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Xerox University Microfiims 300 North Zeeb Road Ann Arbor, Michigan 48106 MASTERS THESIS M-8994 KEMP, Barbara Ann THE COMPARATIVE EFFECTIVENESS OF CONTEMPORARY YOUTH MUSIC AND TRADITIONAL FOLK MUSIC IN THE DEVELOPMENT OF MUSIC COMPREHENSION IN SIXTH GRADE STUDENTS. The American University, M.A., 1976 Education, music

Xerox University Microfilms, Ann Arbor, Michigan48ioe THE COMPARATIVE EFFECTIVENESS OF CONTEMPORARY YOUTH MUSIC AND TEIADITIONAL POLK MUSIC IN THE DEVELOPMENT OF MUSIC COMPREHENSION IN SIXTH GRADE STUDENTS by

Barbara Ann Kemp

Submitted to the Faculty of the College of Arts and Sciences of The American University in partial Fulfillment of the Requirements for the Degree

of

Master of Arts (Music Education)

Signatures Committee; Chairman: m W Ps /rl

Dean of the College

I^ m a » Date Date 1976 The American University WashingtonI D.C. 20016 TABLE OF CONTENTS

LIST OF TABLES ...... iv ACKNOWLEDGEMENTS...... v Chapter I, INTRODUCTION...... 1 Statement of the Problem ••••••• 6 Specific Problems •••»••••• 6 Delimitations ...... 7 Basic Hypothesis ...... 8 Basic Assumptions ...... 8 Definition of Terms •••••••• 9 Contemporary youth music •••«*• 9 Traditional folk music ••*••• 9 Bubblegum r o c k ...... 10 Folk-rock •••••*••••• 10 Soul music ...... 11 Need for the Study ...... 12 II. RELATED LITERATURE AND R E S E A R C H ...... 18 The Historical and Stylistic Characteris­ tics of Contemporary Youth Music • • • 19 The Musical Preference of the Student Population ...... 27 III. PROCEDURES ...... 35 The Description of the Experiment .... 35 The Selection of the Groups ...... 36 The Presentation of the Lessons .... 37

ii The Construction of the Tests • • • • 39 The Construction of the Questionnaire • 40 The Administration of the Tests • . • 40 The Administration of the Questionnaire 41 The Estimation of the Reliability of the Test ••••••••••• 41 The Estimation of the Validity of the Test •«••#•••••) 42 IV. PRESENTATION AND ANALYSIS OF DATA . . , 43 Statistical Procedures ...... 44 Pre-test Mean Comparisons . . . , 43 Pre-test and Post-test Mean Comparisons 46 Mean Gain Comparisons ...... 48 Interpretation of the Data . . . . 49 Description of the Questionnaire • • 50 V. SUMMARY AND CONCLUSIONS...... 55 Purpose of the Study . . . 55 Design and Methods . . . 56 Results ...... 57 Implications and Conclusions 59 Recommendations .... 60 APPENDICES 64 A. Musical Repertoire ...... 64 B. Questionnaire ...... 69 C. Raw Scores of the Contemporary and Traditional Groups ...... 73 SELECTED BIBLIOGRAPHY 76 A. Books . . 76 B, Periodicals 79 C. Unpublished...... 80

ill LIST OF TABLES

1. Comparisons of Pre-test Mean Scores • • • • • 46 2. Comparisons of Pre-test and Post-test Mean Scores ...... 47 3. Comparisons of Mean Gain Scores ...... 48

It ACKNOWLEDGEMENTS

The Investigator wishes to express her indebtedness and appreciation to Dr. Jon Boggs and Dr. Basil Korin for their advice, assistance and guidance in the development of this paper. Without their timely help, this work would not have been completed. Special thanks are due my mother, Mrs. Hattie Kemp and my sister, Gloria Wiley who were constant sources of encouragement and motivation. CHAPTER I

INTRODUCTION

A major task of the elementary general music teacher has been the selection of suitable music materials from which learning principles are applicable and in which the students are genuinely interested* A majority of current teaching materials in music education are based on examples taken from the European slasslcal idiom or from traditional folk sources* Students hare frequently been disenchanted with traditional music and hare rejected it as being irrelerant and o&d-fashioned* Runmler supports this riewpoint in maintaining that there is a noticeably sharp decline in American youth attraction toward the music utilized within the public school curriculum between early elementary and late junior high school years. He feels that youth see music as just another discipline instead of a crehtire experience and they dislike the restrictions imposed on their frsedom.^ Stanton states, howerer, that many students are for erery kind of music except the kind

,— ^ '4toy Sunnier, "To ^ Solve^ ^ athe ^ MIInvolvement .a. * a — Perplex," — nRoy Sunnier, "To Solve the Involvement Perplex," Music Educators Journal 56 (March 1970):59» usually provided In music education* He further observes that the music styles most in vogue with many students are not presently pursued in the channels of music education, nor are they an outgrowth of the educational jurocess*^ Oliver Broquist, in studying 2,594 Wisconsin school children, concluded that there was an inverse relationship between a student's grade level and his positive attitude about music study* The longer a child attended school the less he liked music*^ Informed music educators are aware of the vast differences between the music utilized within the school curriculum and the music to which many students subscribe during life outside of school* Leonhard asserts, "It is time we face the fact that we are subjecting students in schools to music that received scant, if any attention from them outside of school*"^ Worsen contends that, "In an era of protest, irritation and rapid change when students tell us that the subjects we teach and the methods we use

^Royal Btanton, "A Look at the Forest," Music Educators Journal 55 (november 1966) 238* ^Oliver A* Broquist, "A Survey of the Attitude of 2,594 Wisconsin Elementary School Pupils Toward Learning Experiences in Music,*' (Ph*D* dissertation. University of Wisconsin, 1%1), p. 95# ^Charles Leonhard, "Hunan Potential and the Aesthetic Experience," Music Educators Journal 55 (April 1968): 110. are irrelevant and ineffectual, music educators cannot simply sit back with eyes closed and ears tuned backward*"^ In addressing the Tanglewood symposium, Norman Dello Joio stated that young people are generally too restricted in their musical experience* He further observes that creativity and individuality in students are frustrated and stifled by existent rigid instruction*^ In recognizing the necessity of freeing music education from its traditional narrow approach, the members of the Tanglewood Symposium challenged music educators to bridge the gap between the traditional music apifl?eciation or performance class and the music of the youth* The Tanglewood Declaration recommended that the program of music education include: Music of all periods, styles, f e w smd cultures * * . The musical repertory should be expanded to involve music of our time in its rich variety» including current popular teenage music * . Leading music educators attach significance to the

^Louis Q* Wersen, "A Charge to Music Educators," Music Educators Journal 54 (November 1967): 80* ^Norman Dello Joio, "The Contemporary Music Project," in Music in American Society: Documentary Report of the TangleWooH^. ea* ^berx À* cnoate ^Washington: Music 'Eiducatore' hfatïonal Conference, 1968), p* 91. ^"The Tanglewood Symposium— Music in American Society," Music Educators Journal 54 (November 1967):51. use of contemporary youth muaic as a particularly appropriate medium to he used with children and as suitable educational material to be included in the public school curriculum* Contemporary youth music is the spontaneous expression of the thoughts, emotions, aspirations, experiences, and character of the younger generation with which it develops* Its use in music education may constitute a valuable means of developing the basic elements of music in general. This view has been pointedly reinforced in a recent article by Donald Roach who states, "Many concepts can be developed through the use of contemporary youth music and if this is the level at which students are susceptible, it is a legitimate starting q place*" Stanton, however, claims that contemporary youth music communicates and is easily learned* He further observes that this music draws heavily on a large store of idiomatic melodies, harmonies, and rhythms that are well-known*^ Riemer states that an astonishing amount of contemporary youth music is of extremely high quality in musical excellence and musical expressivemess* "To rule

Donald W* Roach, "Contemporary Music Education: A Comprehensive Outlook," Music EducatÉPs Journal 59 (September 1975)(40* ^Stanton, "A Look at the Forest," p. 57* out such music from the music education curriculum,*' he believes, "would not only be a loss of very fine material, but, even worse, an artificial, artistocraetic, snobbish mode of behavior for the music education entezrprise***^^ Contemporary youth music has had an obsMnrable impact on the adolescent# Prior to formal training and long before the mechanisms of music education can have much effect, children are already in touch with this music via reidios, televisions, motion pictures, and recordings. Youngsters are familiar with many aspects of this husic and have absorbed to a certain degree essentials of style, performance, and musical discrimination* Failure for the music educator to recognize these facts in an attempt to lead the childi^s interest into "bettwm paths" tends to breed confusion and discontentment* If music education is to serve its primary function, namely, that of helping the child to actively experience add understand music of rich, aesthetic quality, then it follows that music;* educators must acquire a more ecumenical view of music* In essence, music educators must at least become aware of and sensitive to all styles of music including

^^Bennett Riemer, A Philosouhy of Aigic Education (New Jersey: Prentice-Hall, inc., 19yv), p* lu&* contemporary youth music. McAllester suggests that this music be given a hearing and used advantageously to make music education an adventure full of meaning from the start. 11 With such an approach, music educators might find ease in delivering the associations necessary for the formulation of a #ell#balanced music curriculum that is both enjoyable and aesthetically sound for the student.

