HOLT, Dennis Michael, 1944- AN EVALUATION STUDY OF TWO UNITS OF INSTRUCTION FOR PROVIDING PROSPECTIVE ELEMENTARY TEACHERS WITH AN ORIENTATION TO SELECTED ASPECTS OF GENERAL MUSIC TEACHING AND LEARNING.
The Ohio State University, Ph.D., 1973 Education, music
University Microfilms, A XEROX Company, Ann Arbor, Michigan
© Copyright by
Dennis Michael Holt
1973
THIS DISSERTATION HAS BEEN MICROFILMED EXACTLY AS RECEIVED. AN EVALUATION STUDY OF TWO UNITS OF INSTRUCTION FOR
PROVIDING PROSPECTIVE ELEMENTARY TEACHERS WITH
AN ORIENTATION TO SELECTED ASPECTS OF
GENERAL MUSIC TEACHING AND LEARNING
DISSERTATION
Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio state University
By
Dennis Michael Holt, B.A., M.Ed.
******
The Ohio State University 1973
Reading Committee: Approved by
Henry L. Cady
John B . Hough
H. Wayne Ramsey School ot Music ACKNOWLEDGMENTS
The author expresses his appreciation to those per sons whose assistance made the completion of this project possible, especially the following:
Dr. Henry L. Cady, adviser, for his critical exam ination of this study at each stage of its development, and the many improvements resulting from his scholarly insight. Appreciation is also extended to the other members of the author's committee, Dr. John B. Hough, and Dr. H. Wayne Ramsey;
Mrs. Rebecca Burns, music specialist, Colonial Hills
Elementary School, Worthington Public Schools, Worthington,
Ohio, for her excellent cooperation and assistance;
Mrs. Patricia Saunders, programmer, The Instruction and Research Computer Center of The Ohio State Univer sity, whose thoughtful assistance is acknowledged;
Libby Wilson Holt, wife, for her patience, assistance, and encouragement, which were instrumental in the comple tion of this project.
ii VITA
February 6, 1944 . . . Born— Youngwood, Pennsylvania
1966 ...... B.A., West Virginia Wesleyan College
Summer, 1966 ...... Graduate Study in Music Education, Duquesne University, Pittsburgh, Pennsylvania
1966-1968 ...... Elementary Music Specialist, Newark School District, Newark, Delaware
1968 ...... Junior High Music Teacher and High School Director of Choral Groups, Kennett Square Consolidated School District, Kennett Square, Pennsylvania
1969 ...... M.Ed., West Chester State College, West Chester, Pennsylvania
Summer, 1969 ...... Graduate Study in Music Education, University of Illinois, Urbana, Illinois
1969 ...... Instructor, Music Education Divi sion, School of Music, University of Illinois, Urbana, Illinois
1970-1973 ...... Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio
FIELDS OF STUDY
Studies in Music Education. Professors Henry L. Cady, A. Peter Costanza and H. Wayne Ramsey
Studies in the Theory and History of Music. Professors Marshall H. Barnes, B. William Poland, Harold T. Luce,' J. A. Huff, Herbert S. Livingston, and Keith E. Mixter Studies in Educational Research. Professors James B Gunnell and John J. Kennedy Studies in Educational Foundations and Curriculum. Professors Donald P. Cottrell, John B. Hough and Paul R. Klohr TABLE OF CONTENTS
Page
ACKNOWLEDGMENTS...... ii
VITA ...... iv
LIST OF TABLES ...... vii
Chapter
I. INTRODUCTION AND PROBLEM ...... 1
Introduction Problem Overview of the Report
II. REVIEW OF THE LITERATURE ...... 14
Need for the Study Rationale for the Development of the Units of Instruction Rationale for the Development of the Measurement Instruments Summary
III. METHODOLOGY ...... 53
Developmental Phase Implementation Phase Analysis of Data
IV. PRESENTATION AND ANALYSIS OF THE D A T A ...... 88
Introduction Variance of Group Test Scores Multiple Regression Analysis of Test Scores and Fifteen Independent Variables Tests for Significant Differences Between Groups Acceptability of Instructional Procedures Problems Affecting the Employment of Educa tional Films as the Basis of a Measurement Instrument Problems Affecting the Instructional Procedures v Chapter Page
V. SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS . . . 140
Purpose Procedures Summary of the Findings Conclusions and Implications Recommendations for Further Research APPENDICES
A. DESCRIPTION OF EDUCATIONAL FILM CONTENT ...... 161 B. COURSE BEHAVIORAL OBJECTIVES ...... 164 C. FIRST CLASSROOM OBSERVATION GUIDE ...... 166 D. SECOND CLASSROOM OBSERVATION GUIDE ...... 168 E. THIRD CLASSROOM OBSERVATION GUIDE ...... 171 F. TEST OF MUSIC TEACHING AND LEARNING AWARENESS . . . 174 G. SUBJECTS' BACKGROUND INFORMATION QUESTIONNAIRE . . 230 ' H. STUDENT EFFECTIVENESS-SATISFACTION SCALE FOR INSTRUCTIONAL TECHNIQUES EMPLOYED ...... 235 I. FILM VIEWING GUIDE: PRELIMINARY F O R M ...... 239 J. DETAILED FILM VIEWING GUIDE: PRELIMINARY FORM . . . 241 K. SUPPLEMENTAL READINGS FOR PRESENTATION- PARTICIPATION ...... 243 L. LESSON OUTLINE FOR CLASS DISCUSSION OF OBSERVATION 4 ...... 243 M. TEST QUESTIONS FOR CLASS SESSION 7 ...... 247 N. CORRELATION M A T R I X ...... 249
BIBLIOGRAPHY ...... 251
vi LIST OF TABLES
Table Page
1. Total Test Scores for Four Groups: Mean., Standard Deviations, Analysis of Variance, and Multiple Comparison Tests ...... 92
2. Group Test Scores for Part A of the Test— Teaching Method: Treatment Means in Rank Order, Standard Deviations, Analysis of Variance, and Multiple Comparison Tests .... 55
3. Group Test Scores for Part B of the Test— Musical Activities: Treatment Means in Rank Order, Standard Deviations, Analysis of Variance, and Multiple Comparison Tests . . 97
4. Group Test Scores for Part C of the Test— Musical Elements: Treatment Means in Rank Order, Standard Deviations, Analysis of Variance, and Multiple Comparison Tests .... 99
5. Group Test Scores for Part D of the Test- Musical Concepts: Treatment Means in Rank Order, standard Deviations, Analysis of Variance, and Multiple Comparison Tests .... 101
6. Group Test Scores for Part E of the Test— Teaching Materials: Treatment Means in Rank Order, Standard Deviations, Analysis of Variance, and Multiple Comparison Tests .... 103
7. Correlations Between Variables Which Are Significant at the .05 L e v e l ...... 106
8. Stepwise Multiple Regression on Dependent Variable, TMTLA Total Score: Step 1— Variable Entered is Cumulative Average .... 108
9. Stepwise Multiple Regression on Dependent Variable, TMTLA Total Score: Step 2— Variable Entered is College Music Course 1, Music 270: Basic Experience in Music: Fundamentals ...... 109
vii Table Page
10. Stepwise Multiple Regression on Dependent Variable, TMTLA Total Score: Step 3— Variable Entered is Prior Elementary Music Teaching Experience . . . 110
11. Pinal Summary of Regression on Dependent V a r i a b l e ...... Ill
12. Significant Differences Between Groups with Respect to the Fifteen Variables ...... 113
13. Analysis of Treatment Groups 1 and 2 Responses Concerning Effectiveness and Satisfaction with Presentation-Participation Techniques in Learning Teaching Method ...... 115
14. Analysis of Treatment Groups 1 and 2 Responses Concerning Effectiveness and Satisfaction with Presentation-Participation Techniques in Learning Musical Activities ...... 116
15. Analysis of Treatment Groups 1 and 2 Responses Concerning Effectiveness and Satisfaction with Presentation-Participation Techniques in Learning Musical Elements ...... 117
16. Analysis of Treatment Groups 1 and 2 Responses Concerning Effectiveness and Satisfaction with Presentation-Participation Techniques in Learning Musical Concepts ...... 118
17. Analysis of Treatment Groups 1 and 2 Responses Concerning Effectiveness and Satisfaction with Presentation-Participation Techniques in Learning Teaching Materials ...... 119
18. Treatment Groups 1 and 2 Suggestions for Improve ment of Lecture-Demonstration Unit of Instruction ...... 12°
19. Analysis of Treatment Groups 1 and 3 Responses Concerning Effectiveness and Satisfaction with Observation-Discussion Techniques in Learning Teaching Methods...... 123
viii Table Page
20. Analysis of Treatment Groups 1 and 3 Responses Concerning Effectiveness and Satisfaction with Observation-Discussion Techniques in Learning Musical Activities...... 124
21. Analysis of Treatment Groups 1 and 3 Responses Concerning Effectiveness and Satisfaction with Observation-Discussion Techniques in Learning Musical Elements ...... 125
22. Analysis of Treatment Groups 1 and 3 Responses Concerning Effectiveness and Satisfaction with Observation-Discussion Techniques in Learning Musical Concepts ...... 126
23. Analysis of Treatment Groups 1 and 2 Responses Concerning Effectiveness and Satisfaction with Observation-Discussion Techniques in Learning Teaching Materials ...... 127
24. Analysis of Treatment Groups 1 and 3 Responses Concerning Effectiveness and Satisfaction with Observation-Discussion Techniques in Learning Class Discussion ...... 128
25. Treatment Groups 1 and 3 Suggestions for Improve ment of Observation-Class Discussion Unit of I n s t r u c t i o n ...... 129
26. Analysis of Relationships between Effectiveness and Satisfaction Responses and Subtest Scores for Treatment Groups 1, 2, and 3 ...... 132
ix CHAPTER I
INTRODUCTION AND PROBLEM
Introduction
L. O. Andrews**- and other leading teacher educators are expressing dissatisfaction with the student teaching experience. it has been suggested that a major recon ceptualization of early direct, indirect, and vicarious experiences for prospective teachers is needed to insure the development of professional competencies and personal characteristics necessary for successful student teaching.
In recent years this concern has prompted many in vestigations. Studies by Patrick,2Gelvin,^ Mita, ^
L. 0. Andrews, "What I think Student Teaching Should Become." Columbus, Ohio: The Ohio State University, 1968, p. 1. (Unpublished.)
2Nelson G. Patrick, "A Comparative Study of Music Education in Texas Four-Year Colleges and Universities" (unpublished Ed.D. dissertation, University of Texas, 1955). 3 Miriam P. Gelvin, "A Comparative Analysis of the Preparation and Practices in Student Teaching in Music," (unpublished Ph.D. dissertation, Northwestern University, 1956).
^Setsuko Mita, "A Comparative Study of the Preparation of School Music Teachers in Japan and the United States" (unpublished Ph.D. dissertation, Michigan State University, 1957). 2
5 (% Smith, Borg and others have surveyed and evaluated existing music teacher education curriculums in order to discover strengths, weaknesses, and relationships.
Earlier orientation to music teaching has been proposed to provide for a more meaningful student teaching experi ence. Thompson7 has identified seven misconceptions which he believes hinder improvement of teacher education programs. Two of these serve to illustrate the need for a new conceptualization of teacher preparation:
A sixth misconception is that the typical prepar ation of teachers should encompass four years of undergraduate study. . . . The difficulties of becoming proficient in the theory and practice of instruction all point to an extension of the requirements for pre-service preparation. . . .
A seventh misconception is that competence can be defined in terms of courses and credits. As relevant to the development of competence as achievement in courses may be, the final deter mination of whether or not a prospective teacher knows enough about his craft to be certified is to be made from an evaluation of his practice. . . . As student teaching is currently conceived, the period is too brief to encompass the requisite
5William 0. Smith, "An Analysis of the Music Education Programs Administered by the North Central States" {unpub lished Ph.D. dissertation, State University of Iowa, 1957).
^Robert L. Borg, "An Analysis of Music Teacher Edu cation Programs in a Select Group of Midwestern Univer sities and Colleges" (unpublished Ph.D. dissertation, State University of Iowa, 1959).
7Ralph H. Thompson, "Where Teacher Education Programs Fail," Journal of Teacher Education, XXI (Summer, 1970), • 267. learning and the test of teacher competence; hence it becomes less of a test and more of a learning experience.
Descriptive articles and research reports by Andrews,®
Engbretson,9 and Marani^® have presented evidence of dis
satisfaction with a substantial segment of the student
teaching experience. Haberman,^ Drumheller and Paris,^
Goodlad,!^ an(j Hazard, Chandler and Stiles^ identified general methods courses as least valuable in the profes
sional preparation of teachers. These courses were
®L. 0. Andrews, "A Curriculum to Produce Career Teachers for the 1980's,11 Theory Into Practice, VI, No. 5 (1967), 236.
^William B. Engbretson, "Curricular Relevance in Teacher Education" (Washington, D.C.: American Associ ation for Higher Education, 1968).
^Jean V. Marani, "Report Prepared for the Symposium on the Conant Report," Journal of Teacher Education, XV (March, 1964), 36. ;
■^Martin Haberman, "Minicourses: The Prevention and Treatment of Curricular Rigor Mortis in Programs of Teach er Education," Journal of Teacher Education, XIX (Winter, 1968), 439.
•^Sidney j. Drumheller and John Paris, "An Effective Approach for Incorporating Teaching Experiences in Methods Courses," Journal of Teacher Education, XVII (Fall, 1966), 290.
^•3John I. Goodlad, "An Analysis of Professional Lab oratory Experiences in the Education of Teachers," Journal of Teacher Education, XVI (September,1965), 264.
•^William R. Hazard, B. J. Chandler and Lindley J. Stiles, "The Tutorial and Clinical Program for Teacher Education," Journal of Teacher Education, XVIII (Fall, 1967), 270. often described as tedious and repetitious with little practical value.
Many teacher educators believe that teacher education programs should be competency-based; that is, desired teaching behaviors are specified and a demonstration of proficiency is needed for each competency before credit is awarded. Little prograss has been made in music teacher education to identify and isolate desired teaching behaviors so that prospective elementary teachers can achieve them. Further, a survey of the available educa tional research literature reveals very little evidence that competencies may be gained through any one orienta tion approach. This study was designed to provide evi dence related to the conditions which the investigator believes may precede the attainment of teaching competency
One of the instructional problems in teaching a music methods course for prospective elementary teachers is that of determining the most effective means for ori enting them to the variety of available teaching methods, subject matter concepts, classroom musical activities, and teaching materials. Research evidence suggests that directed observational experiences may provide an effec tive method for developing an orientation to the com plexities of the teaching and learning processes by relating theory and practice15 which is the subject of
this report. The investigation was designed to test this
evidence in three instructional settings and was struc
tured to incorporate many of the comptency-based objec
tives for music teacher education suggested in the Pinal
Report15 of the Music Educators National Conference Com
mission on Teacher Education.
Furthermore, the investigator believes that many
elementary teachers reject the idea of teaching general
music because of their feelings of inadequacy and lack of
confidence in the skills of music performance and music
teaching. If these classroom teachers were confident that
they possessed a substantial amount of knowledge about
children's musical development and methods for nurturing
musical growth, their attitudes would change, thus enab
ling them to participate in general music instruction within their classrooms.
The design of the study was based upon the belief
that an orientation process of presentation-participation
sessions coupled with direct observation and discussion
sessions would assist teacher trainees to gain an aware ness and understanding of selected aspects of music
15w. R. Fulton and 0. J. Rupiper, "Observation of Teaching: Direct vs. Vicarious Experience," Journal of Teacher Education, XIII (June, 1962), 157. 15Robert Klotman, ed., Teacher Education in Music: Final Report (Washington, D.C.: Music Educators National Conference, 1973). teaching and learning. This awareness and understanding
should therefore ameliorate the fear and anxiety which
many prospective elementary teachers feel as they ap
proach the learning of skills in music performance and
teaching.
The Problem The basic question for the study was: Could an
orientation program help students to an awareness of
teacher competencies as a prior condition to learning the behaviors themselves? The problem involved the compara
tive effectiveness of two units of instruction for the
purpose of acquainting prospective elementary teachers with an awareness and understanding of selected aspects of general music teaching and learning. The five general
areas of music teaching and learning awareness and under standing included: teaching methods, musical activities, musical elements, musical concepts, and teaching materi- 17 als. In order to determine the effectiveness of two
units of instruction three groups of subjects were given
different treatments. A fourth group was given no treatment. .
^7Bjornar Bergethon and Eunice Boardman, Musical Growth in the Elementary School (2nd ed.; New York: Holt, Rinehart and Winston Co., 1970), pp. 1-18. The study also included the selection and validation
of four educational films dealing with elementary general music teaching and learning.The films were used as the basis of a test to evaluate how well the four groups of prospective teacher identified observable aspects of the teaching and learning process.
Information was sought concerning an effective way for providing prospective elementary teachers with an orientation to selected aspects of elementary general music teaching and learning through the following ques tions :
1. Do the four groups significantly differ with respect to their total test scores on the Test of Music Teaching and Learning Awareness Tt m t l a ) ?
2. Do the four groups differ with respect to their total test scores for each of the five parts of the TMTLA test?
(a) teaching methods,
(b) musical activities,
(c) musical elements,
(d) musical concepts,
(e) teaching materials. 19
3. Are the following variables related to the total test scores of the subjects'?
18b f a Educational Media, 2211 Michigan Ave., Santa Monica, California (see Appendix A).
l^Bergethon and Boardman, Musical Growth in the Elementary School. (a) number of years studying piano,
(b) number of years studying a musical instru ment,
(c) number of years of participation in a junior, or senior high school or college performance group,
(d) number of years of study in a high school school music course,
(e) completed Music 270 “Basic Experiences in Music: Fundamentals,“20
(f) completed Music 271 “Basic Experiences in Music: Literature and Listening,'1
(g) completed Music 141 “Introduction to Music: Baroque to the present,"
(h) completed Music 142 "Introduction to the History of Western Music I: Classical Antiquity to about 1750,"
(i) completed Music 200.02 "Applied Music: Studio Classes in Voice,"
(j) completed Music 143 "Introduction to the History of Western Music II: 1750 to the present,"
(k) prior elementary music teaching experience,
(1) number of method courses completed,
(m) number of hours of observation,
(n) chronological age,
(o) cumulative grade point average.
4. Is there any significant difference between groups with respect to the independent variables?
^ The Ohio State University Bulletin, LXXVII, No. 7, April 41973, pp. 333-335 contains course descriptions related to items 2e through 2j. 9
5. To what extent did the subjects in the Treatment Groups find the instructional techniques signifi cantly effective and satisfying and what were their suggestions for improvement?
6. Is there a correlation between the Effectiveness- Satisfaction Scale responses of the subjects and their total test scores (TMTLA)?
7. What are the observable problems and constraints affecting the selection and validation of the educational films?
8. What are the observable problems and constraints affecting the organization and implementation of the instructional procedures?
Scope
However desirable illustrations of all dimensions of general music teaching might be for the orientation of prospective elementary teachers, the scope is too great for this type of research project. As a result, the study was limited to an analysis of the most effective way for providing the subjects with an orientation to selected teaching methods, musical activities, musical elements, musical concepts, and teaching materials. The study did not deal with the study of children's musical growth patterns and their relationship to planning instruction, the exploration of a systematic means for observing and identifying classroom teaching and learning (e.g., Inter action Analysis), or the development of personal confidence in the ability to organize and teach a music lesson. How ever, each of these areas are important instructional out- 10
comes for a music methods course for prospective elemen
tary teachers.
Assumptions
Two assumptions were basic in the development of this
study. First, it was assumed that the instruments used in
this study would elicit honest answers from the respon dents, and that these persons would understand the instruc tions and respond in compliance with them. Secondly, while it was recognized by the investigator that the test of observational skills was measuring both subject matter knowledge and the perception of film content, no attempt was made to separate the two for the purpose of analysis.
Limitations
This investigation was limited by certain factors.
First, the subjects were students in naturally assembled classes. No attempt was made to equate the three treat ment groups or the reference group. However, a statisti cal analysis concerning group similarity was made with regard to the fifteen independent variables identified in question two of the problem statement. Second, although the concept of competency-based teacher education was followed in the development of the instructional units for the study, no effort to test teaching competencies was made. Accordingly, testing centered upon whether the prospective elementary teachers could identify selected 11 teaching and learning behaviors in the films. A final
limitation is that the investigation includes only ele
mentary general music as the focal point of instruction.
