r utcmes t highly specific statements f behaviral bjectives. The literature reviewed in preparatin fr this study includes bth general and explicit bjectives. The Music Educatr's Natinal Cnference has influenced and guided generatins f music educatrs with "dzens f curriculum-related publicatins" beginning 26

34 as early as 1921.^" Three f the mre current publicatins 27 prvide guidelines stated in terms f "utcmes," 2 Q. and bjectives," and "suggested experiences." "gals The 1974 publicatin, while disclaiming that it was presenting bjectives, nevertheless itemized a well-defined set f "experiences" fr every pssible categry f schl music class. Grade levels were als specified. A mst pertinent list f suggested experiences was given under the heading High Schl Level Chral Grups. (Only the nes applicable t this study are printed here.) Making decisins with respect t interpretatin. Listening t, analyzing and studying the literature perfrmed and similar literature. Studying at an advanced level the elements f music in varying cntexts.5 Hward, mentined in Chapter I, lists twenty-tw desired musical "utcmes" f the chral rehearsal class. His utcmes are derived frm statements in Music in General Educatin (Ernst and Gary). Examples frm his list include: (1) "Students shuld knw sme f "*"The Schl Music Prgram: Descriptin and Standards (Restn, Virginia, 1974), p. ix. 2 Karl D. Ernst and Charles L. Gary (ed.), Music in General Educatin (Washingtn, D.C., 1965), pp "Gals and Objectives fr Music Educatin," MEJ, LVII (December, 1970), The Schl Music Prgram, p Ibid., p. 20.

35 28 the basic stylistic characteristics f the music frm the musical perids studied. (2) Students shuld understand and use the basic musical terms when talking abut music. (3) Students shuld understand the basic principles r* f music frm." Still in the categry f generalized bjectives is Garafal's "blueprint f bjectives" t be used in curriculum develpment fr bands. His bjectives are built n a framewrk f "understandings, knwledge, and skills." habits. I. Understanding f the structural elements f music II. Knwledge f music as a creative art frm f man in a histrical cntext III. Skill develpment (aural, dexterus, translative, [reading[ skills) Frm these shuld grw "appreciatins, attitudes and In spite f the cnsiderable interest in accuntability fr educatin shwn in the early and mid-1970's, few surces are available which define behaviral bjectives fr high schl chral music students. In 1972 Labuta was strngly recmmending a systems apprach t curriculum 6 Hward, pp Rbert Garafal, "Blueprint fr Band," MEJ, Vl. 60, N. 3, LX (Nvember, 1973),

36 29 develpment (including behaviral bjectives) t music g teachers. By 1978, Gnz was warning music teachers nt t put unwarranted trust in behaviral bjectives in a field where creativity, aesthetic needs, curisity, etc., cannt be measured by behaviral engineering. 9 In the future, perhaps, chral directrs and ther music perfrmance teachers, will see the advantages f a structured curriculum develpment which includes behaviral bjectives design in the areas where such a technique is useful. A state curriculum guide designed fr use by music teachers in Kansas, K-12, was described by Neaderhiser. Ten sequences were develped fr each f the cmmn elements f music (pitch, duratin, timbre, texture, dynamics and frm). Sequence I represents the earliest learning tasks; Sequence X represents the mst advanced learning tasks. Each sequence gives bth behaviral and prcess bjectives. "Prcess bjectives are examples f activities by experienced teachers fr enabling the student t reach the behaviral bjective." 10 g Labuta, "Accent n the Output," pp Q Carrll Gnz, "Behaviral Objectives: A Fading Panacea," Suthwestern Musician Texas Music Educatr, XLVII (August, 1978), Gerge R. Neaderhiser, "Yu Can Build a Cmprehensive Music Curriculum," MEJ, LXI (Nvember, 1974),

37 30 The gals described thrughut the article emphasize that student learnings willbe tied t music being perfrmed, an idea als prmted by ther surces and adpted fr use in this study. Tw dissertatin studies were centered arund develping behaviral bjectives fr high schl chirs. Mre's purpse was t cmpile a list f behaviral bjectives suitable fr chral instructin at the high schl level. After cmpiling her list, she determined which f the stated bjectives fund acceptance by authrs in the field f music educatin and by Califrnia high schl chral instructrs. Thirty behaviral bjectives were develped n the basis f a survey f published literature in the field f music educatin, limited t that published after Authrs and teachers culd agree n nly twelve f the bjectives as being suitable fr students in high schl 12 chral grups. "N cnsistent pattern f agreement amng authrs and Califrnia teachers regarding the acceptance f curricular bjectives fr high schl 13 chral instructin was fund." Objectives agreed n "^Jeanne Mre, "Curricular Objectives fr Senir High-Schl Chral Instructrs: Patterns f Acceptance by Califrnia Music Teachers and Selected Authrs," unpublished dctral dissertatin, University f Suthern Califrnia, Ls Angeles, Califrnia, 1970, pp Ibid., pp ^Ibid.., p. 213.

38 fr students wh cmplete ne year f chral instructin dealt nly with singing skills and attitudes. Objectives agreed upn fr students with special aptitudes r interests in chral music were the fllwing: 1. Recgnize and identify mdulatins, phrases, dissnances, suspensins, stinati and fugue entrances, 2. Discuss the stylistic significance f the pieces the chral grup has studied in their relatinship t the histry f music, and 3. Identify the stylistic characteristics which distinguished the music f ne perid frm that f anther, bth the cmpsitins studied by the class and in ther wrks. Gibbns wanted t find apprpriate cntent fr the instructin f secndary schl chruses. He gathered cntent data frm recent music educatin, vcal technique and thery textbks, as well as frm elementary music series texts. He rganized the cntent areas accrding t an adapted frm f the Cntent fr Assessment f the Institute fr Music in Cntemprary Educatin. The next step in the prcedure was t relate the cntent item t the apprpriate categries f Blm's Taxnmy f Educatinal Objectives in the Cgnitive Dmain Ibid., p Cntemprary Music Prject, Prcedure fr Evaluatin f Institutes fc>r Music in Cntemprary Educatin (Washingtn, D.C., 1967), pp Benjamin S. Blm (ed.), Taxnmy f Educatinal Objectives: Handbk I: Cgnitive Dmain (New Yrk, 1956).

39 As a result f his research he frmulated a ttal f 366 behaviral bjectives fr use in high schl chral classes; 255 under Blm's heading f "Knwledge," 90 under "Cmprehensin," 3 under "Applicatin," 13 under "Analysis," and 17 5 under "Evaluatin." Gibbn's wrk is exhaustive and ptentially quite valuable. It wuld be a superb resurce t chral curriculum writers, particularly if the bjectives were separated frm the details f his research prcedures. The wrk prvided excellent backgrund fr the design f bth the instructinal bjectives and instructinal materials in this study. Curriculum Revisin Curriculum revisin fr musical perfrmance grups has been a ppular subject fr research in recent years. Numerus writers have prpsed curriculum refrms t crrect the perceived lack f cnceptual learning in perfrmance grups. Sme researchers have suggested ttal revisin f band and/r chral classes. Mst have prpsed t expand existing curricula t include supplemental learningpprtunities. Prter, Maharg, Warner, Ruintree and Labuta ambitiusly develped ttally revised curricula; Prter 17 Randl Lytle Gibbns, "The Frmulatin and Classificatin f Secndary Schl Chrus Objectives Accrding t Blm's Taxnmy f Educatinal Objectives in the Cgnitive Dmain," unpublished dctral dissertatin, University f Clrad, Bulder, Clrad, 1969, p

40 33 fr vcalists and instrumentalists, Maharg fr chral grups, and Warner, Ruintree and Labuta fr bands. Prter shwed particular cncern fr musically talented high schl musicians. He prpsed a labratry apprach t small ensembles which culd integrate histry and thery with perfrmance. Specific examples f music literature [wuld be] studied with regard t their structure and style. The incentive r immediate gal f this investigatin is the attainment f higher standards f small ensemble perfrmance thrugh deepened musical insights and increased technical skill. The curse f study was designed in fur parts: Develping Musicianship Thrugh the Study f Music f the (1) Middle Ages, (2) Renaissance, (3) Barque Perid, and (4) Classical Perid. The curriculum includes a survey f the perid t be used fr lectures, lists f reference materials, sme suggestins fr listening, rehearsal suggestins, and suggestins fr student evaluatins. The authr hped that this type f curse culd be used as a prttype fr imprving cntent and instructin f all perfrmance centered classes in music at the high schl level. The curriculum was nt tested with students and teachers. Because the curse was designed fr academically and musically talented students, the materials 18 Harld B. Prter, "An Integrated Curse in Music Literature, Thery and Ensemble Perfrmance fr Talented High Schl Students," unpublished dctral dissertatin, University f Arizna, Tucsn, Arizna, 1964, pp

41 34 have mre depth than culd be used with less gifted students. Presumably, the prpsed small ensembles (which wuld include singers and instrumentalists) wuld be taken in lieu f regular band, rchestra and chir participatin. Few perfrmance directrs wuld be willing t allw their mst musically talented students the freedm t chse small ensemble class ver the large ensemble. It is unclear hw a balance f instrumentalists and singers wuld be decided upn, making the perfrmance f mst literature difficult, if nt impssible. Maharg's* purpse was "t develp a prgram f learning experience fr chirs at Eastern Illinis University designed t develp brad insights int music alng with perfrmance skills; t put the curse int effect fr tw quarters and t evaluate its usefulness." 19 It was hped that the study wuld "prvide insight and directin fr the preparatin f future teachers f 20 vcal-chral music." He examined many pssible bjectives fr his curse, eventually cndensing the pssibilities int his statement f gals: The Musically Educated Vcal Educatr Identifies and Defines 1. Apprpriate tne quality and balance fr stylistic accuracy *Maharg 1 s study was mentined in Chapter I. 19 Maharg, p TU.. Ibid., p. 10.

42 35 2. Expressive factrs frm which tensin in music derive 3. The relatinship f text and music; nature f the cmpser's aesthetic intent 4. Basic rganizatinal principles which prvide unity, variety and cntinuity. 2! Using the fur basic bjectives, Maharg expanded each int "experiences" fr all class members and sme fr mre musically knwledgeable members. The curse cntent and pedaggical prcedure is reprted in detail. The ratinale fr what he chse t include in his curse f study was carefully cnceived, the implementatin f the curse f study and its evaluatin were mst cnvincing. Students were highly invlved in the prcess f interacting with the materials f music. Class discussin, analysis, listening, identifying, criticizing, and characterizing were all parts f the Maharg curse f study. All these activities were carefully structured and wuld appear t be surces f meaningful learning experience. Evaluatin was detailed and very satisfactry t Maharg. Unfrtunately, neither reliability and validity nr item analysis f the tests were reprted. Maharg's wrk is valuable t anyne interested in curriculum cntent fr chruses. Band curriculum revisin studies are numerus. Any prgress in slving curriculum prblems in the band 21 Ibid., p. 43.

43 36 wuld be welcmed in the chral area. Bth areas have been criticized fr a lack f substantive music teaching. 22 Warner reprted n a tw-year prject f implementing cmprehensive musicianship in tw band classes in University City, Missuri. Five instructinal units are described. These units are nt lessn plans but a cmpsite fthe strategies and cncepts which relate t a particular cmpsitin. In additin t traditinal rehearsal and perfrmance activities, students were expected t cmplete detailed written and cmpsitinal assignments. Cmpsitin classes met befre r after schl. Marching band was relegated t a nn curricular status, meeting after schl three days a week. Extensive pre-testing and pst-testing tk place during the secnd year f the prject. Tests designed by the Sympsium n the Evaluatin f Cmprehensive Musicianship were given. The tests were based n behaviral bjectives designed by the researcher. Evaluatin included prtins f the Musical Achievement 23 Tests (MAT). the pretests and psttests. Fur full class perids were taken fr Rger Wayne Warner, "A Design fr Cmprehensive Musicianship in the Senir High Schl Band Prgram," unpublished dctral dissertatin, University f Washingtn, St. Luis, Missuri, Richard Clwell, Music Achievement Test (Chicag, Illinis, 1970). 24 Warner, p. 138.

44 37 Fr varius reasns, the test results were unsatisfactry and incnclusive. Few students were able t take the psttest and the stated instructinal bjectives demanded a higher level f perfrmance than their curse was able t prvide. 25 Perfrmance f the tp band remained at a high level. In spite f many difficulties, including student attritin between the first and secnd years f the prject and the statement that preparing lessns required mre than a reasnable amunt f time, Warner was cnvinced that with further refinement f the ideas presented in the research, it wuld be feasible t teach cmprehensive musicianship in the band class. Ruintree 26 created a theretical mdel f "musical learning experiences" fr bands. He sympathized with the difficulties encuntered by band directrs wh try t teach mre musical infrmatin within the traditinal frmat. His slutin was t ttally rerganize the curriculum using 27 Bergethn and Bardman's sequential musical cncepts. A listing f bjectives fr the schl band prgram, derived frm the writings f music educatin authrities Ibid., p James Paul Ruintree, "A Theretical Psitin fr the Develpment f Musical Learning Experiences fr Bands," unpublished dctral dissertatin, University f Illinis at Urbana-Champaign, Bjrnar Bergethn and Eunice Bardman, Musical Grwth in the Elementary Schl, 2nd ed. (New Yrk, 1970).

45 38 is given. These bjectives include the categries f knwledge, understandings, attitudes, appreciatins, activities,habits and skills. The skills (frm Bergethn and Bardman) are listening, singing, playing, mving, creating and reading. A lengthy and detailed musical "grwth" chart lists apprpriate activities fr each f five levels f band Level I (grades 4-7) thrugh Level V (grades 11 thrugh cllege). 28 One lessn plan is given fr each f the five levels illustrating different styles f music, frm the simple flk sng in Level I t Variants n a Medieval Tune, by Nrman Dell Ji, in Level V. J. S. Bach, Mzart, and Richard Strauss cmpsitins are used fr the ther levels. 29 A gd discussin f evaluatin is given and sample questins fr testing are included. A criterin-referenced test as well as attitude questinnaires and perfrmance evaluatin measures are given. The care taken in this study makes ne wish t see the theretical curriculum implemented and tested. There are valuable ideas in curriculum design and evaluatin in Ruintree's study. 30 Labuta prvides a published text fr in-service and pre-service band directrs. The cntents cver 28 Ibid., pp q Ibid., pp Labuta, Teaching Musicianship,

46 39 such tpics as "Hw t Select and Present Music fr Teaching Musicianship," "Hw t Teach the Music Elements" (ne chapter each n Rhythm, Meldy and Theme, Harmny and texture)and "Hw t Teach Histrical Styles." Within each chapter practical suggestins fr hw t present, discuss, teach, evaluate, sell, etc., ideas are given. A similar text wuld be welcmed in the chral cmmunity. Indicatins are that perfrmance directrs may be willing t admit change in cntent f perfrmance grups t include mre educatin in music. Practical curriculum planners recgnize that it is dubtful that the directrs wuld be amenable t ttal curriculum revisin. Therefre, several writers have prpsed t enrich the cntent f musical perfrmance grups by ffering supplementary curricular pprtunities. Music histry, style, frm and skills fr describing music are cntent areas recmmended by several researchers. Tw studies prvide supplementary materials fr teaching the histry f Western music in band classes. Desideri 31 ffered 48 musical examples t help acquaint yung wdwind players with a histrical perspective f music frm the Middle Ages t the present. He 31 Anthny Russell Desideri, "Teaching the Histry f Western Music Thrugh Instrumental Perfrmance in the Secndary Schl," unpublished dctral dissertatin, University f Suthern Califrnia, Ls Angeles, Califrnia, 1966.

47 prvided infrmatin with each musical example t help 4 students becme cgnizant f the develpment f musical frms and familiar with cmpsers, their music and their cmpsitinal styles. Gedecke designed a study guide fr the inclusin f music histry in the band curriculum "with related aspects f musical frms, genre, style, cmpsers, thery, media and the relatin f music t sciety. His plan was t cllate materials fr easy use by teachers and students. He designed materials n twenty-seven tpics using a standardized frmat fr each tpic's lessn "capsule." Each capsule included (1) a narrative cmmentary n the tpic (this narrative was intended t be duplicated fr students t include in their class ntebks), (2) examples f recrded music, (3) music related t the tpic which may be played by a band, (4) suggested readings, and (5) tpics fr class reprts and creative prjects. The twenty-seven tpics were intended t be used ver a perid f three years, ne a mnth fr nine mnths each year. Five f the lessn capsules were field tested by high schl bands. N prvisins were made fr 32 David Stewart Gedecke, "A Study Guide fr Teaching the Histry f Western Music in Secndary Schl Band Class," unpublished dctral dissertatin, University f Oregn, Eugene, Oregn, 1976, p. 9.