Statement of the Problem The present study proposed to compare contemporary youth music and traditional folk music in relation to their effectiveness in the development of music comprehension in two groups of sixth grade students.

Sueciflc Problems 1, Select two groups of students to be taught using the music compared in the study 2, Procure instructional materials which will embody traditional folk music and contemporary youth music 3, Determine the extent, if any, to which contemporary youth music aids in the development of music comprehension

^^David P. MkAllester, "The Substance of Things ^ Raiort of th. Itoglewooa :e LwaehEgtdn: «usic 1968), p. 98. 4. Determine the extent, if any, to which subjectsif responses toward the music used during the training sessions reflect positive or negative attitudes

Music comprehension as defined and applied in this study denoted the ability to perceive and react to many of the basic expressive elements (rhythm, melody, harmony, and form) of music. The following musical concepts and skills were isolated for development and measurement in this research: (a) the ability to aurally and visually discriminate major and minor differences of chords and phrases, (b) the ability to aurally and visually discriminate phrases which are identical, different^ or similar, (c) the ability to aurally and visually identify the general melodic contour (scalewise, chordwise, and repeated tone patterns) of phrases, and (d) the ability to aurally and visually identify simple and compound meters. There was no attempt made to measure the effective­ ness of the use of contemporary youth music or traditional folk music on any aspect of musicality other than what are listed above. 8

Basic E t t x >thesis Stated in null form, the following hypothesis was tested: ühere will be no significant difference between pre-test and post-test mean schres of two treatment groups which were namely: (a) the contemporary group which received guided lessons using contemporary youth music as teaching examples, and (b) the traditional group which received guided lessons using traditional folk music as teaching examples*

Basic Assumntlons It should be noted that because of the school's scheduling pftlicy, it was not possible to assign subjects at random to groups. It was assumed, however, that the sample was representative of the population and did not differ significantly in regard to any variable which could influence achievement in the study. Effects of variables such as differences in time of day for the various class meetings, educational objectives, and incentives of students were assumed not to be significantly different between the two groups* Ab used In this InTestigatlon, the terms listed below were defined as follows: Contemworary youth music. Todays?s music which has a direct appeal to the youth audience and forms most of the studenti^s out-of-school musical environment* In this study, contemporary youth music encompassed the following styles: (a) bubblegum rock, (b) folk-rock, and (c) soul music*

Traditional folk music. Music (of various réglons and ethnic backgrounds) that has resulted from a spontaneous creation of untutored individuals or groups and has become part of the heritage and tradition of the people* Generally, folk music is distinguished from art music, which consists of vocal and instrumental works composed and written down by musically trained individuals according to accepted principles of form and musical notation* The majority of folksongs as they exist today show the influence of art music in such features as strict meter, clear and regular phrases (usually of four measures), and well-defined tonality with wmphasis on tonic and dominant* The lyrics of many folksongs usually deal with the everyday life of 10

12 Tvorkf dancing, love, drinking, children, and feativitiee*

Bnbblegna rock. A particular style of rock mmÿtç■ that is generally simple and less sophisticated in musical content and instrumentation than, for example, folk-rock or softl music. It appeals mostly to the younger generation (usually the elementary and junior high school aged c^ld).^ Simple, repetitious, chordal progressions are featured in this style. There is no extensive use of electronics or intricate arrangements for vocal or instrumental meÆLa. atrophic form which includes repetitious phrasing and fade out teshaaamss utilized at the end of the song is incorporat­ ed in this style. Since the music is to appeal to the young, lyrics are usually frivolous dealing with messages of love and romance. I k^ Folk-rock. A softer, less strident form of rock, based on characteristics of folk style melodies and lyrics, with an underlying rock beat. In contrast to traditional

*^illi Apel, "Folk Music," parffd Plctlonary of Mu^c^ 2nd ed. (Massachusetts; %he Belknap Press, 1969),

^^Irwin Btambler, Encvclonedia of Pon. Rock and Soul (New York: St. Martini's frees, p. 79. ^ ^ l l i a m Boxon, Bock Encyclopedia (New York: Workman Publishing Co., 1 9 6 5 7 , P Î 1 ™ 11 forms of folk mpEic, the folk-cock style utilizes a premoimced mlectronifloatiou 1a fiotad with the use of electric goiters, droms, end amplifiers. FoUc-reck is essentielle e vooel medlm with e vocel ensemble apparent In many exudes. Although the asslc is sometimes employed for dendjog. It Is primeniy Intended for listening. Improvisetion is not normelly evident in Ij&ls style of mmsic. Syncopetlon freqwemtly clwrecterizes the hermonic rhythm and melody. Often there is e nesel delivery, end melodies that frequently consist of lAole lines reiterated on one pitch. Simple song fozm and ballads are apparent. The soft poetic lyrics of this h$$le usually reflect messages varying from love to social pmotest.^^

Soul ilu^. The contemporary music of the blacks characterised by a melding of jams, blues and gospel.^ The style is essentially a vocal medium with a soloist accompanied by a vocal ensemble often stressing neutral syllables. Since the music is often marked by gospel-type response singing. Instrumentation is used to emphasise or enhance vocal sonorities, such as the use of high brass

^^Stambler, Encvclonedia B q p . gggi, pp. 93-94. ^^Fhyl Garland, "Soul Music," la flA Afro-American Mumic, ed. Doainlque-fiene de Lorma VKsnt Stale university Press, 1973), pp. 180-181. 12

InetrunentB for reinforcement of the vocal llne.^^ The rhythm 1 b the most striking feature of soul music being both regular and irregular. Simple duple and compound meters are most common with instrumental emphasis frequently appearing on the offbeat. The lyrics are generally based on the perceived needs of the black community with messages varying 18 from love to money.

m a a s The realization hhat school children rarely emperience contemporary youth music in the classroom is affirmed by several prominent music educators, and the failure to bring it into the classroom la recognized as a grave professional neglect in curricular planning. The pressât popularization of contemporary youth music and the general discontent among the young studehM> lu our schools has given music educators a need to search for suitable contemporary material for teaching purposes* An examination of current music materials for education in the elementary school shows a general domination and overbalancing of the present

^^Charles Gillett, The Bound pf toe Cl tv (New York; OuterWrldge and Dienstfrey, 1 9 7 0 ;, pp. 2bl-2b9* ^®Carl Belz. The Storv of Rock (New York; Oxford University Press, 19697, pp. loo-iov. 13 music repertoire by traditional literature. It was found that the sources used for songs In the music textbook series have been quite consistent over the years, and the proportionate amount of material from recognized composers, traditional folk and little known sources has remained about the aame/ Usually, traditional folksongs make up about seventy-five percent of the song literature In the current basic series. According to Newman, one reason for not including current popular songs in basic séries is that they have short lives thus, making it too expensive for publishers to Include such music in their books. Many music educators recognize the need for relevance in teaching young people. They also realize the importance of methodology incorporating instruction leading fTom an accustomed and well-loved base. Fox suggests, "That a sound pedagogical principle is to start where the student is."^^ Wehner declares that students often have little patience with an educational system that spends so mush time on music of the past, often Ignoring music that is

^^Grant Newman, "Doublethink and Music Education," Music Educators Journal % (April 1970): 114. ^*^Sidney Fox, ed., OrlgLn agd Development of Jazz (Chicago; Follett Educational corporation, I9bb), p. È1 . 14 p*] shaping their present and future. Leonhard emphaidLBes, "... The new music reflects the desires, ideals, and feelings of the new generation . . . It provides a basis for an aesthetic experience with music for young people because it represents a living music of good quality that pp has meaning for them." Teachers must be aware of every device for making music relevant to the aesthetic needs and interests of the students. The student»?s present attitude and knowledge of music should influence the instruction in music education. It is disheartening when students seeking to learn techniques of youth music must gain information from outside sources rather than through instruction within the public school. McAllester believes that the inclusion of youth music in the curriculum Is one way to assure young people of education's concern with the thing they value.Hoffer supports this belief when stating that personal involvement by students is a prerequisite for appreciation. He

^^alter L. Wehner, "The Endless Stream that Never Arrives," Music Educators Journal 59 (September 1972);27# ^^Leonhard House, Introduction to The Oiig;to and Development of Jazz, by ed#, Sidney Fox (Chicago; ï^ollett hËucationai ^Corporation, 1968), p. 2* ^^McAllester, "The Substance of Things Hoped For," p. 98. 15 subscribes to the use of " • * • the best of the currently popular music which Is in the realm of experience and identification of the student."^ Youths are very aware of modem sounds through the use of mass media and their response to contemporary music is overwhelming# This music is closer to thhtr experience than, for example, classical or traditional folk music# It is more suited to their emotional and social needs and In this respect the use of this music will always be to some degree favorable. Gerber afflnns, "The relationship between adolescents and their music is made even mbre intAnate because they are involved in the music, and this creates a very real excitement.Mursell, however, states " # • # Things are faster and fasteai when they are related to the lemftneri's experience . . ° It is of the greatest importance for music educators to have a knowledge of andean affirmative attitude toward