Definitions
In order to facilitate the understanding of this report, certain terms will be defined or clarified.
Treatment Group. — 'Treatment' is used to identify 3 of the 4 groups which were tested.
Reference Group.— Because of the quasi-experimental nature of the research design, the term "reference” was chosen to designate a comparison group that did not receive a treatment.
General Music.— A program of musical experiences designed to develop the musical abilities of all children at all levels of public school education. Included are experiences in singing, playing classroom instruments, composing, listening, and analyzing music.
Educational Films.— This term includes professionally developed films selected for use in the study.
Music 370: "Music for Elementary Teachers.11— A methods course for prospective elementary teachers involv ing the study of music literature and teaching aids for children, including singing, rhythmic, creative, and listening experiences, and their presentation.^
23-Ibid., p. 337. 12 Design of the Study
The research design included three treatment groups and a reference group, each consisting of naturally assembled classes of prospective elementary teachers.
Two units of instruction were developed by the investi gator to serve as the treatment for the study. Treatment Groups 1 (N=23) and 2 (N=24) received the unit of in struction which consisted of ten, forty-eight minute class sessions of investigator presentation-participation.
Supplemental readings were assigned for the purpose of amplifying the class work. Treatment Groups 1 and 3
(N=26) received the unit of instruction which consisted of four, forty minute observation experiences involving general music teaching and learning. Each elementary general music teaching and learning experience was conducted by a general music specialist. Each observation was followed by a forty-eight minute class discussion conducted by the investigator. The reference group (N=13) received no treatment. The subjects imthis group were tested at the beginning of the implementation phase of the study.
Overview of the Report
The literature cited in Chapter I established the fact that the pre-service music teaching preparation of elementary education teacher trainees for student teach ing has not been adequate. Chapter II presents literature in greater detail which lends support to the development of the units of instruction and design of the study and reports on the available research in this area of college instruction. Chapter III presents a descrip tion of the subjects, the instruments, the materials, and the procedures employed in the study. The results are presented and analyzed in Chapter IV. Chapter V pre sents the summary, conclusions, implications and sugges tions for further study. CHAPTER II
REVIEW OF THE LITERATURE
Chapter II presents literature which lends support to the research design, the two units of instruction, and the measurement instrument. The units were developed for the purpose of orientating prospective elementary teachers to selected aspects of elementary general music teaching and learning. The test was used to evaluate the outcome.
The units were developed in conjunction with the course objectives for Music 370 "Music for Elementary Teachers" offered in the Division of Music Education at The Ohio
State University. Literature was reviewed concerning music method course content for prospective elementary teachers. In that relation, the literature and research dealing with competency-based music teacher education was reviewed.
Because of the emphasis upon observed behavior featured in the Observation-Discussion unit, and the Test of Music Teaching and Learning Awareness, literature and research concerning observation were reviewed in teacher education in general and specifically in music education.
14 15
Need for the Study
Research projects by Schneider and Cady'1' and
Colwell^ emphasized the concern for developing a body of knowledge for music education which would be based upon relevant and competent research findings. Schneider and
Cady established objective standards and procedures for determining competency and relevancy and delineated them in their project.
. . . Those related to the teaching-learning process, through which musical knowledge and skills are transmitted by the teacher and com prehended by the student to enable him to develop "aesthetic sensitivity," were defined as relevant to music education. Competency was considered to be formulation of a clear statement of the problem, inclusion of ade quate working bibliography, organization of logical and appropriate methodology, collec tion of adequate data to test the hypotheses, and provision for application of the research findings.3
This concern for relevant and competent research in music education expresses the evolving view of many people. On a national basis the concern for quality in
■*-Erwin H. Schneider and Henry L. Cady, Evaluation and Synthesis of Research Studies Relating to Music Education^ Cooperative Research Project E-016, Item ED 010298 in ERIC Document Reproduction Service (Cleveland, Ohio: Bell and Howell Co.). 9 Richard J. Colwell, A Critique of Research Studies in Music Education , USOE Research Project 6-10-245, Arts and Humanities Branch, 1969.
^Roger P. Phelps, "Reviews," Journal of Research in Music Education, XV, No. 3 (Fall, 1967), 233-236^ 16 music teacher education is evidenced by the work of the
Commission for Teacher Education in Music^ outlined in
Chapter I of this study.
The evidence suggests that the subject matter of music education is developing into a sound body of knowl edge. Much of this can be traced to an increasing amount of research in the psychology of l e a r n i n g . 5,6 , 7
Unfortunately, many ideas about what produces maximum learning still remains based on subjective opinion.
A concern for the improvement of the body of knowl edge of music education resulted in a research conference.
A committee of participants concerned with graduate research in music education identified, at the research conference, the central variables for music research.
Music is a man-made phenomenon and the making of music is a form of human behavior.
^Robert Klotman, ed., Teacher Education in Music; Final Report (Washington, D.C.: Music Educators National Conference, 1973).
^Marilyn Plederer Zimmerman and Lee Sechrest, How Children Conceptually Organize Musical Sounds, U.S. Office of Education, Project 5-0256 (Evanston, 111.: Northwestern University, 1968).
^Dorothy Taylor McDonald, "The Identification of Elementary School Children’s Musical Concepts as a Func tion of Environment" (unpublished Ph.D. dissertation. The Ohio State University, 1970).
^Carl Darlington King, "The Conservation of Melodic Pitch Patterns by Elementary School Children as Determined by Ancient Chinese Music" (unpublished Ph.D. dissertation, The Ohio State University, 1972). 17
Because human behavior as well as the products of human behavior are observable, man and his music are subject to critical examination from many points of view. . . . In Music Education, they would include the student of music and the teacher of the student as well as the con tent appropriate to the experiences desired for the student of music, in the school.®
In a symposium report for college teachers of music education Cady identifies four areas of research which could provide a means for developing a body of knowledge in music education. He states:
. . . The means toward that body of knowledge will be every form of inquiry available to man which is appropriate to the analysis of human behavior, including historical, philosophical, descriptive, and experimental. It is true that these have been used in research endeavors in music education, but the instances of their adequate use have been regrettably rare. . . . ®
Cady identifies the potential value of experimental re search and reflects upon the problems encountered in its use as follows:
Experimental research is the foundation on which prediction is based in the social sciences. There is no prediction possible out of humanistic studies; only intellectual guessing. For prob lems which deal with human behavior, experimen tation may be the only method by which the
®Henry L. Cady, A Conference on Research in Music Education, U.S. Office of Education, Project 6-1388 (Columbus, Ohio: The Ohio State University, Research Foundation, May 1967), p. 28.
^Henry L. Cady, "Projections Concerning Change in Music Education Research." Current Issues in Music Educa tion: A Symposium for College Teachers of Music Education, . Vol. Ill{Columbus7 Ohio: The Ohio State University, ~ 1967), p. 24. 18
highest level of human intellectual achievement predicting what a human being will do in a given set of circumstances can be reached. . . . Fortunately, experimental research in music education is gradually increasing. It remains a small endeavor because it is the most diffi cult form of research. In addition, there is still another dimension which discourages experimentation. Laboratory experiments on the teaching and learning of music are almost use less to the school music teacher. In fact, they are quite irrelevant. The findings of labora tory experiments can become relevant only when retested in the actual teaching situation which involves a formidable entanglement of variables, uncontrollable in the laboratory sense. How ever, this is the kind of experimental research which is most needed.10
In a recent research report given at the 1972 MENC
National Convention, McCarthy discussed the favored research designs in present experimental studies. He suggested the need for a stronger design for experimental research in music education.
The nature of problems involved in examining traditional education practices differs from ordinary experimental problems in the fundamental assumption concerning cause-and-effect relation ships. To obtain the needed empirical data on traditional practices, the researcher must not ask whether a certain practice increases musical achievement; instead, he must ask whether it is possible that the traditional practice in question does not increase musical achievement. Justifi cation for this type of research is given by Campbell and Stanley in the Handbook of Research on Teaching, but their discussion is limited to- the relatxvely weak correlation designs. Clearly a stronger design is necessary. The present author has developed a possible design to fill this need. The design is a post test only, control group design with a fixed
10Ibid., pp. 27-28. 19
number of independent variables, one possible concomitant variable, and a random selection of subjects from a finite number of matched pairs. The students exposed to a traditional practice are designated experimental subjects, while those not exposed to any music education are designated control subjects. While the restrictions on this design and its accompany ing statistical procedures are recognized, it is felt that the design offers music educators an instrument for evaluating the results of common music education procedures. Any study using this design will provide valid results for the school or system sampled. In this way, the research can begin to determine the abso lute value of traditional practices without sacrificing sophisticated statistical procedures or careful controls.11
The research design of this writer's study follows that described by McCarthy.
Descriptive research in the form of survey studies has frequently served as a method for periodically exam ining music teacher education. Ten studies are reported which serve as illustrations of research based upon opinion. These studies provide further support for the writer1s investigation.
Often individuals, departments of music and profes sional organizations have engaged in extensive discussion to identify more precise instructional goals and objec tives, and to determine more effective means for their attainment. Paul Van Bodegraven analyzed the undergraduate
Robert John, "Abstracts of Research Reports from MENC National Convention, March 1972," Journal of Re- search in Music Education, XX, No. 2 (Summer, 1972), 213-514.------20 teacher-training curriculum and reported many weaknesses
in music teacher preparation.12 The study revealed that applied music, theory, ear-training, conducting, and
other related courses had often become stereotyped, and
therefore the reason for including them as curriculum requirements became extremely difficult to define.
Van Bodegraven contended that these courses were gener ally taught with little regard for their actual use in a teaching situation. Teacher-training institutions usually made little effort to analyze course content and pro cedures in relation to the ultimate use of material in music classrooms of the public schools. Van Bodegraven concluded that the improvement of music teacher education depended upon:
1. recognizing the importance of the personality in teaching and doing something about per sonality training during the four-year period;
2. reorganizing the content in music courses so that they will serve the purpose for which they are intended in actual teaching situations; and
3. taking steps to see that courses in music educa tion are functional courses, taught by persons well qualified in their particular fields and possessing backgrounds of successful experi ence.13
-^Paul van Bodegraven, "Problems in Music Teacher Preparation," Music Educators Journal, September-October (1946), p. 29. 13Ibid. 21
A doctoral dissertation by Steg,1-® specifically con
cerned with student teaching for music majors, notes that
previous research survey studies treated student teaching
as equivalent with other courses in the curriculum and
give it no specialized attention. Steg set out to study
practices in certain colleges and universities in order
to make recommendations for improving student teaching
in music. Through the use of questionnaires, data were
gathered from music departments of forty-three states
and the District of Columbia. On the basis of the data
assembled, Steg made nine recommendations one of which is
important to orientation experiences in music education. The content of music methods courses should be closely related to the content of student teaching and should be accompanied by guided and regular observation of actual situations. 15 Kirk (1953) utilized questionnaires and interviews
of former students as well as suggestions of cooperating
teachers as the basis for criticism and thought, for the
- - ! purpose of improving music teacher education curriculum f at the University of Illinois. She concluded that music
Olaf Walter Steg, "Student Teaching for Music Majors" (unpublished Ph.D. dissertation, Northwestern University, 1948). 15 Coleen Jean Kirk, "Guides for Improving the Student Teaching Experience in Music Education at the University of Illinois" (unpublished Ed.D dissertation, Teachers College, Columbia University, 1953). 22
education students should receive orientation to music teaching early in their professional preparation and that laboratory experiences prior to student teaching appeared to be valuable.
Tabor^ employed questionnaires to survey and evalu ate student teaching programs in music education. The findings indicated the "desirability of early observa tion and orientation before student teaching."
• in Gelvin made a comparative analysis of practices in curriculum preparation and laboratory experiences in programs of student teaching in music in forty selected institutions of higher learning. Three conclusions which were drawn from the comparative analysis relate to the writer's s tudy: t 1. That the program of sequential laboratory experiences in the four year program is rarely practical. 2. That pre-student teaching experiences in gen eral education and music education need to be coordinated.
^Malcolm Leonard Tabor, "A Survey and Evaluation of Selected Student Teaching Programs in Music Education" (unpublished Ph.D. dissertation, University of Southern California, 1955).
■^Miriam Pearl Gelvin, "A Comparative Analysis of the Preparation and Practices in Student Teaching in Music" (unpublished Ph.D. dissertation, Northwestern University, 1956). 23
3. That curriculum offerings and laboratory experiences for the prospective teachers of music need to be integrated and cor related .
Robert L. Borg1® (1959) completed an analysis of music teacher education programs of twenty-four mid- western colleges and universities. The purposes of the
study were to discover basic requirements, course offer ings, and required credits for undergraduate music majors preparing to teach in the public schools and to compare existing practices with the recommendations of the Com mission on Accreditation and Certification of the MENC.
A major finding of the study which relates to the writer's investigation was:
Sixty-six percent of the music education majors chose the elementary school as their field of teaching interest; however, it was the consensus of opinion that the most difficult aspect of teaching music was understanding the abilities and characteristics of the elementary school pupils. Fifty-five percent of the stu dents indicated that this phase of teaching was not presented to them in their music method courses.
Borg concludes that this indicates a deficiency in the education of those preparing to teach music in the ele mentary schools.
18 Robert L. Borg, "An Analysis of Music Teacher Edu cation Programs in a Select Group of Midwestern Universi ties and Colleges" (unpublished Ph.D. dissertation, the State University of Iowa, 1959). 24
Laxson surveyed graduates of Chico State College
(California) who were currently teaching in self-con
tained elementary classrooms or in special music teach- 19 ing assignments. The course offerings were considered
to be similar to those of various other colleges through out the country. Among the conclusions for teachers of elementary general music, the following was notable: "a need for a better concept of teaching and training in General Music was evident."
Finley surveyed the music education graduates pre pared at Jacksonville State University (Florida) from
1956 through 1968 to determine the effectiveness of the program.^® His study revealed a lack of effective preparation for teaching general music and recommended a re-evaluation and re-structuring of current course work to enhance the relevancy of the subject matter.
-^Robert Charles Laxson, "An Analysis of the Olinions of Selected Chico State College Graduates Re garding the Adequacy of Their Preparation to Teach Music" (Unpublished Ph.D. dissertation, Northwestern University, 1966). Dissertation Abstracts, Vol. 27, February 1967, 2553—A—2554-A.
wJohn Thornton Finley, "A Follow-Up of the Elemen tary and Secondary School Music Teachers Prepared at Jacksonville State University from 1956 through 1968 through a Survey of Graduates' Opinions, College Grades, Employers' Evaluation, and Pre-College Experience" (Un published Ed.D. dissertation, George Peabody College for Teachers, 1969). 25
Lee investigated the undergraduate music education
programs of teacher-training institutions selected by
MENC and NASM for having made significant curricular
changes during the ten year period 1955-1965.21 The pur
pose of his study was to ascertain developing patterns of
undergraduate music education curriculum and determine
methods for improvement upon them. Sixteen recommenda
tions were made for improving undergraduate music edu
cation programs, three relate to this investigator's
study.
1. Closer correlation between music education methods classes and observation and student teaching experiences,
2. Observation and student teaching experiences at all levels,
3. More emphasis placed upon the purpose and procedures of the general music class in the public schools. . . .
S a r v i s ^ 2 investigated the priority given to elemen
tary music methods courses in 123 United States
^Cecil Loran Lee, "Developing Patterns of the Under graduate Music Education Curriculum in the United States" (unpublished Ph.D. dissertation, Brigham Young University, 1966).
^Georgia Loper Sarvis, "An Investigation of the Nature and Conditions of Music Education Courses in Teach er Training Programs in Selected Universities in the United States" (unpublished Ph.D. dissertation, University of Oregon, 1969). Dissertation Abstracts, Vol. 31, Septem ber 1970, 1124—A—1125-A. i 26 ** universities. Among the conclusions relating to the preparation of elementary teachers for teaching general music, the following are notable:
1. Seventy-seven percent of the universities re quire the elementary music methods course as part of their professional education sequence, whereas twenty-three percent of them do not require it.
2. Most universities of both groups give the equivalent of three semester hours of credit for the course.
3. A large majority of instructors of the course in both groups of universities feel that the number of hours presently required for prep aration of elementary school teachers to teach music is inadequate.
Sarvis suggests that further research might ascertain the optimum amount of preparation for "minimum competencies.11
Experimental research has rarely served as a method for examining music education methods courses and their function in music teacher education. Two studies have been found which illustrate this type of research per formed for the purpose of improving music methods courses.
Aurand found that frequently evidence is not avail able to show whether music teachers with one preparation are more effectively prepared to guide learning than are those with another type of teacher education.^3 Aurand states:
^Wayne Orion Aurand, "An Experimental Study of Col lege Music Methods Class Laboratory School Participation Experience" (unpublished Ed.D. dissertation, University of Illinois, 1964). 27
As long as there is no objective evidence of the superiority of one approach over another, either side can argue on the basis of subjec tive judgment that his approach is the better. This inevitably creates an environment of con fused conflict. Notable advancement in the quality of education cannot develop in such surroundings. A united effort, based on scien tific research, would seem to be the best approach to solving the problem.24 Aurand points out that the difficulty in obtaining the kinds of data needed to judge relative effectiveness of music teacher education programs is a great obstacle in research. Three major problems are mentioned which in fluence the quality of research in music teacher educa tion, (a) establishing what constitutes good teaching,
(b) the development of instruments to measure it, and
(c) pinpointing all factors which influence the learn- O C ing. He concludes:
. . . The validity of any comparison of groups subjected to different kinds of educational ap proaches depends to a great extent on all other influences being, in effect, equal for both groups. This can be accomplished in one of two ways. Either the two groups must be equal through selection, or the statistical design must compensate for dissimilar influences. It is no wonder that we11-designed experimental re search is scarce. There is certainly a great need for research which attempts to solve these problems.
24Ibid., p. 13. 25xbid., p. 14.
26Ibid., p. 14. 28
In an extensive review of related research Aurand found that there had been only forty-seven studies in teacher education which dealt with pre-student teaching experiences. Four had incorporated objective evalu ation and two had employed research designs in which experimental and control groups were compared. No statistically significant results came from any of these studies.27
Summary
A review of research and literature in music teacher education reveals the need for a study which identifies early laboratory experiences which prepare prospective teachers of elementary music. The literature reviewed shows a need for the organization of experiences which prepare prospective teachers for general music teaching in particular.
Furthermore, a need exists for observational experi ences which provide an orientation to a variety of teach ing situations applicable to various elementary grade levels. College instructors expressed dissatisfaction with the organization and implementation of the music methods course for prospective elementary teachers.
Experimental research was suggested as an appropriate
27Ibid., p. 211. 29 procedure for giving objective evidence for the superior
ity of one approach to teacher preparation over another.
Finally, the literature shows that the effectiveness of one approach over another is difficult to demonstrate.
Reasons given for this are that the instruments to meas ure it are difficult to construct and the factors which influence learning are often elusive and uncontrollable.
Rationale for the Development of the Units of instruction
Introduction
Andrews reports that over the last 30 years, a great variety of types of professional laboratory experiences in teacher education have been conceived, developed and ex p l o r e d . 28 He devised a five-part classification scheme which covers most known types of experiences. The five types of experiences include observation, participation, student teaching, clinical experiences, and internship.
These are further described as follows:
1. Observation - Direct observation has been used from ancient times when a student sat at the feet of a scholar and later went out and attracted his own following. . .
28l . 0. Andrews, "A New Concept in Professional Laboratory Experiences for Prospective Teachers," Current Issues in Music Education; A Symposium for Col- Teachers of Music Education (Columbus, Ohio: The Ohio State University, 1963), p. 57. 30
Direct personal observations in small doses will continue to be very useful to enable beginning students to experience real ity and for experienced students and teachers to see selected types of teaching-learning.
2. Participation - Between sitting and watching a given situation and taking over as the responsible teacher there are a wide variety of activities which are often called partici pation experiences. They can be divided into two major types by their locale: both labora tory schools on or off-campus and public schools, and community agencies such as recre ation centers, settlement houses, and youth organizations. Many different types of pro fessional, social and personal growth can be achieved through carefully designed partici pation experiences which may, in fact, be ridiculously short.
