CRPH106 URBANA 66 Oec410e.105 EMS PRICE MF $O,45 HC...$11,60 340P
Total Page：16
File Type：pdf, Size：1020Kb
N080....630 ERIC REPORT RESUME ED 013 040 9..02..66 24 (REV) THE THEORY OFEXPECATION APPLIEDTO MUSICAL COLWELL, RICHARD LISTENING GFF2I3O1 UNIVERSITYOF ILLINOIS, CRPH106 URBANA 66 OEC410e.105 EMS PRICE MF $O,45 HC...$11,60 340P. *MUSIC EDUCATION, *MUSIC TECHNIQUES,*LISTENING SKILLS, *TEACHING METHODS,FIFTH GRADES LISTENING, SURVEYS, ILLINFrLS,URSAMA THE PROJECT PURPOSES WERE TO IDENTIFY THEELEMENTS IN MUSICUSED BY EXPERT LISTENERS INDETERMINING THE ARTISTIC DISCOVER WHAT VALUE OF MUSICS TO MUSICAL SKILLS ANDKNOWLEDGES ARE NECESSARY/ LISTENER TO RECOGNIZE FOR THE THESE ELEMENTS, ANDTO USE THESE CMIPARiSON WITH A FINDINGS IN A SPECIFIC AESTHETICTHEORY. ATTEMPTSWERE PACE TO DETERMINE WHETHERTHESE VALUE ELEMENTSARE TEACHABLE, LEVELS AT WHICH IF SOS THE AGE THEY ARE TEACHABLE,THE CREATION OF EVALUATE RECOGNITION MEASUREMEN7S TO OF THESE ELEMENTS,AND THE SKILLS AND KNOWLEDGES USED* THE TWO PROBLEMSSTUDIED WERE (1) THE KNOWLEDGES A STUDENT SKIMAS AND WOULD NEED TO PARTICIPATEIN THE MUSICAL EXPERIENCE AS DESCRIBEDBY MEYER S THEORY WHETHER THESE OF EXPECTATIONAND (2) PROBLEMS COULD BETAUGHT WITHIN A 2 FIFTH GRADE CHILDREN* YEAR PERIOD TO THE TOTAL LIST OFSKILLS AND KNOWLEDGES (APPROPRIATE FORMUSICAL LISTENINGAND GATHERED FROM EXPERTS) WAS OBVIOUSLY THE MUSICAL MUCH TOO EXTENSIVEAND DIFFICULT TOUTILIZE IN A ONE YEARGRADE SCHOOLCOURSE. TWENTY SEVEN WERE USED IN FIF=TH GRADE CLASSES INTERPRETING THERESULTS OF THE STUDYAND DRAW FROM THEM*APPROXIMATELY 10 PERCENTOP THE TESTSMEW THESE CLASSESWERE HIGHLYCOMMENDABLE, WITH MELODIES, CONTRASTING CADENCES, PHASESS PARTS, TIMBRE, ANDCI IMAXES ALLCORRECTLY IDENTIFIED AND MARKED.TWO VIEWPOINTS RESULTED FROM THESTUDV...(1) DESIRABILITY OF ANEARO,Y START ININTENSIVE MUSICAL THE IMPRACTICABILII"E LEARNING AND (2) OF TEACHING ADEQUATEMUSICAL SKILLS AND KNOWLEDGES WITHINTHE EXISTING ELEMENTARY MUSICFRAMEWORK BECAUSE OF LIMITED TIME ALLOWED,(GC) U. S. DEPARTMENT OF HEALTH, EDUCATION AND WELFARE Office of Etlf.soation "lift document has been reprodmed exactlyas roosts& from *a Oman or organIzation odalnang It. Pante of shm, or ophions 'As toP 44 not mom* represent &WM orof Macotko licato or way. The Theory of 2xpectation Applied to Musical Listening Cooperative Research Project Number H-106 Richard Colwell University of: Illinois Urbana, Illinois 1966 The research reported herein was supported bythe Cooperative Research Program of the Office of Mucation, U. SoDepartment of Health, Education, and Welfare ( riLMED PRECEDING Piker.I3 k 1010110WLEDGMINNT3 Predit must be givento two gradual.4 Neiman and Nis* Carol assistants, Mr. Grant achworts for their:assistance in providing not onlymany excellent ideas buthours of tedious protect. work to the The teachers, MissBarts,.Mrs. Bagetron, Mrs. Ponsetto and Mre. Misr Hieronymus, Walker, were thekey tc. one trialphase of the project andwere superb in their the one semester role. Dr. Duda supervised phase of the projectand be and histeachers provided a wealth ofadditional informlatione Professor &mos Lykswivte lesson plansfor the keyboard phaset'gave demonstration1064=5 and consulted Dr. Ruth Colwell with the teacLerse was of inestimable aidin evaluating serving as editor ideas and of the materialsand the finalreport. pour graduate student::Kenneth Shay; Thomas and Pianchai Mier, B. V. Rao Ninsuvannikul eachspent hundrtds of papers4 hours correcting 3ViicteNiaDatic 03011131.00FINVIS I11.64ED PRECtuttic4 t. TA LB 07 COP TENTS Page A0 OWL3DGINENTS Chapter I The Problem 1 II Determination If Elements 32 III Sele4tion of Experiences. 109 IV Interpretation 204 APPENDICES 1 Mean scores and t values 2 Man scores and t values- extended keyboard group Dian scores and tvalues - one semester group 4 Evaluation Measures THE THEORY OP 131MTATION APPLIED TO MUSICAL LISTENING Tne purpose of this .project was to identify the elements le music used by expert listeners in determining the artistic vaue of music, to discover what musical skills and knowledges are necessary for the .listener to recognize these elements, and t4) use these findings ina.COMpariSOnwith a specific aesthetic theory, namely the theory of expectation promulgated by LeonardB. Myer. The purpose included attempts to determine whether the value elements are teachable, the age levels at which theyare teachable, and the creation of measuring devices to evaluate recognition of these elements and the shills and knowledges used. Music in the public schools heo in the past half-century geown from a novelty to a staple. In most school systems, music is not only offered but required in the first sixor eight grades. The unspoken philosophy behind this requirement is not that all will become performers of music but that all can become consumers of music. The