^Charles R. Hoffer, Teaching Music in the Secondan Schools (California, Wadsworth mbllshing Co., 1964), P •58'! ^^Timothy A. Gerber, "Get With It," Music Educators Journal 5 4 (April 1968) tll3. ^James L. Mursell, Education for Musical Growth (New York! Ginn and Co., 194^;, p. 105* 16 the use of contemporary youth music. Roach expresses a similar viewpoint that teachers must not brush aside or look down on a student,? s present attitude and knowledge of music, which are a result of both formal-in-school and out-of-school learning by contagion. He also contends that music educators should be knowledgeable of the most recent terminology and techniques of contemporary music styles and must not be afraid to experiment with the new and untried,Stanton observes that music teachers must be flexible enough to change direction easily when the situation warrants rather than be bounded by a single pQ set of dogmatic values. ° By ignoring the new, the innovative and the different, Wehner contends that educators are doing a great disfavor to students.^^ Generally, there is a lack of initiative on the part of many music educators in the use of contemporary youth music as appropriate teaching material. One of the most serious reasons is that current popular music entails a

^^Roach, "Contemporary Music Education; A Compre­ hensive Outlook," p. 40# ^^Stanton, "A Look at the Forest," p. 37# ^%ehner, "The Endless Stream that Never Arrives," p. 27. 17 change on the part of teachers from the music that is acceptable and well-known. Many educators feel more secure with the familiar and traditional works. Subsequently, the investigator sensed the need to plan a study in which the suitability of contemporary youth music in some respect could be tested in an experimental situation. Few studies, if any, have explored specifically the relative effectiveness of contemporary youth music in the development of music comprehension. A study of this natmze might be of value to music teachers in selecting and presenting teaching materials or developing music curricula that seriously take into account the musical needs and interests of the students. CHAPTER II

RELATED LITERATURE AND RESEARCH

A number of sources was consulted In search for materials that were pertinent to the present study. In view of the vast amount of concerm among music educators concern­ ing the use of contei^iorary youth music as appropriate instructional material in the public school curriculum, there appears to be a sparse amount of research pertaining to the educational implications of this music. No studies were found in which an exclusive attmpt waus made to determine the general effectiveness of the use of contemporary youth music In the development of music comprehension. However, there was extensive literature in each of the two areas that constitues the interdisciplinary framework of the present study# (a) the historical and stylistic character­ istics of contemporary youth music, and (b) the musical preference of the student population. Literature on the subject of contemporary youth music discusses the music in enthusiastic terms, but few sources analyze and give careful delineation of style characteristics. Additional Information seems needed. It is believed, however, that the hypotheses and conclusions 19 from the studies concemlns the musical preference of the student population might provide basic guidelines for this research*

% e factors that went into the creation of contempo­ rary youth music are many and complex* This music has emerged and developed through a countless number of musical styles and conventions* Within the content of this chapter* it would be all but impossible to discuss every source* Influence or stylistic direction that this music has taken* Boundaries have to be set* However* the broader lines of development and the most important Influences of this mmsic can be traced to acquire some conception as to its principal stylistic characteristics* Much of contemporary youth music is deeply rooted in the Afro-American folk tradition* The distinct quality of contemporary American music can be traced* even if indirectly* to the music genius that came to the new world from Africa*^^ African influence has had a profound impact on a great deal of American music* The rhythmic

‘^ Lawrence N* Redd* Rock is Rhythm and Blues: The Impact of Mass Media (MlchigazT: ihe Mickigan ta te University Iress* I^yW# p * 20 complexity and subtlety* the emphasle on percussive sound qualities, the call-and-response pattern* the characteristic vocal elements (shout* growl* falsetto)* and the blues chromaticism were integrated into the American culture when slaves were brought to America.Equally* the Negro musical vocabulary and dance steps have been influential."^3 2 Shortly after World War I* the blues, a very earthy kind of improvismtional folksinging gradually evolved drawing musical ideas and techniques from existing spirituals* gospels* and worksongs.^^ The country blues represented the earliest type* emerging in the early 1900s* the singing of one man to the accompaniment of his guitar.^^ Early blues or country blues* as they became known were songs of lament for the suffering* oppression and pain that the Negroes shared with each

^^Johannes RLedel* Soul Music— Black and Whiter ice of Black Music on the cnurphes XTEnnesoi Zugsburg ïCÜs&Lng Bouse; Ï9/F) # P# o9* ^^eRoi Jones* Black ^ s i c (New York: William Itorrow and Co.* 1967), it* ±80^1™. ^^William J. Schafer, Rock Music: Where It*s Been What It Means Where It>s Going imnnesota: Augsburg luDlishlng ^use* 19/2)* p. 14* ^ ^ l e e n Southern* The MusLc of Black Amerlcmnst I H i s ^ ^ (New York: W. W. Nortons and Co.* Inc.* 1 9 7 1 ;* 21 other The city or classie blues which was more sophisticat­ ed in tone than the country blues developed around the 1920s and 1930sIn contrast, city blues consisted of professionals, more often women than men, singing composed rather than improvised songs accompanied by ragtime or "stride” pianists and/or instrumental ensembles Although the city blues era was brief, it was an essential stage of the blues evolution which was to follow* The outgrowth of the city blues was urban blues developing during the 1940s and later* Instruments were added and tempos speeded up making the music lively and danceable* Usually the instrumental accompaniment included electric guitars and/or basses, drums, and brass instruments, but no harmonicas or similar "country" instruments*^ As the blues moved from the South to the North, adding instruments and livier rhythms, a direct outgrowth was rhythm-and-blues, an urban electrified ensemble form

^^Redd, Rock is Rhythm and Blues, p. x* ^^Southem, The Music of Black Americans, p* 336* ^^LeRoi Jones, Blues People: Negro Music in WMte America (New York: William Morrow and Co*, 19637, p. 91. ^^Southem, The Music of Black Americans, p. 336* 22

O f the blues* Instead of maintaining the twelve-bar form and the simqple three-chord progression (I, IV* V)* It adapted gospeh and popular structures of eight and sixteen bars* Progressions varied greatly* but a patterned bass held the recording together with the use of electzic guitars and basses*^^ The beat of this music became more power­ ful* dominating the melody and nearly drowning the singerfs words*^ It was vocal music for dancing and the rhythm of the words appeared more important than its meaning*^ In 1 9 3 1 , Alan Freed* a Cleveland disc jockey began programing black rhythm-and-blues on his white "Moondog House" radio show* To avoid the racial stigma of the term "rhythm-and-blues*" Flreed gave the music another new name; "rock and roll*"^ The music became very popular not only with urban Negro audiences but also with the

^^Amold Shaw* The Boeklnif i*50s (New York: Hawthorn Books, Inc** 1974), pp*%5-b% ^^Ibid** p* 87* ^Charles Boeekman* Cool* Hot and Blue: A History of Jazz for Yomut People (New York; Washington Square fFess* 1 9 7 0 )* pTlty* ^Jerry Hpbkins* The Rock gtogy (New York: The American Id.brary* Inc** IvTO), pp* lb-17* 23 young white audiences. Singing groups and blues singers formerly known only to black communities began to catch the attention of young white musicians who adapted much of the musical vocabulary and methods of rhythm-and-blues to their own interests and likingNegro musicians were recording music, but often were not recognized outside the segregated Negro music market. Although Negro musicians were unable to penetrate the white market, white imitators of the Negro beat led the record buying charts. Rock and roll, the new popular music of the 1950s, combined black rhythm-and-blues with elements of white country music. It became personified on a national scale in the singing, playing and gyrating of such performers as Elvis Presley and Chuck Berry.Keil states that a rock and roll performer was essentially any singer, Negro or White, who reached a young predominately white audience with something approximately a Negro style.^ Rock and

^^Schafer, Rock Music, p. 15. ^Paul44, Oliver, ^ e Story of the Blues (Philadelphia: Chilton Booker Co., 1969)» p. 159* 45Riedel, Soul Music, p. 87* ^^Charles Kell, Urban Blues (Chicago: The University of Chicago ^ess, 1966;, p. 24 roll was designed prlaarlly for dance* having an Insistent* powerful impetus-basic backbeat and shuffle rhythms of rhythm-and-blues. The lyrics were often coarse and offensive to the general middle-class American cultmme.^^ Like jazz in an ecirlier period* rock and roll migrated to Europe in the 1950s where it became immediately popular. By the mid-1960s* it had developed into one of the most popular and important musical phenomena in history: "rock."^ The term "rock" encompasses a wide gamut of styles. Beginning as a straight forward urban folk music* rock has broadened and branched to encompass all the folk and popular music styles of the decade such as folk-rock* hard rock* gospel rock* classical rock* etc.* yet it still retains a positive and individual identityThe most persistant feature of rock has been its beat. Generally* this has been soft.^ The essentAal characteristics of this music are that its phrases are very brief and are hypnotically repeated; that its rhythm is obvious and incessant; and that its sonority is very

