Catherine Leigh Olivier, B.M. A Thesis In. Music Education. Approved

Transcription

1 Aesthetic Responses of North Americans and South Americans to Tango Music by Catherine Leigh Olivier, B.M. A Thesis In Music Education Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of MASTER OF MUSIC EDUCATION Approved Dr. Janice Killian Chair of Committee Dr. Jacqueline Henninger Dr. Christopher Smith Mark Sheridan Dean of the Graduate School August 2017

2 2017, Catherine Leigh Olivier

3 ACKNOWLEDGMENTS The completion of this thesis would not have been possible without the gracious help and support of so many people. I would first like to thank Dr. Janice Killian for her patience, mentorship, guidance, and support throughout this entire process. It is humbling to study with such an incredible person and educator. I would also like to acknowledge all participants who were involved with this project. I appreciate your input and for taking time out of your busy schedules to participate! Finally, I would like to thank my husband, Chase, and my incredible family for supporting me in this wild adventure! You taught and encouraged me to dream big, think boldly, and follow my dreams. Thank you for absolutely everything. ii

4 TABLE OF CONTENTS ACKNOWLEDGMENTS ii ABSTRACT iv LIST OF TABLES vi LIST OF FIGURES vii LIST OF ABBREVIATIONS viii I. INTRODUCTION Statement of Purpose Statement of Limitations II. REVIEW OF LITERATURE Aesthetics The Continuous Response Digital Interface (CRDI)...10 International Research with the CRDI 12 Tango Tango: The Music III. METHODOLOGY Participants Repertoire Preparing the Stimulus Data Collection IV. RESULTS North American Results South American Results Comparisons of All Quantitative Aesthetic Responses. 36 Written Responses.. 37 V. DISCUSSION REFERENCES APPENDIX A. SCRIPT B. PARTICIPANT QUESTIONNAIRE AND FREE RESPONSE PACKET...55 iii

5 C. PERCENTAGES CALCULATED..60 D. RAW DATA E. IRB HUMAN SUBJECTS APPROVAL iv

6 ABSTRACT The purpose of this study is to compare and contrast the aesthetic responses of North and South Americans to Argentinian tango instrumental music, as measured with the Continuous Response Digital Interface (CRDI). North and South Americans (N = 16) listened to three tango music excerpts and recorded their real- time responses on the music s aesthetic via the CRDI dial. Then, participants had one minute to record their recalled memory response of the excerpt they had just heard via a Likert scale and recorded response. Once collected, North and South American data were sorted and analyzed by participant CRDI responses (Excerpt 1, a traditional dance style tango; Excerpt 2, a concert tango; and Excerpt 3, a North American cinematic tango), magnitude of responses over Segment time, a 5- point Likert- scale rating, and coded participant free responses. Quantitative results indicated that 76.47% % of North and South American participants responded generally positively to all three musical excerpts in the real- time readings from the CRDI and rated all three musical excerpts positively (Excerpt 2, intermediate acculturation, was the highest rated with an average of 4.44, followed by Excerpt 1, least acculturated, with an average of 4.11, and finally Excerpt 3, most acculturated, with a 3.88 average). Qualitative data suggested that North American responses were generally lengthier, included comments combining the Mention of Self, Technical Elements, and/or Emotional Elements, and were much more informally written (included drawings). In addition, South American responses were generally more memory or experience- based. v

7 LIST OF TABLES 1 Analysis Segments Magnitude of N.A.P. responses per segment Magnitude of S.A.P. responses per segment 35 4 North and South American Participants Written Responses..38 vi

8 LIST OF FIGURES 1 CRDI dial display CRDI magnitude measurements via CRDI dial and graph North American Aesthetic Responses (N = 10) Excerpt North American Aesthetic Responses (N = 10) Excerpt North American Aesthetic Responses (N = 10) Excerpt South American Aesthetic Responses (N = 7) Excerpt South American Aesthetic Responses (N = 7) Excerpt South American Aesthetic Responses (N = 7) Excerpt 3.34 vii

9 LIST OF ABBREVIATIONS CRDI. Continuous Response Digital Interface N.A.P.... North American Participant S.A.P....South American Participant Magnitude Responses ED... Extremely Dislike D Dislike DS..Dislike Slightly N..Neutral LK Like Slightly L.Like SL...Strongly Like viii

10 CHAPTER I INTRODUCTION Music educators contribute to their student s musical knowledge through exposure to a diverse and relevant repertoire. In turn, repertoire choice can be an avenue in which students can be introduced to history, culture, or sounds that are new. Multicultural music (in this study defined as music from all global cultures) presented through repertoire is but one avenue to introducing students to a culture unlike their own, thus enriching the value of intercultural relationships and knowledge. This general understanding of diverse cultures, outside of the classroom, could also be just the beginning for both student and teacher to become culturally informed, understanding of cultures unlike their own, and globally marketable throughout a student s life. One problem appears obvious: stylistically and historically authentic multicultural music is sparsely represented on a large scale in North American public school music programs. The ambiguous nature of multiculturalism (and how to teach the nuances of its music) poses difficulties for its implementation (Fain, 2010; Gallo, 2011; Tesconi, 1984). Much multicultural music, specifically the Argentine tango, is passed on orally and contains many stylistic features that are not, and possibly cannot be, written down (Fain, 2010; Gallo, 2011). Teaching unfamiliar styles of music, especially those that are a part of an oral- based tradition, risks an equation of knowledge of a style with knowledge about a style and for music educators to study or teach the music as a work of art, rather than the 1

11 ethnomusicological view that musics are good if they fulfill the purpose for which they were created (Quesada, 2002). Simply, many teachers are at a loss of how to incorporate multicultural music in their classrooms though they re generally open to the music itself (Volk, 1991). It is even possible that students might not have the chance to study multicultural music in depth at all until reaching higher education, thus robbing students of a truly holistic music education. Could it be that being unfamiliar with multicultural music creates a difference in what one hears at all? Could it be that all North and South Americans generally hear aspects of multicultural music aesthetically differently than a dissimilar culture perhaps due to limited exposure, or a North American cinematic makeover, to the music itself? Statement of Purpose The purpose of this thesis is to compare and contrast the aesthetic responses of North and South Americans to Argentinian tango instrumental music, as measured with the Continuous Response Digital Interface (CRDI) device, in order to: a. explore and analyze the North American aesthetic response to a traditional dance style tango, a concert tango, and North American cinematic tango; b. explore and analyze the South American aesthetic response to a traditional dance style tango, a concert tango, and North American cinematic tango; and to c. analyze similarities and differences of aesthetic responses between the North American and South American participants. 2

12 Statement of Limitations Results should be generalized with caution due to limited number of participants involved and the concentrated geographic locations used. Data will be limited to the examination of available North and South Americans and who fall into the specific criteria outlined by the researcher. In addition, results were limited to willing volunteers and thus were a sample of convenience. 3

13 CHAPTER II REVIEW OF LITERATURE Though the vast and thriving music from across the globe, interchangeably referred to as world, cross- cultural, authentic, multiethnic, vernacular, or (for the purposes of this review) multicultural music, can take on many forms, North American music classrooms continue to focus primarily on pieces from the canon of western classical music and jazz. Scholten (1988) suggests that public school music has tended to exist in a world separate from that of popular music and fine art music, and as a result, music educators [feel] uncomfortable moving toward areas of musical culture (p. 25). Yet, Tesconi (1984), sharing similar viewpoints with Scholten on understanding the importance of multiculturalism, recognized issues with its incorporation and implementation that Scholten neglected to address. Though multiculturalism is an important aspect to the classroom, the educational rush to practice is difficult to implement due to the generally nonspecific nature of the word (multiculturalism) itself and, therefore, the difficulty in pinpointing a method of implementation (Tesconi, 1984, p. 92). In 1991, Volk recognized this lack of specificity and issue with implementation and responded by suggesting training in world music and in how to best employ multicultural musics in music programs as the best way to begin the understanding, and therefore implementation, of multicultural music in classrooms. In addition, Volk (2002) suggests prominent among the issues facing multicultural music education today is the question of how to deal with us and them ; if teaching another music culture is 4