3. Student Teaching - Throughout the United States, student teaching is uniformly required by all teacher education institutions, but the basic organizational patterns and objectives vary greatly. The two most common major objectives suggest that student teaching is a period of intensive professional growth in skills, atti tudes, and understandings; or as in the German pattern that it is a testing ground to deter mine if the candidate has achieved a level of competence which entitles him to a certificate.
4. Clinical Experiences - Curiously enough, one finds m the literature of 20 and 30 years ago allusions to some type of experience which might be classified as clinical in much the way that this term is used in the health pro fessions. The most common direct application of this notion in teacher education was in the requirement of rather extensive case studies; but often these were non-functional and the practice is less common today.
5. Internship - Student teaching suffers from a great lack of standardization, but the confu sion with regard to internships is even greater. We have fifth year programs today which include the briefest amount of professional study prior 31
to a true apprentice ship type of experience in which an individual begins full-time ser vice and attempts to learn while he earns.29
Although Andrews states that formal research findings give little support for the contribution of direct experiences to teacher education, he believes that informal evaluations and opinions of teacher educators support the potential value of such experiences.for the education of prospec-
Q A tive teachers. w
In a research survey of the music teacher education program of The Ohio State University, Wilson found several areas for further development. Three recommendations relate to Andrew's concept of professional laboratory experiences: 1. Observation of and participation with children during the sophomore year should be provided. (Many respondents commented that methods courses meant little until after student teaching. Students could help the regular teacher in many routine chores; aiding in sximmer music festivals and camps would be educational.)
2. Increase the time given to observations as a part of methods courses. (Observations form
2 9 Ibid., pp. 57-60. Further discussion of Professor Andrews1 concept of Professional Laboratory Experiences is contained on pp. 68-80 of this source.
3^Ikid. , p . 60. O] George Hugh Wilson, "The Study of Professional Music Education at The Ohio State University" (unpub lished Ph.D. dissertation, The Ohio State University, 1958). 32
a basis for meaningful discussions of music and the learning process.)
3. Consideration should be given to an inter ship program for music education students. (The degree would be withheld until comple tion of the year of internship.)32
Traditional Framework for Music Teacher Education
Two sources were found which related to the implemen tation of a part of Andrews' concept for professional laboratory experiences in teacher education and the recom mendations of Wilson.
Young prepared a guide for professional laboratory experiences in the education of music teachers.^ It was his intention that the experiences, both observation and participation, should be included throughout the under graduate program of studies of the prospective music teacher. Young relied quite heavily on reports by music education students concerning their professional labor atory experiences.
Boney and Rhea prepared a book to provide assistance to the prospective music teacher in bridging the gap
33Lyle Young, "Guide to Professional Laboratory Experiences in the Education of Music Teachers" (unpub lished Ed.D. dissertation, Teachers College, Columbia University, 1961). 33 34 between pedagogical theory and practice. Two chapters relate to this writer's study. They are Chapter 2,
"Observation,11 and Chapter 5, "Planning and Teaching General Music."
The two sources described illustrate literature relating to ways of implementing a program of laboratory experiences for music teacher education. Each serve as traditional frameworks for structuring such experiences in that they assume the students who complete a course have gained the necessary understanding and skills needed to teach music.
Untraditional Framework for Music Teacher Education
A less traditional framework for structuring profes sional laboratory experiences is competency-based or performance-based teacher education.35,36 interest appears to be growing for educational accountability and some teacher educators are expressing the opinion that
34 Joan Boney and Lois Rhea, A Guide to Student Teaching in Music (Enqlewood Cliffs, N.J.: Prentxce-IIall, inc.', 1§76>.
35Howard Getz, e t a l ., "From Traditional to Com petency-Based Teacher Education," Phi Delta Kappan, LIV, No. 5 (January 1973), 300. 36 Ward Sybouts, "Performance-Based Teacher Education: Does it Make a Difference?" Phi Delta Kappan, LIV, No. 5 (January 1973), 303. 34
teacher education programs should be competency-based;
that is, desired teaching behaviors are specified in
self-paced packages, and a demonstration of proficiency
is needed for each competency before credit is awarded .37
Some progress has been made in music teacher educa
tion to identify and isolate desired teaching behaviors
so that prospective elementary general music teachers can achieve them. The studies in music teacher education which relate to this unconventional concept follow.
Examination of the literature written in the late
1940's, relating to music course work for prospective elementary music teachers shows much dissatisfaction with the outcomes. It was found that the students were not being adequately prepared to teach music. Further, it was frequently recommended that a solution to this inade quate preparation was to increase the number of credit hours required. The following statement by Morgan sup ports this suggested procedure for improving elementary music teacher preparation:
It is recognized that an increase in the number of credit hours required in music for the teacher in the elementary grades may be necessary. . . . It is believed that not less than eight semester hours should be allowed by
37Ibid., p. 300. 35
the teacher-training institutions to attain the desired goals.
Although the evidence of inadequate preparation existed, no recommendations for the proper number of required course hours was made.
A study by Ehlert was concerned with the areas of general teaching competencies of music teachers. 39 Based upon the opinion of one hundred school administrators he found the following areas of general competencies desired:
1. Personality 2. Musical training 3. Teaching ability 4. Interest in teaching 5. Cooperation 6 . Discipline 7. Intelligence 8 . Self-control 9. Health 10. General culture 11. Scholarship 12. Performing ability 13. Teaching experience
The study did not deal with specific musical competencies.
A survey study by Shambaugh was concerned with the specific musical competencies needed by prospective
3®Hazel Nohavec Morgan, Music Education Source Book (Chicago: Music Educators National Conference, 1949), pp. 38-39. 39 , Jackson K. Ehlert, "Selection and Education of Public school Music Teachers" (unpublished Ph.D. disser tation, University of Colorado, Boulder, 1949), p. 383. 36
elementary teachers to teach elementary general music.40
The investigator was interested in determining the degree
to which classroom teachers in a particular school system
possessed the musical competencies considered necessary
to teach their own general music classes. Shambaugh con
cluded that "the teachers possessed to a very limited degree most of the competencies." Inconclusive as his evidence appears, the study served as an early attempt to delineate and measure teacher competencies in musical performance, musical knowledge and understanding and teaching skill.
In an effort to determine what to teach in a methods course for music teacher trainees, Pence developed a theoretical basis for the organization and conduct of methods courses with specific suggestions for implementing them in the professional preparation of music teachers.^
Books and periodicals were examined for statements of teaching competencies which include skills, knowledges, understandings and attitudes directly pertinent to the
40 Robert Franklin shambaugh, "A Comparison of the Com petencies Necessary to Teach Elementary General Music Edu cation and the Measured Competencies of Elementary Class room Teachers" (unpublished Ed.D. dissertation, University of Colorado, 1960).
41John R. Pence, "Theoretical Consideration and Illustrative Approach in Professional Education Courses for Teachers of Music" (unpublished Ed.D. dissertation, University of Illinois, 1962). 37 successful organization of learning experiences. Course
objectives thus derived from the literature were trans
lated into behavioral terms when not so stated in the
original source. The procedure set forth was based upon
the assumption that the instructor's task in a music methods class is to: 1 . define the kinds of teaching behaviors desired,
2 . select the learning experiences best calcu lated to bring about the desired behaviors,
3. organize the learning experiences and cause students to interact with them so that the new behavior patterns will emerge, and 4. evaluate the resulting behaviors in terms of the original objectives.42
Instructional objectives, behavioral objectives and teacher competencies are frequently confused with one another. Leonhard and House indicate that true objectives relate to certain varieties of behavior.42 This classi fication has been used:
The cognitive domain . . . includes those ob jectives which deal with the recall or recog nition of knowledge and the development of intellectual abilities or skills. . . . A second part of the taxonomy is the affective domain. It includes objectives which describe changes
42Ibid., p. 7.
42Charles Leonhard and Robert House, Foundations and Principles of Music Education {2nd ed.; New York: McGraw- Hill, Inc., 1972), p . 18(>. 38
in interests, attitudes and values, and the development of appreciations. . . . A third.domain is in the manipulative or motor skill area.
Leonhard and House outline four levels of objectives
and outline the objectives, by level, in order to illus trate their interrelationship. The four levels include broad aim objectives, concrete social objectives, program objectives, and instructional objectives.^ Further clarification of the levels of objectives is made as follows:
It should be noted that the instructional objectives just used in illustration are of the type often called behavioral objectives. Although all objectives are properly concerned with the behavior expected of students, true instructional objectives must specify observ able behavior which the student will be" asked to use in demonstration of what he has learned. Secondly, since instructional objectives are for a particular class and group of students, the conditions under which the student is expected to demonstrate achievement are to be indicated; that is, the grade of music, type of equipment, time limits, number of examples, etc., need to be specified. Finally, the criterion of evalu ation needs to be roughly established, consist ing of the percentage of correct trials, the comparative quality of response, and so forth.
^Benjamine S. Bloom, ed., Taxonomy of Educational Objectives, Handbook I, Cognitive Domain (New York: David McKay Co., Ind., 1956), p. /I 44 Leonhard and House, Foundations and Principles of Music Education, pp. 189-192. ^5ibid., 192-193. 39
A survey study by Dorman was concerned with the re sponses of 190 students completing their final year of undergraduate music teacher education at three colleges—
State University College at Potsdam, State University at
Fredonia, and Ithaca College at Ithaca. The investigator concluded that music teacher programs could benefit "if faculty members were to become involved in planning and stating specific behavioral competencies or objectives 46 for music education."
Though the behavioral objectives movement has been evolving for more than a decade, few research reports and statistical data are available concerning its aspects.
A study by Myer^7 was based upon the behavioral objective inservice training approach of USOE, MENC, and Asahel
D. Woodruff employed during the 1969 and 1970 MENC Con vention presessions. Meyer developed a teaching-learning unit which would enable prospective music teachers to produce instructional units based upon clearly stated
^Phyllis E. Dorman, "The Relationship Between an Analysis of Teaching Incidents as Described by Undergradu ate Seniors Majoring in Music Education in Three New York State Colleges and Taba's Theoretical Construct of the Teaching-Learning Situation" unpublished Ph.D. dissertation, State University of New York at Buffalo, 1969), Disserta tion Abstracts, Vol. 30, December 1969), 2398-A-2399-A.
^7Lillian E. Meyer, "Preparation of Instructional Units Capable of Accomplishing Specified Changes in Musi-, cal Behavior of Students" (unpublished Ed.D. dissertation, University of Miami, 1971). 40
objectives. Statistically significant differences were
found in favor of the treatment groups, leading the in vestigator to conclude that:
. . . participation in the teaching/learning unit as prepared and presented in this study did influence the preparation of behaviorally- oriented instructional units in music. The possibility of identifying the musical substances involved in and critical for a given musical behavior and identifying the learning materials and activities which are capable of producing and coping with specified musical behavior is also indicated in the analysis of the test s c o r e s . ^ 8 4 Q In September of 1968, Housewright appointed a seven- member Commission on Teacher Education to develop precise recommendations for the improvement of music teacher edu cation. It was the judgment of the Music Educators
National Conference that many teacher education programs had been overtaken by obsolescence. Concern was expressed for developing mature teachers who could deal effectively and educationally with the way a person feels, as well as with what he thinks and knows. Thirteen objectives were developed and published by the Commission. It then formed task groups to further clarify each objective. A framework for the development of teacher competency in music is
4 8 Paul A. Haack, Reviewer, "Preparation of Instruc tional Units Capable of Accomplishing Specified Changes in Musical Behavior of Students," Council for Research in Music Education, Bulletin No. 32 (Spring 1973) , pp. 3T3*-37.
^Wiley L. Housewright, ed., "Teacher Education in Music," Report of the Music Educators National Conference Commission on Teacher Education, Music Educators Journal (October, 1970), pp. 33-48. 41 represented by the following Commission statement:
The development of music teacher competencies should result from the total program of the teacher training institution. The demonstra tion of competence, rather than the passing of a course, should be the deciding factor in certification. This means that proficiency tests, practical applications of historical, theoretical, and stylistic techniques, and ad vanced standing procedures should be enforced; and that an adequate means of final assessment should be developed and implemented.
The final report of Task Group V "Standards and Evaluation Criteria" contains several recommendations for the improvement of music methods courses. In summary, the Task Group concluded that emphasis should be given to:
1. Demonstration, observation and other laboratory experiences, including student teaching.
2. Methods and materials appropriate for music teaching.
3. Practical application of the principles of educational psychology to music teaching.
4. Philosophical and social foundations of music education.51
These recommendations were directed to the professional preparation of prospective music teachers and were intended to apply also to the preparation of elementary
5°Robert Klotman, ed., Teacher Education in Music: Final Report (Washington, D.C.: Music Educators National Conference, 1973).
SlRobert H. Klotman, Chairman, Task Group V "Stand ards and Evaluative Criteria for the Education of Music Teachers, Final Report" (Washington, D.C.: Music Educa tor National Conference, 1972). 42 classroom teachers. The investigator's study applied recommendations of the Task Group reported mentioned above in a music methods course for prospective elementary teachers.
Task Group IV "Musical Competencies for Classroom
Teachers" was established to specifically deal with the preparation of prospective elementary teachers. The first report of Task Group XV was prepared with the understand ing that although music in the elementary school should be taught by music specialists such is not feasible for every school at the present time. In addition, it was recognized that while the amount and kind of contribution will vary from one classroom teacher to another, the classroom teacher is in a superior position to know the children, to relate music to the total curriculum, and to work with the music specialist in helping children master concepts and form generalizations.
One area of teacher competence was reported in Task
Group IV which served as the framework for the development of the instruction for this study. This included the development of skills in guiding students in musical experiences.
Skills in Teaching
All classroom teachers must be able to:
Guide students in musical experiences. This implies use of a wide variety of processes and approaches such as: 43
1. Creating a climate in which creative expression and musical exploration are possible;
2. Providing a class structure that does not com pel the children to reach the same predeter mined objective, yet does not allow a damaging vacuum of free choice to inhibit learning;
3. Treating musicality in such a way that children feel free to succeed, deal constructively with temporary limitations, and expand their musical abilities.
4. Handling a musical activity involving a large group with as much importance attached to the individuality of each child as would be expected in a musical experience involving a smaller group;
5. Using musical values that deal with appropri ateness, effectiveness, and the formation of ideas rather than subjective, conformity- demanding, culturally-closed musical judgments; and
6 . Assisting the students to develop leadership in musical activities and experiences, not only as performers and listeners, but also as composers, conductors, evaluators, and experimenters.52
It was the investigator's view that the recommenda tions of Task Groups IV and V could best be met through the successful completion of four steps of study by the subjects. First, an overview of selected aspects of general music teaching and learning was necessary. Second, a period of observation must follow which would include some direct observing of elementary general music teach ing-learning. Third, prospective teachers must have the
52Barbara Reeder, Chairman, Task Group IV, "Musical Competencies for Classroom Teachers, Initial Report," Music Educators Journal (May,1971), pp. 40-41. 44
opportunity to plan music lessons. Finally, they must
have the opportunity to teach music lessons. This process
of orientation, direct observation, planning, and par
ticipation seemed to be a sequential means of gaining
teaching competency in general music teaching. The
orientation and observation steps were selected for the
purposes of the investigation. A study by Cook resulted in the development of a list of twelve teaching competencies for general music teach ers. Three deal with the nature of this writer's inves tigation. They are as follows:
1. Because new curricula stress music as a learn ing experience rather than an activity, the general music teacher must be thoroughly ac quainted with the general principles of learn ing and human development.
2. The general music teacher needs to be able to define and recognize learning in specific behavioral terms characteristic of the de sired musical response.
3. He needs to be familiar with the various theories of learning and should seek to apply them experimentally in his own classroom in developing a meaningful pedagogy and method-. ology that can transform educational practices into desired goals.53
Summary
Literature and research reports relating to tradi tional and untraditional concepts of teacher education
^ O l i v e r g . Cook, "New Trends in SEcondary School Gen eral Music and Implications for Teacher Education Programs" (unpublished Ed.D. dissertation, Columbia University, 1970). 45 have been reviewed. Competency-based teacher education and levels of objectives have been defined and literature relating to these two educational concepts has been pre sented. The section which follows presents literature and research supporting the development of the measure ment instrument.
Rationale for the Development of the Measurement Instrument Much subjective evidence was found in the literature to support the use of educational media, including films and video-tape, as teaching aids in teacher e d u c a t i o n . ^4
Raessler discusses a variety of options:
Many different approaches have been used in the twentieth century in an effort to arrange for an entire class to see the same teaching situation. Examples of these are the constructing of large laboratory school classrooms, observation booths, and one-way screens or glass. In this electronic age, the reproduction of a classroom episode may be transmitted to almost any size of college class. Closed circuit television has the disad vantage that when the class is completed it is impossible to recreate the episodes again. Video tape and films, however, allow the viewer to see teaching episodes repeated as many as neces sary. 55
54judith M. Bloom, "Video Tape and the Vitalization of Teaching," Journal of Teacher Education, XX, No. 3 (Fall, 1969), 311-315. SSKenneth Ray Raessler, "A Comparative Study of Music Course Requirements and Professional Laboratory Experiences of Undergraduate Programs in Music Education in Selected Colleges and Universities in Pennsylvania, Maryland and New Jersey" (unpublished Ph.D. dissertation, Michigan State University, 1967), p. 81. 46
Observation experiences have been supported by sub
jective evidence earlier in this chapter as a valuable
tool for providing prospective teachers with an early
orientation to teaching. The process of observation has
been described by Murphy as follows:
Observation for those preparing to participate in an occupation should be arranged and directed, first, to afford opportunities for a detailed, critical analysis of competent live performances of the skill or skills the occupation involves; secondly, to stimulate a continual evaluation of the various parts of the performance as well as the whole; and thirdly, to encourage a vicarious role-playing in which the novice tries to "im prove" the performance he observes by changes he devises and "tries out" in his imagination.56
Murphy's article, then, suggests that the observer be con cerned with three items during the observation period, namely, analysis, evaluation, and role playing.
The process of observation is further amplified by Mursell as he stated that
The orientation of many observers is at fault because they concentrate their attention on only part of the picture. They center almost entirely upon the activities of the teacher— how he asks questions, responds to replies, meets problems of disorder, uses the blackboard, introduces the lesson, makes the assignment, and so forth.
56 Geraldine Murphy, "The Prospective Teacher as Ob server," Journal of Teacher Education, XII (June 1962), 1S1.
57James L. Mursell, Successful Teaching (2nd ed.; New York: McGraw-Hill Book Company, Inc., 1954), p. 299. 47 Furthermore, Mursell advised that the observer
. . . should pay attention primarily to the behavior of the learners in response to stimuli which come in part from the activities, includ ing, of course, the words of the teacher, and in part from the general organization of the situation.58
Observational systems for studying teaching and learn ing have been developed.5®/60,61 Experimental results sug gest that the systematic study of teaching and learning provide valuable insight for the observer and lead to improved teaching.®2
Vicarious viewing of educational media, and direct observation of classroom teaching are professional lab oratory experiences frequently provided for similar pur poses. No evidence was found to show that educational media, particularly films, have been effectively employed to measure a prospective teachers' ability to identify observed behavior. However, two experimental studies in
58Ibid., p. 299.
®8Ned A. Flanders, "Intent, Action and Feedback: A Preparation for Teaching," Journal of Teacher Education, XIV, No. 3 (September 1963), 251-^60.
®°Ned A. Flanders, Analyzing Teaching Behavior, (leading, Mass.: Addison-Wesley Publishing Co., 197 0).
^Wallace H. Nolin, "Patterns of Teacher-Student In teraction in Selected Junior High School General Music Classes" (unpublished Ph.D. dissertation, The Ohio State University, 1970).
Edmund J. Amidon and John B. Hough, Interaction Analysis: Theory, Research, and Application" (Reading, Massl: Addison Wesley Publishing Co., 1967). 48 music teacher education relate to the need and potential value of developing a measurement tool employing educa tional films.
An experimental study by Fierbaugh revealed that the use of educational films as an instructional instrument appeared valuable.®^ However, he found that the films had no systematic effect upon the subjects * understanding of methods for teaching general music.
