Music researchers have regularly employed simple measures, such as years of private lessons taken, as indicators of participants’ musical sophistication levels. The aim of this study was to test 29 self-administrable indicators of musical sophistication in order to determine their ability to explain the variance in experts’ subjective ratings—used as the criterion variable. Furthermore, a model was developed and tested to classify participants as being more or less musically sophisticated. The author developed a 36-item questionnaire and administered it to a sample of 633 adult volunteers who belonged to various music-related groups (e.g., music courses, performing ensembles). Group leaders provided sophistication ratings of the respondents. Bivariate correlations revealed that the indicator most strongly associated with the experts’ ratings (r = .54) asked respondents to select one of six self-descriptive titles (nonmusician through professional); the popular indicator, years of private lessons, ranked tenth (r = .40). The results of the logistic regression analysis indicated an overall significant model (chisquare < .001) with 7 of the 29 indicators significant at the .05 level. The model is able to accurately classify respondents as more or less musically sophisticated approximately 82% of the time.

A criterion-related validity test of selected indicators of musical sophistication using expert ratings

Path analysis was used to test a model designed to encapsulate the flow of influences theorized to exist between five types of musical performance and four factors derived from a researcher-adminis...

Path Analysis of a Theoretical Model to Describe the Relationship among Five Types of Musical Performance.

The purpose of this study was to investigate the influence of harmonic context on the sightsinging skill of middle school choral music students. A nonrandomized control-group pretest-posttest design with one between-group (treatment method) and two within-group (trial and test context) factors was used. The treatment method used three harmonic contexts: (a) melody only, (b) piano harmony, and (c) vocal harmony. The trial condition had two levels (pretest and posttest), and the test context condition had four levels: (a) melody-only, (b) piano-harmony, (c) vocal harmony/upper with the melody in the higher of two voices, and (d) vocal harmony/lower with the melody in the lower of two voices. A repeated measures ANOVA revealed significant differences for the test context and trial main effects and for the trial by treatment group interaction; subjects obtained the highest sightsinging scores when tested in a melody-only context. Because of the significant interaction between trial and treatment group, one-wa...

Contextual Condition and Sightsinging Achievement of Middle School Choral Students

In this study, I investigated the contributions of tonal syllables, hand signs, and letter representations of tonal syllables, as well as high and low levels of tonal aptitude and school readiness, to the development of verbal and symbolic tonal syllable skills of first-grade students. During Part 1 (17 weeks), all groups echoed tonal patterns with tonal syllables during the first 9 minutes of every class meeting—normally three per week. Group 1 echoed the patterns with tonal syllables only, whereas Groups 2 and 3 echoed and used hand signs; Group 3 also viewed letter representations of the patterns on cards. The patterns, randomly chosen from a 378-item list of three- and four-note tonal patterns, used the syllables do, re, mi, sol, and la; a range from C4 (middle C) to A4 was always used. During Part 2 (17 weeks), all groups echoed tonal patterns but also saw them written in noteheads on a staff. Every other class meeting Group 3 viewed letter representations on the staff instead of note-heads.A three-w...

Effects of Hand Signs, Syllables, and Letters on First Graders' Acquisition of Tonal Skills:

3 ACKNOWLEDGMENTS This dissertation would not have been possible without the guidance and amazing support I received from the members of my dissertation committee. I have to start with Dr. Timothy Brophy, the committee chair. He has been an outstanding mentor and an inspirational model to draw from. I would like to express my deepest appreciation for all your guidance, endless support, patience, understanding, and inspiration throughout the research process and years of doctoral study. I would also like to express my gratitude to Dr. Robinson for giving me the opportunity to teach at the University of Florida during my doctoral program. This was an invaluable experience that prepared me well for the teaching profession in the university setting. It has been such an honor and a blessing to study and work under the umbrella of such a distinguished professor as Dr. Hoffer, an icon in the Music Education field. My deepest gratitude for all the mentorship you gave me through the years of my doctoral study. My appreciation also goes to Dr. Ellis for being very supportive and understanding, and for opening new worlds of musical experiences by introducing me to the great pleasures of playing the organ. I offer my sincere gratitude to Dr. Dana for graciously accepting to serve on my committee and participating in the reviews. Of course, I could not have done any of the research without the participation and help of the six amazing teachers who volunteered to apply the sight-singing methods in their regular music classrooms: Mrs. and all the wonderful children who participated in the research. Their contribution made a world of difference. Thanks to my new true friend Dr. Annie Stinson for editing this dissertation and for her support in helping me settle in my new work environment in Wisconsin. I am deeply grateful to 4 my parents, Regina Kozhyna and Vladimir Kozhyn, for passing on to me their love of music and the yearning for an advance degree. They have devoted their lives helping me and my son, and have supported me in all of my endeavors. My thanks go out to my son Anthony, who was so patient with his always busy mother. Finally, I would like to thank my dearest special friend Khalid Yasin who unfailingly gave me his support through all these years. Without his belief in me, and unconditional help and love, my dream to finish …

Effect of fixed -do and movable -do solfege instruction on the development of sight -singing skills in 7- and 8-year-old children

The Perception of Music Symbols in Music Reading by Normal Children and by Children Gifted Musically

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The Perception of Music Symbols in Music Reading by Normal Children and by Children Gifted Musically