14 to enable students to better understand both the music and the people of that culture, then students will be faced with an insider/outsider situation (Volk, 2002). Though teachers are open to multicultural music, the educators simply didn t know what to do with multicultural music, much less how to incorporate it, in their instrumental classrooms (Volk, 1991). Since these discussions of multicultural implementation, there has continued to be a rise in multiculturalism accessibility in both general and music classrooms. Released in 2014, the National Association for Music Education (NAfME) published the most current National Core Arts Standards, which outlined required concepts for creating, performing/presenting/producing, responding, and connecting in dance, media arts, music, theatre, and visual arts (NAfME, 2014). Anchor Standard 6 states that students must convey meaning through the presentation of artistic work with the enduring understanding that musicians judge performance based on criteria that vary across time, place, and cultures (NAfME, 2014). More specifically, by 8 th grade (MU:Pr6.1.8), students are expected to perform music with technical accuracy, stylistic expression, and culturally authentic practices in music to convey the creator s intent (NAfME, 2014). It can be argued that these requirements could be fulfilled through various avenues of music, including through multicultural, or multicultural inspired, music. Existing literature suggests that attitudes toward multicultural music, and effects of multicultural music, have been met with positive responses from several age groups (Fung, 1994; McDaniel, McDaniel, & McDaniel, 1988; Mumford, 1984; Ruiz, 1982; Shirley, 1988; Volk, 1991). According to Fung (1994), there was a 5

15 positive response to his Multicultural Attitude Inventory (MAI), based on the Multicultural Attitude Questionnaire (MAQ), taken by fifty undergraduate non- music majors; students had little reservations toward multicultural music from eight different world music categories. Furthermore, Volk (1991) investigated the instrumental music teachers attitudes toward multicultural music. In this study, Volk generated a short survey of statements that asked questions directly, and indirectly, about attitudes toward multiculturalism from ninety- nine instrumental teachers from the Eastern division of the Music Educators National Conference (now National Association for Music Education); data received were derived from a 5- point Likert- scale. Generally, results displayed an overall positive teacher attitude toward multiculturalism, and teachers were open to the idea of multicultural music in their programs (Volk, 1991). Since it is only fairly recent that interest in world musics [have] been acknowledge[d] as a serious movement within music education, (Quesada, 2002), it should be noted that multicultural music education materials [have improved] tremendously during the last quarter of the twentieth century as an attempt to educate, inform, and prepare both student and teacher in working with multicultural musics (McCullough- Brabson, 2002). Mediums such as workshops, published materials, and lesson plans have been the most popular in reaching teachers (Quesada, 2002) while conferences and symposia sponsored by music education organizations have regularly scheduled workshops and demonstrations focusing on the teaching of world musics (Burton, 2002). Also, several music education texts and sheet music publishers have increased their world musics 6

16 offerings (Burton, 2002). Colleges and universities offer workshops (Volk, 1991) and independent studies in multicultural musics at graduate levels, though most institutions of higher education still generally lack courses focused solely on world musics (Quesada, 2002). Aesthetics Though teachers are generally open to multicultural music, it begs the question: can multicultural music stimulate positive human responses? What is it about a style of music that makes it aesthetically pleasing, or displeasing, to a group of listeners? Can music itself, either familiar or unfamiliar, create an aesthetic experience for a listener? Furthermore, might there be something inherent in a style of music that creates a response, regardless of the listener, or does the audience listening to the music make the difference? The accessibility of aesthetics in an active, directive, [and] involved way is no simple task, but it is perfectly capable of being fulfilled by good teachers (Reimer, 1989, p.97) In this, aesthetic education is no different from any other kind of education (Reimer, 1989, p.97). In her 1957 book, Philosophy in a New Key: A Study in the Symbolism of Reason, Rite, and Art, Susanne Langer states that it seems peculiarly hard for our literal minds to grasp the idea that anything can be known which cannot be named (p. 232). Such is the philosophical idea of an aesthetic response: one can attempt to put it (whatever it may be) into words, but it is not the same thing as the response itself. According to Dewey (1934), the English language is void of a word that precisely includes what is indicated by the two words artistic, referring to production, and aesthetic, referring to perception. Yet, as musicians and music 7

17 educators, it is known by artists that art, specifically music, can have its own distinguishable qualities that can create significant artistic and aesthetic experiences (Dewey, 1934). The logical problem in art, or symbolism, is met with new problems in the theory of knowledge (Langer, 1957, p.218). In turn, a central theme can be argued: human response as a constructive, not a passive thing (Langer, 1957, p.24). Reimer comments on the human, or perceiver s, response as being a shared subjectivity that both captures a work of art s expressive qualities and discovering the work itself; it is a creative experience for the perceiver, in that new experiences of feeling are made possible as he grasps more and more of the work s expressive subtleties (1989, p.67). According to Dewey, this is what is called a significant experience. A river flows. But its flow gives a definiteness and interest to its successive portions greater than exist in the homogenous portions of a pond. In an experience, flow is from something to something. As one part leads into another and as one part carries on what went before, each gains distinctness in itself. The enduring whole is diversified by successive phases that are emphases of its varied colors (Dewey, 1934, p. 38). In a significant experience, all emotions can be categorized as complex, ever- changing qualities of a drama, such as a piece of music, that develop adjacent to the drama s development (Dewey, 1934). This intimate nature of emotion requires plot development, a stage, and a space, wherein to develop and time which to unfold, such as a piece of music (Dewey, 1934, p.43). As it develops and unfolds, these emotions, colored by immediate cares and desires, become the articulation of feelings, giving an emotional pattern, [governing] all individual lives (Langer, 1957, p. 153). One might argue that a piece of music, from a Western perspective, takes the listener on a symbolic journey, the stage being the listener s own mind. As 8

18 the piece develops, so do the listener s emotions. Emotional content, witnessed and felt in arguably all aspects of life, has conceptual content that is experienced without physical transport (Dewey, 1934, p. 44); again, all is symbolic (Langer, 1957). In short, we are dealing with a philosophical problem, requiring logical study, and involving music: for to be able to define musical meaning adequately, precisely, but for an artistic, not a positivistic context and purpose, is the touchstone of a really powerful philosophy of symbolism. (Langer, 1957, p.219) Music itself exhibits a pure production form, as there is no literal content (such as scenery, objects, or facts) to obscure its original form and has a movement toward in inclusive and fulfilling close (Dewey, 1934, p. 58), thus setting up a situation in which one might have an experience (Langer, 1957). Music can create desire, interest, and movement; it can create an aesthetic experience, as illustrated by Dewey s analogy of the movement of a stone. The stone starts from somewhere, and moves, as consistently as conditions permit, toward a place and state where it will be at rest- toward an end. Let us add, by imagination, to these external facts, the ideas that it looks forward with desire to the final outcome; that is interested in the things it meets on its way, conditions that accelerate and retard its movement with respect to their bearing on the end; that it acts and feels toward them according to the hindering or helping function it attributes to them; and that the final coming to rest is related to all that went before as the culmination of a continuous movement. Then the stone would have an experience, and one with esthetic quality (Dewey, 1934, p.41). Yet, according to Elliott, the concept of aesthetics within music also lies on four important assumptions (1995, p.23). The first assumption is that music is a collection of objects or works. The second assumption is that musical works exist to be listened to in one and only one way: aesthetically. To listen to musical works aesthetically means to focus exclusively on their so- called aesthetic qualities, the elements or structural properties of musical works that give form to these qualities. 9

19 The third assumption of the aesthetic concept is that the value of musical works is always intrinsic or internal. Most (but not all) aesthetic theorists believe that the value of music lies exclusively in the structural properties of musical works alone. The fourth assumption is that if listeners listen to pieces of music aesthetically, they will achieve (or undergo) an aesthetic experience. The term aesthetic experience refers to a special kind of emotional happening or disinterested pleasure that supposedly arises from a listener s exclusive concentration on the aesthetic qualities of a musical work, apart from any practical connection these qualities may embody, point to, or represent (Elliott, 1995, p.23). It may be argued that art, specifically music, must interest one s intrinsic motivations in order to become truly interesting and become an experience. Yet, no matter the definition, an aesthetic experience always comes from involvement in the qualities of some perceptible material [and is] a presentation to the actual senses (Reimer, 1989, p.104). As researchers, this poses a problem: how can one quantify the inner- workings of a person s thoughts and opinions? The Continuous Response Digital Interface (CRDI) The philosophical symbolism in musical aesthetics is characterized more by the formulation of its problems than by its solution to them. Its answers establish an edifice of facts; but its questions make the frame in which its picture of facts if plotted (Langer, 1957, p.4). Prior to the development of the Continuous Response Digital Interface (CRDI), researchers called on participants to recall the information or memories of the music being measured, which raised the issue of validity and reliability of that information alongside limiting factors of measurement; music changes continuously over time (Thorisson, 2003, p.31). Fiske (1992) described this predicament by stating a post hoc decision rarely resembles a normal music- 10