^^RLedel* Soul Music, p. 87. ^Bidn^ Fox and Thomas MacCluskw. The World P^ÿular Mui^ct Rock (Chicago: FoUett Publishing Co.*

^^Schafer* Rock Music, p. 25. ^^Belz* Story Rock, p. vii. 25 loud. AapUlleatlon and electronics add new dimensions to rock and make new dmaaAds on singers* instrumentalists* arrangers* and producers As the white teenage population began to do'^nate the record buying market* Negro musicians emerge from the regional market to which they were once restricted.^^ By 1956* Negro rhythm-and-blues music reached the national best-seller charts. At the same time* new record companies* writers* publishing companies* as well as the Motown (Detroit) and Memphis sounds* were emerging. In order to reach the massive teenage audience* black and white* many companies (Motown Records in particular) evolutionized tfaAtr music. The musical sound of singers became softer* more refined* polished and offered the appeal of popular music without compromising the strength of black elements in the music. As the sound began to change* it gradually assumed the identity of soul music possessing a distinct character of its own. It was earthy* smooth and natural* meaning specifically an easiness of expdession and a flowing

^^Schafer* Hock Music, p. 5. ^^Oliver* g_tory_ the Blues, p. 159. ^^Keil* Urban Blues, p. 94. 26 sensuous feeling The main innovations in the soul style were an increased emphasis on hard rhythms and an extensive use of syncopation and complex polyrhythmic polyphony.The style of delivery is often decisive in determining whether a group is characterized as soul.^^ Contemporary youth music in the 1960s has evolved through what has been literally labelled as a "rock revolution. The entire musical world was dazzled by the effect of exotic sounding instruments, electronic and high pitched sounds, and the dynamics and lyrics of this new music.Contemporary youth music emerged as the particular expression of today's youth. More than a particular musical style, it became a social and political medium for voicing new and difficult ideas about society and the self.^^ The role of performer, writer, and record-producer has emerged to the point where many creators of this music are now accountable to and in touch with their audience. Teenagers are voracious

^^elm, T ^ Story of gggk# P* 197. ^^Qillett, Sound gf City, p. 274. ^^LeSoi Jones, Black Iftimic. p. 188. ^^Amold Shaw, The Beck Revolution (London: Collier MacMillann, 1969), p. 1.-- 5®Ibid., p. 2. ^^Schafer, Rock Music, p. 13. 27 listeners, record-consumers, and concert-goers and those who fall to consider teenager preferences are losing the sales. This has been one of the most significant develop­ ments In music during the mid-twentieth century and a factor contributing to the growth of the record industry. It would appear that the various styles of contemporary youth music are beginning to enjoy some of the status of an art form. In recent years, contemporary youth music has received increasing attention by scholars, critics, musicians and educators, not to mention those who simply buy, listen to, and appreciate this music as amateurs.

The Musical Preference of the Student Igpuiation Although research is yet to be conducted regarding the implications of contemporary youth music in education, a few related studies have been reported concerning the musical preferences of students* Such studies have shown that certain specific factors have influence in the formation of a studenttfs taste. David Kelly researched a selected group of musically experienced adolescents to determine to what extent, if any.

^^Phyl Garland, The Sound of Soul (Chicago: Henry Refnery Co., 1969), P* 15V 28 musical training had upon the preferences of the subjects. All èf the eighth and twelfth graders had studied music privately, seventy-five percent of whom whme from homes where the parents had had musical training. The results showed that there was an increase in preference of classical music and a decrease in popular music from the lower to the higher grades. Kelly concluded that preference is related to musical training. Re also observed that instrumental students bad "better taste" than vocal student. Louis Rubin had previously reached apslmllar conclusion based on a correlative study. He constructed a questionnaire for the identification of seventh, ninth, and twelfth-grade students in "high" or "low" groups. According to a foup-point preference scale, the student ranked three types of music, "art music," "folk music," and "music of transient current vogue." Rubin found that both groups of students sh'^wed a major interest in "music of transient currmnt vogue." However, it was also revealed that interest in "art music" increased slightly from the seventh grade for those with musical training and decreased

^David T# Kelly, "A Study of Musical Preferences of a Selected Group of Adolescents," Journal of Research in Music Education 9 (Fall 1961) xllWzq. 29 slightly for those without musical experience.'' Nicholas Emeston, in his attempt to determine the relationship between musical training and the level of musical taste of 780 students in a freshman class at a North Carolina State Teacherst{} College, found that there was a significant difference between students with extensive amounts of musical experience and those with sparse amounts, especially in regard to attitude and discrimination. He concluded that, the longer a person participated in music and the more varied these musical experience were, the better discriminative his musical taste. His research also indicated that mental ability a^ears to have little relation to the formulation of musical taste for students with no musical experience. Vincent Rogers conducted research to determine whether any significant changes occur in a student^s musical taste during the period in which he progresses from fourth through twelfth grades. The types of music

%iOuis Rubin, "The Effects of Musical Experience on Musical Discrimination and Musical Preferences," Council for Research in ^ s ^ Education 1 (1963): 57-58. ^^Nicholaa Emeston, "A Study to Determine the Effect of Musical Experience and Mental Ability on the Formulation of Musical Taste," (Ph.D# dissertation, Florida State University, 1961;, pp. 136-142. 30 eubjedted to student preference rating were; "seriously classical," "popular classical," "dinner music," and "popular music". Results of the study indicated that students preferences for "seriously classical" music decrease with gge. Rogers concluded that there is an overwhelming and increasing preference for "popular music" at all grade levels tested and with all groups regardless of school locality, sex or socio-economic status.^^ In his study of the relationship between socio­ economic status and preferences in music, Victor Baumann concluded that "popular music" was the highly preferred style of all age groups. There was, however, an increase in preference for classical items among older teenagers and with students from higher socio-economic backgrounds.^^ A study by Johnstone and Katz of two groups of teenage girls revealed that adolescent musical preferences are influenced by social pressures. They contended that highly popular girls tend to conform more to neighborhood

^ ^ i n c e n t Rogers, "Childrenifs Expressed Musical Preferences as Related to Grade Level and Other Factors," Elementary Bchool Journal 57 (May 1957) :433-435. ^^ictor Baumann, "Teenage Mdsic Preferences," ^^i^^al of Research ±p. Music Education 8 (Fall I960) : 3 1 noms of preference than other girls, that small "cliques" exert a considerahle influence relative to preferences for particular songs and for particular disc jockeys, and that girls from lower socio-economic backgrounds prefer "blue" to "happy" popular songs* In essence, these researchers found that taste seems to be related to personal relations and friendship groups* Robinson and Hirsch, however, studied the popular musical preferences of 430 teenagers in metropolitan Detroit and 340 in Grand Rapids, Michigan, varing widely in social class, race, and religion* Subjects were asked to indicate on a three-point scale their feeling about the "current lits*" Among their conclusions that are most relevant to the present study are the following: the popularity of "Tg^P-Forty" phonograph records among high school students is almost universal; there is a high positive correlation between race and musical preference (knowledge of a studentt^s race makes it possible with seventy-five percent accuracy to predict what kind of current style he prefers); teenagers tend not to understand the lyrics

^ John Johnstone and KLibu Katz, "Youth and Popular Musich A Study of the Sociolo^ of Taste," 62 American Jour&L Soclolegy (May 1957;:363-568* 32

of popular auelc very veil— they are much more Interested In the sound; and the musical industry both manipulates and is responsive to its audience* George Booker conducted research on the influence of the disc jockey on teenage musical taste* He contended that the disc jockey has more of an influence than the music educator in the development of teenage preference* The students sampled in his survey spent an average of 19*25 hours per week listening to disc jockey programs* "Top-Forty" type of music programing was the major prefer­ ence of the student population survey* The percentage of students preferring "Top-Forty" rock music repertoire, however, varied according to academic achieve&ent levels* Still, a majorityogf students within each acadwLc level preferred "Top-Forty" music programing over other types of music* Booker found that most students considered the major influence on the development of their music preferences to be the disc jockey (54 percent)* A lesser number of students (45*5 percent) believed the music educator was the major influence* Most students indicated the disc jockey as

^^John Robinson and Paul Hirsch, "It&s the Sound that Does It," PsvcMlomv Today 3 (October 1969):42-43# 53 being more "understanding^ of teenagers than ministers or educators, Gerhart Wiebe considered another factor which influences musical preferences. He studied the effects of radio "plugging" on high school and college students* opinions of popular songs. Twenty-four songs were picked at random from current lists and played constantly for students of slightly above average intelligence, Wiebe concluded that radio "plugging" improved acceptance of a song which was not well-liked at first, but that "plugging" had no effect upon initially well-liked songs. The above research projects attempted to determine which factors served to mold the stylistic preference in music among the young. Age, race, musical training, intelligence, sex, socio-economic status, and radio "plugging" were all considered as relative factors. Of these, mental ability, sex of the individual, and socio­ economic background have been found to be of little or no significant importance in forming musical taste, Baumann