Aurand's investigation was based upon the need for improvement of music teacher education, particularly in the area of pre-student teaching participation activities in the college laboratory school. The subjects (N=30) were members of the college methods course in which laboratory experiences were included as one of the activi ties. Three sections of the course were included in the study. Each section was divided into two groups, experi mental and contrast. The experimental group followed a participation pattern while the contrast group completed a series of observations which had been the usual
63jjarry Fierbaugh, Jr., "The Development and Eval uation of a Series of Sound Films for Music Teacher Training Education" (unpublished Ph.D. dissertation, State University of Iowa, 1963). S^Aurand, "An Experimental Study of College Music Methods Class Laboratory School Participation Experience." 49
laboratory activity of the music methods class in the
past. The effects of the participation experience as
compared with the observation experience were determined
through a combined use of three objective tests and case
studies of the subjects.®5 The objective tests used in
the program were the Professional Information section and
Music Education section of the National Teacher Examina tions, the Music Education Test (developed by Aurand), and the Minnesota Teacher Attitude Inventory.®® Aurand found that the results of the Professional Information section of the National Teacher Examination and the Music
Education Test (self-developed) indicated that:
. . . Observation of a variety of music classes at different levels possibly provides experiences which lead to a deeper understanding of many of the principles and facts of professional educa tion covered in the National Teacher Examina tions test— more than a concentrated, active participation with only one music class.®?
The test results of the Music Education section of the
National Teacher Examinations show that the participation experience is not significantly better than the observa tion experience in causing higher scores.®® Finally,
®5Ibid., p. 212 .
®®Ibid., p. 213.
®?Ibid., p.. 216.
68Ibid., p. 217. 50 the investigator found no factors within the types of
experiences completed in the music methods class and the
two types of laboratory activities, which lead to improve
ment in teacher attitudes as measured by the Minnesota
Teacher Attitude Inventory.^9
In conclusion, Aurand summarizes the findings of the
study relating to the subjects' opinions toward their
experience as follows:
. . . That it should be a participation experi ence rather than an observation experience is not verified by the results of this study. Actually, in terms of producing higher increases in scores on the tests employed, the evidence points to a superiority of the observation ex perience. However, while the subjective evalu ations of the students do indicate the need for observation experience, they also indicate the value of added participation experience. This was brought out clearly by members of the second and third class contrast g r o u p s . 7 0
Aurand found that the lack of a satisfactory instru ment for measuring teaching skills to be the major prob lem presenting itself in his study. He concludes:
. . . The problems of determining the specific behavior which constitutes good teaching and of developing instruments to measure it were men tioned in the first chapter. A major purpose of the participation-type laboratory experience is to help bridge the gap between the vicarious learning experiences of college classes and full-time student teaching. Ability to lead a group, to present materials, to provide for proper repetition and movement to new concepts, to handle "discipline," to organize patterns, etc..
69Ibid., p. 2 2 2 .
7 QIbid., p. 223. 51
cannot be measured accurately by any instru ment yet designed. As a result, only under standings and attitudes which can be measured through the use of existing instruments were tested in this study. The real value of the participation-type experience has not been measured objectively. Interpreters of the re sults of the study must*~bear this in mind. TKe questions posed as the problems ’oiT^tlhe study are stated in such a way that an analysis of the effects of the experience is limited to that which the tests measure.
Summary
While a variety of tools for analyzing and measuring teaching and learning interactions have been developed none were found which were appropriate to the study.
Thus, three observational guides were developed and employed in the observation-discussion instructional unit.
Finally a test was developed to measure the prospective elementary teachers' ability to recognize the presence or absence of observed aspects of music teaching-learning found in films of elementary music teaching-learning situations.
Summary
A variety of related literature and research reports suggest the value of observational experience. studies support observation as a part of laboratory experiences in teacher education. Further, the overwhelming sub jective support for observation as a means of gaining
^^ibid., p. 224. 52 greater teacher competency adds support to the writer's development of a measurement instrument which employs the identification of observed behavior by the subjects participating in the investigation.
Chapter III consists of a description of the methodology for developing and implementing the investi gation . CHAPTER III
METHODOLOGY
This chapter includes a rationale for the development
of two units of instruction which served as the basis of
the study, a discussion of the development of the measure ment instrlaments, and a review of the data gathering pro cedures. It also includes specific objectives and teach
ing materials employed in the presentation-participation unit of instruction and specific objectives, teaching materials, and teaching procedures employed in the observation-discussion unit of instruction. Finally, a summary of the statistical techniques used in this study is included.
The development phase of the study involved the plan ning of the instructional procedures and thel design of a measurement instrument. The implementation phase of the study involved the teaching of ten presentation- participation class sessions by the investigator. Also included in this stage were four elementary school observations followed by four class discussion sessions.
The research design chosen for the investigation is represented by the illustration which follows:
53 f
54
Treatment Number of Group______Subjects______Treatment______10 presentation-participation 1 23 sessions 4 observations 4 class discussions
10 presentation-participation 2 24 sessions
4 observations 3 26 4 class discussions
4 13 No treatment
The design included three treatment groups and a refer ence group, each consisting of four naturally assembled classes of prospective elementary teachers. Two units of instruction were developed by the investigator to serve as the treatment for the study. Treatment Groups 1 (N=23) and 2 (N=24) received the unit of instruction consisting of ten, forty-eight minute class sessions of presentation- participation held by the investigator and assigned supple mental readings for the purpose of amplifying the class work. Treatment Groups 1 and 3 (N=26) received the unit of instruction which consisted of four, forty minute observa tion experiences involving general music teaching and learning. Each observed elementary general music teaching and learning experience was conducted by a general music specialist. Each observation was followed by a forty-eight minute class discussion conducted by the investigator. The 55 reference group (N=13) received no treatment. The sub
jects inthis group were tested at the beginning of the
implementation phase of the study.
Data were collected pertaining to the dependent and independent variables which were identified as those which could affect the successful orientation of the stu dents. The dependent variable was the test score on the
Test of Music Teaching and Learning Awareness (TMTLA).
Pour educational films were used as the basis of the TMTLA
(see Appendix A). The test measured the subject's ability to identify the occurrence of five areas in the teaching- learning process. These were (a) five teaching methods,
(b) a variety of musical activities, (c) eight musical elements, (d) twenty-one musical concepts and (e) a variety of teaching materials.^ The independent variables included the prior experience of the subjects in vocal or instru mental music study, music performance, music courses, methods courses, and public school observation, and their chronological age and cumulative grade point average. In addition, data were collected and analyzed pertaining to
(a) student satisfaction with the instructional procedures employed, (b) the identification of problems and
■^Bjornar Bertheon and Eunice Boardman, Musical Growth in the Elementary School (2nd ed.; New York: Holt, Rine- hart and Winston Co., HT70), pp. 1-18. 56
constraints with regard to the selection and validation of
the measurement tool, and (c) factors which the investiga
tor found to affect the organization and implementation of
the instructional procedures.
Developmental Phase
The study began with a content analysis of curricular
and teaching materials which were essential to regular
instruction of the course Music 370 "Music for Elementary
Teachers." This analysis provided a basis for the design of the instructional objectives for the two units of instruction. Teaching materials and teaching procedures were then chosen and the measurement instruments designed.
Purpose and Objectives of Music 370; "Music for Elementary Teachers"
The purpose of Music 37 0 "Music for Elementary
Teachers" is to assist prospective elementary teachers in developing the competencies needed for teaching music in the elementary school. Instruction is focused on the acquisition of musical skills, understandings and knowledge essential to effective teaching, and teaching procedures for promoting musical growth in the elementary school. The course gives three quarter hours of credit and meets for a forty-eight minute period, five days per week for ten weeks. 57 The general objectives of the regular course are as
follows:
1. To develop increased skill in singing; playing a variety of classroom instruments, including the recorder, autoharp, and piano; bodily move ment; and listening.
2. To acquire knowledge and understanding of the conceptual structure of music.
3. To achieve familiarity with a large repertoire of songs and instrumental compositions suitable for elementary school children.
4. To develop an understanding of children’s musical growth patterns,
5. To explore classroom procedures designed to pro mote musical growth in a sequential manner.
6. To acquire facility in developing music-centered lessons plans.
7. To develop personal confidence in ability to teach classroom music enthusiastically and effectively.2
The instructional procedures for this investigation were designed to assist the subjects to gain an awareness and
understanding of selected aspects of general music teach
ing and learning by primarily fulfilling objectives one,
two, three, and five. It was assumed that the achieve ment of these objectives was prerequisite to the attain ment of the others. More specific instructional object
tives for the music methods course are listed in Appendix b .
o The Division of Music Education, "Music 370: Music for Elementary Teachers" (Duplicated materials provided for Music 370 instructors, The Ohio State University, 1972 73) . 58
Teacher competence is an important outcome of the music methods course for prospective elementary teachers.
The behaviors learned and tested during the course are listed in Appendix B.
Development of the Objectives for the Instructional Process
The design of the instructional process for the investigation implied the necessity of constructing in structional objectives. The first step was to determine the teaching competencies to be developed by the subjects as a result of the instruction. The recently completed work of the Music Educators National Conference served as a framework in selecting general objectives.^ Secondly, five aspects of general music teaching and learning were selected by the investigator to serve as the curricular basis of the units of instruction. They included selected teaching methods, musical activities, musical elements, musical concepts, and teaching materials. These were derived from an analysis of three viewpoints in the current
3 Robert Klotman, ed., Teacher Education in Music: Final Report (Washington, D.C.: Music Educators National Conference, 1973). 59
music education literature.4*5,6 Following the selection
of curricvilar content, the daily in-tructional objectives
were developed. Next, the daily instructional materials
and procedures were chosen. Finally/ an appropriate technique for measuring the attainment of the objectives
was developed.
Because elementary classroom music is a complex process, certain aspects of general music teaching and learning were selected for the study. These are explained as they relate to the orientation and observation experiences in the following discussion.
The Development of Two Units of Instruction and Accompanying Material's
Two units of instruction were developed for the pur pose of providing the subjects with an orientation to the selected curricular content. It was the view of the investigator that the presentation-participation and observation-discussion units together would provide the
4 Ibid
^Karl D. Ernst and Charles L. Gary, The Study of Music in the Elementary School: A Conceptual Approach (Washing- ton, D.C.: Music Educators National Conference, 1967). ^Charles Leonhard and Robert House, Foundations and Principles of Music Education (2nd ed.; New York: McGraw- Hill Co., 1972). 60
most effective and satisfactory method for fulfilling the
purpose of the study. An overview of the content of each
unit is given in the following paragraphs.
Orientation experiences. The following were employed
in developing an instructional unit for orientating the
subjects to teaching methods, music activities, musical
elements, musical concepts, and teaching materials:
a. Through selected readings and presentation- participation, the subjects were given an overview of teaching methods including: Review Demonstration Discovery Lecture Questioning
b. Through presentation-participation, the subjects were provided with an overview of teaching materials and musical activities, including Listening Singing Playing Creating Moving Reading
c. The subjects were provided with an overview of the musical elements and concepts. The elements of rhythm, melody, harmony, form, dynamics, and mood were explored employing a wide variety of music literature, musical activities, and materials. Concepts of each element were clarified through these means.
Observation and discussion experiences. The assist ance of a competent elementary general music specialist was enlisted for the purpose of providing the subjects with observation experiences which were meaningful and 61 practical. The music specialist planned and taught four, forty-minute music lessons which corresponded with the aspects of general music teaching and learning which the investigator selected.
Observation guides. Three observational guides:, were developed for use during the observation and discus sion sessions. Each was based upon the previously determined aspects of general music teaching and learning and upon the measurement instruments employed in the study. The guides were used by the subjects while observing music teaching and learning in the elementary school. The three guides are found in Appendices C, D, and E.
Textbook for the course. A textbook? which in cluded an overview of the various facets of elementary general music, appropriate song literature, and a treat ment of methods of teaching music for each group (K-6) was selected and employed.
Development of Measurement Instruments
In Chapter I two kinds of variables were identified.
The dependent variable was the total test score which represented the subjects' understanding of five aspects
?Bergethon and Boardman, Musical Growth in the Ele- * mentary School. of general music teaching and learning. The independent
variables included the subject's previous experience in
music, method courses and observations, his chronologi cal age, and his cumulative grade point average. In
addition, factors which could affect the success of the
study were identified. They included: (a) the accept
ability of the instructional procedures, (b) the problems
affecting the selection and validation of the films and the resultant development of measurement instrument, and
(c) the problems affecting the organization and implemen tation of the instructional procedures. To gather the necessary information, three instruments were designed.
These instruments included the Test of Music Teaching and Learning Awareness (see Appendix F), the subjects'
Background Information Questionnaire (see Appendix G), and the Effectiveness-Satisfaction Scale (see Appendix H).
Development of the Test of General Musrc Teaching and Learning Awareness
Four educational films were selected to serve as the basis for the measurement instrument. Each film con tained many examples of the five aspects of elementary general music teaching and learning which served as the content for the two units of instruction. 63
Establishing the content validity of the BFA films
a. The investigator viewed the four films and prepared
a Film Viewing Guide and a Detailed Film Viewing
Guide for use by students enrolled in the course
during the quarter previous to the investigation and
who were not included in the study (see Appendices
X and J)• b. Prospective teachers, in three sections taught by the investigator during Winter Quater, 1972, viewed the
four films during four, 48 minute^ class sessions.
Each film was started after the title occurred in order that the viewers would not be given a clue to
the content. Each film was shown twice in each class. During the first viewing, the film was
stopped for a period of two minutes at the end of each
teaching task. This procedure provided the viewers
with an opportunity to finish writing descriptive
comments regarding the observed content. It also
enabled the viewers to keep the tasks separated,
making possible a more systematic means for analysing the data for each task.
(1) One section (N=38) viewed the films and recorded
their comments on the Outline Viewing Guide.
(2) The second section (N=30) viewed the films and
recorded their comments on the Detailed Viewing Guide. (3) The third section (N=39) viewed the films and
recorded their comments on blank paper.
Each procedure of film analysis also included an op
portunity for the viewers to respond to anything which was not a direct part of the guided observation. This procedure enabled the investigator to gain a more com plete response to each film.
For the purpose of establishing the content validity for the films, a teaching task was defined as an ob servable teaching-learning segment wherein one musical concept was being introduced and taught by the demon stration teacher.
From the subjects' responses, the investigator pre pared a multiple point scale check list of the films' contents.
Five music education faculty members and five graduate students viewed the films and recorded responses on the multiple point scale check list..
The measurement instrument was devised from the data as follows. From the music education faculty and graduate student rating scale responses to the films, the investigator developed the Test of General Music
Teaching-Learning Awareness. Rating scale items which were found to be confusing to three viewers were eliminated for the test instrument. Other refinements were made on the basis of suggestions of these viewers.
Correct responses to the test items were determined by faculty and graduate student agreement as to the
proper answer (see Appendix F).
The Background Information Questionnaire
The Background Information Questionnaire (see
Appendix G) was adapted from a similar instrument devel oped by McMillen.8 The purpose of the instrument was to gather information concerning the student's prior music experiences in secondary school and college as well as the college method courses completed and experiences in public school music teaching and observation. The student was asked to indicate if he studied any musical instrument in secondary school or college, and if so, the number of years he had done so. Similar information was obtained about performance background and elective and required music courses completed in high school and college. Further information with respect to the specific method courses completed and the number of hours of ob servation of public school teaching was also gathered.
The Background Information Questionnaire was administered to all subjects participating in the study.
8Judith A. McMillen, "A Feasibility Study of a Self- Paced Performance-Based, Laboratory-Centered Music Funda mentals Course for Prospective Elementary Classroom Teachers" (unpublished Ph.D. dissertation, The Ohio State University, 1971). 66
The Satisfaction Scale
McMillen has suggested that student satisfaction with method of instruction is an important factor affecting their learning.9 in order to estimate the students' sat isfaction with the instructional procedures, the effec- tiveness-satisfaction scale (Appendix H) was developed by the investigator after studying a satisfaction scale that was developed by McMillen. The effectiveness-satisfaction scale attempted to determine each student's opinion concerning the extent to which he had found the methods employed in the unit effec tive and satisfying. For the purpose of the scale, "Effec tive" meant the extent to which the method helped to increase the individual's understanding of selected aspects of general music teaching and learning; and "Satisfying" meant the extent to which the individual was comfortable and contented with the method and whether he had found it adequate, unobjectionable, and pleasing. Each state ment in the instrument was rated by the subjects on each of two criteria (Effective, Satisfying), using a five- point scale in which "1" was the lowest rating and "5" was the highest rating. The individual was instructed to circle the number which corresponded with his
9Ibid.
10Ibid beliefs. In addition, the student was asked to offer
suggestions for improving the instructional procedures
in the future. The subjects responded to the Satisfac
tion Scale items according to the kinds of experiences
they had had during the investigation.
Implementation Phase The period during which the data were gathered was
the Spring Quarter, 1973. The quarter began on March
27, 1973 and ended June 8, 1973.
Subjects
The subjects in the study were undergraduate
prospective elementary teachers from the College of
Education at The Ohio State University who were enrolled
in a course entitled "Music for Elementary Teachers."
The course is offered by the Division of Music Education
in the School of Music at The Ohio State University and carries three hours of credit. The total number of
subjects participating in the study numbered eighty-six.
Musical Instruments and Materials
Each subject in Treatment Groups 1 and 2 was required to purchase the Text, Musical Growth in the 68
Elementary School. ^ The usual classroom instruments were used in the course instruction. These included piano, autoharp, resonator bells, melody bells, maracas, castanets, claves, bongo drum, tom tom, cymbals, triangle, bells, rhythm sticks, and tamourine.
Classroom Procedures
Ten 48-minute class sessions comprised the amount of time which Treatment Groups 1 and 2 were exposed to a variety of lessons designed to clarify, from a theoretical standpoint, five aspects of general music teaching and learning. The following section outlines the daily instructional objectives, materials and supplemental readings which were a part of each class session.
Class Presentation-Participation Sessions
Class Session 1
A. Objectives;
1 . to introduce the nature of general music in the curriculum. 2. To review previously learned singing skills and notational understanding. 3. To introduce three rhythmic concepts— unit beat, metric beat, and rhythm of the melody.12
^Bergethon and Boardman, Musical Growth in the Elementary School.
12Ibid., pp. 6-7. B. Materials:
1. Song Literature: a. "Edelweiss." b. "Raindrops Are Falling on My Head." 2. Visuals of songs. 3. Piano. Class Session 2
A. Objectives:
1 . to review previously learned notational understanding. 2. to review music reading skill:using familiar song literature. 3. to introduce the resonator bells. B. Materials:
1. Resonator bells. 2. Song Literature: a. "Edelweiss." b. "Frere Jacques." c. "Hola Hi, Hola Ho."
Class Session 3
A. Objectives:
1. to introduce classroom melodic and harmonic instruments. 2 . to review playing skills for each instrument. 3. to introduce additional song literature for children.
B. Materials:
1. Melodic and harmonic instruments including resonator bells, autoharps, diatonic and chromatic melody bells, xylophones, glocken spiels, and piano. 2. Song literature: a. "This Land Is Your Land." b. "Biowin in the wind." c. "El Candor Pasa." d. "The Sound of Silence."’ 70
Class Session 4
A. Objectives:
1 . to acquaint the students with the activities approach to music teaching and learning through lecture and discussion of reading.13 2. to introduce the eight musical elements14 com prising musical structure by demonstration and participation. 3. to introduce musical concepts of rhythm and form through demonstration and participation. 5
B. Materials:
1. Classroom rhythm instruments including maracas, bongo drum, claves, castenets, tom-tom, cym bals, triangles, rhythm sticks, and tambourine. 2. Three activities.
c . Supplemental Reading:
Bergethon and Boardman, Musical Growth in the Ele mentary School. Preface, v. How to Use This Book, vii. Preparation of the Teacher, 1-18: Why Teach Music? What Shall we Teach? How Shall We Teach? When Do We Teach?
Class Session 5
A. Objectives:
1 . to clarify the sixfold activities through song literature examination and participation. 2. to acquaint the subjects with the Discovery and Demonstration, methods.
13Ibid., pp. 269-282.
^•4Ibid., p. 6.
•^Ibid. , pp. 6-8. 71
B. Materials:
1. three activities listed in Appendix 2. song literature: a. "Marching to Pretoria." b. "Royal March of the Lion."
C. Supplemental Reading: Text
Planning for musical activities: Planning for Listening Activities, 269. Planning for Singing Activities, 272. Planning for Playing Activities, 274. Planning for Moving Activities, 278. Planning for Creative Activities, 279. Planning for Reacing Activities, 28 0. Classroom Instruments, 283.
