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University Microfilms international 300 North Zeeb Road Ann Arbor, Michigan 48106 USA St. John's Road, Tyler’s Green High Wycombe, Bucks, England HP10 8HR 70196OS GRASHEL, JOHN WILLIAM A COMPARISON OF SEVERAL INSTRUCTIONAL STRATEGIES UTILIZING POPULAR MUSIC IN THE teaching OF MUSICAL FORM TO INTERMEDIATE INSTRUMENTALISTS. THE OHIO STATE UNIVERSITY, PH.D., 1978 A COMPARISON OF SEVERAL INSTRUCTIONAL STRATEGIES UTILIZING POPULAR MUSIC IN THE TEACHING OF MUSICAL FORM TO INTERMEDIATE INSTRUMENTALISTS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By John William Grashel, B.S., M.A. The Ohio State University 1978 Reading Committee: Approved By A. Peter Costanza Burdette L. Green David L. Meeker Advisor o' School of Music Copyright by John William Grashel 1978 ACKNOWLEDGMENTS The author wishes to express his appreciation to the members of his reading committee: Dr. A. Peter Costanza, Chairman, Dr. David L. Meeker, and Dr. Burdette L. Green. Without their guidance, this study would not have been possible. Appreciation is also expressed to Mr. James L. Swearingen, Mr. Richard Froton, and the many teachers and students who participated in this study. A special note of thanks is offered to the author's parents, Mr. and Mrs. Harry W. Grashel, and wife, Mrs. Janice Grashel, whose support and encouragement was essential for the completion of the study. October 17/ 1947 .... Born - Columbus, Ohio 1969 ................... B.S., The Ohio State University, Columbus, Ohio 1969-1975 ............. Instrumental Music Director, South-Western City Schools, Grove City, Ohio 1973 ................... M.A. , The Ohio State University, Columbus, Ohio 1975-1978 ............. Graduate Administrative Associate, School of Music, The Ohio State University, Columbus, Ohio FIELDS OF STUDY Major Field: Music Education Studies in Music Education. Professors A. Peter Costanza, David L. Meeker, Jere Forsythe, George Kyme Studies in Music Theory. Professors Norman Phelps and Burdette L. Green Studies in Music History. Professor Herbert Livingston TABLE OF CONTENTS Page ACKNOWLEDGMENTS ....................................... ii VITA .................................................... iii LIST OF T A B L E S ....................................... vi Chapter I. INTRODUCTION ................................. 1 Need for the S t u d y ........................ 3 Purpose of the Study ...................... 20 Definition of T e r m s ...................... 21 Limitations .............................. 24 II. REVIEW OF RELATED RESEARCH .................. 26 Form in Music Education Research ......... 26 Musical Preference as it Relates to Popular Music .......................... 29 Studies Utilizing Popular Music in Experimental Programs ................. 33 S u m m a r y ................................... 35 III. MATERIALS AND PROCEDURES .................... 36 Design of the S t u d y ...................... 36 S u b j e c t s ................................... 38 Stage I: Statement of objectives and the development of the Form in Music programmed instruction booklet and cassette tape .................... 39 Stage II: Development of the in-class b o o k l e t ................................. 44 Stage III: Construction and evaluation of the Form test ................. 45 Stage IV: Implementation and testing of the three teaching strategies .......... 48 Page IV. PRESENTATION AND ANALYSIS OF D A T A ........... 52 Means, Ranges, and Standard Deviations . 52 Analysis of Covariance ................... 53 Scheffe Procedure ........................ 55 Analysis of Incorrect Responses on the Form Test (Post) ...................... 56 V. SUMMARY AND CONCLUSIONS................... 57 Purpose of the S t u d y .................. 57 Limitations of the S t u d y ............. 58 Design of the S t u d y .................. 59 S u b j e c t s ............................... 59 Stage I ............................... 59 Stage II ............................ .. 60 Stage I I I ............................. 60 Stage I V ............................... 61 Data A n a l y s i s ........................ 61 R e s u l t s ............................... 62 Conclusions .......................... 63 Implications of the S t u d y ........... 65 Recommendations for Future Research . 65 BIBLIOGRAPHY ......................................... 67 APPENDIXES A. Program and Unit Behavioral Objectives . 75 B. Sample Frames — Form in M u s i c .......... 80 C. List of recordings in positions 1-30 of Billboard magazine's "Hot 100" between September 17 and October 29, 1977 ........ 88 D. Sample Units — In-Class Booklets.... ........ 91 E. Form Test — Directions and Sample Questions. 96 F. Schedule of Experimental Groups ............. 102 G. Raw D a t a .................................. 105 H. Analysis of Incorrect Responses on the Form Test (Post) ............................ 110 LIST OF TABLES Table 1. Population and Grade Levels of Experimental Groups .......................... 38 2. Popular Music Recordings Used for Programmed Instruction Musical E x a m p l e s ..................................... 42 3. Form Test Results — Pilot Study Subjects .............................. 47 4. Paired Observation t Test for Significance Between Means — Form Test Pre — P o s t ........................ 48 5. Means, Standard Deviations, and R a n g e s ................................... 53 6. Analysis of Covariance on the Posttest of the Form Test with the Pretest as a C o v a r i a t e ................. 54 7. Results of Scheffe Procedure ................ 55 8. Raw Data for the Form T e s t .................. 106 9. Incorrect Responses on Form Test (Post) . Ill CHAPTER I INTRODUCTION For many years music educators have been urged to integrate historical, theoretical, and structural musical learnings into the performance-oriented curricula that have dominated music course offerings. Music teachers - espe­ cially those responsible for ensemble groups - have re­ jected these suggestions, however, citing such factors as community and administrative pressure for performance em­ phasis, lack of planning and rehearsal time, and an hypoth­ esized rejection of any non-performance activity by the students. As cries for competency based curricula are being sounded throughout education circles, non-performance musical activities in the ensemble situation are no longer simply attractive appendages, but a potentially necessary component of the performance class. Indeed, Shoup states that, ". a competency base for music education should occupy many hours of thought in the months and years ahead. Can we, and are we willing to subject the product of music 2 education to serious evaluation? From all appearances we are going to be called upon to do just that. How then, can these musical competencies be incor­ porated into the curriculum of the performance organization without a subsequent loss of performance quality? Several important considerations must be taken into account: 1. Only a minimal percentage of the rehearsal period can be devoted to non-performance activities. 2. The learnings covered by this activity should correlate, as much as possible, with the literature being rehearsed in the ensemble period. 3. The musical learnings should be appropriate to the age and skill level of the students. 4. Non-performance activities should be pre­ sented to the ensemble members through challenging and interesting media and techniques. This study was an attempt to meet these criteria by designing a two-week program for intermediate instrumental­

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