George A, Booker, "The Disc Jockey and His Impact on Teenage Musical Taste as Reflected Through a Study in Three North Florida Cities," (Ph. D. dissertation, Florida State University, I968), pp. 97-105. ^^Gerhardt Wiebe, "The Effects of Radio Plugging on Studentsi* Opinions of Popular Songs," Journal of Applied Psychology 24 (December I94O) ;721-^87, 34 maintained that increaalng age bringe increasing discrimina- tien; however, Kelly and Rnbin debating the pravions findings conelnded that it is the concomitant increased training which brings improvement* Booker and Wiebe concluded, on the basis of separate studies, that the influence of the disc jockey and the factor of radio "plugging^ appeared to have the closest relationship to teenagersL* musical preferences* CHAPTER III

PROCEDURES

The leBcrlntion pjf Exmenment The experimental design consisted of a pattern of pre-testing, training, and post-testing of two treatment groups* The two treatment groups were identified as followss (a) a contemporary group which received instruc­ tions using contemporary youth music as teaching examples, and (b) a traditional group which received an equivalent atnnnmà of training using tradiüonal folk music as teaching examideB* Such a design was developed to evaluate and compare the relative educational effhààency of contemporary yohth music In terms of overall effectiveness of style and in terms of relative growth in the component skills and concepts of music* Materials for the esqperiment were gathered and compiled by the investigator* The decision as to which group would get which treatment, for example, "contemporary" or "traditional" instructional materials, was dAcided by a flip of a coin* At no time wais mention made of the esqperiment being conducted or any supplementary requirements necessary on the part of the subjects* 36

The Selection of the Qronps Forty— four sixth grade students enrolled at the Tall Oaks Elementary School In Prince George,*s County, Maryland, during the 1974-73 school year, constituted the subjects in this investigation* This total included twenty-two students in each of the two sixth grade classes* Of these, seventeen were girls and twenty-seven were boys, with the sœces being fairly evenly divided between the two groups* Tall Oaks Elementary, a typical suburban school having a pupil population of 374# is located in the cintrai part of Prince Georges's County* The students participating in the research stpdy came mainly from high and middle-Ancom# class families; they wsre selected purely on the basis of availability* General music is a required course for all elementary school students in the counly and is scheduled three days a week for periods of thirty minutes in length* Convenient physical and administrative conditions were added reasons for carrying on the experiment at the school* Random assignment of subjects to groups was not possible* However, students were originally equated and assigned to class by grade level chairmen on the basis of sex, academic achievement (grades), ethnic background 57 and age (only a 10-month range)» Baaed on these variables, each class had a normal distribution of students. It was not expected that the individual characteristics of the subjects would be biased in favor of either group» The two population distributions were considered roughly comparable and provided a representative "spread" of pujdJ.8» The total participants were as representative of the total population of the school system as it was possible for the investigator to determine»

The Presentation of the Lessons The presentation of the twenty-five lessons for both the contemporary and traditional groups was scheduled every Monday, Wednesday, and Sriday for a duration of nine weeks. Instruction began on April 14, 1975 and was concluded June 13, 1975. All lessons were presented by the investigator who had had several years of experience in teaching music including five years as music teacher in the school where the experiment took place. This was considered important to insure that the factors of personality and teaching skill might remain constant; effective use of the class time demanded an intimate knowledge of the goals and limitations of the instruction. 38

The lessons of the contemporary group were presented In the afternoon from 1lOO P#M# to 1:30 P.M., while the lessons of the traditional group were from 3:00 P.M. to 3:30 P.M. on each of the scheduled days. During the nine week period, each group received basic music instructions in which concepts of rhythm, melody, harmony, and form were equally stressed. A wide variety of instructional reinforcement and of enriched learning experiences in performing, creating, reading, and writing music was [presented. The twenty-five lessons for both the experimental and the traditional groups utilized appropriate song materials and techniques that were characteristic of each and were adapted to practices which were currently in use In the classrooms of the Prince George}*a public school system.^® Song materials were selected carefully for their musical quality and their authentic representation of the concepts being studied* In each case, the procedures and materials were adapted to achieve the instructional objectives formulated for the experiment. The musical repertoire for both the traditional and contemporary groups is Included in Appendix A.

^^A Curriculum Guide in Mekmral Music: Elementary Grades K-6"(HaWiflfiB1'"'i«LW0 CTbPgéllïï C o M T y BogWT'b'r ' EgTOgtlWry 1968), pp. 11-27. 39

The Construction gf the Test A test battery was constructed by the Investigator to assess performance of the pupils before and after the various treatment conditions. The testing Instrument reflected specific instructional objectives for the program and consisted of the following forty items: 1. IntervauL recognition (10 items). The subject was asked to aurally identify scalewise, repeat, or leap judgements for 2-, 3-# or 4- note sequences and 4-, 8-, or 12- bar phrases. 2. Melody recognition (3 items). The subject was asked to aurally and visually identify same or different judgements for 4-# 8-, or 12- bar melodies. 3. Rhythm recognition (10 items). The subject was asked to aurally identify metric judgements for 4-, 6-, 8-, or 12- bar phrases, and to aurally and visually identify same or different judgements for 4-» 8-, or 12- bar phrases. 4. Harmony recognition (10 items). The subject was asked to aurally identify majornuinor judgements of chords and 4-, 8-, or 12- bar phrases. 5. Form recognition (5 items). The subject was asked to aurally identify same or different judgements of 4-, 8-, or 12- bar phrases. 40

The Construction of the Questionnaire A short questionnaire was developed for the research to serve as a comparative measure for sampling subjects* preferences for various kinds of music. The questions asked of the contemporary group were likewise asked of the traditional group. The instrument consisted of a mumber of questions covering the following areas: (1) general musical taste and interest in various kinds of music, (2) general likeness for the music used during the training sessions, (3) preference for a particular style of contempomary youth music, (4) favorite places for listening, (3) favorite media for listening, (6) favorite musical instrument, and (7) favorite musical artists. The complete questionnaire is included in Appendix B.

The Administration gf t ^ Tests The music test was administered to the contemporary and traditional groups the week prior to the experimental sessions and during the tenth week as a post-test. Instruc­ tions for taking the test were discussed with the subjects the day preceding the actual administration of the test. In each testing situation, the investigator personally 41 adadnlstered the tests to help Insure similar testing conditions for both groups. The subjects were seated in the music room under reasonably comfortable conditions and were supplied with pencils and any other materials needed. Every effort was made to see that each individual understood what he or she was to do. The test consumed about thirty minutes of class time.

The Administration of the Questionnaire After the completion of the post-test, the questionnaire was administered on the next scheduled day of class. Forms were supplied to the forty-four subjects and they were requested to answer all questions completely and honestly. For more freedom in response, names were not required of subjects. Interest in the questionnaire was high, and on the whole, the respondents undertook their task with genuine seriousness. Although the questionnaire was not subjected to statistical analysis, it did provide the desired feedback concerning the musical styles the subjects preferred. Descriptive analysis is provided in the following chapter. 42 m»e Eetlwtlep nf tha «# th. T . . t Sellablllly for the test instrument vas estimated through the use of a test-retest procedure* Scores taken from the pre-test of each group were correlated with those of the post-test* The Pearson product-mement coefficient of correlation was then computed between the t m sets of scores* The correlations, r»*97 for the contemporary group and r=*96 for the traditional group, were considered high and sufficiently reliable for group measurement*^^

%e Estimation of the of the Test Content Validity of the test instrument was establish­ ed by having qualified persons make judgemmnts on the representativeness of each musical item* However, final responsibility for the instrument rested with the principal investigator* CHAPTER IV

PRESEHSATiaN AND ANALYSIS OF DATA

The principal data upon which the conclusions of this study were based consisted of the snbjectst* pre-test and post-test mean scores on the original music test. The scores achieved on these tests were analyzed to deter­ mine: (a) if the subjects made significant improvemmnt during the period of instruction as shown by a comparison of the pre-test and post-test mean scores of each group, and (b) if the gain made on the post-test by the contemporary group was signifiaantly different from the gain made by the traditional group. In addition, results obtained from the questionnaire were analyzed to determine the subjects^* interests and preferences for various styles of music. The presentation and analysis of the data were organized into the following divisions: (a) statistical procedures, (b) comparison of the difference between the pre-test mean scores of the contemqiorary and traditional groups, (c) comparison of the difference between the pre-test and post-test mean scores of each group, separately, (d) comparison of the difference between the gain made by the 44 contemporary and the traditional groups, (e) interpretation of the data, and (f) descriptive analysis of the questionnaire.