48 41 evaluating student learning r attitude tward the lessns. Directr's reactin was reprted t be favrable. Krelff apprached the study f style thrugh a histrical perspective. The purpse f his study was t prvide a plan f instructin fr instrumental students t becme acquainted with unfamiliar musical styles. "The emphasis in this study is n develping in the student an awareness f musical style and its change. The musical styles and the cmpsitins chsen t represent each style are 1. The Gregrian Chant Victimae Paschali and Organum Laudes 2. Medieval Mtet and Nus hm-cil's entremet Cnductus Victimae (mtet), De Castitatis Thalam (cnductus) 3. Late Renaissance 0 Vs Omnes by Victria Sacred Plyphny 4. Seventeenth Century Dvr Dunque Mrire Mndy by Caccini 5. Late Barque Instru- Overture and Alia Breve mental Plyphny frm Cncert a Due Cri Number 1 by Handel 6. Pre-Classical Instru- Symphny in F Majr, mental Hmphny First Mvement by Sammartini^4 33 Herschel Mayer Krelff, "Instructinal and Perfrmance Materials fr Teaching the Histrical Develpment f Musical Style t the High Schl Band Student," unpublished dctral dissertatin, University f Arizna, Tucsn, Arizna, 1971, p Ibid., pp. xiv-xv.

49 42 There are three parts t the materials in each style: (1) materials fr the teachers t use fr lectures, (2) student assignment materials, and (3) scres fr perfrmance. Krelff says that ideally all three parts wuld be used, but that any ne f the segments culd be used independently. Crrect respnses t student assignments may be fund in the appendices. The materials were nt tested in the schls. The student assignments seem t be very detailed and are mst likely t difficult fr high schl band students. The materials are f such scpe that it wuld be difficult t achieve their purpse and still have time t rehearse the cncert repertire. The Desideri, Gedecke and Krelff studies influenced the present study in bth psitive and negative fashins. The histrical and stylistic infrmatin cndensed fr use by high schl band directrs and students is valuable as a resurce in cnstructing supplemental materials fr high schl chral directrs and students. The cncept learned frm these studies which will be avided in the present study is that f develping materials fr use in perfrmance grups which is nt related t literature nrmally rehearsed and perfrmed. It wuld appear that unless musical perfrmance classes change drastically int academically riented curses, which

50 43 is dubtful, any study materials which wuld be utilized by teachers and students wuld need t have relevance t the perfrmance nature f the class. Bangstad, mentined in Chapter I, develped a curse f study t increase perceptin f frm and style 35 in chral music. The curriculum was designed fr the university level. The authr reprted that the chir studied and sang seventeen difficult cmpsitins in a seventeen-week perid! A detailed curse utline was develped which included musical characteristics (analyses) and rehearsal prcedures. The researcher spke f types f tests t be given t evaluate learnings. The test results were nt reprted, n cpies f the tests were included in the study and n real cnclusins were reached cncerning the effect n the students. It wuld appear that Bangstad planned t ambitius a curse fr ne semester's wrk. In rder fr a curriculum t be utilized by ther directrs, prvisins fr flexibility shuld be cnsidered. Hagen's study fcuses n the teaching f frm t high schl chral and instrumental perfrmers.^ The 35 Bangstad, p Dennis Bert Hagen, "An Experimental Study f Teaching Musical Frm t High Schl Chral and Instrumental Perfrmers Thrugh a Self-Instructinal Methd f Learning," unpublished dctral dissertatin, Indiana University, Blmingtn, Indiana, 1973.

51 44 materials are in a prgrammed frmat intended t be used fr independent study. There is little relevance t the present study except that the subject matter cntent f "frm" is utilized in the supplementary materials designed fr this study. The infrmatin and definitins are useful. The purpse f Culbert's study was "t determine the extent t which high schl band students' musical achievement and musical perfrmance are affected by using a prtin f the alltted rehearsal time fr teaching skills in describing music." 37 Culbert used a quasi-experimental design, pre- and psttesting cntrl and experimental grups. Bth grups belnged t the same band and rehearsed tgether fur days a week. On Thursdays f each week, the cntrl grup was dismissed fr ther wrk while the experimental grup was invlved in lessns designed t assist them in learning the skills f describing music. There were seventeen weeks f experimental lessns. Each lessn plan included: materials, a cncept, an bjective, terms t be discussed, prcedures and evaluatin. The lessns are cncise and simple. Usually ne cncept was taught per week. 37 Michael Elmer Culbert, "The Effects f Using a Prtin f the Rehearsal Time fr Develping Skills in Describing Music n the Perfrmance Level and Musical Achievement f High Schl Band Students," unpublished dctral dissertatin, Temple University, Philadelphia, Pennsylvania, 1974, pp. 7-8.

52 45 Tests used were the Musical Achievement Test 38 (MAT) and the Watkins-Farnum Perfrmance Scale. 39 There was significant imprvement f the experimental grup ver the cntrl grup n the psttest f MAT 3 (tnal memry, meldy recgnitin, pitch recgnitin, and instrument recgnitin) and MAT 4 (musical style, auditry-visual discriminatin, chrd recgnitin and cadence recgnitin). The perfrmance level f bth grups imprved at abut the same level. "Since n differences were fund, ne may speculate that additinal musical learning can be taught in the perfrmance rehearsal withut jepardizing the perfrmance ability f the student."^ The results f Culbert's study are mst encuraging t thse wh feel the need t teach music beynd the perfrmance skills. The cnstructin f such cmpact lessns is a valuable cntributin tthe cause f curriculum refrm. It is nt clear frm the study if the materials used by the experimental grup during their lessn sessins were part f the cncert repertire f the band. These lessns d nt attempt ^^Clwell. 39 Jhn G. Watkins and Stephen E. Farnum, Watkins- Farnum Perfrmance Scale fr All Band Instruments (Winna, Minnesta, 1962). 40 Culbert, p. 74.

53 46 t teach the entire histry f musical style r musical frm. They are based n the elements f music and the kinds f literature cnfrnted by students in a real band class. A survey f the literature establishes that attempts have been made t redesign the high schl band and chir curriculum. Several researchers indicate that materials which directly invlve students in study f the music t be perfrmed are needed. Evidence exists that using large segments f class time r ut-f-class time fr instructin n music and fr testing are nt acceptable practices. Out f respect fr the high schl directr's busy schedule, the time required fr teacher preparatin f study lessns shuld be kept t a minimum. The study materials shuld direct the student's attentin t the unique qualities in each scre which make that cmpsitin individually significant and at the same time assist the student in understanding the relatinship f that particular cmpsitin t ther literature f the same style perid. Miller advcates cmprehensive musicianship in the chral rehearsal. T study chral music cmprehensively means apart frm perfrming beautifully and demnstrating basic sight-reading skills there will be emphasis placed upn illuminatin f the verall frm r design f the cmpsitin at hand. Related t the design r frame-wrk will be the study f characteristics and peculiarities f meldy, harmny, silence, rhythmic

54 47 duratin, timbre cnsideratins, dynamics and texture. Additinally, musical cntext is imprtant, fr it deals with basic histrical, scial, and aesthetic infrmatin abut the wrk at hand and the cmpser.41 In a mst cncise manner Miller defines integratin f musical infrmatin (elements, terminlgy, style and histrical cntext) in the chral rehearsal which still values perfrmance and reading skills. A final and very significant surce f curriculum revisin infrmatin is fund in the frthcming Handbk fr the Develpment f the Chral Music Prgram. The Handbk will be the fficial state guide fr chral music published by the Texas Educatin Agency. Infrmatin regarding the guide was given by means f a letter frm Phillip Manning, Music Cnsultant f the 49 Texas Educatin Agency. Part I f the Handbk deals with the cntent f chral rehearsals. The fur cntent areas listed are: I. Music Reading, II. Musical Thery/Frm/Histry/Style, III. Vcal Technique, and IV. Chral Ensemble. The implicatin is that the teaching f musical infrmatin (thery, frm, histry, style) is equa] in imprtance t the teaching f music reading, vcal techniques and 41 Samuel D. Miller, "Cmprehensive Musicianship fr Students in the High Schl Chral Ensemble," The Chral Jurnal, XVII (September, 1976), Letter frm Phillip Manning, Music Cnsultant, Texas Educatin Agency, Austin, Texas, July 1, 1981.

55 48 chral ensemble. Texas secndary schl chral directrs have traditinally been interested in sight-reading, vcal and chral techniques, as well as in superir chral literature. The inclusin f the items f Musical Thery/ Frm/Histry/Style represents a decided departure frm traditinal emphases. Since the Handbk was written by Texas secndary schl chral directrs, indicatins are that the teachers are ready fr sme curricular revisin. Musical Terminlgy, Histry, Style, Frms, Cmpsers and Perfrmance Practice In additin t using dissertatin studies, curriculum guides, jurnal articles and music educatin texts as a basis fr decisin making related t the develpment f supplementary curriculum fr chral classes, standard music histry, style, perfrmance practice, chral music texts as well as music encyclpediae and dictinaries were used as resurces fr writing the materials. The bks listed here were nt nly used fr research but als are recmmended fr student use in the IMIC (Integrated Musical Infrmatin fr Chirs). (See Appendices P, Q, and R.) 43 Grve's Dictinary, Baker's Bigraphical Die- 44 A.R tinary, The Harvard Dictinary, and Jacb's 43 Stanley Sadie, editr, Grve's Dictinary f Music and Musicians. 6th ed. (Lndn, 1980), 20 vls. 44 Niclas Slnimsky, Baker's Bigraphical Dictinary f Musicians (New Yrk, 1978). 45 Willi Apel, Harvard Dictinary f Music (Cambridge, Massachusetts: Harvard University Press, 1962).

56 49 A r* A New Dictinary f Music D were used fr help with infrmatin n cmpsers and with definitins f musical terminlgy Grut and Crcker, tw standard general music histry texts, as well as the mre narrwly defined 49 ^0 perid histries f Brwn and Bukfzer were used in gathering histrical, stylistic, and frmal infrmatin. Style and perfrmance practice infrmatin 51 ^9 was gathered frm Dart, Dningtn, Hwertn, and 54 Rbinsn and Winld. 46 Arthur Jacbs, A New Dictinary f Music, nw editin (Middlesex, England, 1970). 47 Dnald J. Grut, A Histry f Western Music, 3rd ed. (New Yrk, 1980). 48 Richard L. Crcker, A Histry f Musical Style (New Yrk, 1966). 49 Hward Mayer Brwn, Music in the Renaissance (Englewd Cliffs, New Jersey, 1976). 50 Manfred Bukfzer, Music f the Barque (New Yrk, 1974). 51 Thurstn Dart, The Interpretatin f Music (Lndn, 1954). 52 Rbert Dningtn, The Interpretatin f Early Music, rev. ed. (New Yrk, 1957). 53 Gerge Hwertn, Technique and Style in Chral Singing (New Yrk, 1957). 54 Ray Rbinsn and Allen Winld, The Chral Experience (New Yrk, 1976).

57 50 Measurement Tls and Techniques An verview f the curriculum develpment and evaluatin prcess used in this study was given, alng with literature citatins, in Chapter I. Literature discussed in this chapter will be limited t that which guided the frmulatin f measurement tls and techniques in this study. Lenard and Huse differentiate between "evaluatin" and "measurement." 'Evaluatin' is the prcess f determining the extent t which the bjectives f an educatinal enterprise have been attained. 'Measurement' refers t the use f evaluative tls the results f which are precise, bjective, and quantitative. The data frm measurement tls are stated in terms f amunt, number, and s n, and lend themselves t statistical treatment. Thus measurement represents a means f gathering data.55 Objectives-Based Tests Instructinal systems authrities Ppham and Baker and Banathy place the develpment f tests based n bjectives secnd nly t establishment f specific gals r frmulating bjectives. The phrase "criterin-referenced measurement" appears with regularity in curriculum texts and research studies. 55 Charles Lenard and Rbert W. Huse, Fundatins and Principles f Music Educatin (New Yrk, 1972), pp Ppham and Baker, p. 90. Banathy, p. 29.

58 51 Ppham's definitin is: "A criterin-referenced test is used t ascertain an individual's status with respect CO t a well-defined behaviral dmain." This is cntrasted with a "nrm-referenced" test whse primary purpse is t cmpare ne examinee with anther regarding 59 skills r knwledge. The test written and revised fr this study falls int the categry f "bjectives-based" tests, which is ne in which a set f test items are clsely wedded t a clearly stated instructinal bjec- 60 tive. Specificatin requirements are nt tightly defined enugh t claim that the test is a true criterin-referenced test. Als, fr purpses f the study, there is mre emphasis placed n grup perfrmance than n individual perfrmance. Researcher's Tests Nne f the published achievement tests were fund t be applicable t the bjectives f the present study. Researchers Diehl, Ramer, Flm and Lng-Hffer cnstructed tests that were smewhat related t the present study. Diehl designed a tw-part test called Measure f Cncept Develpment. Part I was called the Basic Skills Subtest; Part II deals with discriminatin r value judgments 58 W. James Ppham, Criterin Referenced Measurement (Englewd Cliffs, New Jersey, 1978), p. 93. SQ Ibid., p. 90. ^Ibid., p. 93.

59 related t musical perfrmance and is nt germane t the present study. Part I cnsists f twenty-five multiple 61 chice questins. 62 reprted fr the entire test. A reliability cefficient f.55 is An item analysis is given. Cntent validity is discussed fr the entire test but nt fr Part I alne. Diehl 1 s Measure f Cncept Develpment was ne f several tests given t students at the Pennsylvania State University in rder "t identify and analyze certain relatinships amng cncept develpment, listening achievement, musicality and the quantificatin f frmal musical experience." 63 Many cnclusins were frmulated n the basis f Diehl's research. Of particular interest t the present study is this cnclusin: Lack f significant realtinship between cncept develpment and amunt f perfrmance experience wuld appear t negate any assumptin that cncepts are being systematically intrduced in r acquired thrugh grup perfrmance r private study. This may tend t supprt criticisms f veremphasis n technical skill t the neglect f cnceptual understanding Ned Charles Diehl, "Certain Relatinships Amng Cncept Develpment, Listening Achievement, Musicality, and the Quantificatin f Musical Perfrmance Experience," unpublished dctral dissertatin, Pennsylvania State University, University Park, Pennsylvania, 1963, pp f>9 Ibid., p t..,, Ibid., p Ibid., p. 120.

60 53 Ramer's purpse was "t determine the status f chral music in the Nrth Central accredited secndary schls f Wyming and t determine the level f understanding f music cncepts achieved by the students in ar these selected schls." In the study which included a survey f methds, techniques, and cntent, Ramer cncluded that nly limited pprtunities fr develping musicianship are prvided in Wyming high schl chral rganizatins. She defines "develping musicianship" as "(a) meldic, rhythmic, and harmnic dictatin; (b) aural analysis f music frm recrds r live perfrmances; (c) visual analysis f the scre; (d) testing by sl and small ensemble singing f music learned; and (e) testing by sight-reading examinatins." In answer t her questin, "Is the 'subject matter 1 f music being included as a part f the study f vcal music?," she cncluded that Wyming vcal teachers appear t be teaching the fllwing basic music fundamentals: musical expressin marks and their meanings, time values, names f lines and spaces, key, intervals, frm, histrical perid f the cmpser, and the 65 Alice Mary Ramer, "A Survey and Evaluatin f Current Methds, Techniques and Cntent in Vcal Perfrming Grups in Selected Secndary Schls in Wyming," unpublished dctral dissertatin, Clrad State Cllege, Greeley, Clrad, 1965,pp t,.,,. _ Ibid., p. 142.

61 54 natinality f the cmpser. The cncepts f texture and style are nt mastered by mst Wyming chral students.67 Ramer's cnclusins regarding students' knwledge f subject matter were derived frm the results f a test which she develped. The music test instrument was based n an analysis f the chral cmpsitin "Sine Nmine" by Ralph Vaughan Williams, and was given as a pre- and psttest befre and after the participating chrus had rehearsed the music. The "Sine Nmine" test is made up f frty-ne items, eighteen matching and twenty-three multiple chice. Ramer a gives an "index f item difficulty" but n mentin is made f reliability, validity r item analysis. Twenty items deal with musical expressin marks and their meanings; fur with meldic recgnitin; three with frm; tw each with cmpser, key, and texture; and ne each with names f lines and spaces, time values, phrasing, "a cappella," intervals, recgnitin f Q difficulty, style and type f music. The balance f the test is questinable. Flm adapted Ramer's "Sine Nmine" test and called it the Chral Music Test Flm's versin was shrtenend 67 Ibid. GO Ibid., pp Ibid., p. 47.