consumer may rarely or never play an instrument or sing, but 11.0 participates in the pleasures of music as part of the toncert audience, as a record buyer,as a TV viewer and radio lieteaer. The principal objective of public school, music is, as it should be, to teach the potentialconsumer how to listen to music with understanding and discrimination. If "music for all" is a legitimate goal, then all public school- age children should be undergoing experiences designed to increase their understanding and appreciation of music. Hartshorn (1) states, "If lie take (music appreciation) to be that phase of the musicprogram which emphasizes the aestheticappeal of music and seeks primarily the attitudeswith whichwe wish our students might respond toits emotional power, then we acceptthe appre- ciation of musicas our ultimate goal in music education," "To transform the public musical culture intoa recognized part of each person's environment" should be the centralfocus of the music program. At the present time an increasedinterest in listeningmay be seen in public school music emphases,partially due, perhaps, to the failure of the music readingprogram. Lists of objectives found in recent writings and textbooksstress listening,and a .pate of recordingsfor schoolroom use has appeared in thepast ten years. Yet there seems tobe no approach toaural under standing; the pupil is expected simplyto listen, withoutany system or method through which theteacher can makethe listening meaningful. Most of the recordings offered aresong materials rather than art music, and fewtexts containsuggestions for understanding the musicalselections referredto or described. (See annotatedlist.) Because the mere sensationoS tone is pleasing and excites a pleasurable reaction inthe listener, childreu in thefirst four grades respond well to theexperience of listening. Beyond this age level,however, they becomeaware of many musical sounds which pleasethem but whichare not condoned in she classroom, and so their attitudeor liking for the Ilston- ins experience begins to decrease (2). Lacking trrtning in listens gag, pupils become attracted tothe easilyunderstood sounds of popular and commercial music andrefuse to wrestlewith the problems presented by art music. It is reasonable to expect that the child who is equipped with skills andknowledges for coping with art music will find itmore attractive than the superficial products of the juke box trade. The familiar fact is that the public schoolmusic program fails noticeably in its goal of listening. The layman who is aware of the music program thinks of it in terms of perforeeing groups such as bands and choruses. The researcher interacted in test development focuses on ausleal aptitude,music reading or factual knowledge. The textbook writer and publisher offerthe music teacher books filled withsongs to sing and rhythms to be played or danced. This neglect of listeningseems to be due to a variety of factors, chief of which is the paucity ofknowledge about the listening process and about therole of specific skills and knowledges in it, with the correlativelack of teaching method, realizable goals, and evaluativetools. Lacking these, the music teacher has emphasized. performaxiceor participation in the assumption tnat they would result Ix musicalunderstanding and discrimination. But research indicates that musicalexper- iences per se do not necessarily producepreferences for better music (3). The listening processseems to be a complex one, utilizing mental and aural 'skills, intellectualknowledgeer physical reaction and emotlonal response* Since the advent of the phonographwith its immense possibilities forenrichment in the area of listenins, music appreciation has been approachedin several ways, each of which endeavored to makeuse of some part of the total listening process. The earliest approach was to teach the mainmelodic theme of the work, often by attachingwords t6) its andeupecting children to memorize the compositionand composerappropriate for each melody; later came the factualapproach which emphasized the composer fl his dates, the meaningof musical termsand the instruments performing the work; finallythe programmaticapproach had its day, in which all musicwas heard as havinga story or picture or mood forwhich the pupil listened. None of these approaches singaarlyis legitimate becauseeach is fragmentary, based upon only one phase or factor of thelistening process. The abstract quality ofart music demandsthat the pupil be given a basis upon which to understand the musicas it proceeds- -to hear and know what is happening at the presentmoment in the workGad to be able to comprehend thework as a whole whenhe has heard it to its completion. In order to teachthe pupil how to listen with understanding, the teachermust know what things in the music are essential