20 listening situation. instead music decisions take place more or less continuously while a work is in progress (p. 364). However, in the late 1980s, Florida State University s Center for Music Research developed the device called Continuous Response Digital Interface (CRDI), which was an inexpensive non- verbal multi- purpose measuring device, designed to investigate issues within music (Geringer, Madsen, & Gregory, 2004, p. 7). The CRDI device allows listeners to respond non- verbally during ongoing music and/or during visual presentations in real- time, as a response (Geringer, Madsen, & Gregory, 2004, p. 1). The CRDI consists of two basic forms: a large dial that can be moved across a 256- degree arc and a box with a sliding lever that can be moved up/down or across (Geringer, Madsen, & Gregory, 2004). The dial, for both designs, was created in a way to accommodate many different investigations and participant perspectives, as well (Robinson, 1988). Many researchers have tested the CRDI as a measurement tool and have found it to be quite reliable (Coggiola, 2004; Fredrickson & Coggiola, 2003; Lychner, 1998; Madsen, Brittin, & Capperella- Sheldon, 1993a; Madsen, Brittin, & Capperella- Sheldon, 1993b; Madsen et al., 1993; Madsen & Coggiola, 2001; Misenhelter & Price, 2001; Paul, 2009; Thorisson, 2003). Capperella (1989) constructed an early reliability and validity test of the CRDI. In the study, Capperella used the lever CRDI to test forty participants (musicians and non- musicians) focus of attention as they listened to several classical music excerpts. Results trended generally in the same way, displaying reliability and validity of the tool (Geringer, Madsen, & Gregory, 2004). 11

21 Since its creation over a decade ago, over seventy published studies in at least thirteen national and international journals, and about twenty dissertations have used the CRDI (Geringer, Madsen, & Gregory, 2004). Researchers continue to use the CRDI as a measurement tool (Diaz, 2013; Hackworth & Fredrickson, 2012; Geringer & Sasanfar, 2013; Johnson, Madsen, & Geringer, 2012; Silveira & Diaz, 2014). The studies using the CRDI (individual in goals and findings) have used the device in a unique manner, and only a handful of the studies focused specifically on measuring aesthetic responses. In most of these studies, researchers investigated these aesthetic experiences using musical excerpts from classical repertoire or European- influenced music (Capperella- Sheldon, 1992; DeKaney, Macedo, & Coggiola, 2010; Fredrickson, 1995; Geringer & Madsen, 2003; Lychner, 1998; Madsen, Brittin, & Capperella- Sheldon, 1993a; Madsen, Brittin, & Capperella- Sheldon, 1993b; Madsen & Coggiola, 2001; Madsen et al., 1993; Misenhelter & Lychner, 1997; Paul, 2009; Thorisson, 2003). These studies included, and usually combined, musical excerpts from orchestral and/or symphonic music (Lycnher, 1998; Madsen et al., 1993; Thorisson, 2003), opera selections (Lychner, 1998; Madsen & Coggiola, 2001; Madsen, Britten, & Capperella- Sheldon, 1993a; Madsen et al., 1993), wind literature (Caperella- Sheldon, 1992; Lychner, 1998), and ballet music (Misenhelter & Price, 2001). International Research With the CRDI Within the studies involving the CRDI measuring aesthetic responses, no researcher was found who used music excerpts in their studies outside of classical or jazz music; multicultural music excerpts are highly underrepresented. In 12

22 addition, only a select few studies employing the CRDI involve cultures outside of America. Researcher Ana Frega, from Buenos Aires, Argentina, has included cultures outside of the United States, though has not used multicultural music. The focus of [her] research interest [is] to validate what might be an international experience for use in [Argentina]; Frega was interested in producing literature that replicated North American studies outside of North America (Frega, 2000/01, p.62). Frega (2000/01) and a team of researchers, keeping with this research interest, replicated Madsen s research about aesthetic responses in Latin America using the CRDI. Specifically, Frega replicated Madsen, Brittin, and Capperella- Sheldon s 1993 study entitled An empirical method for measuring the aesthetic experience of music, published in the Journal of Research in Music Education. In the study, the original research version of the 20- minute and 21- second excerpt from La Bohème, recorded by the London Philharmonic, was used as sixty volunteer participants listened to the piece as they controlled the CRDI device; aesthetic levels were tested (Frega, 2000/01). Results from the Argentinian musician participants indicated responses highly similar to the musician participants in the United States, as well as between Argentinian non- musicians and North American non- musicians in both aesthetic responses and questionnaires. The research from this replication not only demonstrates reliability across multiple continents and cultures, but also suggests that intercultural results can be a valuable way to begin accumulating important results, making them useable around the world (Frega, 2000/01). In developing countries, funding for music education, 13

23 much less research in music education, is scarce. Frega argues the importance of inclusion and replication of studies involving cultures outside of the United States could provide useful information to these countries to begin making positive changes in music education in these developing areas (2000/01). Icelandic researcher Thorir Thorisson (2003) used the CRDI device to trace participants thought processes as they were deciding whether an orchestral excerpt was Classical or Romantic. Forty- two secondary school participants, who had just completed a music appreciation course, were asked to think out loud as they listened to an orchestral excerpt and used the CRDI, explaining aloud their reasoning for thinking why a piece was Classical or Romantic. Though justifications differed by style, results indicated that holistic and emotional justifications were slightly more frequent than analytical justifications (Thorisson, 2003). Though this study included non- American participants, it still did not include multicultural music excerpts. Tango The word Tango has been used in many different ways by many different cultural peoples, however, the metaphysical and social origin of Tango [as we know it today] began in a subtle way in the 19 th century, with the declaration of Buenos Aires as Argentina s capitol (in 1880) and the melting pot of cultures represented in the same area, all contributing to the music styles and dances that were then emerging (Ferrer, 1996; Salgán, 2001). The cross- pollination of the musical culture of the immigrants of Africa, Europe, and the native Argentinians created conditions which were unique (Lavocah, 2014, p. ix). These immigrants, cut off from their homeland, lacking a common history and culture, [and] even a common 14

24 language, had helped Argentina, and specifically the port city of Buenos Aires, become an oasis of ideas, cultures, and art (Lavocah, 2014, p. ix). The result was an ethnic mosaic of musics from multiple cultures, or, tango (Lovacah, 2014, p.ix). According to the National Academy of Tango in Buenos Aires, Argentina, there are four main periods that can be distinguished in the history of tango: The guardia vieja (old guard) the guardia nueva (new guard) the vanguardia (avant- garde) [and] the periodo contemporáneo (contemporary age). However, tango music is more often divided into the guardia vieja (old guard), guardia nueva (new guard), edad de oro (golden age), and tango nuevo (new tango) (Valiente, 2014). For the purposes of this review, I will refer to the musical eras of the edad de oro (golden age), or tango nuevo (new tango). From 1935 through the mid- 1950s, the edad de oro (the Golden Age of Tango) was the era of the highest grossing recordings, new compositions, arrangements of classic tangos, and sung tangos (Valiente, 2014). It is in this era that the orquestra típica evolved into the gran orquestra (Lavocah, 2014, Valiente, 2014). This orchestra was a large orchestra with a section of several violins, a piano, a stringed bass, and a section of several bandoneons, a concertina- like instrument born in Germany, created by Heinrich Band and, upon its arrival in Argentina, was somehow transformed into the instrument and image of the tango (Salgan, 2001, p. 91). The rise of these orchestras soon dominated the tango scene (Lavocah, 2014; Valiente, 2014). The great orchestras of Juan D Arienzo, Carlos Di Sarli, Anibal Troilo, and Osvoldo Pugliese were unequivocally the most important orchestras of the era, shaping both the standard and expectation of tango orchestras for the time and for future orchestras, while also contributing the most danceable and recorded music to the tango dancer (Lavocah, 2014; Valiente, 2014). 15

25 The tango nuevo followed the Golden Age and continues today. In this era, tango music began to incorporate elements and instruments of both jazz and classical music (Valiente, 2014). Argentinian bandoneonist and tango nuevo composer, Astor Piazzolla ( ), began his tango career in Troilo s orchestra, but later pushed the envelope of the genre, incorporating harmonic and contrapuntal elements from classical music, such as fugal passages, and formal elements from jazz like improvised instrumental solos and the use of timbres like the saxophone and percussion, to become a touchstone of the avant garde (Fain, 2010). As it continued to grow and develop in Argentina, tango also became a point of interest globally. With the help of popular tanguero singers such as Carlos Gardel, tango films, the relocation of several tango artists, radio, and records, tango found its way into many corners of the world. The charm, seduction, passion for freedom, picaresque story, and the subtle codes governing the truths of its music, poetry, and song was of interest for several artists, including those on the North American stage, Broadway (Ferrer, 1996, p.181). Since its exposure to the North American audience, the tango style and character has been inspiration for several Broadway musical numbers. Tango: The Music Within the umbrella of the Tango genre, three species of tangos exist: the milonga (fast- tempo in 2/4 meter), the valse (3/4 meter), and the tango (moderato 4/4 meter). For the purpose of this study, I will focus only on the tango. Musically, the tango was originally meant to be danced and has developed over time in constant contact with the tango as a dance (Gallo, 2011, p.10). 16