62 55 t thirty-fur questins, furteen matching and twenty multiple chice. Reliability cefficients given were: Kuder-Richardsn 20,.805; Kuder-Richardsn 21,.701 and Spearman Brwn Prphecy Frmula, "Cntent validity was determined by qualified music educatrs thrugh an 71 analysis f each questin." Flm's stated purpse was "What are the resultant musical learnings f students participating in the chral activities ffered in selected senir high schls?" 72 These tests were used in bth pre- and psttest measures with chral music students frm ten Minnesta senir secndary schls. The tests were the Chral Music Test (mentined abve), the Indiana-Oregn Music Discriminatin 73 Test, and the Vcal Perfrmance Test (als designed by Flm). Statistically significant gains were made by the students in musical understanding, discriminatin ability and vcal perfrmance frm the beginning f the schl 70 James Henry Flm, "An Investigatin f Grwth in Musical Facts and Cncepts, in Musical Discriminatin, and in Vcal Perfrmance Prficiency as a Result f Senir High Schl Vcal Music Experience," unpublished dctral dissertatin, University f Minnesta, Minneaplis,Minnesta, 1969, pp "*"Ibid., p t,., Ibxd., p Newell Hillis Lng, "A Revisin f the University f Oregn Music Discriminatin Test," unpublished dctral dissertatin, Indiana University, Blmingtn, Indiana, 1965.

63 year t the end f the schl year as a result f being invlved in chral music. 74 Cnclusins reached by Flm and Diehl regarding resultant achievements in music discriminatin and musical facts and cncepts f music perfrmance students are cnflicting. In May f 1975, 1665 students in 22 music perfrmance rganizatins frm Indiana high schls were given the IMEA Musicianship Test. The test, written by Newell Lng and Charles Hffer at Indiana University, cntained 95 multiple chice questins, 68 f which required taped examples t be played. The experiment was described by 7^ Hffer in a research bulletin. Further infrmatin, including the test bklet, was received frm Hffer in September, Eleven items require the students t identify the type f instruments r vices heard; 12 require the students t indicate the type r style f music (fugue, jazz, classical minuet, etc.), 12 items require sme analysis r knwledge f music frm; 7 invlve rhythmic elements, 6 meldic elements, and 11 harmnic elements; 6 items request infrmatin n music histry; and 8 items require the students t make a judgment regarding the artistic cnsistency f tw versins f an excerpt.?? Flm, p Charles R. Hffer, "The Develpment f a Musicianship Test fr Students in High Schl Perfrming Organizatins," Bulletin f the Cuncil fr Research in Music Educatin, L (Spring 1977), Package frm Charles R. Hffer, September, 1977, including a letter, test bklet, descriptin f the test and a reprt n the test and results by Dr. Newell Lng. 77 Hffer article, pp

64 57 The Kuder-Richardsn methd f cmputing the test was used, resulting in a reliability cefficient f.80. N reprt n validity was described. An item analysis was cmputed. The mean scre fr all students was 51.5 per cent with a range f 41.6 t Bth students and teachers indicated that the test was difficult. The IMEA Musicianship Test was develped fr the Indiana Music Educatin Assciatin which intended t use the test as part f the spring perfrmance cntest. Plans t administer the tests at cntest sites were abrted and the tests were given at individual schl campuses instead. Prspects fr making musicianship tests a part f spring perfrmance cntests are nt bright. Teachers were interested "in finding ut what their students are learning, as lng as the results are 78 nt made public." Test Theries and Characteristics Since n test which fit the stated bjectives f the present study was available, a new test was required. Ppham, Deihl, Lehman, Whybrew, Clwell, Thurstne, Oppenheim, Spence et al., and Lenard and Huse were cnsulted n matters related t prblems in testing. Cnstructin f the Musical Infrmatin Test (MIT) (see Appendix C) required investigatin int methds 70 Ibid., p. 40.

65 58 and theries f types f tests and characteristics f a test including validity, reliability, number f items, range f difficulty, item analysis and grup variability. The advantages f multiple chice testing are given by Deihl, Ppham, Lehman, and thers. Cnsensus f pinin fr multiple chice questins n an bjective test is slid. Establishing validity fr a test pses greater prblems fr a researcher. Ppham, 82 Lehman, 83 and 84 Whybrew were useful surces f infrmatin. Mdern cncepts f validity include within the general definitin given several different usages f the term. One such is called 'lgical validity' r 'lgical relevance' by sme, 'cntent' r 'curricular' validity by thers. This cnsists f lgical analysis f test cntent and f the task r achievement t which the test allegedly is related. The test then is valid t the extent t which the material f the test is related t the task r achievement which it is t measure. 'Cntent' r 'curricular' validity is pertinent primarily t achievement tests since this type f test is designed t measure attainment f a specific skill r specific knwledge r understanding Deihl, p Ppham, p Paul R. Lehman, Tests and Measurement in Music (Englewd Cliffs, New Jersey, 1968). 82 Ppham, pp Lehman, p William E. Whybrew, Measurement and Evaluatin in Music (Dubuque, Iwa, 1962). 85 t,., _ Ibid., p. 65.

66 86 87 Whybrew, Lehman, and Clwell discuss 59 reliability related t music tests. The Kuder- Richardsn frmulae and the split-half methd f cmputing reliability cefficients are recmmended amng ther methds. Lenard and Huse, in a discussin f degrees f reliability, give this guide: high t very high; f value fr individual measurement and diagnsis fairly high; f sme value in individual measurement and highly satisfactry fr grup measurement rather lw; adequate fr grup measurement but f dubtful value in individual measurement lw; inadequate fr individual measurement but f sme value in grup measurement. belw.50 very lw; inadequate fr use. Reliability is affected by length f test, variability f the grup tested, range f difficulty f the test items and individual test item reliability. The prblem f hw many items are apprpriate is discussed by numerus researchers. Ppham was particularly influential. "In general terms, it seems that smewhere between five and twenty itemspermeasured behavir will typically be 90 sufficient." ^Ibid., pp Lehman, pp Richard Clwell, The Evaluatin f Music Teaching and Learning (Englewd Cliffs, New Jersey, 1970), pp Lenard and Huse, p Ppham, p. 180.

67 60 Whybrew discusses the results f variability f the grup n estimating reliability f a test. A hetergeneus grup will yield higher reliability than a hmgeneus grup. Testing mre than ne grade level 91 increases reliability. Whybrew als discusses range 92 f difficulty and arranging test items accrding t difficulty, recmmending that easier items be given.. 93 first with a gradatin f easier t harder. Arrangement f items accrding t difficulty is nt related t reliability, nly t prviding the mst favrable psychlgical advantage t the student. 94 Item analysis is discussed by Ppham and Clwell. Q/> Statistical infrmatin was fund in Spence, Lehman, and Whybrew. In additin t factual infrmatin tests, attitude measurement was investigated. Prime surces f assistance in designing the attitude questinnaire and teacher ^Whybrew, p T,.,, Ibid., p. 61. ^Ibid., p Ppham, pp Clwell, Evaluatin f Music Teaching, pp Janet T. Spence, Bentn J. Underwd, Carl P. Duncan, and Jhn W. Cttn, Elementary Statistics, 2nd ed. (New Yrk, 1968).

68 61 evaluatin were Thurstne 97 and Oppenheim. 98 Such prblems as scaling methds, rdering f questin sequence, the funnel apprach, pen r free answer types f questins and mail questinnaires were discussed. Summary The curriculum research and writing that has centered n high schl music perfrmance grups has prvided a rich and varied backgrund fr the present study. In the area f instructinal bjectives, Gibbns' 99 study was f particular influence. His exhaustive frmulatin f 366 behaviral bjectives fr chruses prvided an encyclpedic reference f pssible chices. The curriculum revisin wrk f Maharg, Culbert, Biringer and Segress was mst pertinent. Maharg 1 s" 1 "^ curse f study and evaluatin prvided an excellent mdel fr chral curriculum refrm. The writing style cntained a persnality and warmth mst uncmmn t dissertatin studies. The striking aspect f Culbert 1 s Luis Len Thurstne, The Measurement f Values (Chicag, 1959). 98 A. N. Oppenheim, Questinnaire Design and Attitude Measurement (New Yrk, 1966). 99 Gibbns. 100,.. Maharg. 101~,,. Culbert.

69 62 wrk was its simplicity and directness. His lessns were cncise and practical and give evidence that teaching abut music can be accmplished withut damaging musical perfrmance. Biringer's 102 study (mentined in Chapter I) cntributed t the adptin f a systems apprach mdel as 1AQ a prcess fr develping the curriculum. Segress' ten steps f the system's apprach mdel prvide the skeletal utline f the present study. Influence f materials design tk a primarily negative frm. An appraisal f why ther materials have nt been adpted r why they prbably wuld nt be used was an imprtant part f the develpment f the IMIC materials. In a psitive way, the tenets f the cmprehensive musicianship mvement made large cntributins t the cntent f the materials. Miller, 1 4 amng thers, verbalized the cncepts well Clwell, Ppham, and Oppenheim furnished valuable infrmatin needed t develp the measurement tls used in the present study Biringer. ^"^^Segress. 104,..,, Miller. 105,-,, Clwell. 106-p,. Ppham. 107 Oppenheim.

70 CHAPTER III DEVELOPMENT OF THE CURRICULUM Intrductin The systems apprach mdel used t develp the supplemental curriculum, called Integrated Musical Infrmatin fr Chrus (IMIC), includes ten steps. The first eight steps, encmpassing develpment f the curriculum and its evaluative instruments, the pilt study and revisins f the curriculum will be described in this chapter. Step 1: Identificatin f the Prblems frm Dcumented Needs In Chapter I, the need fr the Develpment f materials fr integrating musical infrmatin int the chral rehearsal was argued. Surces dcumenting the need were cited. On anther plane, chices related t deciding n cntent fr the materials had t be made. The subject matter f the supplemental curriculum f this study is "musical infrmatin." Thusands f vlumes have been written n the subject f music. Decisins n what musical infrmatin is apprpriate fr use in the high schl chral classrm were necessary. 63

71 64 Beynd the citatins made in Chapter II, tw additinal surces exerted a pwerful influence ver the cntent f the curiculum: the writings f Bennett Reimer and the mvement called Cmprehensive Musicianship. The primary respnsibility f music educatin... is t reveal mre fully the musical cnditins which shuld be perceived and felt. The qualities f sund which make sund expressive meldy, harmny, rhythm, tne clr, texture, frm are the bjective 'data 1 with which music teachers systematically deal. Illuminating these 'data' in musical settings is the primary task f musical learning.1 There have been almst as many versins f Cmprehensive Musicianship as there have been practitiners. One thread f cntinuity runs thrugh all the versins the "Cmmn Elements." THE COMMON ELEMENTS APPROACH 2 By analyzing music thrugh its cmmn elements, students can gain awareness and cmprehensin f the elements that are present in the music f any culture, traditin, r style. In basic music study, these essential prperties can prvide cmmn terms and principles that can be used in the study f all musics. The fllwing utline f the nature f music can be used in rganizing a sequence f tpics fr the study f music: (1) Music and sund. (2) Sund exists in time and space, and its elements are Frequency (pitch) Duratin Intensity (ludness) Timbre 1 Bennett Reimer, A Philsphy f Music Educatin (Englewd Cliffs, New Jersey, 1970), p "Cntemprary Music Prject," MEJ, LIX (May 1973),

72 65 (3) The rganizatin and interactin f these elements prduce music. Hrizntal rganizatin Mvement thrugh time - a separatin int units f the generatin f a sense f cntinuus time. Rhythm - the divisin f the duratin f sund and silence int lng r shrt, regular r irregular grupings. Meldy - the interactin f rhythm and frequencies. Frequencies are heard as white sunds; registral sunds (sunds f indefinite pitches); single pitches. A range f frequencies can be used in a cntinuus manner (sweeps) r be divided int units (scales). Vertical rganizatin Harmny - simultaneus sunds Texture - qualities f the density f simultaneus sund r the accumulatin f individual lines. Expressin qualities Intensity (vlume, dynamics) - energy that gives sund its qualities f ludness, frm very sft t very lud. Intensity can invlve bth abrupt and cntinuus changes and can be used fr such aesthetic effects as climaxes r surprises. Timbre - the clr r tne qualities f music, derived frm such surces as vices, band and rchestral instruments, synthesizers, nn-western instruments, and "nnmusical" surces. (4) Frm r structure is the shape that results frm the rganizatin f these elements. (5) Cntext is the cnsideratin f music Histrically Scially Aesthetically The elements f music apprach were selected as an rganizing framewrk fr the supplementary curriculum and the name Integrated Musical Infrmatin fr Chirs (IMIC) was decided upn. Further, the elements were t be viewed frm the perspective f an histrical,

73 66 stylistic time frame. Selectin f the cmmn elements as a fundatin set the stage fr the secnd step in the develpment f the curriculum: identifying and writing f the instructinal bjectives. Step 2: Identificatin f Instructinal Objectives and Perfrmance Standards Instructinal Objectives A vital step in curriculum cnstructin is the identificatin f instructinal bjectives. The setting f bjectives invlves deciding what students shuld knw as a result f expsure t the curriculum. In spite f cntradictry pinins n the value f the use f 3 bjectives, a statement f bjectives clarifies develpmental prcesses. Upn cmpletin f the wrk utlined in the IMIC, a student will (1) be able t demnstrate knwledge f (a) the elements f music: timbre, rhythm, meldy, harmny, texture, frm, dynamics, articulatin, and text;* (b) music terminlgy; 3 Philippe E. Duchastel and Paul F. Merrill, "The Effects f Behaviral Objectives n Learning: A Review f Empirical Studies," Review f Educatinal Research, XLIII (Winter 1973), ) C Text is, f curse, an element in vcal music nly.

74 67 (c) general style characteristics f late Renaissance sacred plyphny; (d) general style characteristics f middle-tlate Barqueraultimvementvcal cmpsitins; (e) basic perfrmance practices f the tw afrementined styles; and (f) general time frame f the tw perids studied. (2) demnstrate an appreciatin fr (a) the relatinship f music study t music perfrmance; (b) the necessity f student study as well as teacher study. (3) express a favrable attitude tward (a) learning abut the music they perfrm (b) using the IMIC. Specificatin f bjectives assists the curriculum planner in selecting suitable learning activities and 4 apprpriate evaluatin prcedures fr the students. In additin t setting instructinal and attitudinal bjectives fr students, tw gals were set fr teachers. Upn cmpletin f the wrk, the participating teachers shuld (1) register a psitive attitude tward the curriculum, and 4 Ppham and Baker, p. 37.

75 68 (2) cmment favrably n the relatinship between use f the IMIC and perfrmance f the cmpsitins studied. Perfrmance Standards Setting perfrmance standards, that is, deciding at what level f attainment students shuld perfrm as a result f sme specified curriculum, is established prcedure in curriculum develpment. In the present study n perfrmance standards fr learning musical infrmatin were set prir t implementatin f the curriculum int classrms fr these reasns: (1) the IMIC curriculum is supplementary, that is, it is nly ne prtin f a cmplex curriculum that is cmplicated by highly individualized methds f teaching; (2) since an imprtant cnceptual basis fr the study was that the IMIC be used by each f the participating teachers in the unique and persnal manner which wuld best fit his r her situatin, stringency f methdlgy was neither pssible nr desirable; and (3) since the use f the IMIC was t be flexible and since there were n precedents related t this kind f supplementary curriculum study, it was decided that the setting f perfrmance standards wuld be arbitrary. Authrity fr the decisin t eliminate perfrmance standards exists.