Class Session 6
A. Objectives:
1. to introduce three domains of musical response, namely, the Affective, Cognitive, and Psycho motor . 2. to review the methods discussed in the reading assignment.
B. Materials:
1. two paintings. 2. Bernstein's Joy of Music. 3. Copland * s How to Listen to Music.
C. Supplemental Reading:
Charles Leonhard and Robert House, Foundations and Principles of Music Education (2nd ed.; New York: McGraw-Hill Book Company, 1972).
Chapter 8 "Methods of Teaching Music," pp. 275-318.
Class Session 7
A. Objectives:
1. to review specific aspects of general music teaching and learning presented in class through a testing situation (see Appendix M), 72
2. to clarify the musical concepts of musical form and melody.
B. Materials:
1. testing questions. 2. song literature. a. "El Candor Pasa." b. "Cotton Needs Pickin'." c. "Oh, Susanna." d. "Little Fugue in g minor." Class Session 8
A. Objectives:
1 . to introduce song literature appropriate for children. 2. to review proper singing and playing skills. 3. to clarify harmonic musical concepts.
B. Materials:
1 . song literature: a. "Follow Me." b. "Old Texas." c. "Hola Hi, Hola Ho." 2. Glockenspiel. 3. Xylophones.
C. Supplemental Readings:
1. Charles Fowler, "Discovery: One of the Best Ways to Teach a Musical Concept," Music Educators Journal, October, 1970, Vol. 57, no. 2, pp. 25-
2. Asahel Woodruff, "Concept Teaching in Music," Perspectives in Music Education, Source Book III, pp. 219-229.
Class Session 9
A. Objectives:
1. to clarify the musical concepts of tone color, dynamic s, tempo. 2. to introduce appropriate song literature and review a variety of methods for teaching each. 73
B. Materials:
1. song literature: a. "Tingo Layo." b. "It’s A Small World." c. "Prince of Denmark March." d. McDonald's Children Symphony/ 3rd Movement. 2. Rhythm instruments. 3. RCA Adventures in Music, Volume 2. 4. Bowmar Orchestral Library, Number 51.
Class Session 10
A. Objectives: to review the five areas covered for clarification and summary through lecture-discussion.
B. Materials:
All supplemental reading assignments.
C. Supplemental Reading:
Charles Fowler, "The Discovery Method," Journal of Research in Music Education, Vol. XIV, Summer, 1966. Also found in Perspectives in Music Educa tion, Source Book III" Washington, D .C.: Music Educators National Conference, 1966, pp. 232-240.
Observation and Class Discussion Procedures
Four forty-minute elementary school observation ex periences were planned to amplify the five areas of ele mentary general music teaching and learning. The follow ing section outlines the content of each lesson taught by the music specialist and presents the main points covered in the discussion sessions with Treatment Groups 1 and 3 following each observation. Treatment Group 2 and the
Reference Group did not receive the observation-discus- sion treatment. 74
Observation One
Observation one was structured to enable the teacher trainees to view a fifth grade class of children being taught by a music specialist. The lesson was structured to employ (a) a variety of teaching materials, (b) a num ber of musical activities, (c) demonstration and lecture methods, and (d) to focus on melody as the musical element to be explored.
A. Instructional Objective: Melody
The children will demonstrate their awareness of melodic direction by listening to the teacher sing and play (piano) the melody, "Leavin* Old Texas” and by repeating a portion of the melody on either the glockenspiel or the xylophone.
B. Teaching Materials Employed:
1. "Leavin* Old Texas.” 2. 10 Glockenspiels. 3. 8 xylophones. 4. Visual display of the pentatonic scale. 5. Variety of percussion instruments including 3 hand drums, 3 wood blocks, and 2 tambourines. 6. 1 overhead projector. C. Outline of Teaching Procedures Employed:
1. Echo clapping to sharpen listening skills. Clapped rhyms are related to the song. 2. Teacher introduces "Leavin* Old Texas" by singing and playing (piano). 3. Children learn to sing the first verse. 4. Teacher explains song as based upon the pentatonic scale and instructs the children to go to the instruments and take off the bars which are not a part of that scale. Reference is made to the notes in the pentatonic scale by use of a visual display. 5. Children are encouraged to discover for them selves how to play the first and then the second parts of the melody. Dynamic climax is stressed by playing loudest when the melodic line is at its highest point. A visual display of the melody is shown on an overhead projected transparency. 6. Percussion instruments are suggested by the children to accompany the song. 7. First performance of "Leavin* Old Texas" includ ing two part singing and playing of percussion and melody instruments.
Class Discussion of Observation One The class discussion of Observation One centered around the variety of musical activities employed by the specialist as well as the musical elements, teaching methods, and teaching materials employed. The activities approach to general music teaching was reviewed. In addition, the investigator directed the attention of the subjects to the positive attitude of the children toward learning in the classroom. Also included was a discussion of child-centered involvement in "doing," the enthusiasm of the teacher, and the individualization of instruction.
Observation Two
Prior to the second observation, the subjects were given the first classroom observation Quide (see Appendix
C) to assist them in identifying the musical activities, elements, teaching materials, and other factors influencing the teaching-learning situation. To clarify the categor ies of the Guide, there was a review of the sixfold activities approach and the eight elements of musical structure outline in the Bergethon-Boardman text."**®
A. Instructional Objective: Harmony
The children will demonstrate their ability to respond to multiple sounds by singing or playing a counter melody to accompany the tune "Li'l Liza Jane” as it is sung by the teacher. 7* B. Teaching Materials Employed: 1. "Leavin1 Old Texas."
2. Chant:
J J I s- j J.H i sol J me J sol me sol me sol corn-bread, flap-jacks, black-eyed peas, J j n r ~ i I r j j. >ii sol me sol sol do re me re do cat-fish ta-ters pass the ket-chup, please1
3. 1 autoharp. 4. 1 piano. 5. 8 xylophones. 6 . 10 glockenspiels.
C. Outline of Teaching Procedures Employed:
1. Teacher sings and plays (piano) the new melody "Li'l Liza Jane." 2. Children learn the words and melody by rote.
3. Children move hands to melodic direction of the melody.
4. Children play the melody on the xylophones or glockenspiel.
16Ibid. 77 5. Children create words to a new rhythm pattern which is written on the side chalkboard.
6. Children chant the new pattern as the teacher plays the autoharp and sings “Li'l Liza Jane." 7. Children create a melody to the chant and play it as they sing "Li'l Liza Jane."
8. Several children add a starting/closing pattern to create further melodic sounds for the final performance.
Class Discussion of Observation Two
For the class discussion following Observation Two
the subjects were encouraged to participate in a more
specific consideration of the content of the lesson. They
were encouraged to note the relationship between the
activities of the children and the teacher, and the musical
elements and teaching materials employed. The chalkboard was employed as a focal point for discussion after a
sequential listing of the observed events was compiled.
Attention was drawn to the great variety of visual dis
plays prepared by the specialist and the children which helped to create a positive climate for learning at the elementary school.
Observation Three
Prior to the third observation, the subjects were given the Second Classroom Observation Guide (see Appendix D) to assist in identifying and recording the observed teacher's 78 methods, musical activities of the teacher and children, musical elements, and teaching materials employed. To clarify the categories of the Observation Guide a review of the components of each category was made.
A. Instructional Objective: Dynamics
The children will demonstrate their awareness of the wide range of dynamic levels possible for musical response by creating and performing appropriate dynamic responses to a chant with percussion instruments.
B. Teaching Materials Employed:
1. Rhythmic chant: • j. j . | r r t j r \ see, see, see what I see, A
j f i r fU /■ i \ \ Hor-se's head where his tail should bel
2. Variety of percussion instruments including 3 bongo drums, 2 triangles, 2 finger cymbals, and 3 wood blocks.
3. Overhead projector.
4. Overhead transparency of the rhythmic chant.
5. Symbols for dynamic range including:
pp, mp, mf and fff.
C. Outline of Teaching Procedures Employed:
1. Review of echo clapping rhythms focusing on dynamic contrasts of pp, mp, mf and fff.
2. Chanting of rhythmic chant by teacher as children clap to the rhythm of the beat. 79
3. Instruments are selected by children to accompany the chant. Three distinct sounds are selected as the line occurs 4 times.
4. Children orchestrate the chant.
5. Children create a melody on the xylophones and glockenspiels for. the chant.
6. As a final activity, the children sing and play the chant including the dynamics agreed upon.
Class Discussion of Observation Three
For the class discussion following Observation
Three the subjects were encouraged to recall specific teaching methods, musical activities, musical elements,
and teaching materials observed arid their sequence in the lesson. The chalkboard was employed as a means for
focusing attention on the sequence of the lesson and its essential characteristics. Alternative methods were explored for presenting the content of the lesson to give further depth to the orientation to the five teaching methods. For example, the music specialist employed the demonstration method through echo clapping as a means of arousing a student response to dynamics. The discovery and lecture methods were considered as alternative methods and the reasons for choosing the demonstration method were discussed. 80
Observation Four
Prior to the fourth observation the subjects were given
the Third Classroom Observation Guide (see Appendix E) to assist them in identifying and recording observed musical
concepts being explored. A brief explanation of the
meaning of each musical concept as well as the three
column choices was made to clarify the use of the guide.
A. Instructional Objective: Form
The children will demonstrate their awareness of Rondo form by creating an improvised composition in Rondo form from a two phrase chant using percussion instruments.
B. Teaching Materials Employed:
1. Chant: ! n j n i |n n j j,| Par-a-keet, Par- a-keet, ro-bin red breast, spar-row, n i n j i !■ i t i ?» Par-a-keet, Par-a-keet, wood peck-er, wren.
2. Percussion instruments including 3 sets of claves, 3 hand drums, 4 sets of maracas.
C. Outline of Teaching Procedures Employed:
1. Echo clapping with particular attention to long phrases. Individual children were encouraged to create rhythmic phrases for the class to clap.
2. Rhythmic pattern was read and chanted in unison and then in 3 part canon.
3. Children clapped canon in three parts. 81
4. A variety of instruments were employed to impro vise an eight measure section between reoccur rences of the eight measure chant, creating a Rondo form.
Class Discussion of Observation Four
For the class discussion of Observation Four, the in vestigator prepared a completed copy of the lesson plan on the Observation Guide employed for Observation Two
(see Appendix L). The five categories were listed and analyzed, including teaching method, musical activity, elements, concepts, and teaching materials. This Guide was used as the basis for a discussion of the observation and as a review of the content of each category.
Analysis of Data
The data were analyzed to answer questions which follow. A description of the statistical procedures employed is included with each question.
1. Do the four groups significantly differ with respect to their total test scores on the Test of Music Teaching and Hearing Awareness(TMTLA)?
The first question to be answered concerned the scores of the four test groups. The statistical procedure employed was an analysis of variance.17 Ranges, means, and standard deviations of individual subject test scores were derived
1 7 J. P. Guilford, Fundamental Statistics in Psychol- ogy and Education (New York: McGraw-Hill Book Company, r§6-5JT pp'rT4-T5" 82
as well as means and standard deviations for each of the
four groups.
2. Do the four groups differ with respect to their total test scores for each of the five parts of the TMTLA test?
(a) teaching methods,
(b) musical activities,
(c) musical elements,
(d) musical concepts,
(e) teaching materials.-*-®
Question 2 required an analysis of the scores of each group on each of the five parts of the test. This
step was used to determine whether one treatment was significantly more effective than another in orienting any one group to one or more of the five areas of ele mentary general music teaching and learning. Since a significant difference was found by the analysis of variance technique, Scheffe multiple Comparison test-*-® was done to determine where the differences between groups in the five parts were. 3. Are the following variables related to the total test scores of the subjects"
(a) number of years studying piano,
(b) number of years studying a musical instru ment,
^-®Bergethon and Boardman, Musical Growth in the Elementary School. 19 George A. Ferguson, Statistical Analysis in Psychol- ogy and Education (New York: McGraw-Hill Book Co., 1966), pp. 296-297. 83
(c) number of years of participation in a junior, or senior high school or college performance group,
(d) number of years of study in a high school music course,
(e) completed Music 270 "Basic Experiencies in Music: Fundamentals
(f) completed Music 271 "Basic Experiences in Music: Literature and Listening," (g) completed Music 141 “Introduction to Music: Baroque to the present,"
(h) completed Music 142 "Introduction to the History of Western Music I: Classical Antiquity to about 1750," (i) completed Music 200.02 "Applied Music: Studio Classes in Voice,"
(j) completed Music 143 "Introduction to the History of Western Music II: 1750 to the present,"
(k) prior elementary music teaching experience,
(I) number of method courses completed,
(m) number of hours of observation,
(n) chronological age,
(o) cumulative grade point average.
For the purposes of analyzing the information obtained on the Background Information Questionnaire a step-wise regression statistical technique21 was employed. Data were
The Ohio State University Bulletin,LXXVII, No. 7, April 4", 1973, p p . 333-335, contains course descriptions relating to items 2e through 2 j.
21sergethon and Boardman, Musical Growth in the Elementary School, pp. 395-397. 84
computed for all subjects to explain the relationship
between independent variables and the total test scores
of the subjects. The step-wise part of the regression
was employed to show which independent variables appeared
to be most important. 4. Is there any significant difference between groups with respect to the independent variables?
A four-by-one analysis of variance was employed to determine if there appeared to be any significant differ ence between groups with respect to the fifteen variables.
For this comparison of groups as control data an F test22 was computed where appropriate and a Chi square test23 was computed for the remaining comparisons.
5. To what extent did the subjects in the Treatment Groups find the instructional techniques signifi cantly effective and satisfying and what were their suggestions for improvement?
Information concerning the acceptability of instruc tional techniques was obtained with an eleven item scale, on which the subject was asked to relate each item on each of two factors— effectiveness and satisfaction— using a scale ranging from 1, the lowest rating, to 5, the highest rating. The responses were analyzed to pro vide the mean ratings for each of the two factors for each item on the scale. In addition, a mean of means was
22Ibid., pp. 191-192.
23Ibid., p. 227. 85 computed for each item by averaging the two factor means.
A Mann-Whitney U-test24 was employed for the purpose of
gaining further insight into the responses of groups
receiving the same treatment.
Subjects in Treatment Groups 1 and 2 responded to
Satisfaction Scale items one through five. Subjects in
Treatment Groups 1 and 3 responded to Satisfaction Scale
items six through eleven. Students in each of the three treatment groups were encouraged to make suggestions for improving the instructional procedures. The comments were analyzed for presentation in summary form.
6 . Is there a correlation between the Effectiveness- Satisfaction Scale responses of the subjects and their total test scores (TMTLA)? A Kendall rank correlation procedure was performed to determine the existence or non-existence of a signifi cant relationship between the Satisfaction Scale responses of the subjects and their test scores.
Correlation coefficients were obtained for the five parts of the test and the corresponding Satisfaction Scale items.25
2 4 Ibid., pp. 259-260.
2^SPSS Kendall Rank Correlation/ Statistical Package for the Social Sciences (Chicago: University of Chicago, Department of Political Science and National Olinion Research Center, 1970), p. 153. 86
7. What are the observable problems and con straints affecting the selection and validation of the educational films?
The three groups of subjects which assisted in the
initial stages of establishing the content validity of the four educational films were encouraged to respond to anything which appeared to not be a direct part of the guided observation. These comments were analyzed for presentation in summary form. The music education faculty and graduate students, who assisted in refining the measurement instrument also were encouraged to respond to anything which appeared to create a problem or pose a restraint. These comments also were analyzed for presentation in summary form.
8 . what are the observable problems and con straints affecting the organization and imple mentation of the instructional procedures? The investigator kept a log of comments and these were analyzed for presentation in summary form. The statistical procedures, including analysis of variance, 26 Scheffe Multiple Comparison test, step-wise regression,
Man Whitney U-Test and the Kendall Coefficients were computed by the Instruction and Research Computer Center
26 P-STAT-Stepwise Regression, Princeton University version of May, 1972. at The Ohio State University using the P-STAT and SPSS programs.
Chapter XV presents the detailed analysis of the findings of the study. CHAPTER XV
PRESENTATION AND ANALYSIS OF DATA
Introduction
The major findings of this study are presented in this chapter. Each part of the problem is stated in question form and is followed by a table presenting the data and the findings.
The research design included three treatment groups and a reference group, each consisting of naturally assembled classes of prospective elementary teachers.
Two units of instruction were developed by the investi gator to serve as the treatment for the study. Treatment
Groups 1 (N=23) and 2 (N=24) received the unit of instruction which consisted of ten, forty-eight minute class sessions of investigator Presentation-Participation.
Supplemental readings were assigned for the purpose of amplifying the class work. Treatment Groups 1 and 3
(N=26) received the unit of instruction which consisted of four, forty minute observation experiences involving general music teaching and learning. Each elementary general music teaching and learning experience was con ducted by a general music specialist. Each observation
88 89
was followed by a forty-eight minute class discussion
conducted by the investigator. The reference group
(N=13) received no lecture-demonstration or observation-
discussion treatment. Findings observed from a stepwise multiple regression
analysis of variance-*- of the total test scores for each
of the four groups are reported regarding the significant
differences between groups. Further findings obtained 2 from the Scheffe multiple comparison test are reported
for the differences between the four groups with respect
to the total test scores for each of the five parts of
the test.
Findings concerning correlations and tests of sig nificance are reported for the dependent variable, which
is the total test scores, and the independent variables, which include
(a) number of years studying piano,
(b) number of years studying a musical instru ment,
(c) number of years of participation in a junior, or senior high school or college performance group,
^P-STAT-Stepwise Regression, Princeton University version of May, 1972.
^George A. Ferguson, Statistical Analysis in Psychol— °9Y ^nd Education (New York: McGraw-Hill Book Company, 1 9 6 6 ) , pp. 29 6-297. 90
(d) number of years of study in a high school music course, (e) completed Music 270 "Basic Experiences in Music: Fundamentals,"3 (f) completed Music 271 "Basic Experiences in Music: Literature and Listening,"
(g) completed Music 141 "Introduction to Music: Baroque to the present,
(h) completed Music 142 "Introduction to the His tory of Western Music I: Classical Antiquity to about 1750," (i) completed Music 200.02 "Applied Music: Studio Classes in Voice,"
(j) completed Music 143 "Introduction to the History of Western Music II: 1750 to the present,"
(k) prior elementary music teaching experience,
(1 ) number of method courses completed, (m) number of hours of observation,
(n) chronological age,
(o) cumulative grade point average.
To determine whether or not the groups were equivalent, the results of the F and Chi Square tests for significant differences between the four groups with respect to the total test 'scores and the fifteen independent variables were reported. The .05 level of significance^ was used for all statistical tests.
3The Ohio State University Bulletin, LXXVII, No. 7, April 4, 1973, pp. 333-335 contains course descriptions related to items e through j . ^J. P. Guilford, Fundamental Statistics in Psychology and Education (4th ed.; New York: McGraw-Hill Book Com pany, 1955}, p. 171. 91
Additional findings are presented regarding the satis
faction of the subjects in the three treatment groups for
the instructional methods employed. Findings obtained
from the Mann Whitney-U test^ are reported concerning
differences between the two groups receiving the same treatment.
A Kendall rank correlation procedure6 was performed
to determine the existence or non-existence of a sig nificant relationship between the Satisfaction Scale re
sponses of the subjects and their test scores. Correla
tion coefficients were obtained for the five parts of the test and the corresponding Satisfaction Scale items.
Finally, the observable problems and contraints affect
ing the development of the measurement instrument and the instructional procedures are reported.
Variance of Group Test Scores
Question 1
Do the four groups significantly differ with respect to their total test scores on the Test of Music Teaching and Learninq Awareness (TMTLA) ?
Results; The obtained F-ratio of 6.96 was signifi cant at the .05 level (see Table 1). The results
5Ibid., pp. 259-260.
^SPS Kendall Rank Correlation, Statistical Package for the Social Sciences (Chicago: University of Chicago, Department of Political Science and National Olinion Research Center, 1970), p . 153. 92
TABLE 1
TOTAL TEST SCORES FOR FOUR GROUPS: MEANS, STANDARD DEVIATION, ANALYSIS OF VARIANCE AND MULTIPLE COMPARISON TESTS
Group N Mean S.D.
