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DOCTORAL THESIS the Development of Musical DOCTORAL THESIS The development of musical preferences in Greek Cypriot students Rousha, Yianna Award date: 2014 General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal ? Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. Download date: 03. Oct. 2021 The development of musical preferences in Greek Cypriot students by Yianna Rousha A thesis submitted in partial fulfilment of the requirement for the degree of PhD School of Education University of Surrey 2013 To my godfather CONTENTS List of tables vii List of figures x Acknowledgements xii PART I: Review of the literature Chapter 1: Greek Cypriot folk music 1 1.1 Introduction 1 1.2 Folk music: concept and definition 3 1.3 Greek Cypriot folk music 17 1.3.1 Cyprus: a brief observation 17 1.3.2 Overview on ethnomusicological research in Cyprus 19 1.3.3 Greek Cypriot folk collectors: Kallinikos 24 1.3.4 An overview of Greek Cypriot folk music today 27 1.4 Musical elements of Greek Cypriot folk music and dance 28 1.4.1 Rhythm 29 1.4.2 Melody 29 1.4.3 Vocal Music 30 1.4.4 Instrumental Music 30 1.4.5 Dance Music 32 1.5 Greek Cypriot folk music inside schools 33 1.5.1 The music curriculum 33 1.5.2 An overview of its applications in schools 34 1.5.3 Examples of Greek Cypriot folk music teaching in schools for classes A’ to St’ 42 1.6 Greek Cypriot folk music outside schools 45 1.7 Summary 48 i Chapter 2: Development of students’ musical preferences 50 2.1 Introduction 50 2.2 Definition and use of terms 56 2.2.1 Musical style 56 2.2.2 The concept of preference and musical preference 67 2.3 Musical preferences 75 2.4 Developmental models of musical preferences: An overview 79 2.5 Determinants of musical preferences 84 2.5.1 Introduction: An overview of theoretical models 84 2.5.2 Musical preferences inside and outside school 91 2.5.3 Individual differences 94 2.5.3.1 Gender 95 2.5.3.2 Familiarity 98 2.6 Summary 102 PART II: Methodology and Studies A, B and C Chapter 3: Methodology, design and research questions 104 3.1 Introduction 104 3.2 Issues and research questions generated by the literature review 105 3.2.1 Overview of research on musical preferences 105 3.2.2 Conclusions from the literature review 106 3.2.3 Generation of the research questions 108 3.3 Issues of methodology 111 3.3.1 Research in music education: Introduction 111 3.3.2 Quantitative vs. Qualitative enquiry 112 3.3.3 Mixed method enquiry 114 3.3.4 Design of the study 115 3.3.5 Choice of methods 116 3.4 Development of the questionnaire survey (Study A) 117 3.4.1 Theoretical bases 117 3.4.2 Research questions 118 3.4.3 Method 119 3.4.4 Reliability and validity 120 3.5 Development of the semi-structured interviews (Study B) 121 3.5.1 Theoretical bases 121 3.5.2 Research questions 123 3.5.3 Method 125 3.5.4 Reliability and validity 126 3.6 Development of the listening experiment (Study C) 127 3.6.1 Theoretical bases 127 3.6.2 Research questions 128 3.6.3 Method 128 3.6.4 Reliability and validity 129 3.7 Summary 130 ii Chapter 4: Study A: The development of students’ musical 131 preferences 4.1 Introduction 131 4.2 Development of the survey questionnaire 132 4.2.1 Theoretical bases and hypotheses 132 4.2.2 Research questions 133 4.2.3 Method 135 4.2.4 Reliability and validity 136 4.2.5 Ethical issues 137 4.3 Questionnaire survey: Pilot study 138 4.4 Questionnaire survey: Main study 141 4.4.1 Population 141 4.4.2 Participants 142 4.4.3 Content and design of questionnaire 144 4.4.3.1 Musical styles and excerpts: labelling and choices 146 4.4.4 Data coding and analysis 152 4.4.5 Questions formulated from the questionnaire 155 4.5 Discussion of results 157 4.5.1 Summary of descriptive analysis 157 4.5.1.1 Sample details: age groups and gender 157 4.5.1.2 Recognition of musical styles 158 4.5.1.3 Favourite place to listen to music 160 4.5.1.4 With whom do they like listening to musical styles? 