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Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera Hong Chen University of South Florida, [email protected]

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Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera Hong Chen University of South Florida, 1062058846@Qq.Com University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 11-19-2015 Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera Hong Chen University of South Florida, [email protected] Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the Other Education Commons, and the Psychology Commons Scholar Commons Citation Chen, Hong, "Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera" (2015). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/5922 This Dissertation is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Preference of Chinese Undergraduate Music Majors for Chinese Xi-Qu and Western Opera by Hong Chen A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy School of Music College of the Arts University of South Florida Major Professor: Jennifer Bugos, Ph.D. Victor Fung, Ph.D. Janet Moore, Ed.D. Jeffrey Kromrey, Ph.D. Date of Approval: November 6, 2015 Keywords: mixed methods, FaceReader, familiarity, audiovisual stimuli, formal training, making sense of the context Copyright © 2015, Hong Chen DEDICATION I would like to dedicate this dissertation to my Grandmother, Su-zhi Wang ( 王素芝 ), for her endless love to me. I also dedicate this dissertation to my Mother, Wen-hua Shang ( 商文华 ) and my sister Lei Chen ( 陈蕾 ), for their support during the writing process. ACKNOWLEDG ＭＭＭENTS I would like to acknowledge the importance of some people during the process of earning my doctorate. I am grateful to Dr. C. Victor Fung. His high expectations pushed me forward and his support helped me overcome numerous difficulties during my doctoral career. I am grateful to Dr. Jennifer Bugos who introduced FaceReader to me and played an important role in the conception and execution of this dissertation. I was always encouraged and inspired by her enthusiasm for research. I am grateful to Dr. Terese Volk Tuohey for her kind help during my most difficult time. Her effective instruction and kind help rebuilt my confidence in my career. The committee members, Dr. Janet Moore and Dr. Jeffrey Kromrey, supported me by providing suggestions for improvement of methodology and reporting the findings. Dr. John Robison supported me by offering suggestions for selecting musical examples. I am greatly grateful to him for his understanding of the difficulty I confronted with as an international student. I am so grateful to the participants who devoted their time to this study. Their opinions and suggestions offered insights and valuable information for selecting Xi-Qu and opera teaching materials. Finally, I would like to acknowledge the generous help offered by Noldus Information Technology, Chinese headquarter. The manager Mr. Cheng-Fang Wang ( 王承芳 ) encouraged me to explore this new research topic. The former engineer Mr. Jun Ma ( 马俊 ) trained me to use FaceReader, and the engineer Mr. Xu-Hui Bai ( 白须辉 ) gave me prompt response when I asked any questions about FaceReader. TABLE OF CONTENTS List of Tables ·································································································· ⅴ List of Figures ································································································ ⅶ Abstract ········································································································ ⅷ Chapter One: Introduction ··················································································· 1 Statement of Problems ··············································································· 4 Theoretical/Conceptual Framework ······························································· 7 Research Questions ·················································································· 9 Importance or Significance of This Study ······················································· 10 Delimitation ·························································································· 11 Terms ·································································································· 11 Chapter Two: Literature Review ··········································································· 14 Theoretical Model of Music Preference ························································· 14 Sources of variation in music preference ··············································· 14 Reciprocal response model ······························································· 17 Familiarity and Music Preference ································································· 20 Self-reported familiarity and preference ················································ 21 Effect of instruction ········································································ 26 Preference for Xi-Qu and Opera and the Reasons for Preference ···························· 30 Preference for Xi-Qu and opera ·························································· 33 Reasons for music preference ···························································· 38 Music Preference Studies Using Audiovisual Stimuli ········································· 40 Asian audiovisual stimuli ································································· 41 Vocal audiovisual stimuli ································································· 41 Relationship between Music Preference, Emotional Response to Music, and Facial Expressions ····································································· 43 Facial expressions and music preference ··············································· 43 Preference and emotions measured by facial electromyography ···················· 44 Preference Studies Using FaceReader ···························································· 47 Summary ····························································································· 52 Chapter Three: Methodology ··············································································· 56 Research Design ····················································································· 56 Population and Sample ············································································· 57 Central Phenomenon ················································································ 59 Musical Stimuli ······················································································ 60 Instruments/Measures ·············································································· 64 Quantitative instruments and measures ················································· 64 i Purpose of the instruments ······················································· 65 Content, format, and scoring of the instruments ······························ 67 Questionnaire ····························································· 67 FaceReader and video camera ·········································· 67 Qualitative instrument ····································································· 68 Format of interview ······························································· 68 Data Collection ······················································································ 69 Measures for Maintaining Confidentiality ······················································· 70 Data Analysis ························································································ 71 Quantitative analysis ······································································· 71 Questionnaire ····································································· 71 FaceReader files ··································································· 71 Reliability of the quantitative data ·············································· 72 Validity of the quantitative data ················································· 73 Qualitative data analysis ·································································· 74 Coding the transcripts ···························································· 75 Finding the themes ································································ 76 Reliability and validity evidence ················································ 76 Summary ····························································································· 77 Chapter Four: Questionnaire and FaceReader Results ·················································· 79 Music Preference Questionnaire ·································································· 79 Demographic information and training backgrounds ································· 79 Internal consistency of the preference ratings ·········································· 81 Internal consistency of the familiarity ratings·········································· 82 Preference ratings ·········································································· 83 Familiarity ratings ·········································································· 86 Relationship between preference and familiarity ratings ····························· 88 Relationship between preference and tempo ··········································· 88 The liked and disliked elements ·························································· 88 The liked
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