26 Because of its original design to serve dancers, the tango is specifically written in a 4/4 meter with contrasting rhythmic and expressive dimensions within the same piece (Gallo, 2011). Accents on beats one and three emphasize the forward movement of a piece, yet several rhythmic modifications are used to juxtapose expressive phrases weaved within a piece, either between musical sections or instrumental lines (Gallo, 2011; Peralta, 2015). In addition, several elements, such as fraseo (phrasing that alters the rhythmic timing in a measure) and shifts in dynamics, articulation, and tempo, are heard in the authentic tango style (Fain, 2010; Gallo, 2011; Peralta, 2015). As tango transitioned into the tango nuevo (new tango) era, and popular tango nuevo musician Astor Piazzolla rose to fame, the tango species, still true to its style, became exaggerated. Though these tangos were still in a 4/4 meter, composers began specifying exactly what was to be accented (instead of it being assumed that beats one and three were emphasized) and elements, like fraseo, were written out. In addition, the shift in articulation and tempo were heard more between sections of music instead of individual phrases. In addition, several percussive effects and extended techniques (such as chicharra, bowed behind the bridge of the violin) are heard as embellishments in new tangos. It may be argued that as new genres emerge, or new cultures collide, tango can and will continue to morph musically, rhythmically, and stylistically (Fain, 2010; Gallo, 2011). As the world continues to become globalized, one may wonder if simply being unfamiliar with multicultural musics creates a difference in what one hears while listening to a multicultural music. Do North Americans and South 17

27 Americans find the same thing aesthetically pleasing in a piece of multicultural music? Do North Americans hear aspects of multicultural music differently than South Americans due to limited exposure, or a North American cinematic makeover, to the music? Answers to these questions would be an insightful piece of knowledge for educators looking to introduce students of all cultures and backgrounds to new multicultural musics. 18

28 CHAPTER III METHODOLOGY Participants Participants involved were categorized as North American or South American (N = 17). North American participants (n = 10) included those who were born in the United States and lived in the United States for a minimum of 15 years. South American participants (n = 7) included those who were born in a South America country (this did not include Central America) and lived in South America for a minimum of 15 years. All participants were recruited via TechAnnounce, (an informational mass sent to all Texas Tech students and faculty) and through the researcher s Facebook network. Participants involved in the study were not required to be music majors or have previous musical training of any kind, but were required to be 18 years of age or older. Repertoire The repertoire chosen was the tango, both the style and the species. For the purpose of this study, the researcher defined the three pieces of repertoire as a dance style tango, a concert tango, and a North American cinematic tango, for the purpose of differentiating the level of North American acculturation. The dance style tango was the least acculturated, closest to an original Argentine tango, as it is true to its original purpose (serving dancers) and maintains its original stylistic and tango species definitions. The concert tango displays intermediate acculturation, as it still follows the musical style of Argentine tango, but does not serve dancers (it is meant primarily for listening) and is lightly influenced by jazz, a style claimed by 19

29 North Americans. Finally, the North American cinematic tango displays the highest level of acculturation, as it is written by North Americans, put in a familiar setting to North Americans, and comes from a context that is North American (Broadway). In order to best choose repertoire, musicians knowledgeable in tango repertoire (N = 6) and performance were consulted in order to give suggestions for repertoire, as outlined by the researcher. These musicians were not included in any data collection. The pieces Bahia Blanca by Carlos di Sarli (dance style tango, recorded by Orquestra Tipica de Carlos di Sarli in the late 1950 s, available at Adios Nonino by Astor Piazzolla (concert tango, live recording from a 1980 live performance, available at and the tango from the stage production with Julie Andrews from Victor/Victoria (North American cinematic tango, available at were chosen, as each piece demonstrated a heavy string presence (in the ensemble or in a solo), included a lyrical melodic phrase supported by a rhythmic accompaniment, ranged in tempo between bmp in its fastest sections, and were as true to the tango species and style as possible, while still achieving the traditional tango, concert tango, and Broadway tango distinctions. Preparing the Stimulus It was decided that the three musical excerpts would be played in the same listening order among all participants via audio track as the music was designed to progress from the least North American acculturation to the most North American 20

30 acculturation. In addition, the CRDI software required a consistently timed stimulus for recording the CRDI s data input. After the pieces were converted from YouTube videos to audio files, the researcher chose excerpts as close to 0:30 seconds in duration that made musical sense, as well as, attempted to represent the overall idea of the piece of music. The music files were imported into Garage Band where they were combined with the voice- over recordings created by the researcher. The voice- over recordings contained the session instructions for the participant, and were recorded instead of stated verbally in order to maintain consistency. See Appendix A. The final product, the session audio file containing all instructions and timed music excerpts in one 7 minute, 9 second digital audio track, was downloaded to the researcher s personal 23- gigabyte Lexar universal serial bus (USB) digital storage device and the researcher s personal computer, a inch MacBook Air with a 1.4GHz Intel Core i5 processor. To prepare the software to run the CRDI, the software was configured and a Session Control File was created. The Session Control File was pre- set to Manual mode and the Sampling Interval was set to 0.5 seconds. The CRDI program was also configured to only record data during musical excerpts 1 (beginning at 00:36:82), 2 (beginning at 02:48:89), and 3 (beginning at 05:08:62) during the 07:09:00 audio track. The researcher also obtained a Continuous Response Digital Interface (CRDI) dial to measure the listener s aesthetic responses. The dial, designed to move in an 21

31 Texas Tech University, Catherine Olivier, August 2017 arc- like motion, displayed a picture of a smiling face and a thumbs up on the right end of the arc and a disgruntled face with a thumbs down on the left end of the arc. Pictures were chosen to represent aesthetic responses to minimize language barriers. See Figure 1. Figure 1. CRDI dial display. Finally, before any data were officially collected, the researcher tested the entire process, either in part or in whole, with family members and a music education graduate- level evening class on Thursday, December 1, In doing so, the researcher had an opportunity to refine and adjust any technical, written, or instructional errors or confusion, to pinpoint any tendencies that the researcher could be proactive about, and to practice the process. It was because of this process 22

32 that the researcher discovered the tendency to forget about moving the dial if the participant s hand was not on the dial, a few small typing errors and misleading instructions, and some musical volume balance issues. The North American cinematic tango chosen was also an initial concern, as the researcher purposefully sought out pieces that would ideally not be recognized and, therefore, would not alter any genuine aesthetic responses due to what a participant knew about the piece s storyline. It was decided that a more obscure Broadway tango dance scene would be less recognized. All concerns were addressed prior to official data collection. Data Collection Listening sessions were conducted with the CRDI device connected to the researcher s personal computer and the music excerpts on the audio track were played from a Lenovo N42-20 Chromebook speaker. Sessions were performed in quiet locations, (the TTU library lobby, TTU School of Music sound- proof practice rooms, and the researcher s home) therefore, no headphones were used. The CRDI program and audio file were unable to run from the same computer at precisely the same time, therefore, two computers were needed, to maintain consistent timing throughout the study. Upon meeting at the pre- designated area, the participants were greeted by the researcher and shown to where they may sit. The researcher handed the participants a researcher- designed Participant Questionnaire and Free Response packet and asked the participant to complete the Participant Questionnaire in order 23

33 to learn more about the participant and his/her background. See Appendix B. All questionnaires were identical in content regardless of North or South American classification. On the Participant Questionnaire, each questionnaire was given a code that would indicate whether the participant was classified as a North or South American and whether they were male or female instead of recording the participant s full name. For instance, the first North American participant would be coded N.A. #1, Male and the second North American participant would be coded N.A. #2, Female. During this time, the researcher made sure to calibrate the CRDI dial and set up the Control File properly. Once completed, the researcher briefly explained to the participant that they would be given all instructions and music excerpts through the audio track. It was asked that the participant would focus on only one activity at a time; participants would have designated time to both listen and move the dial or to write in their Participation Questionnaire and Free Response packet. Specifically, it was requested that the participant keep their hand on the dial when the music excerpt was playing. See Appendix A. Each subject listened to the audio track fully and simultaneously manipulated the dial of the CRDI device to indicate his/her aesthetic opinion during the three music excerpts. After each musical excerpt, the participant had one minute to complete the survey, a 5- point Likert- scale rating and a short free- response as a written reflection. The written response was printed on three separate sheets of paper in attempt to keep participant responses as uninfluenced by previous comments as possible. 24