76 69 The questin f desired levels f prficiency fr students is, f curse, a perplexing ne. Until ne secures a sufficient experiential base regarding hw well students typically d n a given kind f cmpetency, it may be satisfactry t simply make the psttest student perfrmance "better than" the perfrmance secured at the beginning f the instructin. Obviusly, as time ges by mre stringent standards can be set regarding pupil perfrmance.5 In a sense, a standard was set regarding musical perfrmance. It was determined that the participating chirs had received Divisin I (Superir) ratings at the University Interschlastic League Reginal Cntests fr the three years prir t the dissertatin study. It was expected that the Divisin I ratings wuld be maintained even thugh rehearsal time was expended in studying musical infrmatin. Step 3: Identificatin f Entering Cmpetencies In many curriculum studies, identifying what the students knw prir t entering the curse is crucial. If the student's cmpetency is nt at a certain level, he will nt be able t understand the curriculum. In this study, entrance cmpetency is nt a prblem. All the chirs selected t participate in the study are f a high caliber. The singers are selected fr membership. Part f the purpse f the study is t evaluate the supplementary curriculum in terms f actual students 5 Ppham, pp

77 70 in actual chral situatins. The entrance cmpetency is satisfied by membership in a tp select high schl chir. It was expected that mst students wuld have sufficient musical backgrund t be able t benefit frm the IMIC curriculum. Step 4: Preparatin f the Evaluative Instruments Parallel versins f the Musical Infrmatin Test (MIT) (see Appendix C) were designed fr use as pre- and psttests. The tests cntain thirty bjectives-based questins in multiple chice frm. Fifteen f the questins are general musical questins primarily related t vcabulary, fifteen are questins pertaining t stylistic cnsideratins relevant t late Renaissance sacred plyphny and middle-t-late Barque multimvement vcal cmpsitins. Item analysis was perfrmed n the tw versins f the test. Student attitudes abut singing in a chir, abut singing "great" music, abut the need fr studying the music being perfrmed, abut the usefulness f studying music, abut the IMIC and whether it tk t much time away frm singing were measured by the Student Attitude Questinnaire (see Appendix D). Fifteen questins were asked with respnses being given n a five-pint scale: 1 = strngly disagree, 2 = disagree, 3 = uncertain, 4 = agree, 5 = strngly agree. Results f the Student Attitude Questinnaire are described in Chapter IV.

78 71 The Teacher Questinnaire and Evaluatin (see Appendix E) was used t elicit infrmatin, attitude, cmment and criticism frm six participating teachers. There are twenty-six questins. Teacher respnses are reprted in Chapter IV. Step 5: Identificatin f Pssible Curriculum Strategies frm Alternatives Integratin - A prgram f cmprehensive musicianship stresses an integrated apprach t music study. It strives t reduce fragmented learning by prviding pprtunities fr students t see relatinships in music, such as the relatinship f thery t literature, scale t meldy, and ne style t anther. Skills (such as sight-reading r interval recgnitin) and infrmatin (such as knwledge f key signatures r histrical facts) are acquired in the cntest f and are therefre related directly t the analysis, cmpsitin, r perfrmance f music.6 7 Strategy means "a careful plan r methd." The strategy f "hw t" integrate musical infrmatin int the chral rehearsal is f paramunt imprtance simply because the infrmatin is t be integrated int a chral rehearsal. Rehearsals have nt traditinally been the frum fr the teaching f academic subject matter. A rehearsal is a physically invlving, activity 6 "Cntemprary Music Prject," p Philip Babcck Gve, editr, Webster's Third New Internatinal Dietinary f the English Language Unabridged (Springfield, Massachusetts, 1966), p

79 72 centered, music prducing kind f classrm. Gd rehearsals are fast paced, physically and mentally stimulating. Any change frm the accustmed frmat has t be carefully planned. Strategies which have been tried include: prgrammed texts which teach musical infrmatin nt directly related t perfrmance music, texts and curricula which include musical infrmatin t which specified pieces f music have been tied, surce bks fr teacher use, and materials t be adapted by teachers fr their wn use in the classrm. Decisins were made early in the design stage decisins which distinguish the material presented in this study frm previusly designed materials. (1) Materials wuld invlve students. Wrksheets wuld be in the hands f each student. (2) Materials wuld relate directly t music being perfrmed by any chir. (3) Use f the materials shuld assist the teacher in rganizing his/her wrk. (4) Teachers shuld be able t put materials int use withut adaptatin. (5) Teachers' ut-f-class preparatin shuld be minimal. "Empirical evidence suggests that when students understand why instructin is relevant t their wn cncerns, they are mre likely t master the subject g matter." This cmmn sense statement is part f a g Ppham and Baker, p. 65.

80 73 discussin entitled "perceived purpse" in the Ppham and Baker bk. High schl chral singers like t sing. If they wanted t learn abut music that they are nt perfrming, they wuld elect anther kind f music class. Hwever, learning abut the music being rehearsed can make sense t the students, particularly if they can be helped t realize the interdependence f study and perfrmance. The IMIC attempts t make that cnnectin. Perfrmance in a stylistically crrect manner is f cncern t all wh participate in chral cntests. The University Interschlastic League Entry Blank and Cmment Sheet (Frm 4) (see Appendix F) lists eleven factrs related t style fr judges' cnsideratin in rating chirs. The IMIC shuld prmte stylistically crrect perfrmance. Anther strategy selected in the design phase f this study was the additin f Teacher Guides (see Appendices P, Q, and R) t assist teachers in class preparatin. Step 6: Designing f the Instructinal Materials Initially it was hped that the supplementary curriculum wuld include materials which wuld assist students and teachers t understand better and therefre perfrm better in the five perid styles f Renaissance, Barque, Classical, Rmantic, and

81 74 Cntemprary. Sme preliminary thught eliminated the pssibility f designing materials t accmmdate the "Cntemprary style." Obviusly, there is n single style, but diverse and numerus styles which can be called Cntemprary. A lk thrugh the Prescribed Music List 9 (music used in reginal cntests in Texas) revealed a larger percentage f Renaissance cmpsitins listed than f cmpsitins frm the Barque, Classical and Rmantic perids. The thught was t design materials t fit all Renaissance vcal cmpsitins. It was sn bvius that the stylistic differences between secular and sacred music f that perid were t great t be frced int a single set f style characteristics. The decisin was made t design student materials t be used in studying Renaissance sacred cmpsitins. That decisin was partially based n the fact that the Prescribed Music List shwed mre sacred than secular Renaissance titles. A further narrwing defined the materials fr the study f late Renaissance plyphny t avid cnfusin with the Prtestant chrales, hymns, and psalms written during the sixteenth century. Finally, an eliminatin prcess led t selectin f late Renaissance sacred plyphny, a style which 9 Prescribed Music List fr Schl Years Beginning 1979, 1980, 1981, 1982, Music Cmpetitin, University Interschlastic League (Austin, Texas, 1979), pp

82 75 has innumerable cmpsitins which fit under its general style characteristics and which cmpsitins are cmmnly sung by Texas high schl chirs. A slightly different prblem was met in the prcess f selecting a narrw enugh range fr Barque study materials. The Barque perid is cmmnly described as having three parts: early, middle and late. It is pssible t describe style characteristics f the middle t late epchs f the Barque in the same general terms; the early stage cmpsitins will nt fit under the same general characteristics. The chice was made t design materials fr use with middle t late multimvement Barque cmpsitins. The survey f Texas high schl chral directrs revealed that a majrity f the respndents selected Renaissance and Barque styles as first chice frm a list f pssible chices. (See Appendix B.) After selecting the tw perid styles, the prcess f meshing style study with the cmmn elements began. The prblem-slving prcess led t the fllwing utline: Renaissance Sacred Plyphny f the Rman Cathlic Church I. Frms* II. Principal Cmpsers* infrmatin given t students.

83 76 III. Cmpser and Pertinent Bigraphical Data** IV. General Style Characteristics* and Student Analysis Wrksheets** Cntents (each item under Cntents includes student assignments and examples) A. Text and Frm** B. Timbre** C. Meldy** D. Harmny** E. Rhythm** F. Texture** G. Dynamics** Barque Multimvement Accmpanied Vcal Frms f the Middle t Late Barque I. Frms* II. Cmpsers* III. Cmpsers and Pertinent Bigraphical Data** IV. General Style Characteristics* and Student Analysis Wrksheets* Cntents (each item under Cntents includes student assignments and examples) A. Timbre** B. Rhythm** C. Meldy** D. Harmny** E. Texture** F. Dynamics** G. Text and Frm** Ntice that the rder f elements differs frm Renaissance t Barque. An attempt was made t select elements in rder f their prminence. The rdering changes frm style t style. Dealing in generalities never leads t the mst desirable intellectual slutins; hwever, the alternative Infrmatin given t students. **Wrk t be dne by students.

84 77 f asking teachers, wh are verburdened with wrk t begin with, t start frm scratch with the study f each cmpsitin is even less desirable. As Re says, "Generalizatin cncerning histrical style will necessarily be deficient in sme respect. It is hped that the generalizatins made in the IMIC may lead students t further and mre specific study. Step 7: Implementatin f the Curriculum in a Pilt Prgram The tp select chirs frm Mesquite High Schl, Arlingtn High Schl, Weatherfrd High Schl and the Chamber Singers frm Edinburg High Schl participated in the pilt prgram. Fr the duratin f the pilt prgram, the instructinal materials as well as varius evaluatin instruments were used t determine effectiveness. The Musical Infrmatin Test (MIT), Student Attitude Questinnaire and the Teacher Evaluatin Questinnaire prved t be helpful frms f measurement. Tw ther measurement tls, the Time Sheet recrd and a chral perfrmance evaluatin measure, did nt prve t be effective. Musical Infrmatin Test Pretests were administered in January, 1980, at the beginning f the spring semester. One cpy f the "^Paul F. Re, Chral Music Educatin (Englewd Cliffs, New Jersey, 1970), p. 293.

85 78 Renaissance and Barque Student Analysis Wrksheets was supplied t each student in the fur chirs. The teachers received a student versin and a Teacher's Guide as well. The teachers were asked t use an apprpriate cmpsitin with bth the Renaissance and Barque wrksheets and t integrate the wrksheets int rehearsals in a manner that wuld be mst beneficial t the chirs. Psttests were given in May, An initial fifty-tw-questin versin f the MIT was given as a pre- and psttest t the Arlingtn and Edinburg students. A Kuder-Richardsn reliability cefficient f.61 was established n this frm f the test. Mesquite and Weatherfrd chirs tk the fiftytw-item versin as a pretest and a thirty-item versin as a psttest. A Kuder-Richardsn reliability cefficient f.688 was established n the thirty-item versin f the test. Cntent validity was affirmed by three members f the Texas Christian University music department faculty. The validating cmmittee was cmprised f a well knwn musiclgist, the directr f chral activities and an assciate prfessr f thery and cmpsitin. The three prfessrs spent a number f hurs evaluating the cntent f the IMIC and the tests given in the pilt study. Cntent and sequencing suggestins as well as suggestins regarding clarificatins f terminlgy

86 79 were made resulting in revisins f bth the IMIC and the test. (See Appendix G.) The means and standard deviatin f the pre- and psttests are shwn fr each f the pilt prgram schls in Table I. A ttal f 156 students tk bth the pre- and psttests. TABLE I RESULTS OF PRETESTS AND POSTTESTS PILOT STUDY Mean* S. D.* Pre- Pst- Pre- Pst- Schl (N) test test test test Arlingtn (57) Edinburg (14) Mesquite (52) Weatherfrd (33) *The scres are reprted as percentages because f the differing lengths f the pre- and psttests. Cmbined data fr the fur schls shws that the average scre increased 24.6 percentage pints. The 95 per cent cnfidence interval is 23.4 t A paired t-test n the increase in scring gave t = 20.7, a statistically significant result f p <.001.

87 80 Student Attitude Questinnaire A seventeen-item Student Attitude Questinnaire was given at the end f the spring semester. The respnses revealed a psitive understanding that studying the perfrmance music helps the chir t perfrm the music better and that bth students and directr need t study the music, nt the directr alne. Nearly half f the students indicated that they thught the wrksheets were difficult t understand and a third f the grup thught that the vcabulary in the wrksheets was difficult t understand. Teacher Evaluatin Questinnaire The teachers respnded very psitively t the Teacher Evaluatin Questinnaire. All fur teachers said that the wrksheets were an aid in rganizing study f the music the chirs perfrmed and that the analyses enhanced the perfrmance f the cmpsitin studied. They all said that they planned t use the wrksheets again and that it wuld be valuable t have wrksheets designed fr ther styles f music. The teachers felt that ne semester was nt lng enugh t cver the tw styles thrughly because the students were deficient in knwledge f the elements and vcabulary. Tw suggested that the study shuld extend ver an entire schl year.

88 81 Other Attempts at Evaluatin Teachers were sent a Time Sheet frm at the beginning f the pilt study. Nne f the fur teachers remembered t keep systematic recrds f hw much time was spent in teaching the different elements. An attempt was made t assess the perfrmance f the "study" cmpsitins at the end f the pilt study. Each chir submitted a cassette tape recrding f the Renaissance and Barque cmpsitins that they had studied. Cpies f the tape were made and sent, alng with rating sheets, t three utstanding chral authrities in the state fr evaluatin. There was n cnsistency amng the evaluatrs. Perhaps differences in recrding and playback equipment cntributed mst strngly t the failure f this part f the experiment. It was decided t eliminate this kind f evaluatin as well as the Time Sheet recrd frm the primary study. Step 8: Revisin f the Curriculum and Evaluative Instruments In May and June f 1980, an appraisal was made f the supplementary curriculum and evaluative instruments used in the pilt study. Sme revisins in the plan were deemed desirable. As a result f respnses received n the Student Attitude Questinnaire regarding the difficulty f learning the vcabulary and difficulty f the style

89 82 wrksheets, as well as reactin frm tw f the pilt study participating teachers that ne semester was t shrt a time t adequately cver the supplementary curriculum, the decisin t extend the primary study ver an entire schl year was made. Additinally, it was decided that a third set f Student Analysis Wrksheets wuld be designed. The third set wuld be intrduced prir t the Renaissance and Barque wrksheets and wuld serve t assist students in learning basic musical terminlgy and abut the elements f music. The wrksheets were designed in June f 1980 and were given the name General Wrksheets, "General" because they culd be used t study any piece f chral music frm any perid r style r idim. (See Appendices P, Q, and R f the study.) As a result f data gathered in the item analysis f the thirty-item MIT, adjustments were made t the test and anther thirty-item parallel versin was designed t be used as a psttest. There is n certitude f having exact equivalent frms f a test but great care was exerted t accmplish equivalency. The wish was t make the test lk different t stimulate interest. Eight questins were exact duplicates frm the pretest except that they were mved frm ne psitin t anther. Three questins were inverted, that is, the riginal stem became a fil. Three ther questins

90 83 were very clsely related but with sme differences in cntent. Tw questins retained the same wrd in the stem but with different emphases in the fils. In the remaining furteen questins, cntent was changed but an attempt was made t retain the same type f questin. Tw items were deleted frm the Student Attitude Questinnaire because it was discvered that the items were redundant. The Teacher Evaluatin Questinnaire was renamed Teacher Questinnaire and Evaluatin which defined its purpse mre clearly. The revised versin increased the number f questins frm twelve t twenty-six. Time sheets and chral perfrmance ratings were drpped frm the evaluative plans because f the failure f thse tw parts f the prject in the pilt study. It was decided that while it wuld be advantageus t have an idea f the time spent in class n the curriculum, that it was nt necessary t the verall success f the study. As fr perfrmance evaluatin, it was decided that a verbal evaluatin f perfrmance by the participating teachers as well as a cntest rating f I (Superir) at the Reginal University Interschlastic League Cntests wuld suffice. Each chir in the primary study wuld be asked t perfrm at least ne f their study cmpsitins at the Reginal cntest. A recrd f cncert cntest ratings wuld be kept and reprted.

91 84 In this chapter a detailed descriptin f the develpment f the supplemental curriculum fr integrating musical infrmatin int the chral rehearsal (Steps 1 thrugh 8 f the systems apprach mdel f curriculum develpment) was presented. In the next chapter, Steps 9 and 10, a descriptin f the implementatin and evaluatin f the primary study will be given.

92 CHAPTER IV IMPLEMENTATION AND EVALUATION OF THE CURRICULUM In Chapter III, the develpment f the supplementary curriculum was described. In this chapter, the implementatin f the curriculum in six classrms and the evaluatin f the curriculum will be presented. Implementatin f the Curriculum After additin t and revisin f the Integrated Musical Infrmatin fr Chirs (IMIC) and measurement tls as a result f pilt study trials, participants were sught fr the primary study. In early July, 1980, telephne calls were made t six utstanding Texas high schl chral directrs (see list in Appendix H) t seek their participatin in the study. Preliminary infrmatin cncerning instructinal materials, tests, pilt study experiences, and time estimates were given t the prspective participants. In additin, the fllwing infrmatin was slicited frm the teachers: (1) hw lng have yu been in yur present psitin, (2) what were the Reginal University Interschlastic League Cncert ratings received by the tp select chir in 85

93 86 yur schl fr the past three years, and (3) what is the classificatin (size) f yur schl? In respnse, it was determined that (1) all the directrs had been in their present psitins fr three r mre years, (2) the tp select chirs directed by the prspective participating directrs had received Divisin I (Superir) ratings in the Reginal University Interschlastic League Cncert Cntests fr the previus three years, and (3) fur f the schls were classified as AAAA and tw were classified as AAA schls. (Texas secndary schls are placed int cnferences accrding t size fr purpses f interschlastic cmpetitin. Cnference AAAA refers t high schls with an average membership f 1260 r mre students in grades Cnference AAA refers t high schls with an average membership f students, inclusive, in grades ) 1 All six teachers indicated an interest in participating in the study. A cver letter and Infrmatin Sheet utlining necessary study cnditins and an agreement frm were sent t each teacher. The teachers were asked t read the cnditins and then sign and return the agreement frm (see Appendix I) if they ^"Cnstitutin and Cntest Rules f the University Interschlastic League fr (Austin, Texas, 1979), p. 120.