161 4.5.1.5 When do they like listening to the various musical styles? 163 4.5.1.6 Reasons for choosing their favourite style 164 4.5.2 Musical preferences 166 4.5.3 Reasons for students’ choice of musical styles 172 4.5.3.1 Age and musical preferences 172 4.5.3.2 Familiarity and musical preferences 182 4.5.4 Greek Cypriot folk music versus other musical styles 186 4.5.5 Other influences that affect student’s musical preferences 189 4.5.5.1 Area and student’s musical preferences 189 4.5.5.2 Gender and student’s musical preferences 195 4.6 Summary 198 Chapter 5: Study B: Semi-structured interviews with students, 200 music teachers and music inspectors. 5.1 Introduction 200 5.2 Aims and objectives 201 5.2.1 Aims and hypotheses 201 5.2.2 Research questions 203 5.3 Content and design of the interviews 204 5.3.1 Pilot study 204 5.3.1.1 Participants 204 iii 5.3.1.2 Content and design of the semi-structure interview for the students 205 5.3.1.3 Content and design of the semi-structure interview for the music teachers 206 5.3.1.4 Content and design of the semi-structure interview for the music inspectors 207 5.3.2 Main study 207 5.3.2.1 Participants 207 5.3.2.2 Ethical Issues 210 5.3.2.3 Content of the semi-structured interviews 210 5.4 Data coding and analysis 212 5.5 Results and discussion 213 5.5.1 Students 213 5.5.2 Musical styles taught inside school (Part A) 214 5.5.2.1 What musical styles are used inside the school? 214 5.5.2.2 What is their favourite musical style inside school and why? 216 5.5.2.3 Do students listen to musical styles taught at school, outside school? 218 5.5.2.4 Musical styles familiar to students 219 5.5.3 Musical styles outside school 221 5.5.3.1 Favourite style of music outside school 222 5.5.3.2 Musical styles preferred to be taught in schools by students 225 5.5.3.3 Development of musical preferences outside school 227 5.5.3.4 Does school affect musical preferences outside school? 229 5.5.3.5 General comments and suggestions 231 5.5.4 Music teachers 232 5.5.4.1 General information 232 5.5.4.2 Part A: Musical styles taught at school 234 5.5.4.3 Part B: Students’ musical preferences outside school 242 5.5.4.4 General comments and suggestions 249 5.5.5 Music inspectors 250 5.5.5.1 Musical styles inside and outside school 250 5.5.5.2 General comments and suggestions 255 5.6 Summary 256 Chapter 6: Study C: Listening experiment 257 6.1 Introduction 257 6.2 Development of the listening experiment 258 6.2.1 Research questions 258 6.2.2 Setting and participants 259 6.3 Listening experiment: Pilot study 261 6.3.1 Problems 263 6.4 Listening experiment: Main study 264 6.4.1 Participants 264 iv 6.4.2 Content and design of the listening experiment 268 6.4.3 Musical styles and excerpts: labelling and choices 270 6.4.4 Data coding and analysis 272 6.5 Results and discussion 274 6.5.1 Summary of analysis 275 6.5.1.1 Sample details: age groups, gender, inside and outside school 275 6.5.2 Musical preferences 276 6.5.2.1 Inside and outside school 276 6.5.2.2 Age groups 279 6.5.2.3 Gender 281 6.5.3 Familiarity of musical styles 283 6.5.3.1 Inside and outside school 284 6.5.3.2 Age groups 286 6.5.3.3 Gender 289 6.5.4 Descriptions of each musical style 291 6.5.4.1 Inside and outside school 292 6.5.4.2 Age groups 297 6.5.4.3 Gender 302 6.5.5 Correlations between familiarity and liking of the musical styles 307 6.6 Summary 309 PART III: Conclusions Chapter 7: Conclusions, implications, limitations and suggestions 7.1 Introduction 311 7.2 Summary of the main research findings 312 7.2.1 Limitations of the methodology and findings 315 7.3 General Discussion 316 7.4 Conclusions and implications for music education 318 7.5 Suggestions for future research 320 REFERENCES 323 APPENDICES 342 A.
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