Statistical Procedures In order to test the hypothesis set forth in Chapter I, the following specific procedures were used: 1* The means and standard deviations of the contemporary and traditional groupsi* preatest and post-test were computed. 2. A *’t*' test for a significance of mean difference between the pre-test mean scores of the contemporary and traditional groups was computed. 3. A "t" test for a significance of mean difference between the pre-test and post-test scores of the contemporary and traditional groups was calculated and interpreted. Zf. In comparing the gain made by the contempommry group with that of the traditional group, a ”t'* test for a significant difference of mean gain between the groups was computed. 3. In eaqpressing the reliability of the test instrummnt^(as described in Chapter III), the pre-test scores of the contemporary and traditional groups were correlated with those of the post-test. 45

6. An acceptable level of significance for the "t" values was set at five percent. 7. Suhjectst* personal responses, not meeting prerequisites necessary for parametric or nonparametrlc statistical analysis, were tabulated and described.

Pre-test Mean Comparisons The raw scores of subjects taken from the pre-test ranged from 11 to 33 for the contemporary group and from 10 to 23 for the traditional group. As Table 1 shows, the pre-test mean score was 21.00 for the contemporary group and 20.00 for the traditional group. Standard deviations were 3*19 for the contemporary group and 3.14 for the traditional group. After computing the means for the pre-test scores, the investigator found that the mean score of the contemporary group was somewhat higher than the mean score of the traditiooml group. Although the difference was slight, there was no reason to expect it to be in favor of the contemporary group. To determine whether this difference was statistically significant, a «t*' test was employed. The value of **t” obtained for 42 degrees of freedom must reach at least 2.021 in order to be significant at the .05 level. The obtained "t" value of .731 46 was considerably lower. The assumption that the two groups were equated for the purpose of further experimental comparisons was affirmed.

Table 1 Comparisons of Pre-test Mean Scores Are— test N _____ Mean SD

Contemporary 22 21.00 5.19 1.00 .750* .05 Traditional 22 20.00 5.14

Pre-test and Post-test Mean Comparisons The raw scores of subjects taken from the post-test ranged from 17 to 36 for the contemporary group and from lif to 29 for the traditional group. Standard deviations were 4*89 for the contemporary group and 4*10 for the traditional group. Calculations of the post-test mean scores for both groups showed substantial gains over the pre-test mean scores. As maybe seem in Table 2, the post-test mean of 27*00 for the contemporary group was six points higher than the pre-test mean. The post-test mean of the traditional group was 24*00— a four-point 47 gain over the pre-teat mean. To determine if the two treatment groups had made significant improvements after being presented the lessons of instruction, the pre-test and post-test mean scores of both groups were compared. A "t" test for a difference of statistical significance was used for this analysis. Obtained ”t»' values were 17.91 for the contemporary group and I4 .8I for the traditional group, respectively. The critical **t" value for 21 degrees of freedom and level of significance (.0 5 ) is 2 .0 8 . The "t" values of both groups were consider­ ably greater, indicating a statistical significance at less than the ,01 level. There is sufficient evidence to conclude that both groups improved significantly in respect to normally expected achievement, regardless of the teaching materials. The raw scores of the subjects* pre-test and post-test are included in Appendix C.

Table 2 Comparisons of Pre-test and Post-test Mean Scores Pre-test Post-test N Mean Mean t

Contemporary 22 21.00 27.00 17.91* Traditional 22 20.00 24.00 1 4 .81* 48

Mean Oaim Coaparlgone Prom the prevAoue calculation of the **t** values, it is evident that both contemporary and traditional groups made significant gains from the limited instructions of nine weeks. To determine if the gain made on the post-test by the contenqporary group was significantly different from the gain made by the traditional group, mean gain scores were computed for both groups rather than the difference between final mean scores.

Table 3 Comparisons of Mean Gain Scores Mean ..J______. . 2 .... t

Contemporary 22 6.00 2.00 4.77* Traditional 22 4.00

-Pi eawi nt _ n'i 1 A V A^i

As shown in Table 3, the mean gain score was 6.00 for the contemporary group and 4.00 for the traditional group. Although the difference of 2 points appeared to be significant, a ”t** test for a difference of statistical significance between these means was computed. The results of the computation showed that the **t** value of 4*77 was 49 statistical significant at the .01 level indicating that there was a notable difference between the performance of the contenqporary and traditional groups as a result of the training sessions.

IntwwtatUan of tto Date Based on the preceding data from Tables 1, 2, and 5# the null hypothesis stating that there would be no signifleant difference between pre-test and post—test mean scores of the two treatment groups was rejected. The mean difference between pre-test and post-test scores of both the contemporary and traditional groups was found to be statistically signi­ ficant at less than the .01 level of confidence. Since the findings with regard to achievement were not due to chance, it was inferred that the lessons of instructions presented to both treatment groups contributed significantly to the acquisition of the composite concepts and sikills designated to be taught in the study. Accordingly, the analysis of the difference in achievement between subjects in the t## groups was made by comparing the gains evidenced between pre-test and post-test measures. The results indicated that the subjects in both groups made significant gains in musical knowledge, however, the contemporary group gained significantly 50

(.01 level) more than Its counterpart. The differential gains of the two groups in cognitive learning were considered to be a function of the differences in treatments afforded the subjects in the two groups. The results of the investigation were considered highly encouraging. Yet, certain limitations in the experiment were recognized and they were considered when the conclusions and recommendations were drawn from the study. The limitations included, a small sample size, a brief period of instruction, and the restriction of the study to a fairly narrow age group and geographical location. Nonetheless, within the limits of the research, the findings should go a long way toward vitiating any objections to the use of contemporary youth music on the grounds that it is unsuitable or inappropriate as instructional material. One of the particular concerns of this study was to determine the relative effectiveness of contemporary youth music in the development of music comprehension. The findings of the main analysis indicate that students using contemporary youth music as teaching examples can be expected to achieve at a significantly higher level in musical understanding than students using traditional folk music. 51

PeBerl'Dtlon nf th. The data that «111 now he presented are descriptive, and by nature were not analyzed statistically. Tabulation of the information frcm the questionnaire revealed several factors describing the two groups. It was presented for the most part to gain an insight into subjectsj,* musical tastes and interests in various styles of music. Kager pointed out the importance of attitudes in the learning process. One methothof judging the efflcac|r^ of an instructional emvironment to engender a positive attitude toward the subject material is to determine the frequency of positive responses to that particuAàr learning situation.Specifically, if in the present study the efficacy of the music used in the presentation was valid, then the subjects should answer questions that reflect a positive attitude toward the music. The following paragraphs are a brief summary of the responses of the subjects. When subjects were asked about their liking for the music used during the nine week instruetionSl period, both groups gave a majority of positive responses. Given three

B. Hager, Preyglng Instructional Objectives (California; Fearson, l9bz;, p. jo. 52 choices: "like a lot," "o.k.," and "donift like"— over ninety-five percent df the students In the contemporary group said that they liked the music a lot. Where traditional folk music was used as teaching examples, about sixty-five percent of the subjects indicated that they thought the music was "o.k." whereas the remaining thirty-five percent split fairly evenly between "like a lot" and "don't like". Comments of disapproval were of such reasons as followsf "Traditional folksongs bore me. I don't like to sing them." "The lyrics are funny. They have no meaning for me." "I like to sing current hits. Traditional folksong»* are too old fashioned." "I like exciting music with rhythm and lymics that I can understand." "We learn, but class could be made more interesting if we could sing current hits." Wi like to listen to different instruments that are familiar to me. The instrummmtation of traditional folksongs bores me." To determine relative taste for various styles of music, subjects were asked to select from ten possible types of music. Bespondmnts rated popular music as their first choice. Classical music was the least liked among 53 all students with well over two-thirds selecting it as their last choice. In trying to determine which particular style of popular music that they preferred, students were asked to list their three favorite songs, their favorite artists, and the name of three records that they had recently bought. Ihe styles of music fell into three broad categories; bubblegum rock, folk-rock, and soul music. Elton John, the Jackson Five, Stevie Wonder, Donny Osmond, John Denver, Olivia-Newton John, and Helen Reddy were high on their list of favorite artists. When asked why they preferred the particular styles of music, students responses were of such reasons as: "Rock music is simple, easy to sing and r^ember." "The lyrics are meaningful. I can relate." "I like rock music because it has a good beat." "I enjoy listening to the instruments. They are played excitingly and so easily heard." "I like to dance. The rhythm is interesting and make you want to move." "The sound is nice to listen to." Responses to the questions about listening habits revealed that most of the subjects hear their favorite music mostly in their homes or in friend»? homes. Music class and assembly ranked far down the list of favorite 54

listening places. The radio (AM station) was the principal means of hearing their favorite music with the record-player ranking next. Television and live performance followed in that order. The piano, electric guitar, and drum were rated among both groups as their favorite musical instruments with the electric organ, trumpet, and saxophone following. The information procured from the questionnaire indicated, in the main, that the respondents were serious and tried in earnest to the best of their ability to answer the questions honestly. Contemporary youth music was ranked "highest" among the pupils. In reference to recent studies made on the musical preferences of students, current "popular" music was also rated aus the favorite style. The results of this questionnaire demonstrated this to be the case as far as the group under study is concerned. Significantly as this maybe, it warrants the consideration of the music educator in selecting specific styles of music that are not only interesting and enjoyable to the student, but excellent in musical quality as well. CHAPTER V

SUMMARY AND CONCLUSIONS

PuJPQge ^ gta.dg The present study investigated the efficacy of two styles of music, contemporary youth music and traditional folk music, in the development of music comprehension. It was hypothesized that students who participated in musical instructions using contemporary youth music as teaching examples, would show no more of a significant difference in achievement than students using traditional folk music. A persistent concern of many educators has been in the general decline of the studenti?s interest and liking for the music used in the general music class. The music that is liked and most preferred by students is not presently offered on a wide scale in the music curriculum of the public schools. A reason for this has been, that many music educators tend to lack the initiative to incorporate this music into an already established traditional oriented format. More research seemed to be needed in this area of selecting instructional materials for the general music class that is not only educational sound, but interesting ..