34 Once the audio track had completed and all responses were collected, the researcher thanked the participants for their cooperation and time. The researcher saved all digital data on her personal computer as both.dat and.spi formatted files and collected the participant s packet of information. 25

35 CHAPTER IV RESULTS Raw data consisted of the North and South American aesthetic responses measured in magnitude, timing (in seconds to indicate how soon participants moved the dial), and direction (generally positive or negative) as recorded by the CRDI device. For both North American and South American responses, analyses were converted into graphs created for each excerpt, allowing the researcher to compare overarching trends and responses. For a clearer analysis, each excerpt s duration was divided into three time segments. See Table 1. This allowed the researcher to track the participant s aesthetic response over a span of time throughout the excerpt s duration. Table 1: Analysis Segments Analysis Segment 1 Analysis Segment 2 Analysis Segment 3 Excerpt 1 1:00 23:05 sec. 24:00 46:05 sec. 47:00 68:00 sec. Excerpt 2 1:00 25:05 sec. 26:00 52:05 sec. 53:00 77:00 sec. Excerpt 3 1:00 23:05 sec. 24:00 47:05 sec. 48:00 72:00 sec. In order to measure the magnitude of aesthetic response, the numerical results collected through the CRDI were segmented into two categories: general negative or positive responses, and the magnitude of negative or positive responses. Once calibrated, the CRDI used in this study allowed the participant to move a large dial across a 254- degree arc. Numerical input from was equivalent to a generally negative aesthetic response, where magnitude readings from

36 translated to extremely dislike, translated to dislike, and translated to dislike slightly. Numerical input from was equivalent to a generally positive aesthetic response, where magnitude readings from were translated to like slightly, translated to like, and translated to extremely like. Numerical input was considered neutral to account for any unsteady or digitally shaky readings. See Figure 2. Generally Positive Generally Negative Neutral = extremely dislike = extremely like = dislike = like = dislike slightly = like slightly Figure 2. CRDI magnitude measurements via CRDI dial and graph North American Aesthetic Responses In Excerpt 1, the aesthetic response was generally positive, with all participants ending with positive responses and one participant remaining neutral throughout the piece. See Figure 3. Of the participants who moved the dial, all responses were indicated within Segment 1 and generally continued to have a 27

37 positive trend in Segments 2 and 3. Though most participants had a generally clear positive progression, North American Participant #8 indicated a slight aesthetic decline in Segment 2 while North American Participants #4 and #8 indicated another slight dip in aesthetic response in Segment 3. Both North American Participants #4 and #8 still had a generally positive aesthetic response to the piece overall. Figure 3. North American Aesthetic Responses (N = 10) Excerpt 1 Excerpt 2 also had a generally positive aesthetic response, yet the trends of each participant were not as straightforward as Excerpt 1. See Figure 4. Unlike Excerpt 1, where all participants who responded moved the dial within Segment 1, seven participants responded to the excerpt within Segment 1, two participants responded to the excerpt within Segment 2, and North American Participant (N.A.P) #3 waited to respond to the excerpt until Segment 3. In addition, N.A.P. #6 spent a 28

38 majority of the excerpt responding negatively; it was only within the final seconds of the excerpt that the participant responded positively to the excerpt. However, there was more than one participant that responded negatively. In Segment 3, N.A.P. #8 declined quickly from a very positive, extremely like, response to a negative, slightly dislike, response. Yet, despite some negative responses within the excerpt, all participants ended with a generally positive aesthetic response. Figure 4. North American Aesthetic Responses (N = 10) Excerpt 2 Excerpt 3 presented a mixture of positive and negative responses. See Figure 5. Though a majority of the participants responded generally positively to the excerpt, three participants responded negatively to the excerpt within Segments 2 and/or 3. N.A.P. #10 waited to move the dial until Segment 2 and only moved the dial in a negative direction. 29

39 Figure 5. North American Aesthetic Responses (N = 10) Excerpt 3 Table 2 presents the number of N.A.P.s and their magnitude of aesthetic response over time for all three excerpts. Within each segment, the seven magnitudes of aesthetic response categories (extremely dislike= ED, dislike = D, dislike slightly= DS, neutral= N, like slightly=lk, like=l, and strongly like= SL) are listed alongside the total number of North American participants who fell within each category. Each category s participant total was converted into a percentage to allow for consideration of the different sized groups between North and South Americans. Readings extrapolated from the graphs are measured at the end of each Segment. See Appendix C. One may note that within all three excerpts, the majority of participants (<50% total) consistently responded to the music with a generally positive aesthetic response within each Segment. 30

40 Table 2: Magnitude of N.A.P. responses per segment Segment 1 Segment 2 Segment 3 Excerpt 1 ED à 0 à 0% D à 0 à 0% DS à 0 à 0% N à 1 à 10% LK à 4 à 40% L à 2 à 20% SL à 3 à 30% Excerpt 2 ED à 0 à 0% D à 0 à 0% DS à 1 à 10% N à 3 à 30% LK à 3 à 30% L à 2 à 20% SL à 1 à 10% Excerpt 3 ED à 0 à 0% D à 0 à 0% DS à 0 à 0% N à 5 à 50% LK à 2 à 20% L à 2 à 20% SL à 1 à 10% ED à 0 à 0% D à 0 à 0% DS à 0 à 0% N à 1 à 10% LK à 1 à 10% L à 5 à 50% SL à 3 à 30% ED à 0 à 0% D à 0 à 0% DS à 1 à 10% N à 1 à 10% LK à 2 à 20% L à 3 à 30% SL à 3 à 30% ED à 0 à 0% D à 0 à 0% DS à 1 à 10% N à 0 à 0% LK à 4 à 40% L à 1 à 10% SL à 4 à 40% ED à 0 à 0% D à 0 à 0% DS à 0 à 0% N à 1 à 10% LK à 0 à 0% L à 5 à 50% SL à 4 à 40% ED à 0 à 0% D à 0 à 0% DS à 0 à 0% N à 0 à 0% LK à 1 à 10% L à 6 à 60% SL à 3 à 30% ED à 0 à 0% D à 1 à 10% DS à 1 à 10% N à 0 à 0% LK à 3 à 30% L à 0 à 0% SL à 5 à 50% In comparison to the real- time collection of data via the CRDI, participants also rated the excerpts via a 5- point Likert- scale, ranging from 1 (strongly dislike) to 5 (strongly like), after the excerpt was completed. Among the North American Participants, Excerpt 2 was the highest rated excerpt with an average of 4.35, followed by Excerpt 1 with an average of 4.2, and finally Excerpt 3 with a 3.9 average. All three excerpts were rated positively. This data parallels what was shown in both the CRDI graphs and magnitude findings. South American Aesthetic Responses In Excerpt 1, the aesthetic response was generally positive, with five of the seven participants ending with positive responses, one participant remaining 31

41 neutral throughout the piece, and one participant whose response was negative. See Figure 6. Of the participants who moved the dial, only four responses were indicated within Segment 1 and, of these responses, they all progressed rapidly and positively. In Segment 2, South American Participant (S.A.P.) #2 indicated their response positively while S.A.P. #1 indicated a negative response. Excerpt 2 also had a generally positive aesthetic response, yet the trends shown showed a slightly more varied opinion in comparison to Excerpt 1. See Figure 7. Though only S.A.P. #1 remained neutral throughout the excerpt, S.A.P. #2, #3, #5, and #7 responded within Segment 1 in a generally positive direction. S.A.P. #6 (responding in Segment 2) and #4 (responding in Segment 3) showed a drastic and rapid turn of the dial from neutral to extremely like where the dial remained for the remainder of the excerpt. However, there was one participant that responded negatively. In Segment 3, S.A.P. #3 declined quickly from a generally positive response to a generally negative response. Figure 6. South American Aesthetic Responses (N = 7) Excerpt 1 32

42 This was the only S.A.P. who changed his/her mind about the aesthetic response of the piece and responded negatively to the music by the end of the excerpt. Figure 7. South American Aesthetic Responses (N = 7) Excerpt 2 Excerpt 3 resulted in a mixture of positive and negative responses. See Figure 8. Though a majority of the participants responded generally positively to the excerpt, S.A.P. #4 remained neutral to the excerpt while S.A.P. #2 began to progressively respond to the excerpt negatively in Segment 1. Two participants (S.A.P. #2 and #7) responded in Segment 1 (at specifically the same moment) and four participants (S.A.P. #1, #3, #5, and #6) waited to respond in Segment 2. In addition, while S.A.P. #1, #3, #5, and #6 responded positively and remained generally positive until the end of the excerpt, S.A.P. #7 responded positively within Segments 1 and 2, and showed a slight decline in aesthetic response in Segment 3. S.A.P. #7 still had a generally positive aesthetic response to the piece overall. 33