(GX ) 1 23 712.08 48.93
(G2) 2 26 651.88 59.47 (G3) 3 24 628.37 83.05
(G4) 4 13 653.76 62.65
Sources Sum Degrees of of of Mean Variation Squares Freedom Square F
Between Groups 88336.00 3 29445.33 6.96a Within Groups 34688.00 82 4230.24
Scheffe Multiple Comparison Tests on Group Means*3
G3 G2 g4 G 1 628.375 651.885 653.769 712.087
Significant at the .05 level.
^Means not underscored by the same line are signifi cantly different at the .05 level. 93
indicated that there was a significant difference between
the four groups with respect to their total scores on the
Test of Music Teaching and.Learning Awareness. Further
investigation by means of the Scheffe multiple comparison
test revealed that subjects in Treatment Group 1 scored
significantly higher than Test Groups 2 and 3 on the
test (TMTLA).
The mean score results further indicated that the
Reference Group {Group 4) scores were higher than those
of subjects in Treatment Groups 2 and 3 but not signifi
cantly so.
Implications; The presentation-participation and observation-discussion treatment administered to Treat ment Group 1 was significantly better than that given
to the Treatment Groups 2 and 3. No treatment (Group 4) was as good as either the presentation-participation treatment only (Group 2) or the observation treatment only (Group 3).
Question 2
Do the four groups differ with respect to their total test scores for each of the five parts of the TMTLA test?
(a) teaching methods,
(b) musical activities,
(c) musical elements, 94
(d) musical concepts,
(e) teaching materials.*^
Question 2a: Teaching Method
Results; The obtained F-ratio of 6.82 was signifi cant at the .05 level (see Table 2). These results indicated that there was a significant difference between the four groups with respect to their test scores on Part A of the TMTLA— teaching method. The mean test scores of subjects in Treatment Groups 1 and 2 were sig nificantly higher than those of subjects in Treatment
Group 3. Mean scores of subjects in Treatment Group 3 were significantly lower than those of Treatment Groups
1, 2, and 4. Mean test scores of Treatment Groups 4 and
2, were lower than Group 1 but not significantly.
Implications; With regard to teaching methods ex plored, the presentation-participation and observation- discussion treatment administered to Treatment Group 1 and lecture demonstration given to Treatment Group 2 was significantly better than the observation-discussion treatment to Treatment Group 3. The observation -only treatment (Group 3) appears to have been no better than no treatment (Group 4).
^Bjornar Bergethon and Eunice Boardman, Musical Growth in the Elementary School (2nd ed.; New York: Holt, Rinehart and Winston, 1970). 95
TABLE 2
GROUP TEST SCORES FOR PART A OP THE TEST— TEACHING METHOD: TREATMENT MEANS IN RANK ORDER, STANDARD DEVIATIONS, ANALYSIS OF VARIANCE, AND MULTIPLE COMPARISON TESTS
Group N Mean S.D.
(G-l ) 1 23 67.00 6.84
(G2 ) 2 26 63.96 6.27
(G4J 4 13 62.07 7.44
(G3) 3 24 57.41 9.06
Sources Sum Degrees of of of Mean Variation Squares Freedom Square F
Between Groups 1141.49 3 380.49 .6.82a With Groups 4569.80 82 55.72
Total 9711.29 85
Scheffe Multiple Comparison Tests on Group Means13
G G 3 G 4 2 G 1 57.41 62.077 63 .962 67.00
Significant at the .05 level.
^Means not underscored by the same line are signifi cantly different at the .05 level. 96
Question 2b: Musical Activities
Results; The obtained F-ratio of 8.28 was signifi cant at the .05 level (see Table 3). These results indi cated that there was a significant difference between the four groups with respect to their test scores in Part B of the TMTLA— Musical Activities. The mean test scores of subjects in Treatment Group 1 were significantly higher than those of Treatment Groups 3 and 4. The mean scores of subjects in Treatment 2 did not differ significantly from Treatment Groups 1, 3, or 4.
Implications: With regard to musical activities ex plored, the presentation-participation and observation- discussion administered to Treatment Group 1 was signifi cantly better than that treatment given to Group 3
(observation only) and Group 4 (no treatment). While a mean score difference was present between Treatment
Groups 1 and 2, it was not significant and thus aware ness of musical activities may be gained through the presentation-participation without the observation- discussion treatment. 97
TABLE 3
GROUP TEST SCORES FOR PART B OF THE TEST— MUSICAL ACTIVITIES: TREATMENT MEANS IN RANK ORDER, STANDARD DEVIATIONS, ANALYSIS OF VARIANCE, AND MULTIPLE COMPARISON TESTS
Group N Mean S.D.
(Oj) x 23 100.82 3.66 (G2 ) 2 26 97.84 4.34
(G4) 4 13 93.38 9.20 (G3) 3 24 93.20 6.78
Sources Siim Degrees of of of Mean Variation Squares Freedom Square F
Between Groups 861.16 3 287.05 8.28a Within Groups 2841.61 82 34.65
Total 3702.78 85
Scheffe Multiple Comparison Tests on Group Means*3
G3 g 4 G2 Significant at the .05 level. ^Means not underscored by the same line are signifi cantly different at the .05 level. 98 Question 2c; Musical Elements Results: The obtained F-ratio of 4.44 was signifi cant at the .05 level (see Table 4). These results in dicated that there was a significant difference between the four groups with respect to their test scores on Part c of the TMTLA— Musical Elements. The mean test scores of subjects in Treatment Group 1 were significantly higher than those of Treatment Groups 2 and 3. While a mean group test score difference was present between Groups 1 and 4, it was not significant at the .05 level. The mean test score of subjects in Treatment Groups 2, 3, and 4 were not significantly different. Interpretations: With regard to musical elements, the lecture-demonstration and observation-discussion treatment given to Treatment Group 1 was better than the treatments given to Treatment Groups 2 and 3. It was not statistically established that presentation-participation and observation-discussion (Group 1) was better than no treatment (Treatment group 4) with respect to the aware ness of musical elements. Further, it was not signifi cantly established that no treatments (Group 4) was better than presentation-participation (Group 2) or observation only (Group 3). 99 TABLE 4 GROUP TEST SCORES FOR PART C OF THE TEST— MUSICAL ELEMENTS: TREATMENT MEANS IN RANK ORDER, STANDARD DEVIATIONS, ANALYSIS OF VARIANCE, AND MULTIPLE COMPARISON TESTS Group N Mean S.D. (Gi) 1 23 115.82 13.76 CG4) 4 13 105.00 17.20 (G2) 2 26 100.69 16.22 (G3) 3 24 98.25 22.75 Sources Sum Degrees of of of Mean Variation Squares Freedom Squares F Between Groups 4264.39 3 1421.46 4. 44a With Groups 26217.46 82 319.72 Total 30481.85 85 Scheffe Multiple Comparison Tests on Group Means*5 G 3 g2 G4 Gl 98.25 100.69 105.00 115.82 Significant at the .05 level. ^Means not underscored by the same line are signifi cantly different at the .05 level. 100 Question 2d; Musical Concepts Results: The obtained F-ratio of 4.04 was signifi cant at the .05 level (see Table 5). These results indi cated that there was a significant difference between the four groups with respect to their test scores on Part D of the TMTLA— Musical Concepts. The mean test scores of the subjects in Treatment Group 1 were significantly higher than those of Treatment Group 3. While a mean test score difference was present between Treatment Group 1 and Treatment Groups 2 and 4, the difference was not significant at the .05 level. Interpretations: With respect to musical concept awareness, the presentation-participation and observation- discussion treatment given to Treatment Group 1 was better than the observation-discussion treatment given to Treatment Group 3. It was not statistically established that that the presentation-participation and observation- discussion (Group I) is better than no treatment (Group 4) or Presentation-participation only (Group 2) with respect to the awareness of musical concepts. 101 TABLE 5 GROUP TEST SCORES FOR PART D OF THE TEST— MUSICAL CONCEPTS: TREATMENT MEANS IN RANK ORDER, STANDARD DEVIATIONS, ANALYSIS OF VARIANCE, AND MULTIPLE COMPARISON TESTS Group N Mean S.D. (GX) 1 23 319.82 32.21 (G4) 4 13 293.92 43.67 (G2) 2 26 284.69 35.85 (G3) 3 24 277.79 60.29 Sources Sum Degrees of of of Mean Variation Squares Freedom Square F Between Groups 23881.48 3 7960. 49 ■ f . 04a Within Groups 161483.93 82 1969. 31 Total 185365.37 85 i. Scheffe Multiple Comparison Tests on Group Means G 3 g2 g4 gx 277.79 284.69 293.92 319.82 aSignifleant at the .05 level. ^Means not underscored by the same line are signifi cantly different at the .05 level. 102 Question 2e: Teaching Materials Results; The obtained F-ratio of 6.36 was signifi cant at the .05 level (see Table 6 ). These results in dicated that there was a significant difference between the four groups with respect to their test scores on Part E of the TMTLA— Teaching Methods. The mean test scores of the subjects in Treatment Group 1 were signi ficantly higher than those of Treatment Groups 3 and 4. While a mean test score difference was present between Treatment Groups 1 and 2, it was not significant at the .05 level. Intrepretations i With respect to Teaching Material Awareness, the presentation-participation and observa tion-discussion treatment given to Treatment Group 1 was better than that given to Treatment Groups 3 and 4. It was not statistically established that the treatment given to Group I is better than the treatment given to Group 2 (presentation-participation only). Multiple Regression Analysis of Test Scores and Fifteen Independent Variables 3. Are the following variables related to the total test scores of the subjects? (a) number of years studying piano, (b) number of years studying a musical instrument, (c) number of years of participation in a junior, or senior high school or college performance group, 103 TABLE 6 GROUP TEST SCORES FOR PART E OF THE TEST— TEACHING MATERIALS: TREATMENT MEANS IN RANK ORDER, STANDARD DEVIATIONS, ANALYSIS OF VARIANCE, AND MULTIPLE COMPARISON TESTS Group N Mean S.D. (Gi) 1 23 108.60 4.07 (G2) 2 26 104.69 6.63 (G3 ) 3 24 101.70 8.19 (G4 ) 4 13 99.38 8.50 Sources Sum Degrees of of of Mean Variation Squares Freedom Square F Between Groups 903.01 3 301.00 6.36a Within Groups 3878.86 82 47.30 Total 4781.87 85 Scheffe Multiple Comparison Tests on Group Means*3 G4 63 G 2 G 1 99.38 101.70 104.69 108.60 Significant at the .05 level. ^Means not underscored by the same line are signifi cantly different at the .05 level. 104 (d) number of years of study in a high school music course, (e) completed Music 270 "Basic Experiences in Music: Fundamentals,"8 (f) completed Music 271 "Basic Experiences in Music: Literature and Listening," (g) completed Music 141 "Introduction to Music: Baroque to the present," (h) completed Music 142 "introduction to the History of Western Music I: Classical Antiquity to about 1750," (i) completed Music 200.02 "Applied Music: Studio Classes in Voice," (j) completed Music 143 "Introduction to the History of Western Music II: 1750 to the present," (k) prior elementary music teaching experience, (1 ) number of method courses completed, (m) number of hours of observation, (n) chronological age, (o) cumulative grade point average. In this section the data were analyzed in a variety of ways in order to assess the relative contribution and intercorrelations of various independent variables in the study. Subjects for the multiple regression analysis numbered eighty-six. The Ohio State University Bulletin, LXXVII, No. 7, April 4, 1973, pp. 333-335 contains course descriptions related to items 3e through 3j. 105 Stepwise multiple regression analysis, as computed in the P-STAT9 program, was used to assess the relative con tribution of each independent variable or combination of independent variables to the subjects test scores. A cor relation matrix was derived for the eighty-six subjects. Table 7 contains a summary of the results of the cor relations for the eighty-six subjects with respect to pairs of variables which correlated at the .05 level of signifi cance. While the variables of age and College Course 5 did not show a significant correlation with any other variable, all other independent variables did show a cor relation with one or more of the remaining variables. The correlation coefficients for the total multiple regression are shown in Appendix N. Significant correlations are underlined. The variables which most frequently correlated with others were: total methods course (frquency of occur rence: f.o. = 5); prior elementary music teaching experience (f.o.=4); college course 3 (f,o.=4)j perform ance experience (f,o.=4)j and private musical instrument study (f.o.=2). The frequency of occurrence for six other variables was two: cumulative average, piano study, college music course 1 , college music course 2 , college music course 4, and college music course 6 . High school ■ 9P-STAT-Step-wise Regression. 106 TABLE 7 CORRELATIONS BETWEEN VARIABLES WHICH ARE SIGNIFICANT AT THE .05 LEVEL Variables r College Music Course la and College Music Course 2 .62 College Music Course‘3 and College Music Course 4 .32 College Music Course 3 and College Music Course6 .26 College Music Course 4 and College Music Course6 .81 College Music Course 3 and Private Instrument Study .38 High School Courses and Piano .21 Methods Courses*1 and Cumulative Average .23 Methods Courses and College Music Course 1 .25 Methods Courses and College Music Course 2 .23 Methods Courses and Prior Elem. Music Teaching Exp. .27 Methods Courses and Prior Observation Experience .45 Performance Experience and Piano Study .24 Performance Experience and College Music Course 3 .42 Performance Experience and Elm. Music Teaching Exp. .39 Performance Experience and Private Instrument Study .60 Prior Elem. Music Teaching Experience and Cumulative Average .24 Prior Elem. Music Teaching Experience and Private Instrument Study .21 aCollege courses were: College Course 1: Music 270 "Basic Experiences in Music: Fundamentals. College Course 2: Music 271 "Basic Experiences in Music: Literature and Listening." College Course 3: Music 141 "Introduction to Music: Baroque to the present." College Course 4: Music 142 "Introduction to the History of Western Music I: Classical Antiquity to about 1750." College Course 5: Music 200.02 "Applied Music: Studio Classes in Voice." College Course 6 : Music 143 "Introduction to the History of Western Music II: 1750 to the present." u Complete identification descriptions of the methods courses are contained in Appendix G. 107 courses and prior observation experience each correlated with one other variable. Results: Tables 8 , 9 and 10 contain the sequential steps of the multiple regression analysis for the three significant variables, cumulative average (cum), college music course 1 (coll. Course 1) and, prior elementary music teaching experience (teach). As can be seen in Tables 8 , 9 and 10, when the significant variables cumu lative average (cum), college music course 1 (coll. course) and prior elementary music teaching experience (teach) are held constant, no other measured variable contributes significantly to the test scores. Interpretations: Table 11 illustrates that the three variables account for 13.37 percent of the total variance of test scores among the eighty-six subjects in the study. The remaining 8 6.63 percent is contributed by and could be due to either random variation of the sample or failure to include the independent variables that make contributions. Tests for Significant Differences Between Groups Question 4 Is there any significant difference between groups with respect to the fifteen independent variables? 108 TABLE 8 STEPWISE MULTIPLE REGRESSION ON DEPENDENT VARIABLE, TMTLA TOTAL SCORE: STEP 1— VARIABLE ENTERED IS CUMULATIVE AVERAGE Analysis Sum of of Mean F F Variance DF Squares Square Ratio Significance Regression 1 25609.970 25609.970 4.252a P = .02 Residual 84 409617.763 4876.402 Variables in Equation Variable Coefficient Stand Coef. Std. Error F-Remove Cum 20.4393 -0.2426 8.9189 5.252 Variables Not in Equation Variable Partial Tolerance I’-Enter Age -0.1594 0.9999 2.163 Piano -0.1537 0.9996 2.008 Coll. Course 1 0.2051 1.0000 3.646 Coll. Course 2 0.1750 0.9742 2.623 Cdll. Course 3 -0.0654 0.9987 0.357 Coll. Course 4 0.0432 0.9961 0.155 Coll. Course 6 0.0750 0.9974 0.469 Teach -0.1683 0.9849 2.418 Instr. Tot 0.0775 0.9924 0.502 Exp. Tot -0.0666 0.9975 0.370 Hs. Crs. Tot 0.0059 0.9929 0.003 Mth. Tot 0.0220 0.9485 0.040 Obs. Tot 0.0485 0.9969 0.195 Significant at the .05 level. 109 TABLE 9 STEPWISE MULTIPLE REGRESSION ON DEPENDENT VARIABLE, TMTLA TOTAL SCORE: STEP 2— VARIABLE ENTERED IS COLLEGE MUSIC COURSE 1, MUSIC 270 Analysis Sum of of Mean P P Variance DF Squares Square Ratio Significance Regression 2 42846.287 21423.143 4.532a P=. 01 Residual 83 392381.446 4727.487 Variables in Equation Variable Coefficient Stand Coef. Std. Error P-Remove. Cum 2 0 .4786 -0 .2430 8.7817 5.438 Coll. Course 1 51. 7738 0 .1990 27.1146 3.646 Variables Not in Equation Variable Partial Tolerance F-Enter Piano -0.1290 0.9800 1.387 Age -0.1464 0.9934 1.795 Coll. Course 2 0.0602 0.5870 0.298 Coll. Course 3 -0.0626 0.9983 0.322 Coll. Course 4 0.0324 0.9929 0.086 Coll. Course 6 0.0671 0.9953 0.371 Teach -0.1979 0.9713 3.341 Instr. Tot 0.0574 0.9813 0.271 Exp. Tot -0.0854 0.9909 0.603 Hs. Crs. Tot -0.0076 0.9887 0.005 Mth. Tot -0.0315 0.8879 0.082 Obs. Tot 0.0194 0.9761 0.031 Significant at the .05 level. 110 TABLE 10 STEPWISE MULTIPLE REGRESSION ON DEPENDENT VARIABLE, TMTLA TOTAL SCORE: STEP 3— VARIABLE ENTERED IS PRIOR ELEMENTARY MUSIC TEACHING EXPERIENCE Analysis Sum of of Mean F F Variance Df Squares Square Ratio Significance Regression 3 58207.390 19402.463 4.220 a P = .008 Residual 82 377020.343 4597.809 Variables in Equation Variable Coefficient Stand Coef. Std. Error F-Remove Cum -2 2 .4591 -0. 2665 8.7279 4.622 Coll. Course 1 57. 5446 0. 2212 26.9259 4.567 Teach -28. 9391 -0. 1906 15.8325 3.341 Variables Not in Equation Variable Partial Tolerance F-Enter Age -0.1248 0.9776 1.282 Coll. Course 2 0.0680 0.5864 0.276 Coll. Course 3 -0.0298 0.9692 0.072 Coll. Course 4 0.0062 0.9752 0.003 Coll. Course 6 0.0469 0.9837 0.178 Piano -0.0985 0.9513 0,793 Instr. Tot 0.1042 0.9361 0.890 Exp. Tot -0.0294 0.9062 0.070 Hs. Crs. Tot 0.0212 0.9687 0.036 Mth. Tot 0.0147 0.8408 0.018 Obs. Tot 0.0514 0.9531 0.215 Significant at the .01 level. Ill TABLE 11 FINAL SUMMARY OF REGRESSION ON DEPENDENT VARIABLE Analysis Sum of of Mean F F Variance DF Squares Square Ratio Significance Regression 3 58207.390 19402.463 4.220a P = .008 Residual 82 377020.343 4597.809 Step Number of Change in Variance Mult. R. Mult. R Sq. RSQ 1 1 0.2426 0.0588 0.0588 2 2 0.3138 0.0984 0.0396 3 3 0.3657 0.1337^ 0.0353 Significant at the .05 level. ^Percent accounting for the total variance of the test scores. 112 Results: Table 12 shows that the obtained F and X^ values for thirteen of the fifteen variables were not significant at the .05 level. Variable four, High School Music Courses was not considered usable as only four sub jects in two groups completed any high school course work. Question 5 To what extent did the subjects in the Treatment Groups find the instructional techniques signifi cantly effective and satisfying and what were their suggestions for improvement? Question 5a: Treatment Groups 1 and 2. Results: Treatment Groups 1 and 2 both received the presentation-participation treatment in learning teaching method, musical activities, musical elements, musical concepts, and teaching materials. These are items 1-5 on the Effectiveness-Satisfaction Scale to which Groups 1 and 2 responded (see Tables 13-17). The results of these tables indicate that the subjects in both Treatmeng Groups 1 and 2 found the instructional technique employed for the presentation-participation class sessions to be effective and satisfying. Out of a possible score of 5, each item received an average mean rating above 4.10 on both effectiveness and satisfaction. The item receiving the highest mean rating on both effectiveness and satisfaction was item two, overview of musical activities, X = 4.88 (see Table 14). It was possible to compare the ratings of the two 113 TABLE 12 SIGNIFICANT DIFFERENCES BETWEEN GROUPS WITH RESPECT TO THE FIFTEEN VARIABLES F X2 . Variable Valuea Value Sig. Piano Study .11 N.S. Musical Instrument Study .27 N.S. Performance Experience .53 N.S. High School Music Courses 8.54 Not usablec College Course le Music 270 5.62 N.S. College Course 2 Music 271 2.48 N.S. College Course 3 Music 141 1.38 N.S. College Course 4 Music 142 3.29 N.S. College Course 5 Music 200.01 0.00 Not Usable0 College Course 6 Music 143 3.98 N.S. Elementary Music Teaching Experience 0.87 N.S. Methods Courses^ 1.52 N.S. Observation Experience 1.07 N.S. Age 1.24 N.S. Cumulative Average 2.12 N.S. aF value needed for signifidance with 3 and 82 degrees of freedom: .05 = 2.76. ^Minimum value needed for significance with 3 degrees of freedom: .05 = 7.81. cOnly four subjects in two groups participated. *%o subjects enrolled for this course. ecollege Courses were: College Course 1: Music 270 "Basic Experiences in Music: Fundamentals," College Course 2: Music 271 "Basic Experiences in Music: Literature and Listening," College Course 3: Music 141 "Introduction to Music: Baroque to the present," College Course 4: Music 142 "Introduction to the History of Western Music I: Classical Antiquity to about 1750," College Course 5: Music 200.02 "Applied Music: Studio Classes in Voice," College Course 6: Music 143 "Introduction to the History of Western Music II: 1750 to the present." *\A Description of methods courses is found in Appendix G. 114 treatment groups by employing a Mann-Whitney U-Test. Tables 13-17 indicate the level of effectiveness and sat isfaction for scale items 1-5 respectively. The higher variable nine, College Course 5 was not usable as no subject enrolled for the course. Interpretations; The data indicated that no signifi cant differences existed between the four groups with respect to the fifteen variables. The groups can there fore, for the purposes of analyzing the data in relation to those fifteen factors, be considered equally grouped. Acceptability of Instructional Procedures The Effectiveness-Satisfaction Scale was designed to obtain a rating from each student concerning the extent to which the student felt the methods employed in teaching the course were effective and satisfying. Each statement was to be rated on each of the two factors, using a scale rang ing from 1 to 5. A rating of "1" was the lowest rating, while a rating of "S" was the highest rating. Mean rat ings for each of the two factors were computed for each item on the Effectiveness-Satisfaction Scale. An average mean was then computed for each item by averaging the two factor means. The results are presented in Tables 13 through 17, and Tables 19-24. Treatment Groups 1 and 2 responded to scale items one through five and Treatment Groups 1 and 3 responded to scale items six through eleven. 