94 87 wanted t be a part f the study. The six agreement frms were signed and returned by early August, As can be nted in the Infrmatin Sheet sent t the participating teachers, very few cnditins were placed n the study participants. The fllwing requests were made: (1) the pretest was t be given and returned by September 15, 1980; (2) the IMIC was t be used in sequence: General, Renaissance, and Barque; (3) the IMIC was t be cmpleted in April, 1981; (4) the psttest was t be returned by May 1, 1981; the Student Attitude Questinnaire (see Appendix D) shrtly thereafter. Other suggestins were made but nne were mandatry. This flexible frmat was deliberately chsen. In the mst stringent research, prvisins are made t cntrl all variables. In this study cntrl f variables was purpsefully sacrificed in rder t test study materials in actual classrms which perate in uniquely varius ways dependent upn the persnality, talent, training, educatin, and will f the individual teacher. Only in this flexible framewrk wuld it be pssible t estimate the practical usefulness f the materials. If ne teacher, the researcher, tested the materials it wuld be pssible t cntrl the variables. If several

95 88 teachers test the materials ver the perid f a year, plasticity has t be an integral part f the plan r it is dubtful if teachers wuld be willing t participate. Perhaps there is rm fr bth cntrlled variable research (labratry standards) and a mre pragmatic and tractable brand f research that allws fr a wide range f variability. Study Ppulatin An effrt was made t select schls frm different gegraphical regins f the state: frm small, medium, and large cities and frm urban, suburban, and rural areas. Students were frm the tenth, eleventh, and twelfth grades, cntributing t the hetergeneity f the test ppulatin. Infrmatin regarding gegraphical lcatin and size f city and schls f participating students is fund in Table II. It wuld be reasnable t assume that the student ppulatin f this study is analgus t tenth, eleventh, and twelfth grade select chir students frm successful chral prgrams; frm large, medium, and small cities; frm Sutheast, Nrth, Central, and West Texas; and frm AAAA (large) and AAA (medium) cnference schls. It is prbable that the mean ability f the students at pretest level is similar t the pretest ability f ther high schl chral students and that the larger

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97 90 ppulatin wuld succeed at apprximately the same level as the study ppulatin. The ne advantage the study ppulatin has is successful teachers wh are willing t try new methds and materials with their students. Chrnlgy In July, 1980, 360 cpies f the IMIC were printed, cllated, punched, and placed in flders. Six additinal Teacher Guide cpies were prepared. The flders were delivered t the directrs in San Antni, Texas, at the Texas Chral Directrs Assciatin Cnventin, July 31 t August 2, A meeting was held with each participating directr t view the IMIC and t answer questins cncerning the use f the materials. In mid-august, 1980, cpies f the pretest (see Appendix C) were sent t the six schls with the request that they be administered and returned by September 15, Pretests were gathered in September and stred ungraded, waiting fr the end f the study. Phne calls were made in Nvember and early March t inquire abut the prgress f the prject. A letter with suggestins and encuragement was sent in Nvember, 1980 and anther letter was sent as a cver cmmunique (see Appendix J) with the psttests and Student Attitude Questinnaires n April 9, A meeting was held with each participating

98 91 teacher in February in San Antni, Texas at the Texas Music Educatrs Assciatin Cnventin. All psttests were received by May 15 and Student Attitude Questinnaires by the end f May, Teacher Questinnaire and Evaluatin frms were received thrughut the mnth f June, Evaluatin f the Curriculum Evaluatin f the IMIC curriculum was accmplished by means f an bjectives-based multiple chice test, a student attitude questinnaire, and a teacher evaluatin frm. Statistical Data Derived frm the Musical Infrmatin Test (MIT) The pretest versin f the MIT which had previusly been tested fr reliability during the pilt study was checked fr reliability as part f the primary study, as was the newer designed parallel versin which was used as a psttest. The pretest versin, administered t 327 students, was submitted t the Kuder-Richardsn (K-R) 20 reliability test which gave an estimated reliability cefficient f.543.* The reliability cefficient f the psttest MIT, administered t 312 students, was *The K-R estimated reliability cefficient f the pilt study psttest was.688. The lwer estimate received n the primary study pretest (.543) may have been due t the high degree f guessing that tk place.

99 92 established at.80 by the K-R frmula 20. Item analysis f the psttest is presented in Appendix K. Infrmatin derived frm analysis f the test scres frm the six participating schls is presented in cmbined frm. Data n each individual schl is shwn in Appendix L. Means, standard deviatins, and lw-high range are given as well as data related t all questins, cmparisns f general versus style questins, imprvement n style questins. Table III presents the cmparative results frm the pre- and psttests f the cmbined schls. TABLE III RESULTS OF PRETEST AND POSTTEST COMBINED SCHOOLS (N=285) (Number f items=30) Pretest Psttest Range Range Mean S.D. Lw High Mean S.D. Lw High Raw Scre Percentage Scre

100 93 Marked differences and similarities appear when the statistics fr each schl are examined and cmpared. The differences are evident n bth pre- and psttest figures. Cmparative results are shwn in Table IV. Hereafter Abilene will be referred t as (A), Canyn (C), L. D. Bell (LDB), New Braunfels (NB), Suth Hustn (SH), and Sam Rayburn (SR). Pretest mean scres fr A, C, SH and SR are remarkably alike, ranging frm 14.4 (A and SH) t 14.7 (SR). LDB, hwever, shws a relatively high mean scre f This may be explained by the excellent chral training received in the feeder junir high schls and by the rigrus prgram f slfege (fixed d) used in the district. Standards fr placement in the tp mixed chir are very high. NB pretest mean scre was a lw 12.6 shwing a nticeable difference in backgrund. The lwhigh range f scres is cmparable t the pretest mean range scres. Again, LDB has a higher range f scres. Differences in scres became mre prnunced n the psttests. Fr a reference pint use the cmbined schl psttest means f 23.4 fund in Table III. A, C, and NB all fall belw the cmbined schl mean; LDB is almst equal t the scre; and SH and SR are cnsiderably higher than the mark. Mre evidence f the individual schl's degree f imprvement is shwn in Table V where the mean difference (given in percentages) is shwn.

101 94 TABLE IV COMPARATIVE RESULTS OF PRETEST AND POSTTEST OF INDIVIDUAL SCHOOLS Pretest Psttest Range Range Schl N Percentage Crrect a as 0) S Standard Deviatin si bc 0 H a Percentage Crrect <D Standard Deviatin 0 J bfi H K A (N=58) C (N=44) LDB (N=38) NB (N=29) SH (N=48) II PS c ^ All the schls except SH and SR shw a cnsistent mean difference scre fr the cmpsite test. The tw Pasadena schls shw an unusually high mean difference n the cmpsite test. A pssible explanatin f the large difference between pre- and psttest means f the

102 95 TABLE V MEAN DIFFERENCE BETWEEN PRE- AND POSTTESTS ON ALL QUESTIONS, ON GENERAL QUESTIONS AND ON STYLE QUESTIONS Schl. Imprvement n All Questins (%) Imprvement n General Questins (%) Imprvement n Style Questins (%) A C LDB NB SH SR Pasadena schls is that the directrs are clse friends, clse clleagues, and perhaps rivals. Bth schls had a cncentrated review sessin befre the psttest. Other interesting statistics may be bserved by lking at the imprvement n the general questin and then n the style questins in Table V. Again, it is helpful t refer t the cmbined schls mean difference scres in Table VI because f the wide variatin. Ntice that all schls shw mre imprvement n the style questins than n the general questins except fr C,

103 96 TABLE VI MEAN DIFFERENCE BETWEEN PRE- AND POSTTESTS ON ALL QUESTIONS, ON GENERAL QUESTIONS AND ON STYLE QUESTIONS COMBINED SCHOOLS Imprvement Imprvement All n General n Style Questins Questins Questins (%) (%) (%) A pssible explanatin is that many chral students have preknwledge f terminlgy and the elements but little knwledge f style; therefre, mre imprvement in style is pssible. C is the exceptin. Table VII illustrates the cmparisn f imprvement n general questins and stylequestins n the psttest. A statistically significant difference (p <.01) is shwn by all schls except SH. Cmbined schls shw a mean difference f 13.9 per cent. When all pretest scres are cmpared t psttest scres, cmputatin reveals the figures as shwn in Table VIII. The verall imprvement frm 48.5 t 78.2 is 29.7 percentage pints. A 95 per cent cnfidence interval fr average percentage increase is 29.7 ± 1.8 r 27.9 per cent t 31.5 per cent. This is equivalent t a paired t-test:

104 97 TABLE VII COMPARISON OF GENERAL AND STYLE QUESTIONS ON POSTTEST Schl Mean Difference (%) Apprximate Cnfidence Interval 95% t scre df A * 57 C * 43 LDB * 37 NB * 28 SH SR * 67 Cmbined * 284 <.01 TABLE VIII PERCENTAGES CORRECT ON GENERAL QUESTIONS, STYLE QUESTIONS AND ALL QUESTIONS Pretest Psttest Percentage crrect n General Questins Percentage crrect n Style Questins TOTAL CORRECT PERCENTAGES

105 98 t = = The result indicates that the imprvement in scres is "real" and nt due t sampling errr. Frm the pre- t the psttest ne further statistic presents itself: 3 f 285 students had lwer scres (1 per cent); 7 f 285 students had the same scres (2 per cent); and 275 f 285 students had imprved scres (96 per cent). Student Attitude Questinnaire Fr the purpses f this study, student and teacher attitudes tward the IMIC curriculum are as significant as student test perfrmance. N matter hw wrthwhile a supplementary curriculum may be theretically, teachers will nt risk lsing talented students by frcing an unwanted curse f study upn them. Fr practical reasns, the teacher wuld chse t reject the new curriculum t remain with successful traditinal appraches. All this is nt t say that a wrthwhile curriculum needs t be "ppular," but it needs t be cnsidered wrthwhile and 3 cnstructive. There must be a "perceived purpse." Q Ppham and Baker, p. 65.

106 99 The Student Attitude Questinnaires were sent t the six participating schls alng with the MIT psttests and a letter that suggested pstpning the questinnaire until a few days after the psttest had been given in case test-taking might clr attitudes negatively. There are fur subdivisins in the questinnaire. The first tw questins attempt t dcument the psitive attitude tward chral singing and "great" music that was assumed t be present in the study participants. Questins three thrugh seven attempt t determine student attitudes tward the pssible benefits f studying and thinking abut music. Questins eight thrugh thirteen hpe t determine attitudes abut the curriculum itself and the final tw questins ask if the students wuld like t use the curriculum again. In rder t insure unbiased respnses, the questinnaires were unsigned. As with the MIT results, there were variatins in the attitudes tward the curriculum frm schl t schl. Fr the individual schl results, cnsult Appendix M. Table IX presents the data that affirms the assumptin that the students in this study have a psitive attitude tward singing "great" music in a gd chir. Ninety-nine per cent agree that singing in a gd chir is imprtant t them and 98 per cent believe that singing great music is satisfying.

107 100 TABLE IX STUDENT ATTITUDES CONCERNING THE IMPORTANCE OF SINGING GREAT MUSIC IN A GOOD CHOIR (N=303) >> 0) r H 0 bfl h a bfl O rt U CO - p - H C O p 03 H Q p d 0 0 O U bjo a O ^ U P h D C O < 1. Singing in a gd chir is imprtant t me. 2. Singing great music is very satisfying. 1% H 3 % 16% v 99% 83% 31% 66% V 97% Table X deals with student attitudes regarding the value f studying abut music. The mst significant data in this table is the large negative respnse t the statement "Only the directr needs t study the music." It wuld appear that the students in this study perceive the purpse f studying abut music. In Table XI, pinins and attitudes abut the IMIC curriculum are presented. In this sectin f the questinnaire, the percentage f "uncertain" respnses has grwn t an average f 25 per cent while the

108 101 TABLE X STUDENT ATTITUDES CONCERNING THE VALUE OF STUDYING ABOUT MUSIC (N=303) >1!I (1) bo u G bjd O <rt U CQ p *H CO Q 0 bjd CO H Q cs H P O G 13 0 bo <: I I bx) G O U U -PbD CO <S 3. Studying the music it perfrms helps the chir t perfrm it better. 1% ^3% 4% 14% 41% 42% V 83% 4. Studying abut music will help me t perfrm ther music better. 1% 14% 45% 34% V 79% 5. Studying abut music will help me listen t music mre intelligently. 1% v 4 % 5% 13% 44% 38% N/ 82% 6. Thinking abut music helps yu t enjy it mre. 21 5% V 7% 16% 44% 34% V 78% 7. Only the directr needs t study the music. 57% 35% V 92% 5% 2% 2% V 4%

109 102 the attitude favrable tward the curriculum is slid. Questin ten reflects an ambivalent attitude tward whether r nt studying takes t much time away frm singing. Table XII indicates a favrable attitude tward using the curriculum again. The relatively high prprtin (25 per cent) f "uncertain" respnses may be reflective f resistance t change. As can be bserved in Table XII, abut ne-furth f the students were uncertain as t whether they wuld like t use the curriculum again. The ther respndents were inclined tward being favrable tward the curriculum. Inspectin f the individual schls' respnses shws that A and C were generally nt favrable tward the IMIC curriculum but that LDB, NB, SH and SR students reacted favrably (see Appendix M). Teacher Questinnaire and Evaluatin Questins ne thrugh five f the teacher questinnaire inquire abut the music studied and perfrmed by the chirs. Respnses t thse inquiries will be fund in Appendix N. A wide range f music was used fr study indicating that it is pssible t study teacher selected literature with the IMIC curriculum. Respnses t the remainder f the teacher frm will be fund in Appendix 0. The teachers were generus

110 103 TABLE XI STUDENT ATTITUDES TOWARD THE IMIC CURRICULUM (N=303) >> <D r I 0 bjd U a bo O d U W -H CO P 0 bfl d CO H Q 4-> U 0 O C P 0 0 be < b 0 O 0 bg GO <1 8. The vcabulary in the style wrksheets was difficult t learn. 6% ^41% 47% 24% 21% V 29% 9. The style wrksheets were difficult t understand. 5% ^44% 49% 24% 21% V 26% 10. The style wrksheets tk t much time away frm singing. 7% 33 % V 40% 25% 23% 12% V 35% 11. The assignments were clearly stated. 2% ^15% 23 % 52% V 17% 60% 12. The examples were clearly stated. 3% 12% 22% 51% ^12% 15% 63% 13. The style characteristics helped me t pinpint imprtant cncepts in the music. 2% 7% 27% 52% ^12% 64%

111 104 TABLE XII STUDENT ATTITUDES TOWARD USING IMIC CURRICULUM AGAIN (N=303) >> i I d) bo in bi O ctf U W P -H 03 P Q) bjo w a H P O fl P 0 U bjd C rh b S3 <D O 0 Shh PhO W < I wuld like t use style wrksheets with sme f the music we sing next year. 15. I wuld nt ever like t use style wrksheets again. 13% 20% 25% 34% V 33% V 42% 18% 28% 26% 10% 18% V V 46% 28% with the time they spent answering the questins. A synpsis f the respnses fllws. All thechirs received Divisin I (Superir) ratings at the Reginal University Interschlastic League cntests. This indicates that perfrmance standards f the chirs was maintained even when the supplementary curriculum was added t the rehearsals. Related t perfrmance was questin twenty which asked fr cmment n the realtinship between study and

112 105 perfrmance. Five f the teachers felt that the study enhanced perfrmance and gave the teachers, as well as the students, a better understanding f the music. The ne dissenter did feel that each student had a better understanding f the music but that the study did nt make any difference in the perfrmance. All six teachers said that they plan t use the IMIC again and that it wuld be valuable t them t have wrksheets designed fr ther styles f music. One f the teachers felt that the curriculum wuld be mre successful if begun with yunger "training" chirs. All believe that the General Wrksheets culd be used with ninth and tenth grade chirs. All the teachers respnded psitively t the questin regarding preparatin time (Questin sixteen). They generally felt that the level f difficulty f the wrksheets and the test was apprpriate. All stated that they are cmmitted t the idea that chral directrs shuld teach students abut the music they perfrm. Teacher reactin was prepnderantly favrable t the IMIC curriculum. Student reactin was less enthusiastic but there were strng indicatins that the students understd the value f studying their perfrmance music. On the whle, test scres were nt remarkable but the psttest scres shwed

113 106 significant imprvement (29.7 per cent) ver the pretest scres. The IMIC curriculum may be said t be effective.