43 Figure 8. South American Aesthetic Responses (N = 7) Excerpt 3 Table 3 presents the number of S.A.P.s and their magnitude of aesthetic response over time for all three excerpts. As outlined previously, the seven magnitude of aesthetic response categories (extremely dislike= ED, dislike = D, dislike slightly= DS, neutral= N, LK= like slightly, like=l, and strongly like= SL) are listed alongside the total number of South American participants who fell within each category. Each category s participant total was converted into a percentage to allow for consideration of the different sized groups between North and South Americans. Readings extrapolated from the graphs are measured at the end of each Segment. See Appendix C. One may note that within all three excerpts, the majority of participants (<50% total) consistently responded to the music with a generally positive aesthetic response across all three Segments. 34

44 Table 3: Magnitude of S.A.P. responses per segment Segment 1 Segment 2 Segment 3 Excerpt 1 ED à 0 à 0% D à 0 à 0% DS à 0 à 0% N à 3 à 42.86% LK à 1 à 14.29% L à 2 à 28.57% SL à 1 à 14.29% Excerpt 2 ED à 0 à 0% D à 0 à 0% DS à 0 à 0% N à 3 à 42.86% LK à 3 à 42.86% L à 0 à 0% SL à 1 à 14.29% Excerpt 3 ED à 0 à 0% D à 0 à 0% DS à 1 à 14.29% N à 5 à 71.43% LK à 1 à 14.29% L à 0 à 0% SL à 0 à 0% ED à 0 à 0% D à 1 à 14.29% DS à 0 à 0% N à 1 à 14.29% LK à 1 à 14.29% L à 1 à 14.29% SL à 3 à 42.86% ED à 0 à 0% D à 0 à 0% DS à 0 à 0% N à 2 à 28.57% LK à 1 à 14.29% L à 0 à 0% SL à 4 à 57.14% ED à 0 à 0% D à 0 à 0% DS à 1 à 14.29% N à 1 à 14.29% LK à 2 à 28.57% L à 0 à 0% SL à 3 à 42.86% ED à 0 à 0% D à 1 à 14.29% DS à 0 à 0% N à 1 à 14.29% LK à 0 à 0% L à 2 à 28.57% SL à 3 à 42.86% ED à 0 à 0% D à 1 à 14.29% DS à 0 à 0% N à 1 à 14.29% LK à 1 à 14.29% L à 0 à 0% SL à 4 à 57.14% ED à 0 à 0% D à 1 à 14.29% DS à 0 à 0% N à 1 à 14.29% LK à 2 à 28.57% L à 0 à 0% SL à 3 à 42.86% In comparison to the real- time collection of data via the CRDI, participants also rated the excerpts via a 5- point Likert- scale, ranging from 1 (strongly dislike) to 5 (strongly like), after the excerpt was completed. Among the South American Participants, Excerpt 2 was the highest rated excerpt with an average of 4.57, followed by Excerpt 1 with an average of 4.0, and finally Excerpt 3 with a 3.86 average. All three excerpts were rated positively. These data parallel what was shown in both the CRDI graphs and magnitude findings. Comparisons of All Quantitative Aesthetic Responses When comparing similarities and differences of N.A.P. and S.A.P. aesthetic responses (N = 17), there were a few trends and observations, including steadiness of the dial and response time, that were notable. Overall, it was clear that the N.A.P.s 35

45 responded faster (almost always within Segment 1) and more dynamically (in magnitude) than the S.A.P.s, yet the overarching response for both North Americans and South Americans was generally quite positive. In Excerpt 1, the fastest to respond to the excerpt was N.A.P. #8 who responded definitively at 5 seconds followed by N.A.P. #7 at 8 seconds. The first S.A.P. to respond was #7 at 9 seconds. It is clear that the S.A.P.s were deliberate about their dial movement as it showed a steady trend throughout the excerpt. N.A.P. #8 responded to Excerpt 1 in multiple locations throughout the excerpt, indicating multiple strongly like and like moments. Of the responses from all participants, two participants (11.76%) remained neutral (one N.A.P. and one S.A.P.), one participant (5.88%) indicated a generally negative response, and fourteen participants (82.35%) indicated a generally positive response. Excerpt 2 s fastest response was from N.A.P. #8 at 5 seconds followed by N.A.P. at 10 seconds and S.A.P. at 13 seconds. Again, South American responses were quite deliberate as clear trends and steady responses are shown while North American responses displayed a more frequent turn of the dial (for example, N.A.P. #8). Of the responses from all participants, one participant (5.88%) remained neutral (S.A.P. #1), two participants (11.76%) dipped into a generally negative range at some point in the excerpt, and thirteen participants (76.47%) only indicated a generally positive response to the excerpt. Excerpt 3 resulted in the slowest reaction time from all participants, with N.A.P.s #8 and N.A.P. #6 both responding the fastest at 9 seconds and S.A.P.s #2 and #7 both responding at 13 seconds. North American responses display an active use 36

46 of the dial, though subtler than Excerpts 1 and 2, while the South American responses continue display a steady use of the dial. Of the responses from all participants, one participant (5.88%) remained neutral (S.A.P. #4), two participants (11.76%) showed a generally negative decline the entire excerpt, one participant (5.88%) changed their response from generally positive to a generally negative response within the span of the excerpt (N.A.P. #4), and thirteen participants (76.47%) were indicated a generally positive response to the excerpt a majority of the time. One may note that within all three excerpts, the majority of participants (<50% total) consistently responded to the music with a generally positive aesthetic response. On average, participants also rated each excerpt positively via the 5- point Likert- scale rating, ranging from 1 (strongly dislike) to 5 (strongly like), after the excerpt was completed. Of the written ratings from all participants, Excerpt 2 was the highest rated excerpt with an average of 4.44, followed by Excerpt 1 with an average of 4.11, and finally Excerpt 3 with a 3.88 average. All three excerpts were rated positively. These data parallel what was shown in both the CRDI graphs and magnitude findings in both North and South American participants. Written Responses In addition to the CRDI data and the 5- point Likert- scale written ratings, data collected also involved participants writing comments after the excerpt was completed in attempt to further understand the participant s quantitative data. In order to compare North and South American written responses, participant answers were coded into four groups: the Mention of Self, a Technical Element, 37

47 Emotional Element, and a Physical Element. Each written response could fit in more than one category but was only counted once per category (even if there were multiple sentences or sentence fragments). Table 4 presents the number of North and South American comments within each category. In coding the written responses, the researcher maintained the same standard of interpretation between both North and South American participants. The Mention of Self was coded as such if the use of, or clear implied use of, I or me was used in the participant s statement or statements; the Technical Element was coded as such if the participant s statement(s) included any element about performance practice, alluded to, or stated, style or characteristics of the music, and any specifically musical terms; Emotional Element was coded if the participant Table 4: North and South American Participants Written Responses Mention of Self Technical Element Emotional Element Physical Element Informative Element North American Participants (n = 10) Excerpt 1-4 Excerpt 2-7 Excerpt 3-8 Excerpt 1-7 Excerpt 2-6 Excerpt 3-4 Excerpt 1-9 Excerpt 2-9 Excerpt 3-9 Excerpt 1-2 Excerpt 2-1 Excerpt 3-5 Excerpt 1-0 Excerpt 2-0 Excerpt 3-0 South American Participants (n = 7) Excerpt 1-6 Excerpt 2-5 Excerpt 3-7 Excerpt 1-4 Excerpt 2-3 Excerpt 3-2 Excerpt 1-3 Excerpt 2-7 Excerpt 3-7 Excerpt 1-0 Excerpt 2-0 Excerpt 3-1 Excerpt 1-1 Excerpt 2-4 Excerpt 3 1 Total Participant Responses (N = 17) Excerpt 1-10 Excerpt 2-12 Excerpt 3-15 Excerpt 1-11 Excerpt 2-9 Excerpt 3-6 Excerpt 1-12 Excerpt 2-16 Excerpt 3-16 Excerpt 1-2 Excerpt 2-1 Excerpt 3-6 Excerpt 1-1 Excerpt 2-4 Excerpt 3-1 mentioned or alluded to a personal emotion, memory, the use of the word emotion or emotional, and an opinion or critique of the music; Physical Element was 38