115 TABLE 13 ANALYSIS OF TREATMENT GROUPS 1 AND 2 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH PRESENTATION- PARTICIPATION TECHNIQUES IN LEARNING TEACHING METHOD Levels of Effectiveness 4 5 Group 1 Cell Count 7 16 Row Percent 30.4 69.6 Mean 4.6957 Group 2 Cell Count 8 18 Row Percent 30.8 69.2 Mean 4.6923 Mean of Means 4.6939 Levels of Satisfaction 2 3 4 5 Group 1 Cell Count 12 5 15 Row Percent 4.3 8.7 21.5 25.2 Mean 4.4783 Group 2 Cell Count 3 5 18 Row Percent 11.5 14.2 69.2 Mean 4.5769 Mean of Means 4.5306 Group Rank Mann Whitney Probability Higher Lower Rank Sum U Test 1-Tail Effectiveness 1 2 649 298 .61 Satisfaction 2 1 561 286 .39 116 TABLE 14 ANALYSIS OF TREATMENT GROUPS 1 AND 2 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH PRESENTATION- PARTICIPATION TECHNIQUES IN LEARNING MUSICAL ACTIVITIES Levels of Effectiveness 4 5 Group 1 Cell Count 2 21 Row Percent 8.7 91.3 Mean 4.9130 Group 2 Cell Count 4 22 Row Percent 15.4 84.6 Mean 4.8462 Mean of Means 4.8776 Levels of Satisfaction 3 4 5 Group 1 Cell Count 2 21 Row Percent 8.7 91.3 Mean 4.9130 Group 2 Cell Count 1 4 23 Row Percent 3.8 7.7 88.5 Mean 4.8462 Mean of Means 4.8776 Group Rank Mann Whitney Probability Higher Lower Rank Sum U Test 1-Tail Effectiveness 1 2 630 279 .40 Satisfaction 1 2 640 290 .42 117 TABLE 15 ANALYSIS OP TREATMENT GROUPS 1 AND 2 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH PRESENTATION- PARTICIPATION TECHNIQUES IN LEARNING MUSICAL ELEMENTS Levels of Effectiveness 3 4 5 Group 1 Cell Count 1 9 13 Row Percent 4.3 39.1 56.5 Mean 4.5217 Group 2 Cell Count 7 6 13 Row Percent 26 .9 23.1 50.0 Mean 4.2308 Mean of Means Levels of Satisfaction 2 3 4 5 Group 1 Cell Count 2 8 13 Row Percent 8.7 34.8 56.5 Mean 4.4783 Group 2 Cell Count 1 4 8 13 Row Percent 3.8 15.4 30.8 50.0 Mean 4.2692 Mean of Means 4.3673 Group Rank Mann Whitney Probability Higher Lower Rank Sum U Test 1-Tail Ef fectiveness 1 2 602 251 .14 Satisfaction 1 2 617 267 .25 118 TABLE 16 ANALYSIS OF TREATMENT GROUPS 1 AND 2 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH PRESENTATION- PARTICIPATION TECHNIQUES IN LEARNING MUSICAL CONCEPTS Levels of Effectiveness Group 1 Cell Count 5 12 6 Row Percent 21.7 52.2 26.1 Mean 4.0435 Group 2 Cell Count 1 2 13 10 Row Percent 3.8 7.7 50.0 38.5 Mean 4.2308 Mean of Means 4.1429 Levels of Satisfaction Group 1 Cell Count 5 12 6 Row Percent 21.7 52.2 26.1 Mean 4.0435 Group 2 Cell Count 6 10 10 Row Percent 23.1 38.5 38.5 Mean 4.1538 Mean of Means 4.1020 Group Rank Mann Whitney Probability Higher Lower Rank Sum U Test 1-Tail Effectiveness 526 250 .15 Satisfaction 549 273 .29 119 TABLE 17 ANALYSIS OP TREATMENT GROUPS 1 AND 2 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH PRESENTATION- PANTICIPATION TECHNIQUES IN LEARNING TEACHING MATERIALS Levels of Effectiveness 4 5 Group 1 Cell Count 7 16 Row Percent 30.4 69.6 Mean 4.6957 Group 2 Cell Count 8 18 Row Percent 30.8 69.2 Mean 4.6923 Mean of Means 4.6939 Levels of Satisfaction 2 3 4 5 Group 1 Cell Count 1 2 5 15 Row Percent 4.3 8.7 21.7 65.2 Mean 4.4783 Group 2 Cell Count 2 6 18 Row Percent 7 .7 23.1 69.2 Mean 4.6154 Mean of Means 4.5510 Group Rank Mann Whitney Probability Higher Lower Rank Sum U Test 1-Tail Effectiveness 1 2 649 298 .61 Satisfaction 2 1 558 282 .35 120 group was that treatment group which gave the instruc tional techniques used a higher rating for effectiveness and satisfaction than the other group. No significant difference was found between groups with respect to their responses on any of the scale items. The students were asked to make suggestions for improving the unit of instruction. The results are pre sented in Table 18. TABLE 18 TREATMENT GROUPS 1 AND 2 SUGGESTIONS FOR IMPROVEMENT OF LECTURE-DEMONSTRATION UNIT OF INSTRUCTION Number Making Suggestion the Suggestion Further clarification of musical elements and concepts through specific song literature is needed 10 Clarification as to how much content can be absorbed by children at particular grade levels is needed 2 Mimeographed copies of readings would assist busy student who cannot get to the library 2 Fourteen students made suggestions for improving the presentation-participation unit of instruction. The remainder indicated that they could offer no suggestions to improve it. An examination of the results in Table 18- reveals that ten subjects believed that more time devoted 121 to the clarification of musical elements and concepts would improve the unit. The number of students making this suggestion represents 20 percent of the subjects in the treatment groups. Each of the other suggestions was made by not more than two subjects. Question 5b; Treatment Groups 1 and 3 Results; Treatment groups 1 and 3 both received the instructional techniques employed in four observa tions and four class discussion sessions. These groups responded to items 6-11 and the Effectiveness-Satisfaction Scale including an overview of teaching methods, musical activities, musical elements, musical concepts, teaching materials, and class discussion (see Tables 19-24). The results obtained indicate that subjects in Treatment Groups 1 and 3 found the instructional techniques of observation-discussion both effective and satisfying. Each of the six items received an average mean rating above 4.19 out of a possible 5.0. On this part of the scale the highest ratings for effectiveness and satisfac tion did not occur for the same item. Item 7 (musical activities) and item 11 (class discussion) received the highest effectiveness rating with an average mean of 4.49. Item 8 (musical elements) received the lowest effective ness rating with an average mean of 4.32. 122 Further, item 7 (musical activities) received the highest satisfaction mean rating of 4.40. The item receiving the lowest rating on satisfaction related to the overview of musical concepts (Item 9) with an aver age mean rating of 4.20. Tables 19-24 also indicate the results of group response comparison as measured by the Mann-Whitney U-Test. The results should be read and interpreted cautiously because Treatment Group 1 received two more weeks of instruction than Treatment Group 3 and their re sponses to the Effectiveness-Satisfaction Scale may be influenced by that fact. A significant difference was found between groups with respect to their responses on scale items 7 and 10. Item 7 concerning a review of musical elements was found less effective by Treatment Group 3. Item 10, concerning a review of musical con cepts was found less effective and satisfying by Treat ment Group 1. No other significant difference was found between groups with respect to their responses to the scale items. TABLE 19 ANALYSIS OF TREATMENT GROUPS 1 AND 3 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH OBSERVATION- DISCUSSION TECHNIQUES IN LEARNING TEACHING METHODS Levels of Effectiveness 2 3 4 5 Group 1 Cell Count 10 13 Row Percent 43.5 56.5 Mean 4.5652 Group 3 Cell Count 1 3 9 11 Row Percent 4.2 12.5 37.5 45.8 Mean 4.25 Mean of Means 4.4043 Levelsof Satisfaction 2 3 4 5 Group 1 Cell Count 2 7 14 Row Percent 8.7 30.4 60.9 . Mean 4.5217 Group 3 Cell Count 1 3 9 11 Row Percent 4.2 12.5 37.5 45.8 Mean 4.25 Mean of Means 4.3830 Group Rank Mann Whitney Probability Higher Lower Rank Sum U--Test 1-Tail Effectiveness 1 3 527 227 .12 Satisfaction 1 3 529 229 .14 124 TABLE 20 ANALYSIS OF TREATMENT GROUPS 1 AND 3 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH OBSERVATION- DISCUSSION TECHNIQUES IN LEARNING MUSICAL ACTIVITIES • Levels of Effectiveness 3 4 5 Group 1 Cell Count 9 14 Row Percent 39.1 60.9 Mean 4.6087 Group 2 Cell Count 2 11 11 Row Percent 8.3 45.8 45.8 Mean 4.3750 Mean of Means 4.4894 Levels of Satisfaction 3 4 5 Group 1 Cell Count 1 10 12 Row Percent 4.3 43.5 52.2 Mean 4.4783 Group 2 Cell Count 2 12 10 Row Percent 8.3 50.0 41.7 Mean 4.3333 Mean of Means 4.4043 Group Rank Mann Whitney Probability Higher Lower Rank Sum U-Test 1-Tail Effectiveness 1 3 526 226 .14 Satisfaction 3 3 543 243 .26 125 TABLE 21 ANALYSIS OF TREATMENT GROUPS 1 AND 3 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH OBSERVATION- DISCUSSION TECHNIQUES IN LEARNING MUSICAL ELEMENTS Levels of Effectiveness 2 3 4 5 Group 1 Cell Count 11 12 Row Percent 47.8 52. 2 Mean 4.5210 Group 3 Cell Count 1 2 14 7 Row Percent 4.2 8.3 58.3 29. 2 Mean 4.1250 Mean of Means 4.3191 Levels of Satisfaction 2 3 4 5 Group 1 Cell Count 2 11 10 Row Percent 8.7 47.8 43. 5 Mean 4.3478 Group 3 Cell Count 1 1 13 9 Row Percent 4.2 4.2 54.2 37. 5 Mean 4.2500 Mean of Means 4.2979 Group Rank Mann Whithey Probability Higher Lower Rank Sum U-Test 1-Tail Effectiveness 1 3 496 196 .04 Satisfaction 1 3 561 260 .36 126 TABLE 22 ANALYSIS OF TREATMENT GROUPS 1 AND 3 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH OBSERVATION- DISCUSSION TECHNIQUES IN LEARNING MUSICAL CONCEPTS Levels of Effectiveness to 3 4 5 Group 1 Cell Count 4 14 5 Row Percent 17.4 60.9 21.7 Mean 4.0435 Group 3 Cell Count 1 1 9 3 Row Percent 4.2 4.2 37.5 54.2 Mean 4.167 Mean of Means 4.2340 i Levels of Satisfaction 2 3 4 5 Group 1 Cell Count 5 13 5 Row Percent 21.7 56.5 21.7 Mean 4.000 Group 3 Cell Count 1 2 8 13 Row Percent 4.2 8.3 33.3 54.3 Mean 4.3750 Mean of Means 4.1915 Group Rank Mann Whitney Probability Higher Lower Rank Sum U-Test 1-■Tail Effectiveness 3 1 461 185 .02 Satisfaction 3 1 465 189 .02 127 TABLE 23 ANALYSIS OF TREATMENT GROUPS 1 AND 2 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH OBSERVATION- DISCUSSION TECHNIQUES IN LEARNING TEACHING MATERIALS Levels of Effectiveness 2 3 4 5 Group 1 Cell Count 2 7 14 Row Percent 8.7 30.4 60.9 - Mean 4.5217 Group 3 Cell Count 1 3 8 12 Row Percent 4.2 12.5 33.3 50.0 Mean 4.2917 Mean of Means 4.4043 Levels of Satisfaction Group 1 Cell Count 4 6 13 Row Percent 17.4 26.1 56.5 Mean 4.3913 Group 3 Cell Count 1 3 6 14 Row Percent 4.2 12.5 25.0 58.3 Mean 4.3750 Mean of Means 4.3830 Group Rank Mann Whitney Probability Higher Lower Rank Sum U-Test 1-Tail Effectiveness 1 3 539 239 .20 Satisfaction 3 1 549 273 50 128 TABLE 24 ANALYSIS OF TREATMENT GROUPS 1 AND 3 RESPONSES CONCERNING EFFECTIVENESS AND SATISFACTION WITH OBSERVATION- DISCUSSION TECHNIQUES IN LEARNING CLASS DISCUSSION Levels of Effectiveness 1 2 3 4 5 Group 1 Cell Count 1 10 12 Row Percent 4.3 43.5 52.2 Mean 4.4783 Group 3 Cell Count 1 2 4 17 Row Percent 4.2 8.3 16.7 70.8 Mean 4.5 Mean of Means 4.4894 Levels of Satisfaction 1 2 3 4 5 Group 1 Cell Count 3 8 12 Row Percent 13.0 34.8 52.2 Mean 4.3913 Group 3 Cell Count 1 4 4 15 Row Percent 4.2 16.7 16.7 62.5 Mean 4.3333 Mean of Means 4.3617 Group Rank Mann Whitney Probability ‘ Higher Lower Rank Sum U-Test 1-Tail Effectiveness 3 1 514 238 .17 Satisfaction 3 1 539 263 .38 129 The students were asked to make suggestions for im proving the observation-discussion procedures. The re sponses are presented in Table 25. TABLE 25 TREATMENT GROUPS 1 AND 3 SUGGESTIONS FOR IMPROVEMENT OF OBSERVATION-CLASS DISCUSSION UNIT OF INSTRUCTION Number Making Suggestion the Suggestion More observation time desired. 12 Further clarification of musical elements and concepts being explored was needed. 3 The observation of music teaching and learning in a greater variety of grade levels was desired. 2 More practice employing observational guides would be helpful in clarifying observed behaviors. 2 More experimentation with specific teaching materials after individual observation. 1 Twenty of the 36 students made suggestions for improv ing the observation-discussion unit. The remainder indi cated they were pleased with the unit as it had been organized and taught and could offer no suggestions to improve it. An examination of the results in Table 25 reveals that twelve subjects believed that more time devoted to observation would improve the unit. The number 130 of students making this suggestion represented 25 percent of all subjects in the two treatment groups. Each of the other suggestions was made by not more than three sub jects. Question 6 Is there a correlation between the Effectiveness- Satisfaction Scale responses of the subjects and their total test scores (TMTLA)? Kendall rank correlations performed on the data ob tained on the TMTLA Test and the Effectiveness-Satisfac tion Scale revealed significant relationships between scores of subjects in Groups 1 and 2 on one part of the test and their responses on the scale. Correlating coefficients for Groups 1 and 3 on one scale item and one part of the TMTLA were significant. These results should be read and interpreted cautiously because Treatment Goup 1 received two more weeks of instruction than Treatment Group 3 and their responses to the scale may be influenced by that fact. Results and Interpretations: A Kendall rank corre lation on total test scores and scale item references yielded a probability result of less than .05 for two scale and test items. This was enough to establish a significant relationship between them at the .05 level (one-tail test). Table 25 shows a comparison of these data. 131 Scale item 4, "Effectiveness of Musical Concepts" shows a correlation coefficient significance of .008 with Part Four of the TMTLA, "Musical Concepts." An analysis of the data show that subjects in Groups 1 and 2 who found the instructional techniques for "Musical Concepts" less effec tive than the other four areas also scored lower on the "Musical Concepts" part of the TMTLA test. The need for improvement of the instructional unit and instructional techniques for developing improved and confident under standing of Musical Concepts is inferred from these data. Scale item 8 "Effectiveness of Music Elements" shows a correlation coefficient significance of .001 with part three of the TMTLA, "Musical Elements." An Analysis of the data shows that subjects in Groups 1 and 3 found the instructional technique less effective than those employed in the other areas and they also scored lower on the "Musical Elements" part of the TMTLA test. The need for improvement of the "Musical Elements" unit and teaching techniques is inferred from these data. Problems Affecting the Employment of Educational Fxlms as the Basis of a Measurement Instrument Question 7 What are the observable problems and constraints affecting the selection and validation of the educational films? X32 TABLE 26 ANALYSIS OF RELATIONSHIPS BETWEEN EFFECTIVENESS AND SATISFACTION RESPONSES AND SUBTEST SCORES FOR TREATMENT GROUPS 1, 2, AND 3 Treatment Groups 1 and 2 (Presentation-Participation) Scale Item Effectiveness Satisfaction (P) (P) 1. Teaching Methods .08 .24 2. Musical Activities .44 .40 3. Musical Elements .22 .10 4. Musical Concepts .01a .03a 5. Teaching Materials .23 .20 Treatment Groups 1 and 2 (Observation-Discussion) Scale Item Effectiveness Satisfaction (P) (P) 6. Teaching Methods .21 .32 7. Musical Activities .47 .41 8. Musical Elements ,001a .03a 9. Musical Concepts .06 .25 10. Teaching Materials .29 .41 aSignificant at . (05 level. 133 The five areas of elementary general music teaching and learning selected for exploration in the study were teaching methods, musical activities, musical elements, musical concepts, and teaching materials. The attain ment of understanding in each area was measured by a test developed by the investigator. It was found that the content of the four educational films satisfactorily dealt with the aspects of teaching and learning explored in the study. The films were therefore employed for evaluating the awareness of the subjects to the presence of the five areas of general music teaching and learning explored in the two instructional units of the study. To review previously discussed procedures (see Chapter III), ninety-seven teacher trainees in three sections of Music 270 taught by the investigator during Winter Quarter, 1972 assisted in the content analysis of the films. An exhaustive analysis of the events of each film was made employing three methods, each open-ended for maximum analysis opportunity. A multiple point check list was prepared for each teaching- learning task of each film by the investigator after a thorough analysis of the responses of the ninety-seven subjects. Following the development of the check list, five music education faculty members and five music education students observed the films and assisted in 134 refining the instrument as well as determining the reli ability of test item answers. The final measurement instrument was devised from this data. The procedures for establishing content validity and test reliability posed no notable problems. While the films were found to be satisfactory for the purpose of the study, two general areas of concern were expressed which relate to the content of the films. First, most film viewers expressed the view that segments of the films were so well rehearsed that spontaneous teacher-student interaction was compromised. Secondly, the elements of rhythm and tone color, while frequently a part of one of the four films, were not the direct focus of any of the available films. All other elements were sufficiently explored. Problems Affecting the Instructional Procedures Question 8 What are the observable problems and contraints affecting the organization and implementation of the instructional procedures? A descriptive summary of the experiences of this research is presented to answer the question. The greatest restraint on the outcome of the two units of instruction was time. The ten class sessions were found to be adequate for introducing and developing an understanding of teaching method, selected materials. 135 «> and musical activity. The time needed to explore musical elements and particularly musical-concepts was not ade quate. The four observations were sufficient for intro ducing the teacher trainees to a variety of ways the five aspects explored might be applied in teaching chil dren but not adequate to give depth to the experience. Thus, it was concluded that an additional five class sessions for lecture demonstrations and a morning of observation or several more observations sessions would provide greater depth to the unit of instruction. In terms of additional written comments made at the end of the student satisfaction scale, reaction was very favorable to both units of instruction. Some of these comments are presented on the following pages. Lecture-Discussion Unit of instruction Musical Concept Clarification I definitely enjoyed the times that we used the musical instruments to illustrate a specific concept. Not only was the participation at this time enjoyable, but it was thoroughly worthwhile because I really understood just how the concept worked. Lecture Value . . . The days that we did not have that much student participation, and the lesson leaned more towards lecture, I was not as enthused or interested. 136 Learning Through Participation . . . I have enjoyed doing instead of just being told how to. Playing with instruments, creat ing sounds to a poem, and creative singing have all been terrific ideas to use in the class room. I find this class one of my pleasant experiences during the day. . . . X felt that each of us taking part in the lesson, through singing, clapping, and playing the musical instruments was very effective. By doing this it gives us a broader range of ex perience, and knowledge about having children participate. Theory and Practice . . . What I liked most about this unit was that you "practice what you preach." By that I mean, you served as a good example of the teaching methods you described and that is the best way to learn. . . . Teachers don’t always demonstrate the types of methods they are teaching such as you have in the lecture, socratic, and discovery uses. Discovery Learning . . . I liked the methods you used in dividing up the class in groups and let each group "discover" a way to do a song. I also liked using the grade school texts and getting an idea of what they're like. Clarification of Expectations . . . The way you have set up your lessons will also provide guidelines for what is expected from the individual during their presentation. Class Procedures . . . The course started off well because of the snappy, teacher approach. Having everyone sing the first day in class helped ease every one’s nerves. Intermingling instruction with activities (playing, singing, moving, etc.) added positively to the learning situation. It wasn't all straight lecture. Participation is a necessity as I've found out since I, myself, know nothing about music. Security and Anxiety Reduction . . . Many of us appreciate the fact that we are never "put on the spot" to do things alone in front of the class— group presentations are a lot more comfortable. . . . By working in small groups, one is not as inhibited to perform. One's confidence is reinforced and will certainly aid in teaching music. Your positive reinforcement also is quite helpful in handling nonmusic majors' con fidence in teaching music. . . . I feel relaxed even though I dreaded this course, because of my lack of any previous musical experiences (except equiv. 