114 CHAPTER V SUMMARY, FINDINGS, CONCLUSIONS AND RECOMMENDATIONS Summary The purpse f this study was t design and evaluate materials fr integrating musical cncepts and stylistic cncepts int the high schl chral rehearsal. The need fr the study was determined by examining the literature, bth research studies and published materials, which was related t curriculum revisin fr high schl music perfrmance grups. Additinally, results f a survey f Texas high schl chral directrs indicated a need fr the study. The related literature revealed that while materials had been develped fr use by high schl chral grups, nne were available which culd be used t study the perfrmance literature chsen by the individual teacher. In categry, the dissertatin is a curriculum study. Research f curriculum related literature led t the adptin f a systems apprach mdel f curriculum develpment which prvided a ten step prcedural utline fr frmulating the study. After identifying the prblems frm dcumented surces, instructinal 107

115 108 bjectives were selected. Parallel versins f an bjectives-based test were cnstructed t be used as pre- and psttests. These tests cntained thirty multiple chice items, fifteen questins related t the elements f music and musical terminlgy and fifteen questins related t late Renaissance and middle t late Barque style. A Student Attitude Questinnaire and Teacher Questinnaire and Evaluatin were als frmulated t determine student and teacher attitudes tward the curriculum. Curriculum strategies were analyzed, an apprach was chsen and the instructinal materials were designed. The fllwing majr criterin were set: (1) Materials shuld be in the hands f each student; (2) Materials wuld relate directly t music being perfrmed by the chir; (3) Use f the materials shuld assist the teacher in rganizing his r her wrk; (4) Teachers shuld be able t put materials int use withut adaptatin; (5) Teacher's ut-f-class preparatin shuld be minimal. Tw sets f student analysis wrksheets were designed, ne set related t late Renaissance sacred plyphny and the ther related t middle-t-late multimvement Barque vcal cmpsitins. (See Appendices Q and R.) A pilt study was undertaken in the spring semester f 1980, invlving fur Texas high schl chirs. Reactin frm pilt study teachers and students resulted

116 109 in expanding the time span f the curriculum study frm ne semester t tw semesters. Adjustments were made t the written test and the questinnaires. Als, as a result f pilt study participant feedback, a third set f student analysis wrksheets, called General Wrksheets, was develped. These wrksheets were designed t be used t assist students in studying a piece f music thrugh the elements while simultaneusly learning musical terminlgy. (See Appendix P.) The primary study was cnducted during the schl year with six Texas high schl chirs as participants. A ttal f 354 students and 6 teachers were invlved in the prject. Tw hundred eighty-five students tk bth the pre- and psttests. Statistical cmputatins revealed the mean, standard deviatin and range f bth the pre- and psttests. Mean difference analysis was made t determine the rate f imprvement between the pre- and psttests and t prvide data n the relative difference in learning f general musical cncepts and stylistic cncepts. Results f the Student Attitude Questinnaire and the Teacher Questinnaire and Evaluatin were cmputed and analyzed. Findings In this study, unlike ther curriculum studies, n perfrmance standards were set because (1) the

117 110 designed curriculum made up nly a relatively small prtin f the ttal curriculum f the typical chral music rehearsal, and (2) n precedents were available t assist in determining reasnable perfrmance standards. The expectatin was that by psttest time the students shuld perfrm "better than" they did at pretest time. When all pretest scres were cmpared t psttest scres, the results were as fllws: (1) There was an verall imprvement f 29.7 percentage pints frm pre- t psttest. As was expected, the students shwed mre imprvement n the style questins (a 35.7 per cent increase) than n the general questins (a 23.7 per cent increase). (2) Ninety-six per cent f the students (275 ut f 285) imprved their scres frm pre- t psttest. Tw per cent (7 f 285) shwed n imprvement and ne per cent (3 f 285) had lwer scres. (3) Prnunced differences in bth entering knwledge and cncluding knwledge were exhibited by the varius grups. The Student Attitude Questinnaire cntained fifteen statements that required student respnse. Key statements determined student attitude tward the curriculum: (1) Eighty-three per cent agreed (r strngly agreed) that studying the music it perfrms helps the chir t perfrm it better.

118 Ill (2) Ninety-tw per cent disagreed with the statement that "nly the directr needs t study the music." (3) Respnse t "The style wrksheets tk t much time away frm singing" was as fllws: frty per cent disagreed, 35 per cent agreed and 25 per cent were uncetain. (4) Frty-six per cent disagreed with the statement "I wuld nt ever like t use the style wrksheets again," while 28 per cent agreed and 26 per cent were uncertain. Indicatins are that students understand that studying the music is beneficial. They are nt s sure that they enjy the studying. Different schls develped different attitudes twards the curriculum. Tw f the grups reacted unfavrably, fur reacted favrably. Teacher evaluatin was quite psitive. All six teachers indicated that the curriculum was an aid in rganizing study f the music the chirs were rehearsing and that minimal ut-f-class time was needed fr preparatin. In the main, the level f difficulty f bth the IMIC and the test was apprpriate. As anticipated, a majr prblem was making time fr the supplementary curriculum in an already vercrwded class perid. Mst f the teachers indicated

119 112 that with careful planning the study time wuld balance ut well with the rest f the rehearsal. All the teachers said that they were cmmitted t the idea f teaching abut the music they perfrm as well as teaching perfrmance and sight singing skills. Significantly, five f the teachers believed that the perfrmance f the chirs was enhanced by the study and that study aids understanding f the music. All six chirs received Divisin I (Superir) ratings at the University Interschlastic League Reginal Cntests in the Spring f Since each f the chirs perfrmed at least ne f the "study" cmpsitins and since all had spent time in learning abut music, there is an indicatin that taking time t study music des nt damage perfrmance ratings r perfrmance standards. Cnclusins Materials fr integrating musical infrmatin int the chral rehearsal were designed and evaluated. A systems apprach, chsen as a prcedural instrument fr develping the curriculum, prved t be a useful mdel. The IMIC curriculum may be said t be successful after trial with a sample ppulatin f Texas high schl students and teachers. As measured by a written test, the students increased their knwledge f musical cncepts and musical styles by 29.7 per cent. Imprvement in

120 113 knwledge f style infrmatin related t late Renaissance and Barque vcal music was calculated at 35.7 per cent. Respnses frm the Student Attitude Questinnaire revealed that students perceived value in studying abut the music they perfrm. Indicatins are that they prefer singing t studying but are willing t study because it will be beneficial t them as perfrmers and listeners. Teacher respnses reflected an verwhelmingly favrable reactin t the materials as being beneficial t them, t their students and t the high schl chral curriculum. Adding a new facet t the chral rehearsal des present sme prblems in time management. Perhaps integrating musical infrmatin int the chral rehearsal will fllw the same pattern as adding sight singing instructin int the rehearsal has fllwed. At ne time teachers expressed fears that taking time t teach sight singing wuld nt leave time fr learning perfrmance literature. Mst teachers have fund that music reading is an asset t learning chral literature. Learning musical infrmatin may take its place beside sight singing as being perceived as an asset t educating secndary schl students as musicians as well as singers. Recmmendatins Frm the findings and cnclusins f this study, several recmmendatins are made fr future investigatin:

121 114 (1) evaluatin f the IMIC curriculum under strict cntrl cnditins. (2) evaluatin f the IMIC curriculum in a lngitudinal study which wuld utilize the general wrksheets with ninth and tenth grade students and the style wrksheets with mre advanced chral students. (3) evaluatin f the IMIC using a cntrl grup t ascertain differences in imprvement n test scres as the result f using the IMIC curriculum and a mre traditinal chral rehearsal methd. (4) design f student analysis wrksheets fr use in studying vcal wrks frm the Classical and Rmantic perids and ther styles f chral music such as flk and ppular styles. (5) design f student analysis wrksheets fr use with instrumental perfrmance students. (6) design f student analysis wrksheets t be used fr private music students, bth vcal and instrumental.

122 APPENDIX A SPOKESPERSONS FOR TEACHING MUSICAL INFORMATION IN THE MUSIC PERFORMANCE CLASS

123 SPOKESPERSONS FOR TEACHING MUSICAL INFORMATION IN THE MUSIC PERFORMANCE CLASS The fllwing is a selective listing f articles r statements which prmte the teaching f musical infrmatin in the music perfrmance class. The list is restricted t the years 1960 t 1979 and des nt include references cited in the main bdy f the dissertatin study. Brittn, Allen P., "The Develpment f Curses, Resurces and activities fr Perfrming Students," Perspectives in Music Educatin, Surce Bk III. Washingtn, D.C., Music Educatrs Natinal Cnference, 1966, Brudy,Harry., "Arts Educatin Substantiated," MEJ, LIV (December, 1967), 43-46, DeYung, Derald, "Read Between the Ntes," MEJ, LXIII (December, 1976), 37. Higgins, Martin J., and Merwin, Jack G., "Assessing the Prgress f Educatin in Music," MEJ, LXIII (April, 1076), 53. Hilbish, Thmas, "Establishing a Prgram f Permanent Value," Chral Directrs Guide, edited by Neidig and Jennings. West Nyack, New Yrk, Parker Publishing Cmpany, 1967, 290. Hack, Paul A., "Music Educatin: Aesthetic f Anesthetic?" MEJ, LV (Octber, 1968), Hffer, Charles R., Teaching Music in the Secndary Schls, 2nd ed. Belmnt, Califrnia, Wadswrth Publishing Cmpany, Inc.,

124 117 Huse, Rbert W., "Develping an Educative Setting fr Perfrming Grups," MEJ, LIII (September, 1966), 144. Labuta, Jseph A., "The Band as a Learning Labratry," MEJ, LXII (January, 1976), Landn, Jseph W., Leadership fr Learning in Music Educatin. Crta Mesa, Ca., Educatinal Media Press, Lenard, Charles., "The Next Ten Years," MEJ, LIV (September, 1968), 48. Mercer, Jack R., "Is the Curriculum the Scre Or Mre?" MEJ, LVIII (February, 1972), Miller, Samuel D., "The Chral Scre: Preparatin fr Cnducting and Teaching in Secndary Schls," The Chral Jurnal, XVII (May, 1978), Mitchell, William J., "Under the Cmprehensive Musicianship Umbrella," MEJ, LV (March, 1969), 75. Mnsur, Sally., " And Hw They Are Applied (2. Secndary)," MEJ, LVI (February, 1970), Mre, Ray, "If Yur Rehearsals Are Unfulfilling Experiences, Try a Chrd Labratry," MEJ, LIX (February, 1973), , "What Gestalt Psychlgy Says t the Chral Cnductr," MEJ, LV (December, 1968), Prince, Warren F., "Music Educatin's Split Persnality," MEJ, LXI (Nvember, 1974), 33. Regelski, Thmas A., "Tward Musical Independence," MEJ, LV (March, 1969), 78, 81., Principles and Prblems f Music Educatin, (Englewd Cliffs, New Jersey, Prentice-Hall, Reimer, Bennett, "The Develpment f Aesthetic Sensitivity," MEJ, LI (January, 1965), 'Perfrmance and Aesthetic Sensitivity," MEJ, LIV (March, 1968), , , "Patterns fr the Future," MEJ, LXIII (December, 1976),

125 118 Rach, Dnald W., "Cntemprary Music Educatin: A Cmprehensive Outlk," MEJ, LX (September, 1973), 40. Schwadrn, Abraham A., "Sme Thughts n Aesthetic Educatin," MEJ, LVI (Octber, 1969), 35, Slind, Llyd H., "Teaching fr Musical Self-Sufficiency," MEJ, LIV (January, 1968), Tait, Malcmb, "Musical Experiences in the Chral Prgram," XV (March, 1975), Texter, Merry, "Mre Than Perfrmance: A Sequel and a Plea," MEJ, XV (February 1969), Trtter, Rbert M., "Teaching Musicianship in Tday's Schls," MEJ LIV (Octber, 1967), Whitcmb, Manley R., "The Challenges f the Perfrming Grup," Perspectives inmusic Educatin, Surce Bk III. Washingtn, D.C., Music Educatrs Natinal Cnference, 1966,

126 APPENDIX B RESULTS OF A SURVEY OF TEXAS HIGH SCHOOL CHORAL DIRECTORS

127 APPENDIX B RESULTS OF A SURVEY OF TEXAS HIGH SCHOOL CHORAL DIRECTORS In May, 1980, a questinnaire was mailed t sixty-eight randmly selected Texas high schl chral directrs. Mailing labels frm Regins III, XX (Dallas), XIX (Hustn), and XVII (Austin) were purchased frm the Texas Music Educatrs Assciatin ffice as a surce f lcating names and addresses f ptential respndents. Sixty-six percent (45 directrs) respnded t the questinnaire. QUESTIONNAIRE Please cnsider these questins in relatin t yur mst advanced high schl chir. I am asking fr bjective answers, but wuld welcme any cmments regarding any f the questins r additinal cmments that yu wuld care t make at the end f the Questinnaire. 1. D yu believe that teaching musical cncepts related t the literature being perfrmed (including cncepts f rhythm, meldy, harmny, texture, text, etc.) wuld be: Yes Prbably S Prbably Nt 0 52 a. beneficial t the perfrmance f the music. 98% 4% b. beneficial t yur students 1 understanding f the music. 89% 11% c. beneficial t yur students in the lng run as perfrmers and cnsumers f music (after graduatin): 76% 20% 4% 120

128 121 D yu believe that teaching stylistic cncepts related t the literature being perfrmed wuld be: Yes Prbably S Prbably Nt 0 5 a. beneficial t the perfrmance f the music. 100% b. beneficial t yur students' understanding f the music. 89% 11% c. beneficial t yur students in the lng run as perfrmers and cnsumers f music (after.graduatin): 69% 31% COMMENTS RELATED TO QUESTIONS ONE AND TWO (Each paragraph represents cmments f ne respndent.) Abslutely. In fact the stylistic cncepts that we wrk, we wrk frm the very first rehearsal. Our chral prgram is designed as a fur-year "expsure curse" t as many stylistically different pieces f music as pssible. The perfrmances are achieved by the students having a mental image f singing in the prper time perid. Many f us freg teaching a difference in styles, due t time factrs r varius ther reasns. This is a disservice t ur students. Our perfrmances shuld be a by-prduct f what is being taught. Teaching ntes and rhythms is nly the beginning. Experience has shwn me that the first-rate perfrming grups are thse with a sund, cmprehensive knwledge and understanding f the music. The "interpretatin" f a sng Ls the sng. In all hnesty I must say that my level f perfrmance (in terns f technical aspects f the music) may have suffered at times because I spent cnsiderable time studying style, histrical backgrund, etc., but I dare say that it paid ff in the lng run with mre knwledgeable cnsumers and mre meaningful perfrmances. (I d think it's pssible t d it all, hwever.) Hw culd I say therwise?

129 122 I try t talk abut the time and cmpser anything that might give the students a little backgrund fr wrk f majr cmpsers. The musical understandings attained by students as they prepare fr perfrmances are, unfrtunately, the primary surce fr their tastes in music as adults. Since such a small percentage f music students enrll in any type f literature curse, the develpment f appreciatin fr fine music, if it takes place at all, takes place in perfrmance classes fr the majrity f high schl students. The cncepts mentined abve are, t me, as imprtant as the music itself. The histry f each perid helps kids relate t the music and histry f tday. The thery mentined is an abslute must if we are striving fr musically educated adults in ur cmmunity. If it is ur jb t recreate music, then a thrugh lk int all aspects f the music as well as its histrical backgrund is necessary. This in turn helps the student t appreciate a kind f music unlike that t which they are accustmed. Any perfrmance f chral literature which des nt include musical cncepts and stylistic cnsideratins is an empty exercise in vcal sund. I believe it is vital fr the students t be expsed t all f music, nt just its perfrmance area. 3. Are yu satisfied with yur teaching f musical and stylistic cncepts in the rehearsal? T5 >1 H rh r CJ *3 0) <D Q) -p *H H Q) H U) ) m m H >im -P h in 03 H 0) d & -P U-H P H-P CO 0 fd 05 O w (6 fdrd H U3 EnCQ Q 2% 31% 56% 11% COMMENTS RELATED TO QUESTION THREE I feel fairly satisfied in my teaching but feel the time bth in preparatin and suitable class time t accmplish this is difficult. The tendency is t teach these pints with the selectins we are learning. Smetimes perids are missed r are nt learned because f time and testing evaluatin.