48 coded if the participant mentioned a particular activity, and bodily motion or event (including hypothetical situations); Informative Element included measureable facts of statements about the music or identification/speculation of the composer or genre. See Appendix C. Of the North American responses, the participants mostly included comments on the Mention of Self, Technical Element, and Emotional Element. Many of the comments that were the Mention of Self also included either a Technical Element or an Emotional Element as well. Also, the comments were generally lengthier and included drawings (such as smiling faces). South American responses mostly included comments on the Mention of Self and an Emotional Element. Unlike North American Emotional Element responses, many of the South American comments were memory or experience- based. For example, S.A.P. #3 wrote, It reminded me to my grandparents. It brings me a lot of memories, in response to Excerpt 1 and, This song didn't bring me a lot of feelings. I could not associate it with a specific moment, in response to Excerpt 2. In addition, S.A.P. #7 commented on Excerpt 1 with, I have beautiful experiences and memories with this piece. I started to learn tango with this piece. I like how rhythmically it is. 39

49 CHAPTER V DISCUSSION The purpose of this thesis is to compare and contrast the aesthetic responses of North Americans and South Americans to Argentinian tango instrumental music, as measured with the Continuous Response Digital Interface (CRDI) device, in order to explore and analyze both North and South American aesthetic responses to traditional dance style tango, a concert tango, and a North American cinematic tango and to analyze similarities and differences of aesthetic responses between the two populations. Exploring and Analyzing the North American Aesthetic Response In all three excerpts, the North American aesthetic response was generally positive and a majority of participants (<50% total) consistently responded to the music with a generally positive aesthetic response across all three Segments. In comparison to the real- time collection of data via the CRDI, participants also rated the excerpts via a 5- point Likert- scale and wrote comments and thoughts about the music after the excerpt was complete. Among the N.A.P.s, Excerpt 2 (intermediate acculturation) was rated the highest with an average of 4.35, followed by Excerpt 1 (least acculturated) with an average of 4.2, and finally Excerpt 3 (highest acculturation) with a 3.9 average. All three excerpts were rated positively, which parallels the data shown in the CRDI graphs and magnitude findings. In addition, written responses mostly included comments on the Mention of Self, Technical Element, and Emotional Element. Many of the comments that were the Mention of Self also included either a Technical Element or an Emotional 40

50 Element, and North American comments were generally lengthier and included drawings. Exploring and Analyzing the South American Aesthetic Response In all three excerpts, the South American aesthetic response was generally positive and a majority of participants (<50% total) consistently responded to the music with a generally positive aesthetic response across all three Segments. In comparison to the real- time collection of data via the CRDI, participants also rated the excerpts via a 5- point Likert- scale and wrote comments and thoughts about the music after the excerpt was complete. Among the S.A.P.s, Excerpt 2 (intermediate acculturation) was rated the highest with an average of 4.57, followed by Excerpt 1 (least acculturated) with an average of 4.0, and finally Excerpt 3 (highest acculturation) with a 3.86 average. All three excerpts were rated positively, which parallels data shown in the CRDI graphs and magnitude findings. In addition, S.A.P. written responses mostly included comments on the Mention of Self and Emotional Element, where many of the South American comments were memory or experience- based. Analyzing Similarities and Differences of Aesthetic Responses Between North and South Americans In analyzing similarities of N.A.P. (N = 10) and S.A.P. (N = 7) aesthetic responses, it can be seen that both North and South American aesthetic responses were generally positive across all three Segments and across all three excerpts. In addition, participants rated the excerpts he/she heard generally positively. Both N.A.P.s and S.A.P.s rated Excerpt 2 (intermediate acculturation) as the highest rated excerpt, followed by Excerpt 1 (least acculturated) and finally Excerpt 3 (most acculturated). In addition, North and South American written responses about the 41

51 music included the Mention of Self and Emotional Element within a majority of the comments. Differences between N.A.P. and S.A.P. aesthetic responses (N = 17) included steadiness of the dial and response time. Upon analysis of graphs, CRDI digital readings, and simple observation, it was clear that the N.A.P.s responded faster (almost always within Segment 1) and more dynamically (in magnitude) than the S.A.P.s. Though both North and South American written responses included the Mention of Self and an Emotional Element, North American responses were generally lengthier (the researcher inquires if this is a reflection of the N.A.P. s ease of using the English language in comparison to the S.A.P.) and included drawings (such as smiling faces) while South American responses were memory or experience- based comments. Simply stated, this study may inform educators as to whether or not tango music is even a subject of aesthetic interest among a general population (therefore, if it is a viable and worth- while option to explore whilst incorporating multicultural music into student repertoire), whether or not tango music is aesthetically pleasing among North and South American populations specifically, and if there are any similarities or differences to what North and South Americans find aesthetically pleasing within the tango music genre. Although previous research using the CRDI has measured a variety of Western classical or jazz musical samples (Coggiola, 2004; Fredrickson & Coggiola, 2003) research about multicultural music and research including multiple cultures is lacking. As music educators are required or encouraged to include a variety of musics, and many schools are made up of diverse 42

52 populations, it is necessary to expand to a larger, more globally encompassing, scope of knowledge and data. The analysis of data was strongly contemplated over time, as the researcher aimed to show both quantitative data (CRDI readings and 5- point Likert- scale ratings) and qualitative data (participant free response statements) as equally important aspects to understanding participant s true, overarching, aesthetic response to the three tango excerpts. Quantitative results of this study indicated that 76.47% % of North and South American participants responded generally positively to all three musical excerpts in the real- time readings from the CRDI and rated all three musical excerpts positively (Excerpt 2 was the highest rated excerpt with an average of 4.44, followed by Excerpt 1 with an average of 4.11, and finally Excerpt 3 with a 3.88 average). Qualitative data suggested that N.A.P. responses were generally lengthier, included comments combining the Mention of Self, Technical Elements, and/or Emotional Elements, and were much more informally written (included drawings). In addition, S.A.P. responses were generally more memory or experience- based. This researcher believed that in addition to free responses from participants, it was important to note a few small nonverbal observations witnessed by the researcher during a participant s session, specifically several facial expressions and mannerisms. Notes on participant expressions and mannerisms were not included in official records as they were simply informal observations that the researcher thought interesting or out of the ordinary expression during the session. 43

53 Though several North and South American participants were emotionally neutral and, therefore, virtually unreadable, N.A.P. #2, #7, #8, #9, #10 subtly expressed noteworthy physical expressions and mannerisms. As the researcher was finalizing equipment setup, N.A.P. #2 offered information about himself, including his major area of study (medicine), how he used to play the violin, and how his main hobby is ballroom dance. As Excerpt 3 began, the researcher noted an eyebrow raise and a small smile followed by a turn of the dial and subtle dancing to the music. This reaction is paralleled in his quantitative and qualitative aesthetic responses or Excerpt 2. In addition, N.A.P. #7, #8, and #9 were observed during Excerpts 1 and 2 (for N.A.P. # 8, Excerpt 3) closing their eyes to sway or tap their toe to the music. Regardless of N.A.P. #7 and #8 s similar skillset and education (both are highly trained musicians who were, or are, music majors) and N.A.P. #9 opposing skillset and education background (she is a middle school social studies teacher who does not currently play a musical instrument), all three participants were observed physically embodying their positive aesthetic reaction music (supported in both qualitative and quantitative data). Juxtaposing the previous participants, N.A.P. #10 was the only N.A.P. to physically express dislike for a musical excerpt. As Excerpt 3 began, it is noted that N.A.P. #10 furrowed his brow before turning the CRDI dial. This noted expression is also paralleled in the qualitative data. S.A.P. #1, and #7 also subtly expressed noteworthy physical expressions and mannerisms. As the researcher was situating slightly tangled equipment, S.A.P. #1 offered minimal information about himself, in both Spanish and English, including 44

54 how he had only just begun living in the United States two weeks prior to the session. As Excerpt 1 began, specifically during the opening phrases, it was noted that S.A.P. #1 attempted to cover a small smile before turning the dial. Initially, based on the participant s involuntary response, the researcher assumed during the session that the participant recognized the music and felt a positive response. On later investigation, the researcher recognized this participant as the only S.A.P. to generally dislike the excerpt. This researcher speculates if the smile might have been not from recognition of the piece, or style, of the music, as the positive physical reaction did not align with a generally positive response, but a recollection or memory triggered by the music itself due to the participant s timing of the smile and the participant s body language. However, S.A.P. #7 responded similarly to Excerpt 1, as it was noted that he attempted to cover a small smile and left his hand there throughout the excerpt. This noted expression, however, was paralleled in the quantitative data as well as the qualitative data. S.A.P. #7 rated the piece a 4 ( Like ) on the 5- point Likert- scale and commented, I have beautiful experiences and memories with this piece. I started to learn tango with this piece. I like how rhythmically it is, which allows this researcher to infer a positive experience influenced his aesthetic response to the music. This researcher found that the two actions of S.A.P. #1 and S.A.P. #7, though outwardly similar, did not always indicate which direction the participants moved the dial. In addition to participant s body language, this researcher took note that the differences between N.A.P. and S.A.P. aesthetic responses included steadiness of the dial and response time. Stereotypically, the North American culture may be 45