5 6 and relevant to the student as well. It was hoped that a study of this nature night provide MLuable information to this effect. SsslfiB aaâ The research project was conducted in three phases: pre-testing, teaching, and post-testing. It involved comparing two groups of sixth grade general music classes, each of which was given instructions during a nine-week period, using either contemporary youth music or traditional folk music as teaching examples. The sample consisted of forty-four students, twenty-two in each class, who was as closèly matched as possible under the normal sectioning practices of the school. Students in both classes were equated on the basis of sex, race, age, and academic achievement. Comparisons of achievwent between the two groups were effected on the basis of a forty-item teacher-made test stressing selected concepts and skills in rhythm, melody, harmony, and form. It was employed as the criterion measure of subjects^? initial and final musical abilities. Additionally, a short questionnaire was devised and administered to determine subjects' preferences and interests in various styles of music. Specifically, information was sought relative to 57 the following questions: (1) How much musical achievement can be obtained using contemporary youth music and traditional folk music, and (2) how does this achievement compare between the two groups? For this analysis, the mean scores of the two groups were compared statistically, utilizing "t" tests of significance.

Results The following statistical results were reported; 1. A comparison of the pre-test mean scores of the contemporary and traditional groups revealed, that there was no significant difference in musical achievement between the two groups, indicating that the two populations were equally matched for experimental purposes. 2. A comparison of pre-test and post-mean scores of the contemporary and traditional groups revealed, that there was a significant difference beyond the ,01 level between the two sets of scores. This indicated that the subjects in both groups made significant improvement in music achievaaent. 3. Mean gain scores revealed that there was a significant difference between knowledge within the two distributions, indicating that guided instruction using contempmrary youth music was significantly (.01 level) 58 more effective than traditional folk aualc In the develop­ ment of music comprehension. The null hypothesis was rejected on the basis of the above findings. The higher achievement on the part of the subjects in the contemporary group seemed to reflect, with a reasonable degree of certainty, the influence of differences in the treatment afforded the subjects. Significant findings were also noted when the questionnaires were analyzed and described. Bubblegum rock, folk-rock, and soul music were the preferred styles of contemporary youth music as indicated by the subjects in both groups. Intense rhythm, easily grasped lyrics, and unusual sounding instrumentation were factors listed by subjects that contribute to their liking of contemporary youth music. Within recent years, attention has been increasingly directed to the preference for different styles of music among students. A review of the literature unearthed a variety of general findings concerning musical preferences. Factors of musical training and constant musical exposure seemed to positively affect the musical preference of the students. 59

Implications and Conclusions In view of the pospose, limitations, and the results of the study, the following conclusions and implications were drawn: 1. Both contemporary youth music and traditional folk music contributed significantly in the development of music comprehension. 2. Contemporary youth music was much more effective than traditional folk music in increasing musical understanding. Subjects using contemporary youth music as instructional examples made significantly greater gains in achievement than subjects using traditional folk music. 3. Since a program of instruction using contemporary youth music can be presented in an acceptable format and can promote a positive change in students, the implications suggest that a continued reliance upon a traditional format in developing music comprehension seems unwarranted, 4. The fact that subjects using contemporary youth music were able to make significantly greater gains than their counterpart, indicated that this music is suitable as instructional material and worthy of study. 60

5. Blnce students in both groups indicated that they preferred contemporary youth music over other styles of music, and subjects in the contemporary group using this music were able to make greater gains in achievement, the findings imply that the interest of the student might play a very important part in determining musical performance.

Recommendations The following recommendations are made concerning areas that the researcher believes might be pursued to scholarly advantage in future studies related to the present investigation: 1. A study of the relative effectiveness of contemporary youth music in the development of music comprehension to be administered to a larger sample of randomly selected music students. 2. A study of teacher-training curricula with an emphasis on updating instruction to include the study of music which appeals to the contemporary youth culture. 3. A study of the Kod&ly and Orff methods of teaching music to possible utilize contemporary youth music. 61

4. A study of possible liberalization of copyright laws to permit flexibility in the use of contemporary youth music in the public school* 3. A study of contemporary youth music regarding formal theory and harmonic practices for possible use in secondary school courses of music* 6* A study of the music educator's knowledge and attitude toward the use of contemporary youthmusic for possible implementation in the curriculum. 7* A study of a variety of geographical areas and rural communities that have adolescents different from those tested in this experiment. 8. A study of a new framework of vocabulary and style analysis in the traditional musicological sense of popular musical styles is vehemently needed, 9, A study of the sociological implications of contemporary youth music might provide important data in understanding its value and meaning to man. 10, A study of individualized instruction Utilizing contemporary youth music for students, whose zest for learning might be stultified by the regime of the traditional schedule of class instructions. 62

11. A longitudinal study Bl.iB3.lar to the present one would be valuable in determining whether students using contemporary youth anisic will be better achievers than their traditional counterparts as they progress through school. 12. The value of music instruction in the school program as viewed by junior and senior high school students (not only music students) needs further investi­ gation in depth. 13. The influence of the home musical environment in the development of musical perception, abilities, interests, and attitudes needs to be determined in greater depth. 14. It is evident that music education apparently suffers from philosophical confusion. Further analysis in this area is a prerequisite in determining the nature of these deficiencies.

Due to the findings of the study, the researcher has seen the need for a new trend in the selection of appropriate instructional materials. However, a word of caution must be sounded. Educational change cannot be and should not be sustained by mere enthusiasm. By 63 necessity, it must rest on the evidence that blearly indicates that it is a better way of doing things* While the use of contemporary youth music in the schools is no panacea, the present study suggests that it is an effective innovation to consider in curriculum improvement* APPENDIX A

MUSIC REPERTOIRE 65

Bubblegum Rock

Title Performer(s) I Shall Sing Art Garfunkel Sing Carpenters Top of the World Carpenters Tie a Yellow Ribbon Round the Ole Oak Tree Tony Orlando and Dawn Yummy, Yummy, Yummy Ohio Express Candy Man Sammy Davis, Jr. Little Woman Bobby Sherman Sugar, Sugar Archies Mandy Barry Man Ho w Cherish Donny Osmond Go Away Little Girl Donny Osmond

Folk-Rock

One Tin Soldier Maureen McGovern Let Me Be There Olivia-Newton John Take Me Home, Country Roads John Denver Everything is Beautiful Ray Stevens Billy don? t be a Hero Paper Lace Baby don't get Hooked on Me Mac Davis The Sound of Silence Simon and Garfunkel 66

Soul Music

Title Performer(s) I Can See Clearly Now Johnny Nash You are the Sunshine of my life Stevie Wonder My Cherie Amour Stevie Wonder Superstition Stevie Wonder Got to be There Michael Jackson ^ Girl Temptations Ben Michael Jackson Never can say Goodbye Issac Hayes Dock of the Bay Otis Redding Mdnight Train to Georgia Gladys Knight and the M.ps 67

Traditional Folk MUaic

Title Origin Australia America Big Corral America Do Lord America Erie Canal America E-ri-e Canal America Grizzly Bear America He *8 Got the Whole World in His Hands America Johnny's My Boy South Africa Johnny has gone for a Soldier America Kum Ba Yah America Linstead Market Jamaica Little David America Mary Ann Jamaica Old Johnny Goggabee South Africa Roll on Columbia America Shenandoah America Sourwood Mountain America Stevedore's Song Jamaica Streets of Laredo America Sweet Betsy from Pike America 68

Take Time In your Life Liberian This Train is Bound for Glory America Water Come a Me Eye Wbst Indies Yellow Rose of Texas America APPENDIX B

QUESTIONNAIRE 70

Questionnaire

Directions: Here is a questionnaire for you to fill out. It is not a test. Please answer all questions completely and honestly.

1. Given three choices— •'like a lot," "o.k.," and "don't like"— how would you rate the music used during the last nine weeks of instructions? Give reasons.

2. What kind of music do you like?

3. Give reasons why you like this music,

Zf. What kind of music do you least like?

5. Give reasons why you least like this music, 71

6. Hhe following le a list of various kinds of music. Number them in order of your preference. ^Classical Country Rock Folk jJazz Gosnel Soul Opera Blues Bluegrass 7. List, in order of your preference, some of your favorite selections of any kind of music.