130 123 Wuld that we, as teachers, culd be cmpletely satisfied! Persnally, I knw there are attempts made tward the teaching f musical/stylistic cncepts. As with many f us, I fear the prblem is in being sure the students assimilate ur "discussin," i.e., mst f us tend t include it in a rehearsal atmsphere rather than in an "academic" atmsphere. It is difficult t integrate meaningful cmments int a rehearsal. I have very limited time t research the backgrund f a particular number. My ntes are nt rganized such that students can have sufficient materials in their hands. Because we have initiated the use f a district-wide cunting system alng with the fixed-d sight reading system, I am satisfied with ur methds fr teaching music reading. Hwever, there are many stylistic, textural, and harmnic cncepts that sutdents shuld be taught in relatin t the literature being perfrmed. I am very dissatisfied with my teaching f these cncepts t my students. We all can d better jbs at this. Hwever, if music is apprached frm the first rehearsal with the idea f imprving sight reading and musicianship skills then the students 1 stylistic cncepts are bund t accelerate in the spiral manner that is desired. This can always be imprved upn. There is always mre t learn. I am satisfied with my teaching f musical cncepts althugh I will be imprving in my teaching f stylistic cncepts. The necessity f dwelling n pitch and rhythm befre attempting serius cnsideratin f cncepts bthers me, but it is prbably smething all directrs face. As the musical intelligence f my students increases, I will have mre time t share these cncepts. My intentins are gd, as usual, t prepare myself mre adequately t teach stylistic cncepts. Fr me, it's a matter f hw well rganized and prepared I am. I hpe I present musical and stylistic cncepts in a mre efficient and meaningful way each year; that is my gal.

131 124 If ne makes an attempt t incrprate the cncepts f style and musicianship in as efficient a manner as pssible, then ne must be satisfied with the results, hwever meager. That des nt mean that mre culd nt have been accmplished. A prgram integrating all f these cncepts might make this pssible. I think this will imprve with mre years f experience. Well, I'm seldm satisfied with my teaching f anything in rehearsals there always is mre than culd have been taught. When I can enlighten the students abut the cmpser and the reasns his music was written the way it was, the results are always wrthwhile, because the music makes better sense t them and a better understanding f the music leads t a better interpretatin, frm individual t individual. And they d mre thinking fr themselves, rather than waiting t be tld just hw t sing every nte. But I dn't always take time t prvide any backgrund and regret in particular that we dn't d mre cmparisn f structure, harmny, etc., in the pieces we are rehearsing. I find that in sme chirs (generally thse with less backgrund in junir high, etc.) the stylistic cncepts are lst due t the need t cncentrate n fundamentals f vcal prductin and rhythm and pitchl It is a lng prcess tward style. Lack f time, t much pressure fr t many facets f t much music and perfrmances. If teacher and student materials fr use CIRCLE ONE in studying musical and stylistic cncepts were available, wuld it be helpful t yu? Yes N Yes - 94% Prbably - 6% (6% wrte in "prbably") N - 0% COMMENTS RELATED TO QUESTION FOUR There seems t be a lack f practical material fr this purpse.

132 125 I've nt yet seen such materials published in a cmprehensive manner. I wuld welcme such with "pen arms." Especially student wrksheets! Such materials are available and I learned stylistic cncepts in cllege and in my experience f ten years in junir high and high schl chral teaching. The mre directly they applied t the literature we were studying, the better. I'd think, just like taking the time t teach sight reading pays ff as the students becme able t learn mre quickly, the time spent n this culd lead t their slving sme musical prblems n their wn and ultimately saving rehearsal time, as yu say! There are many bks and bklets available nw. Hwever, mst get s technical that they are beynd the research f mst f my students, and I find myself nt wanting t take the time t srt ut the best details. Wuld like t knw hw t btain such materials. I'm always lking fr new ways t get the pint acrss. 5. Is it imprtant that such materials be CIRCLE ONE related directly t the music yu wuld be rehearsing? Ye s N N - 56% Yes - 40% Prbably - 4% (4% wrte in "prbably") COMMENTS RELATED TO QUESTION FIVE Nt necessarily. Wuld be helpful, hwever.

133 126 That wuld save ur limited class time, but mre imprtantly, als maximize the effectiveness f such study. The students wuld be receptive t study leading t "sunding better" and applying cncepts immediately wuld have the maximum impact. As yu knw, kids want t "d," nt read and pnder. It wuld be mst beneficial. Abslutely. Nt always. A knwledge f music themes, histries, and styles speak t music in general surces f such exist nw. CIRCLE ONE 6. Is it imprtant that such materials be time efficient? Yes N Yes - 96% N - 2% Prbably - 2% (2% wrte in "prbably") COMMENTS RELATED TO QUESTION SIX Cncise utline? Perhaps t refresh my memry as I study the music. DefinitelyI Abslutely. Everything shuld be time efficient in any rehearsal if it is t be a rehearsal! Yes, because students must be challenged and nt bred. I'm nt sure what this means integrating such a study in a 55 minute rehearsal perid? Yes. The time factr is definitely why mre teaching f this srt is nt being dne nw.

134 127 There must be time fr sight reading, music f different styles, etc. There are nly 55 minutes in a perid. Students in high schl rarely take chir t "study" music! They want (and need) t singl Very much s. Nt quite sure I understand the term time efficient meaning cncise? Certainly the pressures f preparing fr perfrmances while als attempting t build singing technique and sight reading skills wuld deem it necessary n ne with an active prgram is lking fr "filler." ExtremelyI Yes, since s much time must be spent n basics. Is it imprtant that such materials be CIRCLE ONE designed fr use in the rehearsal rather than require utside time fr study by students? Yes N Yes - 84% N - 13% Maybe - 2% COMMENTS RELATED TO QUESTION SEVEN Used primarily in rehearsal, hwever, utside f class material wuld certainly benefit the gifted student. Students in my chir d n utside wrk. This is difficult t expect. Sme utside study time wuld be expected. Definitely.

135 128 Fr the mst part, althugh sme reading material and questins t answer culd prvide material fr testing and be a springbard fr discussin in class. Outside wrk in small dses culd give validity t this type f activity the kids, I'd hpe, wuld tend t take it mre seriusly. Bth might be helpful. The teacher culd supplement fr the interested student. I think ptimum benefit wuld cme frm a cmbinatin f in and ut f class time. I wuld expect mre utside wrk especially frm advanced students. I think mst wrk shuld be dne in rehearsal but sme utside wrk is fine. I f ve fund it unsatisfactry t require utside study it needs t be dne with teacher/student in rehearsal. It is nt enugh that _I think histrical style is imprtant. Students dn f t agree t the pint f hmewrk. There is nthing wrng with "hmewrk" in chir! These materials can be mre easily understd if they can be immediately related t sund. Perhaps a bit f utside time is favrable but nt extensive study. I have t many students wh wn't even d their English hmewrk! Materials shuld be primarily fr rehearsal but might als encurage utside research. 8. Which materials wuld be mst helpful t yu? Please rank. First Chice Secnd Chice Third Chice a. Renaissance (sacred music) and Barque styles. 42% 42% 16% b. Rmantic and Classical styles 38% 33% 29% c. Renaissance style (secular and sacred) 20% 24% 56%

136 129 COMMENTS RELATED TO QUESTION EIGHT These are already available they simply must be sught ut and examined. I have taught all styles cnsistently. Help I usually need is minr and I learn frm ther qualified directrs. GENERAL COMMENTS (In the survey, a space was left fr "general cmments" at the end f the questinnaire.) Fr mst f us, teaching the s-called "extra" things in ur rehearsals is a weakness, and fr the mst part it's nt that we dn't have the infrmatin, but that we dn't have the methd fr incrprating all things int a very jealusly guarded rehearsal schedule. I certainly hpe yur study can benefit us as we attempt t becme mre effective teachers. Chral directrs have s many nn-musical functins like designing chir unifrms, creating prps, scenery, staging, preparing chir trips, arranging banquets, and piles f paper wrk, that we smetimes lse sight f ur bjectives in teaching music. Since the preparatin time fr teaching musical and stylistic cncepts is s great, it wuld be a tremendus help fr teachers t have these materials available fr use in cnjunctin with chral literature. Thanks fr picking a really necessary methd f teaching fr yur study. I'm really lking frward t the results! This subject is timely fr me because I am in the prcess f trying t implement mre musical and stylistic teachings int my rehearsals. I believe we must d this if we are t be educatrs. My psitin n perfrmance remains strng, and yet I am cnvinced that I have a duty t these students and this cmmunity t nt nly prvide gd prgrams but als teach thrugh the discipline f music. I believe this is crucial, mre s in a small schl such as mine cmpared t a large schl. It is easier t get away frm educatin when yu and yur students are able t specialize. A small schl, where students are shared mre, des nt allw fr such a luxury. This is a mst interesting subject and I wuld hpe yu wuld keep me in mind, Ruth, if I can be f any further help. Thanks!

137 130 This is a mst interesting study. I wuld certainly be curius t see the results! Gd luck n yur respnse t the questinnaire. I feel there is a great need fr having mre materials available in these areas t the educatrs f chral music. I hpe that these cmments are beneficial. I aplgize fr them being late. I have been away frm the huse and ut f state. Gd luck t yu, Ruth. I hpe yur study will result in mre time efficient materials related t teaching stylistic and histrical cncepts. Best f luck! Great need fr materials t d this. Glad t help ut. Have a gd summer. Thank yu fr stimulating ur thughts tward mre academic ideas! It seems that perfrmance demands seem t deter the teaching f musical and stylistic cncepts. The need fr an rganized study prgram that wuld be useful in the classrm is ne f great imprtance. The cncepts taught wuld make us and ur students better musicians and teachers. The material I culd use wuld be brief and perhaps shrt numbers f the same style and perid culd be recrded and used t illustrate sme f the stylistic infrmatin. My biggest cncern in regards t my teaching situatin is that because f the time needed t meet deadlines district, regin, area, All-State auditins, District chir festivals, UIL cmpetitin nt enugh time is left in the schl day t teach these essential musical cncepts necessary t develp the well-educated chir member t his fullest ptential. I believe that a stylistic apprach t music is very imprtant. A thrugh understanding f style will help utilize what is in the music. We are ften agnizingly clse t real musical understanding, but it is elusive. If what the kids have experienced musically is nt pulled tgehter fr them at that time, I fear their memries f the music and the level f understanding they reached will fade. The active nature f a perfrmance class and the high degree f invlvement f the students

138 131 makes them prime candidates fr sme learning experiences f real depth. They need it ur sciety needs it and I welcme the help in prviding smething that can have a lasting influence n them. I feel that adequate materials fr use in and utside the rehearsal wuld be very beneficial fr directr and students.

139 APPENDIX C MUSICAL INFORMATION TEST (MIT) Pretest and Psttest Versins

140 Pretest Versin Name f Schl Student's Name_ Date MUSICAL INFORMATION TEST PART I - GENERAL MUSICAL QUESTIONS 1. Chse the best symbl fr harmny A. 2. Dynamics A. has little impact n the listener B. was nly imprtant in Rmantic music C. means lud singing r playing D. refers t gradatins f ludness and sftness E. is nt imprtant in perfrmance 3. The shape f a phrase is mst clsely related t A. the harmny B. the dynamics (increase and decrease f intensity) f the phrase C. hw many ntes are in the phrase D. tne quality E. hw much breath a singer has 4. Meldy is A. always,fur measures in length B. always sung by sprans C. a basic cmpnent f music D. always shaped ^ E. relatively unimprtant 5. Plyphny is anther name fr A. vcal music B. harmnic rhythm C. cunterpint D. hmphny E. cmplicated music 6. Imitatin is A. the restatement in clse successin f a meldic idea B. rarely used in the Renaissance Perid C. rarely used in the Barque Perid D. always sequential E. always melismatic 133

141 7. A Musical thught is called A. a sectin B. a mvement C. timbre D. a phrase E. imitatin Temp A. is related t the md f a cmpsitin B. refers t the speed f a cmpsitin C. an element f rhythm D. imprtant t the perfrmer E. all f the abve 9. A melisma is A. a duet B. tw ntes t ne syllable C. ne nte t ne syllable D. many ntes t ne syllable E. a sequence 10. Sequence is A. a type f rhythm B. a meldy C. related t terraced dynamics D. rarely used in Barque music E. a grup f ntes repeated at anther pitch by the same vice part 11. Tne quality is called A. timbre B. tactus C. melisma D. mrdent E. range 12. One f the mst cmmn dissnances is A. the trill B. the mrdent C. the licht pause D. the suspensin E. nne f the abve 13. Texture in music refers t A. rnamentatin B. range C. mnphny, plyphny r hmphny D. instrumental music nly E. wide leaps in a vcal line 14. A triad is A. a type f chrd B. a three nte meldy C. built in 4ths D. uncmmn in Renaissance music E. uncmmn in Barque music

142 Rhythm is A. the beat B. present in all music C. fund nly in ppular music D. fund nly in Barque music E. nt essential t music 135 PART II - STYLE 16. Tw famus Renaissance cmpsers were A. Palestrina and Lassus B. Lassus and Bach C. Bach and Handel D. Mzart and Haydn E. Rgers and Hammerstein 17. Female vices imitating bys' vices shuld use A. a wide vibrat B. a heavy tne C. little vibrat D. a dramatic tne E. a strident tne 18. In Renaissance plyphnic music A. the inner parts are nt imprtant B. all parts are equally imprtant; they take turns having the meldy C. the spran has the meldy D. spran and bass parts shuld be sung luder E. the bass line cntrls the harmny 19. Late Barque style is characterized by A. mdes and dvetailing f phrases B. small range in vcal and instrumental parts C. very restricted dynamic range D. cntrasts in md, dynamics and timbre E. a lack f metrical feeling 20. "Glden Age f Plyphny" is a name smetimes given t A. the Rmantic Perid B. the Cntemprary Perid C. the Classical Perid D. the Renaissance Perid E. the Barque Perid 21. Strng rhythmic drive best describes the music f A. bth the Renaissance and Barque B. the Barque Perid C. the Renaissance Perid D. neither the Renaissance nr the Barque Perids E. all perids

143 In Renaissance plyphnic music 136 A. vice parts have a generally small range B. meldies are ften "chant-like" C. sectins f text are used as basis fr new musical ideas D. melismas are cmmn E. all f the abve 23. Ritardand (r rallentand) is A. never used in Renaissance music B. used extensively in Renaissance music C. used sparingly in bth Renaissance and Barque music and then nly at the end f a sectin r cmpsitin D. used extensively in Barque music E. never used in Barque music 24. Cntinu was always used A. with Renaissance sacred music B. with Renaissance secular music C. with vcal music in the Barque perid D. fr meldic interest E. nne f the abve 25. Cntinu refers t rgan r harpsichrd plus A. pian B. vilin r vila C. trmbne and tuba D. cell r vila da gamba E. be r bassn 26. In Renaissance sacred music A. instruments were used nly t duble r replace vcal lines B. instruments were used mre than vices C. lng instrumental intrductins were cmmn D. instruments were frbidden E. instrumental interludes were cmmn 27. Trills, turns and mrdents are A. types f articulatins B. types f rnaments C. temp indicatins D. dynamic indicatins E. related t harmny 28. In Renaissance music, tw basic cnsideratins are A. great use f temp and dynamic markings B. extensive use f strings and cntinu C. mdes and dvetailing f phrases D. driving rhythms and changing meters E. metric stress and syllabic stress i

144 Text painting was cmmnly used in A. early dance music B. antiphnal music C. Renaissance music nly D. Barque music nly E. vcal music f the Renaissance and Barque perids 30. Suspensins, anticipatins and accented passing tnes are A. types f rnaments B. types f dissnances C. dynamic indicatins D. types f articulatins E. temp indicatins 137

145 Name f Sch61 Student's Name Date MUSICAL INFORMATION TEST (Pst Test) 138 PART I - GENERAL MUSICAL QUESTIONS 1. Temp refers t A. text stress B. strng accents C. meter D. the rate f speed f a cmpsitin E. cmplicated rhythm 2. Sequence is A. a type f rhythm B. a melddy C. related t terraced dynamics D. rarely used in Barque music E. a grup f ntes repeated at anther pitch by the same vice part 3. An interval is A. an rnament B. the difference in pitch between 2 tnes C. a phrase D. a mtif E. the gruping f beats 4. Cunterpint is a synnym fr A. rubat B. syncpatin C. plyphny D. mdulatin E. sfrzand 5. Unity and variety are imprtant aspects f A. text setting B. frm C. timbre D. articulatin E. dynamics 6. Meter is A. temp B. the gruping f beats C. syncpatin D. stinat E. unimprtant 7. "Gradatins f ludness and sftness in music" is the definitin f A. dynamics B. articulatin C. rhythm D. meldy E. harmny