55 described as fast- paced and ever changing while South American culture may be described as calm- paced and decisive. Might the trends found between North and South Americans within the results be reflective of the North and South American cultural differences? Though no concrete evidence supports this idea, this researcher believed the thought to be noteworthy for further research and discussion. Results should be generalized with caution due to limited number of participants involved and the concentrated geographic locations used. Data will be limited to the examination of available North and South Americans and who fall into the specific criteria outlined by the researcher. In addition, results were limited to willing volunteers and thus were a sample of convenience. There are several ways in which this researcher would like to continue this research. First and foremost, this researcher would be interested to repeat this study using participants who are in a public school orchestra, or music, program (secondary level). In addition, this same study would be interesting if tango music were replaced with another multicultural style of music. Finally, it would be interesting to repeat this study in a geographic location outside of the United States that is incredibly familiar with tango, such as Buenos Aires, Argentina, as location might play a compelling role in what results may yield. Yet, differences in results may occur when larger numbers of participants, varying cultural backgrounds, or various age groups are involved in data collection. It is hoped that research is continued in order to more fully examine aesthetic responses within multicultural music. 46

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59 Quesada, M. A. (2002). Teaching unfamiliar styles of music. In B. Reimer (Ed.), World Musics and Music Education: Facing the Issues (pp ). Lanham, MD: Rowman & Littlefield Publishers, Inc. Reimer, B. (1989). A philosophy of music education. (2nd ed.) Englewood Cliffs, NJ: Prentice- Hall, Inc. Robinson, C. R. (1988). Differentiated modes of choral performance evaluation using traditional procedures and a Continuous Response Digital Interface device. Unpublished Doctoral dissertation, Florida State University, Tallahassee. Ruiz, A. J. (1982). Modifying racial attitudes of second graders in a multicultural setting using a curriculum approach. Practicum Report, Ft. Lauderdale, FL: Nova University. Salgán, H. (2001). Tango course (2nd ed.). (F. W. Genz, W. & Hurtado, M., Trans.). Scholten, J. (1988). Born in the U.S.A.: Vernacular Music and Public Education. Music Educators Journal, 74(5), Shirley, O. L. B. (1988). The impact of multicultural education on the self- concept, racial attitudes, and student achievement of black and white fifth and sixth graders. Dissertation Abstracts International, 49, A. Silveira, J. M. & Diaz, F. M. (2012). The effect of subtitles on listeners perceptions of expressivity. Psychology of Music, 42(2), [Smiley Tango]. (2013, December 28). Bahia Blanca Carlos Di Sarli Tango Clásico. [Video File]. Retrieved from Tesconi, C. A. (1984). Multicultural education: A Valued but Problematic Ideal. Theory Into Practice, 23(2), Thorisson, T. (2003). Qualitative insights into style discrimination of orchestral music. Bulletin of the Council for Research in Music Education, 157, Valiente, G. (2014). Encyclopedia of tango. San Bernardino, California. [Viejito Cibernético]. (2006, December 15). Adios Nonino (Astor Piazzolla). [Video File]. Retrieved from Volk, T. M. (1991). Attitudes of instrumental music teachers toward multicultural music in the instrumental program. Contributions to Music Education, 18,

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61 APPENDIX A SCRIPT 52

62 Audio Script You will hear three different music excerpts. As you listen to the music, turn the dial to the right the more aesthetic the music becomes, or to the left the less aesthetic the music becomes. After each piece is complete, you will have one minute to complete the survey about what you just heard before moving to the next piece. Do you have any questions? [Short Pause] Please be sure that the dial begins at the neutral position. Music excerpt one will begin now. [Carlos Di Sarli- Bahia Blanca excerpt] You will now have one minute to record your thoughts about the excerpt you just heard. Please complete the sheet entitled Excerpt 1. [1 min. silence] Please finish your thought, put your pencil down, and turn to the next page in your packet. We will now begin with excerpt 2. Please be sure to return the dial to the neutral position. Music Excerpt 2 will begin now. [Astor Piazzolla Adios Nonino] 53

63 You will now have one minute to record your thoughts about the excerpt you just heard. Please complete the sheet entitled Excerpt 2. [1 min. silence] Please finish your thought, put your pencil down, and turn to the next page in your packet. We will now begin with excerpt 3. Please be sure to return the dial to the neutral position. Music Excerpt 3 will begin now. [Victor/Victoria excerpt] You will now have one minute to record your thoughts about the excerpt you just heard. Please complete the sheet entitled Excerpt 3. [1 min. silence] Please finish your thought, put your pencil down, and close your packet. The study is now complete. Thank you so much for your time and participation! Have a great day! 54

64 APPENDIX B PARTICIPANT QUESTIONNAIRE AND FREE RESPONSE PACKET 55

65 Participant Questionnaire -Please print clearly- Participant Identification #: Where were you born? City State Country How long have you lived in the United States? years Current age: Do you listen to music from cultures unlike your own? Yes No If yes, specify what multicultural music you listen to. In grade school, were you ever exposed to music from cultures unlike your own (multicultural music)? Yes No I don t remember How many years of musical experience (i.e. regularly scheduled classes in school, private lessons, professional performances) do you have? 0 years 1-3 years 4-6 years 7-9 years 10+ years 56

66 EXCERPT 1 Rate each excerpt. Then, write any additional comments about the piece Strongly Dislike Neutral Like Strongly Dislike Like Comments about the music: 57

67 EXCERPT 2 Rate each excerpt. Then, write any additional comments about the piece Strongly Dislike Neutral Like Strongly Dislike Like Comments about the music: 58

68 EXCERPT 3 Rate each excerpt. Then, write any additional comments about the piece Strongly Dislike Neutral Like Strongly Dislike Like Comments about the music: 59

69 APPENDIX C PERCENTAGES CALCULATED 60

70 Formula (solve for x): # of responses * x # of participants 100 (%) = (# of responses * 100%) * (# of participants * x) = Given % out of 100% North American (N = 10) Percentages 1 * x (%) 2 * x (%) 3 * x (%) 4 * x (%) 5 * x (%) = 100 * 10x =10% = 200 * 10x =20% = 300 * 10x =30% = 400 * 10x =40% = 500 * 10x =50% 6 * x (%) 7 * x (%) 8 * x (%) 9 * x (%) 10 * x (%) = 600 * 10x =60% = 700 * 10x =70% = 800 * 10x =80% = 900 * 10x =90% = 1000 * 10x =100% South American (N = 7) Percentages 1 * x (%) 2 * x (%) 3 * x (%) 4 * x (%) 5 * x (%) = 100 * 7x = 14.29% = 200 * 7x = 28.57% = 300 * 7x = 42.86% = 400 * 7x = 57.14% = 500 * 7x = 71.43% 6 * x (%) 7 * x (%) = 600 * 7x = 85.71% = 700 * 7x = 100% 61

71 North and South American (N = 17) Percentages 1 * x (%) 2 * x (%) 3 * x (%) 4 * x (%) 5 * x (%) = 100 * 17x = 5.88% = 200 * 17x = 11.76% = 300 * 17x = 17.65% = 400 * 17x = 23.53% = 500 * 17x = 29.41% 6 * x (%) 7 * x (%) 8 * x (%) 9 * x (%) 10 * x (%) = 600 * 17x = 35.29% = 700 * 17x = 41.18% = 800 * 17x = 47.06% = 900 * 17x = 52.94% = 1000 * 17x = 58.82% 11 * x (%) 12 * x (%) 13 * x (%) 14 * x (%) 15 * x (%) = 1100 * 17x = 64.70% 16 * x (%) = 1200 * 17x = 70.59% 17 * x (%) = 1300 * 17x = 76.47% = 1400 * 17x = 82.35% = 1500 * 17x = 88.24% = 1600 * 17x = 94.11% = 1700 * 17x = 100% 62

72 APPENDIX D RAW DATA 63

73 North American - Participant Questionnaire 64

74 North American Participant Free Responses 65

75 North American Music Excerpt 1 66

76 North American Music Excerpt 2 67

77 North American Music Excerpt 3 68

78 South American - Participant Questionnaire 69

79 South American Participant Free Responses 70

80 South American Music Excerpt 1 71

81 South American Music Excerpt 2 72

82 South American Music Excerpt 3 73