8. List, in order of your preference, your favorite singer or musical group. 72

9* List some music recordings you have recently bought.

10. Where do you hear your favorite music? Music Class _Home Church ^Concert or Recital Hall _Friend>*s Home Other 11. On what media do you listen to your favorite music? Radio Jukebox Television ___ Other Record Player 12. What are your favorite instruments to listen to? APPENDIX C

RAW SCORES OF THE CONTEMPORARY AND TRADITIONAL GROUPS 74

Raw Scores of the Contemporary Group

Pre-test Post-test 33 37 30 34 29 32 25 31 25 30 24 30 22 30 22 30 21 28 21 28 20 28 20 27 20 27 20 26 19 26 18 25 18 25 18 24 16 22 16 20 14 17 11 17 75

Raw Scores of the Traditional Group

Pre-test Post-test 25 31 24 30 24 30 23 27 23 27 22 26 22 26 21 26 21 25 21 25 21 24 21 24 21 24 20 23 19 23 19 23 18 22 17 22 17 21 16 20 15 15 10 14 SELECTED BIBLIOGRAPHY

A. BOOKS

Apel, Willi. Harvard Dictionary of Music. 2nd ed. Massachusetts; The Belknap R-ess, 1969, A Curi^culum Guide ^ General Music i Elementaiy Grades "" . Maryland? !Prince Georges's iBoard of Education,

Belz, Carl. The Story of Rock. New York; Oxford University Press, 1^9. Boeckman, Charles. Cool. Hot and Bluet A History of Jazz for Young People. New York; Washington Square Ress, “ 0. Choate, Robert A., ed. Documentary Report of the Tanglewood Symwslum. Washington: Music Wducators Na?ionaT Conference, 1968. Cohn, Nik. Rock from the Beginning. New York: Stein and Day, 1^6§. Downie, Norville M. and Heath, R. W. Basic Statistical Methods. 4th ed. New York: Harper and Bow. PüEIÎëEere, 1970. Eisen, Jonathan, ed. The Age of Rock 2. New York: Random House, 1970. “ Fox, Sidney. The Origin and Development of jJazz. Chicago: Follett KducatioMLl (Corporation, l9oB• and MacCluskey, Thomas. The World of Popular Music ; Rock. Chicago: Folle 11 ¥5bli'sW.ng Co., . Garland, Phyl. The Sound of Soul. Chicago: Henry Refnery CÔ., 1969. ----- Gillett, Charles. The Sound of the City. New York: Outerbridge and Dienstfrey, 19/0. 77

Grier, Gene* The Conceptual Approach to Rock Music* Valley Forge, Penna: Charter ^dlTcations, knc., 1974 Hoffer, Charles R, Teaching Music in the Secondary Schools. Californla: Wadswor'ÎE PuBHsECngHo.. m Z Hopkins, Jerry. The Rock Story. New York: Signet, 1970. Jahnÿ Mike, Rock; From EH^s Presley to the lolling Stones. Mew York: ^ e New York TOnes, Ï9V3. Jones, LeRoi. Black Music. New York; William Morrow and Co., T5577 ______. Blues People: Negro Music in White America. lïew York: William Morrow and üo^y . Keil, Charles. Urban Blues. Chicago: University of Chicago Press, I960. Korin, Basil P. Statistical Concepts for the Social Sciences. Massachusetts: Wlnthrop PuEHsHers, inc., Larkin, Rochelle. Soul Music. New York; Lancer Books, Inc., 1970. Lerma, Dominique-Rene de, ed. Reflections on Afro-^erican Mu^Lc. Ohio: Kent State University Press, Ï973* Mager, G. B. Preparijig Instructional Objectives. Palo Alto, California: Fearson, 1962. Meltzer, Richard. The Aesthetics of Rock. New York: Something Else fress, Ï9Y0 . Mursell, James* Education for Musical Growth. New York: Gain and Co., 1448. Oliver, Paul. ïfee Story of ^the e Blues. Philadelphia: Chilton Booker Co., i969« 78

Phelps, Rogers. A Guide to Research in tfaslc Education. Iowa: WillJam brown do., kiSTlshers, l9b9. Pleasants, Henry. Serious Husic— and all that Jazz: An Adventure in jfcgLc briMciismT iNewŸork. SÏmon and Schuster, 1971# Redd, Lawrence N. Rock Music is Rhythm and Blues: The Impact of MasFTfedla. iÆohigan: Æê">lichigan State unlversSn^y iFress, 1^74 Reimer, Bennett. A Philosophy of Music Education. New Jersey: PrenTice-Hall, The., T9VÜ. Riedel, Johannes. Soul Music— Black and White: The Influence of Black Mugic on the tinurches ."~TlLnneso ta ; Augshurg Publishing &6use, 1975# Roach, Bildred. Black American Music : Past and Present. Crescendo Publishing bo., T973T Roxon, Lillian. Rock Encyclopedia. New York: Workman Publishing Co.V 1969* Schafer, William J. Rock Music: Where It's Been. What It Means. Where It*s Going. Minnesota: Augsburg Publishing house, i9Vk. Where It's Been. What Shaw, Arnold * ^bte Rockin' 50s. New inn^ota: Augsburg Inc., 1 9 7 4 #^ World of Soul: The Black Contributions to ^POP p Music.ft ^ew"York: Cowles Education Corporation, 1969# Southern, Eileen. The Music of Black Americans: A History. New York: W. W. iïortons and Üo., inc., 19717 Stambler, Irwin. RncycnopAdia of Pop. Rock and Soul. New York: StT^Hartin's Press7T97fT^ Walton, Ortiz. Music : Black. White and Blue. New York: William Morrow and ùo., Inc., 1972. 79

B. PERIODICALS

Baumann, Victor. "Teenage Music Preferences." Journal of Research in Music Education 8 (Fall #960) :75-89. Fay, P. J. and Middleton, W. C. "Relationship Between Musical Talent and Preference for Different Types of Music." Journal of Educational Psychology 32 (November 19^TTnf7?-5fe • Fischer, Rhoda L. "Preferences of Different Age and Socio- Economic Groups in Unstructured Musical Situations." Journal of Social Psychology 33 (1951): 147-152. Fowler, Charles B. "ttodular Music Programs— An Alternative to general Music." Music Educators Journal 50 (February 1974):35-37. Gerber. Timothy A. "Got With It." Music Educators Journal 54 (April 1968):113. Housewright, Wiley, "Youth Music in Education." Music Educators Journal 56 (November 1969):54 Johnstone, John and Katz, Elibu. "Youth and Popular Music: A Study of the Sociology of Taste." American Journal of Sociology 62 (May 1957)1563-568. Kelly, David T. "Study of Musical Preferences of a Selected Group of Adolescents." Journal of Research in Music Education 9 (Fall I96I) :llb-lS4* Leonhard, Charles. "Human Potential and the Aesthetic Experience." Music Educators Journal 55 (April 1968);110. Newman, Grant. "Doublethink and Music Education." Music Educators Journal 56 (April 1970):114. Roach, Donald, "Contemporary Music Education: A Comprehensive Outlooks" Music Educators Journal 59 (September 1973):4 0 . Robinson, John and Hirsch, Paul. "It's the Sound that Does It." Psychology Today 3 (October I9 6 9 ):42-45. 80

Rogers, Vincent R, "Children^*s Musical Preferences as Related to Grade Level and Other Factors." Elementary School Journal 57 (May 1957): 453-435. — — Rubin, Louis. "The Effects of Musical Experience on Musical Preferences." Council for Research in Music Education 1 (1963):57-58. “ ' " ~ ~ Rummler, Roy. "To Solve the Involvement Perplex." Misic Educators Journal 56 (March 1970):59 Schuessler. Karl F. "Social Background and Musical Taste." American Sociological Review 13 (June 1948):330-335. Stanton, Royal. "A Look at the Forest." Music Educators Journal 53 (November 1969):38. "Tanglewood Symposium— Music in American Society." Music Educators Journal 59 (September 1972):51 Wehner, Walter L. "The Endless Stream that Never Arrives." Music Educators Journal 59 (September 1972):27. Wersen, Louis G. 9A Charge to Music Educators." Music Educators Journal 54 (November 1967)i80* Wiebe, Gerhardt, "The Effects of Radio Plugging on Students* Opinions of Popular Songs." Journal of Applied Psychology 24 fuecember 1940) Zinar, Ruth. "Musical Taste of Adolescents." Music Journal 33 (January 1973):10.

C. UNPUBLISHED MATERIALS

Booker, George A. "The Disc Jock^ and His Impact on Teenage msical Taste as Reflected Through a Study in Three North Florida Cities." Ph.D. dessertation, Florida State University, 1968. 81

Broquist, Oliver A* "A Survey of the Attitude of 2,594 Wlsconsin Elementary School Pupils Toward Learning Experiences in Music." Ph.D. dissertation. University of Wisconsin, 1961. Erneston, Nicholas. "A Study to Determine the Effect of Musical Experience and Mental Ability on the Formulation of Musical Taste." Ph.D. dissertation, Florida State University, 1961.