146 8. A grup f ntes that expresses a musical thught is 139 A. an rnament B. a tnality C. an interval D. a phrase E. a cnsnance 9. There are three basic textures used in music. They are mnphnic, hmphnic and A. melismatic B. mnchrmatic C. plyphnic D. fugal E. antiphnal 10. Which f these wrds is nt a type f articulatin? A. staccat B. legat C. marcat D. sfrzand E. mezz 11. A melisma is A. a duet B. tw ntes t ne syllable C. ne nte t ne syllable D. many ntes t ne syllable E. a sequence 12. "Chrd" is a wrd related t A. rhythm B. meldy C. harmny D. temp E. dynamics 13. Timbre in singing A. relates t vibrat B. relates t type f vice, male r female C. relates t darkness r brightness f vwels D. may be changed t fit the music E. all f the abve. 14. Imitatin is A. the restatement in clse successin f a meldic idea B. rarely used in the Renaissance Perid C. rarely used in the Barque Perid D. always sequential E. always melismatic 15. Harmnies may be cnsnant r A. syllabic B. metrical C. dissnant D. mtivic E. pianissim

147 PART II - STYLE 14Q 16. In Renaissance sacred music A. strng accents are cmmn B. staccat singing is mst cmmn C. legat singing is mst cmmn D. sfrzands are cmmn E. syncpatin is cmmn 17. The 16th century is ften referred t as the A. Medieval Perid B. Renaissance Perid C. Barque Perid D. Classical Perid E. Rmantic Perid 18. In the Barque Perid barlines A. were nt imprtant B. were used fr cnvenience nly C. were used nly t keep the musicians tgether D. cntrlled the meter E. were nt used 19. Trills, turns and mrdents are A. types f articulatins B. types f rnaments C. temp indicatins D. dynamic indicatins E. related t harmny 20. Strng rhythmic drive best describes the music f A. bth the Renaissance and Barque Perids B. the Renaissance Perid C. the Barque Perid D. neither the Renaissance nr the Barque Perids E. all perids 21. Tactus is the wrd fr A. beat in Renaissance music B. rhythm in Renaissance music C. temp in Renaissance music D. dynamics in Renaissance music E. harmny in Renaissance music 22. Histrically, the Barque Perid A. precedes the Renaissance Perid B. fllws the Renaissance Perid C. precedes the Medieval Perid D. fllws the Rmantic Perid E. fllws the Classical Perid 23. Renaissance sacred Latin plyphny is A. very emtinal B. filled with large crescends and diminuends C. dance-like D. tranquil E. vigrus

148 24. Female vices imitating bys' vices shuld use 141 A. a wide vibrat B. a heavy tne C. little vibrat D. a dramatic tne E. a strident tne 25. In Renaissance plyphnic music A. the inner parts are nt imprtant B. all parts are equally imprtant; they take turns having the meldy C. the spran has the meldy D. spran and bass parts shuld be sung luder E. the bass line cntrls the harmny 26. Suspensins, anticipatins and accented passing tnes are A. types f rnaments B. types f dissnances C. dynamic indicatins D. types f articulatins E. temp indicatins 27. Barque cmpsers ften used "cncertat" style. That means A. very rnate music B. plyphnic texture C. small grup f perfrmers cntrasted t a large grup D. sl vice with cell E. hmphnic texture 28. Barque cmpsers liked A. lng pieces f music in several mvements B. cntrasts in dynamics and temp between mvements C. cntrasts in md between mvements D. cntrasts between sls and large grups E. all f the abve 29. The "frm" in Renaissance music is cntrlled by A. the text B. the meldy C. the rhythm D. the harmny E. the dynamics 30. Terrace dynamics refers t A. sudden changes in dynamics B. sudden crescends r diminuends C. n change in dynamics D. gradatins f luds and sfts caused by the additin r subtractin f vices E. rapid alternatins f p and f

149 APPENDIX D STUDENT ATTITUDE QUESTIONNAIRE

150 Name f Schl Date Student Attitude Questinnaire Circle the number which mst nearly reflects yur attitude abut the questin 1. Singing in a gd chir is imprtant t me. 2. Singing great music is very satisfying. 3. Studying the music it perfrms helps the chir t perfrm it better. >> (D cu r C >> r S- Q) - c cn cn 4-> S- O) C O (0 fo a> S-t CO O > *r- r c P COTD -a 1 13 fo CO Studying abut music will help me t perfrm ther music better Studying abut music will help me listen t music mre intelligently Thinking abut music helps yu t enjy it mre Only the directr needs t study the music The vcabulary in the style wrksheets was difficult t learn The style wrksheets were difficult t understand The style wrksheets tk t much time away frm singing The assignments were clearly stated The examples were clearly stated The style characteristics helped me t pinpint imprtant cncepts in the music I wuld like t use style wrksheets with sme f the music we sing next year I wuld nt ever like t use style wrksheets again

151 APPENDIX E TEACHER QUESTIONNAIRE AND EVALUATION

152 TEACHER QUESTIONNAIRE AND EVALUATION Yur respnse t the fllwing questins will aid in evaluating the usefulness f the Wrksheets yur students have been using this year. Yur cmments will be greatly appreciated, 1. What music did yu use as study piece(s) fr the General Wrksheets? Cmpser Title 2. If yu used tw r mre pieces f music with the General Wrksheets, did the "study" g mre easily with the secnd (and third) piece(s)? 3. What music did yu use fr Renaissance study? Cmpser Title Barque study? Cmpser Title List the tw mvements used. 4. Which study piece(s) did yu use at cntest? 5. Which study piece(s) did yu use fr cncerts? 145

153 Which "frm" f the Wrksheets did yu and yur students prefer -- tp t bttm n a page r page turned sideways? 2 7. What rating did yur chir make at U.I.L. cntest this year (cncert rating)? 8. Please describe yur methd(s) f using the Wrksheets. Fr instance, was all the wrk dne in class, sme utside f class, in small grups, individually? Related t rehearsal schedule, did yu use ne wrksheet a day fr a number f days, r ne wrksheet a week r? 9. Did yu use the students' wrk as a basis fr a prtin f their chir grade? 10. Did yu give a written test r ral evaluatin after any r all f the three sectins f wrk? Describe methd and results (in general). 11. If yu plan t use the Wrksheets again, wuld yu rganize yur presentatin differently? If yu have thught abut this, please describe what yu wuld d differently next time, 12. Evaluate yur use f the materials. Did yu present the wrk in a thrugh way? In a less than thrugh way? Systematically? Nt s systematically?

154 Did yu find that the Wrksheets were an aid in rganizing study f the music which yur chir perfrmed? 14. D yu have suggestins fr imprving the student Wrksheets? 15. D yu have suggestins fr imprving the Teacher Guides? 16. It was hped that the teacher wuld have t d minimal ut-f-class preparatin t use the Wrksheets. Was this aim accmplished? 17. Was the level f difficulty f the Wrksheets apprpriate fr yur students?

155 18. Was the level f difficulty f the test given at the end 148 f the study apprpriate? 19. Was the time required fr use f the Wrksheets reasnable? Did it balance well with rehearsal time? 20. Cmment n the relatinship between study (use f the Wrksheets) and perfrmance. Cnsider these questins: Did study make a difference in chir's (and yur) understanding f the music? Did understanding imprve because f study? Did perfrmance change because f study? Did study affect perfrmance in a psitive way?

156 21. Hw wuld yu describe class reactin t using rehearsal 149 time fr study? 22. Wuld yu use the Wrksheets again? 23. D yu think the General Wrksheets wuld be apprpriate fr 9th and 10th grade chirs? 24. Wuld it be valuable t yu t have Wrksheets designed fr ther styles f chral music? 25. Are yu cmmitted t the idea that high schl and cllege chral directrs shuld teach students abut the music they perfrm as well as teach perfrmance and sight singing skills? 26. D yu have ther cmments r suggestins? Signature

157 APPENDIX F ALTERED REPRODUCTION OF UNIVERSITY INTERSCHOLASTIC LEAGUE ENTRY BLANK AND COMMENT SHEET (Frm 4)

158 BAND ORCHESTRA CHORAL UNIVERSITY INTERSCHOLASTIC LEAGUE Entry Blank and Cmment Sheet INSTRUCTIONS: See Current issue f the Cnstitutin and Cntest Rules. ORGANIZATION EVENT AND CODE CONFERENCE. - JUBQION F1K&T CROUP SECOND UBQUP COMPOSITE CROUP SCHOOL - CITY - Number f Student* by grade (Junir High Schls and Intermediate Schl* nly) 7th grade 8th 9th- NAME OF DIRECTOR Pr«raini I. COMPOS KK/ARHANQKR CUMPOSMH/AHHANtilUt COMPOSER/ARRANGER INSTRUCTION TO JUDGE LiaWd Ww ai hjmtivaly u»in* aach f MUM factr*. Yur f th* factrs which shuld rccaiv* yur attentin aa thu grup perfrata. D nt attampt t (rad thla I ata will indicata thtr*ngth r waakwta f thu rgaalaatia. TONE: Intnatin Bland Quality Maturity Cntrl TECHNIQUE: Rhythmic prciain Articulatin Attack Fiuncy Intanaity Balanca Vw«U INTERPRETATION» NU (pacing Accent* Styl Phraainc T«miK> Dynamic rang* Dynamic cntrl Rhythm pattern* STAGE APHEAHANCBt Unifrmity Praciain Patura AtUntivenaa Raapaa Vitality MISCELLANEOUS: Definitin f part* Dalinaatin f maldy Clarity-Preciain Styia cntrmata Inner vicca Enaambl etfacta Taat-Muaicianamp CONSTRUCTIVE COMMENTS: HATING: (Circle One. D NOT add minus r plus.) I II III IV V Write in Hating Here (Signature f Official) Eleven factrs n University Interschlastic League Entry Blank and Cmment Sheet related t style: balance, accents, style, phrasing, temp, dynamic range, dynamic cntrl, rhythm patterns, expressin, vlume, and style cntrasts. 151

159 APPENDIX G VALIDATION COMMITTEE

160 VALIDATION COMMITTEE Dr. Michael Winesanker, Head f the Department f Music and Musiclgist, Texas Christian University. Assciate Prfessr Rnald Shirey, Directr f Chral Activities, Texas Christian University. Assciate Prfessr Curtis Wilsn, Directr f Jazz Ensembles, Teacher f Thery and Cmpsitin, Texas Christian University. 153

161 APPENDIX H TEACHER PARTICIPANTS IN DISSERTATION STUDY

162 TEACHER PARTICIPANTS IN DISSERTATION STUDY Pilt Study Rsemary Heffley, Mesquite High Schl Carle Pyle, Weatherfrd High Schl Dan Rash, Arlingtn High Schl Wayne Rbinsn, Edinburg High Schl Primary Study: Nrris Blevins, Sam Rayburn High Schl Bbbie Duglass, L. D. Bell High Schl Danny Hd, Abilene High Schl Dug McCause, Canyn High Schl Sally Schtt, Suth Hustn High Schl Tm Tickner, New Braunfels High Schl 155

163 APPENDIX I LETTER TO PARTICIPATING TEACHERS IN PRIMARY STUDY, INFORMATION SHEET AND AGREEMENT FORM

164 July 18, 1980 Dear I am delighted t have yu and yur fine chir as part f my "primary study." The pilt study teachers and students seemed t enjy their wrk last spring. The psttest scres shwed marked imprvement ver the pretest scres and the teachers felt that taking time fr study helped the students understand music and musical perfrmance better than befre. All the teachers have said that they wuld cntinue t use their wrksheets. That makes me smile, f curse. I was nt able t determine if perfrmance imprved r stayed the same. We'll try smething different t try t determine that this year. Enclsed yu will find a rather lng list f infrmatin. It is imperative that yu knw exactly what yu are getting in t. If, after reading the infrmatin, yu feel that yu shuld nt cmmit yurself t this prject, call me immediately s that I can find a replacement. The study will nt be valid (r acceptable t my cmmittee) if certain prcedures are nt fllwed. If yu are willing t fllw the guidelines, please sign the agreement frm and return t me fr my files. It will be ur "cntract." If yu have any questins, nw r during the year, please d nt hesitate t call me cllect. Again, I am hnred that yu are interested in participating in the study. I hpe that the wrk benefits yur students and that yu enjy the prcess and the utcme. Thanks a millin. End. Sincerely, P / j/c " ' A. Ruth Whitlck 2712 Sixth Ave. Frt Wrth, TX Hme phne: TCU: r

165 Infrmatin Sheet 158 Whitlck Primary Study Participants July The study wrksheets are t be used by the advanced mixed chir in yur schl. (If yu want t try the General Wrksheets with yur training chirs, that is up t yu. It might be fun. Let me knw if yu d it.) 2. In the first week f schl, administer a pretest that will be sent in mid-august. Explain t the students that they are nt expected t knw all the infrmatin but that they shuld chse the answer that seems t be mst lgical. The chir grade will nt be affected by the test scre. (In fact, I will grade the tests in Frt Wrth.) Mnitr the test and d nt allw "cllective" answers. We need t knw what each individual student knws in September. Return the tests by September 15, After the pretest is taken, begin using the "General" Wrksheets. Any piece f chral music shuld wrk but the mre interesting the music, the mre the students will learn. After yu have cmpleted the General Wrksheets, evaluate what the students have learned. Yu may want t give a shrt written test r have an in-class ral evaluatin. If yu are satisfied that the students have learned cncepts and vcabulary, then g ahead with plans t use Renaissance Wrksheets. If yu feel that the students need mre expsure t the basic infrmatin, use the General Wrksheets again with a different piece f music. It shuld g mre quickly the secnd time. Fr best results, chse a very different kind f piece fr the secnd time. The cntrast will help students grasp cncepts mre easily. Fr using the wrksheets, students will need their wn paper and pencil. Suggested Frmat t (General Wrksheets) Cmpsitin: The Eyes f All Wait Upn Thee Cmpser: Jean Berger, 20th century American cmpser Susie Smith Text (write all infrmatin n text) Timbre (Timbre infrmatin) etc. At the end f the year, students shuld have fur t five analyses cmpleted and the wrkbks will be clean and ready fr the next year.

166 4. After general cncepts are "in place," g n t Renaissance Style Wrksheets. It is imprtant t study Renaissance befre Barque fr maximum learning f cntrast in styles. It als allws students t grasp "evlutin" f styles. Yu are free t use any late 16th century Latin mtet. (If yu want t use a cmpser that I have nt listed, please send a cpy fr my apprval.) Again, at the end f the Renaissance study, yu might want t evaluate what the students have learned. This is suggested but nt mandatry. 5. Fr Barque wrk, d at least tw cntrasting sectins f a lnger cmpsitin. It is essential fr the students t understand the imprtance f cntrast t Barque cmpsers. Again, if yu chse a wrk whse cmpser is nt listed, r if yu have questins abut what t chse, check with me. A simple evaluatin is suggested. 6. By the middle f April all study shuld be cmpleted. Yu shuld plan t perfrm either the Renaissance r ne f the Barque pieces at cntest and schedule what yu dn't use at cntest in sme ther public cncert. This is nt necessary fr the "general" study music. Please send me a cpy f the cntest prgram and ther cncert prgrams where study pieces are perfrmed. 7. Yuneed t plan yur year s that yu will nt be rushed t finish in April. This happened t tw chirs last year and caused sme frustratin t bth teachers and students. Having frm early September thrugh middle April shuld allw fr flexibility in planning. 8. Yu will ntice that the "frm" f the General Wrksheets is different frm that f the Style Wrksheets. In the General Wrksheets, yur teacher's guide ntes are included with the student assignments. Als, the student wrk is typed frm tp t bttm n the page. In the Renaissance and Barque sectins, student wrk assignments and ther infrmatin is turned sideways and yur teacher's guide infrmatin is separate frm the students' wrk. My pilt study teachers culd nt agree as t which was the best frmat. I want yu t evaluate and let me knw which wrks best fr yu. Als, please make ntes n any criticisms r cmments yu might have as they ccur t yu. If yu wait until April, yu will prbably frget. 9. By mid-april, I will send cpies f the psttest. This test will be very similar t the pretest apprximately 30 items, multiple chice. Again, the test shuld be carefully mnitred by yu. Near the same time, I will ask students t cmplete a shrt attitude questinnaire and als ask fr yur written evaluatin f the prject. It will be mst imprtant fr me t receive the cmpleted psttests, student attitude questinnaires and teacher evaluatin frms by May 1, The student wrksheets will be yurs t keep. 10. It is imprtant fr me t have sme way f cmparing yur chir's perfrmance in past years with this year. I will ask fr yur spring cntest (cncert) rating. If cntest is after mid-april, that's fine. I can get the infrmatin later. I will als get yur reactin t the relatinship f study t perfrmance at the end f the year