2 7 0 ). In such an atmosphere I am learning. General Comments . . . The manner in which this unit was pre sented, profited me very much, especially so, since my musical background is very limited. Very rewarding. . . . So far, this has been one of the most useful courses I've taken in 4 years, of college. My knowledge of music instruction and materials has been greatly increased due to your demon strations. Also, you move rapidly from one thing to another giving us a chance to experience many different things instead of spending 8 or 9 weeks on one method or idea. My knowledge of musical elements and concepts is not as great as I would like it to be— however, it isn't due to your instruction— just my complete lack of knowledge to begin with. Your many examples of instruction are really great— it's something I_ can use! . . . The class has participated in activities which I have learned from as well as straight forward fun and informative class notes and demonstrations. There has been a lot of infor mation which has been brought together well. I think it was good that classical music, song book music and popular music was introduced. Observation-Discussion Unit of Instruction Observations . . . The observations were very worthwhile since it was an excellent opportunity to see music teaching in an actual music learning situation. Music Specialist . . . I found Mrs. Burn's classes excellent. She is very motivating. I have really gotten many ideas from her. I think the observation experience is very beneficial. . . . Congragulations on finding Mrs. Burns I I feel my time was well spent observing her classes. She is an excellent teacher. I hope you continue to take 370 students to her class. Review Prior to Observations . . . I think that especially the review before the observations were especially helpful. It made us more aware of what to look for. The discussions afterward brought out some of these ideas and what we hadn't noticed one time could be observed the next. Discussion Following Observations . . . The discussions after each observation were extremely valuable. I feel that because of these discussions I was able to get more out of the observations than if they had not taken place. Value of Observational Guides . . . The observation guides you gave us were very helpful to me. I found that they helped organize my thoughts during the observations, because I knew what to look for. 139 The comments which were presented were representa tive of those given to the investigator. Most of the comments were very favorable and indicated a high degree of satisfaction with the design of the two instructional units. All of the negative comments were included in the previous presentation. Chapter V presents the summary, conclusions, and the recommendations for further research. CHAPTER V SUMMARY, CONCLUSIONS, AND RECOMMENDATIONS FOR FURTHER STUDY Purpose The purposes of this study were, first, to determine an effective way of orientating prospective elementary teachers to a variety of teaching methods, musical activities, subject matter concepts and teaching materi als. Second, to develop two units of instruction which were based upon sound curricular thought in teacher edu cation in general and music teacher education in particu lar. Third, to develop a test which would measure the prospective elementary teachers' ability to recognize the presence or absence of observed aspects of elementary general music teaching and learning. Fourth, to develop observational instruments which would assist the subjects to gain additional insight at each observational experi ence. Finally, to determine if the instructional tech niques employed by the investigator in teaching the units were found to be effective and satisfying by the pros pective elementary teachers. 140 141 Procedures Instruments The study involved the administration of an investi gator constructed test, The Test of Music Teaching and Learning Awareness (TMTLA), to four groups of prospective elementary teachers enrolled in a music methods course entitled "Music for Classroom Teachers.” The course is offered by the Division of Music Education in the School of Music at The Ohio State University and carries three hours of credit. The total number of subjects partici pating in the study numbered eighty-six. The TMTLA consisted of five categories, including teaching methods, musical activities, musical elements, musical concepts and teaching materials. Each category included a number of items. Teaching Methods, for example included Review, Demonstration, Lecture, Ques tioning, and Discovery. The category, Musical Activities contained items ranging in number from three to ten. Musical Elements contained eight items, Musical Concepts twenty-one, and Teaching Materials contained items rang ing in number from two to eight. Four educational films provided the content for the development of the instrument. Each film contained four or five teaching-learning tasks. Three of the categories {Methods, Elements, and Concepts) contained the same items for each task. Two of the 142 categories (Activities and Materials) contained different items for each task. The test was administered to the subjects according to the group to which they were assigned. The test was administered immediately follow ing the instructional period. Two forty-eight minute class periods were needed to administer the test to each group of subjects. A Background Information Questionnaire was adminis tered in group session to determine prior music experi ences, professional methods courses completed, prior observation experiences, and prior elementary music teach ing experience. The investigator also gathered data through the College office relating to the age and cumu lative grade point average of each subject. Following the completion of the instruction an open-ended Effec- tiveness-Satisfaction scale was administered to the sub jects in group session to determine the extent to which the subjects felt the teaching techniques employed were effective and satisfying. Subjects A total of 8 6 subjects comprised the sample for the study. The subjects were not randomly assigned to groups but were comprised of naturally assembled classes. How ever, a statistical technique to determine group equivalency was employed. 143 Research Design The research design chosen for the investigation is represented by the illustration which follows: Treatment Number of Group Subjects Treatment ■ 10 presentation-participation 1 23 sessions 4 observations 4 class discussions 10 presentation-participation 2 24 sessions 4 observations 3 26 4 class discussions 4 13 No treatment The design included three treatment groups and a refer ence group, each consisting of four naturally assembled classes of prospective elementary teachers. Two units of instruction were developed by the investigator to serve as the treatment for the study. Treatment Groups 1 (N=23) and 2 (N=24) received the unit of instruction consisting of ten, forty-eight minute participation-presentation ses sions given by the investigator and the subjects were also assigned a variety of supplemental readings for the purpose of amplifying the class work. Treatment Groups 1 and 3 (N=26) received the unit of instruction which consisted of four, forty minute observation experiences involving 144 general music teaching and learning. Each elementary general music teaching and learning experience was con ducted by a general music specialist. Each observation was followed by a forty-eight minute class discussion conducted by the investigator. The reference group (N=13) received no treatment. The subjects in this group were tested at the beginning of the implementation phase of the study. Data Analysis The statistical techniques used in the analysis of data were the P-STAT, a stepwise regression program, an analysis of variance, a Scheffe multiple comparison test, F and Chi-square tests, Mann-Whitney U-test, and SPSS, a Kendall rank correlation procedure. An analysis of vari ance was used to determine significance between groups on the TMTLA scores. The Scheffe multiple comparison test was used to determine where the differences in scores between groups in the five parts of the TMTLA were. The P-STAT program was used to determine significant relationships between the dependent variable, TMTLA scores, and the inde pendent variables: number of years studying piano, study of other musical instrument, participation in .a per formance group, study in music course, prior elementary music experience, professional methods courses completed, prior observational experience, chronological age, and cumulative grade point average. The F or Chi-square tests 145 were used, depending upon the nature of the data (ordinal, normal) to determine if there were any significant dif ferences between groups with respect of the independent variables. A mean of means was computed for each item of the Effectiveness-Satisfaction scale. The Mann-Whitney U-test was employed for the purpose of gaining further insight into the responses of groups receiving the same amount of instruction. Summary of the Findings Information was obtained to answer eight questions. The results are summarized in the following discussion of the findings pertaining to each question. Question 1 Do*vthe four groups significantly differ with respect to their total test scores on the Test of Music Teaching and Learning Awareness (TMTLA)? The following is a summary of the results of the anal ysis of variance and Scheffe multiple comparison test for the total test scores of the subjects. The results indicated that there was a significant difference between the four groups with respect to their total scores on the Test of Music Teaching and Learning Awareness. Further investigation by means of the Scheffe multiple comparison test revealed that subjects in Treat ment Group 1 scored significantly higher than Test Groups 146 2 and 3 on the test (TMTLA). The presentation-participa tion and observation-discussion treatment administered to Treatment Group 1 was significantly better than that given to the Treatment Groups 2 and 3. No treatment (Group 4) was as good as either the presentation-participation treatment (Group 2) or the observation treatment (Group 3). Question 2 Do the four groups differ with respect to their total test scores for each of the five parts of the TMTLA test? (a) teaching methods, (b) musical activities, (c) musical elements, (d) musical concepts, (e) teaching materials. Further findings obtained from the Scheffe multiple comparison test are reported for the differences between the four groups with respect to the total test scores for each of the five parts of the test. Question 2ai Teaching Method The results indicated that there was a significant difference between the four groups with respect to their test scores on Part A of the TMTLA— teaching method, with regard to teaching methods explored, the presentation- participation and observation-discussion treatment 147 administered to Treatment Group 1 and presentation- participation given to Treatment Group 2 was significantly better than the observation-discussion treatment to Treat ment Group 3. The observation only treatment (Group 3) ap pears to have been no better than no treatment (Group 4). Question 2b; Musical Activities The results indicated that there was a significant difference between the four groups with respect to their test scores in Part B of the TMTLA— musical activities. With regard to musical activities explored, the presenta tion-participation and observation-discussion adminis tered to Treatment Group 1 was significantly better than that treatment given to Group 3 (observation only) and Group 4 (no treatment). while a mean score difference was present between Treatment Groups 1 and 2, it was not significant and thus awareness of music activities may be gained through the presentation-participation without the observation-discussion treatment. Question 2c: Musical Elements The results indicated that there was a significant difference between the four groups with respect to their test scores on Part C of the TMTLA— Musical Elements. With regard to musical elements, the presentation-participation and observation-discussion treatment given to Treatment 148 Group 1 was better than the treatments given to Treatment Groups 2 and 3. It was not statistically established that presentation-participation and observation-discussion (Group 1) was better than no treatment (Treatment Group 4) with respect to the awareness of musical elements. Fur ther, it was not significantly established that no treat ments (Group 4) was better than presentation-participation (Group 2) or observation only (Group 3). Question 2d: Musical Concepts The results indicated that there was a significant difference between the four groups with respect to their test scores on Part D of the TMTLA— Musical Concepts. With respect to musical concept awareness, the presenta tion-participation and observation-discussion treatment given to Treatment Group 1 was better than the observa tion-discussion treatment given to Treatment Group 3. It was not statistically established that the presentation- participation and observation-discussion (Group 1) is better than no treatment (Group 4) or presentation- participation only (Group 2) with respect to the awareness of musical concepts. Question 2e: Teaching Materials The -results indicated that there was a significant difference between the four groups with respect to their 149 test scores on Part E of the TMTLA— Teaching Methods. With respect to Teaching Material Awareness, the presen tation-participation and observation-discussion treatment given to Treatment Group 1 was better than that given to Treatment Groups 3 and 4. It was not statistically es tablished that the treatment given to Group 1 is better than the treatment given to Group 2 (presentation- participation only). Question 3 Are the following variables related to the total test scores of the subjects? (a) number of years studying piano, (b) number of years studying a musical instru ment , (c) number of years of participation in a junior or senior high school or college performance group, (d) number of years of study in a high school music course, (e) completed Music 270 "Basic Experiences in Music: Fundamentals," (f) completed Music 271 "Basic Experiences in Music: Literature and Listening," (g) completed Music 141 "Introduction to Music: Baroque to the present," (h) completed Music 142 "Introduction to the History of Western Music I: Classical Antiquity to about 1750," (i) completed Music 200.02 "Applied Music: Studio Classes in Voice," 150 (j) completed Music 143 "Introduction to the History of Western Music II: 1750 to the present," (k) prior elementary music teaching experience, (1) number of method courses completed, (m) number of hours of observation, (n) chronological age, (o) cumulative grade point average. Stepwise multiple regression analysis, as computed in the P-STAT program, was used to assess the relative con tribution of each independent variable or combination of independent variables to the subjects test scores. A sum mary of the results of the correlations for the eighty-six subjects with respect to pairs of variables which corre lated at the .05 level of significance reveals that while the variables of age and College Course 5 did not show a significant correlation with any other variable, all other variables did show a correlation with one or more of the remaining variables. The variables which most frequently correlated with others were: total method course (frequently of occurrence: f.o. - 5); prior elemen tary music teaching experience (f.o. = 4); college course 3 (f.o.=4); performance experience (f.o. = 4); and private musical instrument study (f.o. = 2). The frequency of occurrence for sic other variables was two. The results of the sequential steps of the multiple regression analysis for the three significant variables, 151 cumulative grade point average (cum), Music 270 "Basic Experiences in Music: Fundamentals" (coll. Course 1) and, prior elementary music teaching experience (teach). The three variables account for 13.37 per cent of the total variance of test scores among the eighty-six subjects in the study. The remaining 86.63 percent is contributed by and could be due to either random variation of the sample or failure to include the independent variables that make contributions. Question 4 Is there any significant difference between groups with respect to the independent varialbes? The obtained F and X2 values for thirteen of the fifteen variables were not significant at the .05 level. Variable four, High School Music Courses, was not consid ered usable since only four subjects in two groups completed any high school course work. The data indicated that no significant differences existed between the four groups with respect to the fifteen variables. The groups can therefore, for the purposes of analyzing the data in relation to those fifteen factors, be considered equally grouped. 152 Question 5 To what extent did the subj ects in the Treatment Groupsfind the instructional techniques signifi cantly effective and satisfying and what were their suggestions for improvement? The Effectiveness-Satisfaction Scale was designed to obtain a rating from each student concerning the extent to which the student felt the methods employed in teach ing the course were effective and satisfying. Each statement was to be rated on each of the two factors, using a scale ranging from 1 to 5, A rating of "I" was the lowest rating, while a rating of "5" was the highest rating. Mean ratings for each of the two factors were computed for each item on the Effectiveness-Satisfaction Scale. An average mean was then computed for each item by averaging the two factor means. Findings obtained from the Mann-Whitney-U test are reported concerning dif ferences between the two groups receiving the same treatment. Question 5a: Treatment Groups 1 and 2 Treatment Groups 1 and 2 both received the presentation- participation treatment in learning teaching method, musical activities, musical elements, musical concepts, and teaching materials. These are items 1-5 on the Effectiveness-Satisfaction Scale to which Groups 1 and 2 responded. The results indicate that the subjects in 153 both Treatment Groups 1 and 2 found the instructional technique employed for the presentation-participation class sessions to be effective and satisfying. Out of a possible score of 5, each item received at least a mean of means rating above 4.10 on both effectiveness and sat isfaction. The item receiving the highest mean rating oh both effectiveness and satisfaction was item twor over view of musical activities, X = 4.88. It was possible to compare the ratings of the two treatment groups by employing a Mann-Whitney U-Test. No significant difference was found between groups with respect to their responses on any of the scale items. The students were asked to make suggestions for improving the unit of instruction. An examination of the results reveals that ten subjects believed that more time devoted to the clarification of musical elements and con cepts would improve the unit. The number of students making this suggestion represents 20 percent of the sub jects in the treatment groups. Each of the other sugges tions was made by not more than two subjects. Question 5b: Treatment Groups 1 and 3 Treatment groups 1 and 3 both received the instruc tional techniques employed in four observations and four class discussion sessions. These groups responded to items 6-11 and the Effectiveness-Satisfaction Scale 154 including an overview of teaching methods, musical activ ities, and class discussion. The results obtained indi cate that subjects in Treatment Groups 1 and 3 found the instructional techniques of observation-discussion both effective and satisfying. Each of the six items received mean of meansrating above 4.19 out of a possible 5.0. On this part of the scale the highest ratings for effec tiveness and satisfaction did not occur for the same item. Item 7 (musical activities) and item 11 (class discussion) received the highest effectiveness rating with a mean of means of 4.49. Item 8 (musical elements) received the lowest effectiveness rating with an average mean of 4.32. Further, item 7 (musical activities) received the highest satisfaction mean rating of 4.40. The item receiving the lowest rating on satisfaction related to the overview of musical concepts (Item 9) with an average mean rating of 4.20. The results of group response comparison was meas ured by the Mann-Whitney U-Test. The results should be read and interpreted cautiously because Treatment Group 1 received 10 more class sessions of instruction than Treat ment Group 3 and their responses to the Effectiveness- Satisfaction Scale may be influenced by that fact. A significant difference was found between groups with respect to their responses on scale items 7 and 10. Item 7 concerning a review of musical elements was found less 155 effective by Treatment Groups 3. Item 10, concerning a review of musical concepts was found less effective and satisfying by Treatment Group 1. No other significant differences were found between groups with respect to their responses to the scale items. The students were asked to make suggestions for im proving the observation-discussion procedures. Twenty of the 36 students made suggestions for improving the observation-discussion unit. The remainder indicated they were pleased with the unit as it had been organized and taught and could offer no suggestions to improve it. An examination of the results reveals that twelve sub jects believed that more time devoted to observation would improve the unit. The number of students making this subbestion represented 25 percent of all subjects in the two treatment groups. Each of the other suggestions was made by not more than three subjects. Question 6 Is there a correlation between the Effectiveness- Satisfaction Scale responses of the subjects and their total test scores (TMTLA)? A Kendall rank correlation on total test scores and scale item references yielded a probability result of less than .05 for two scale and test items. This was enough to establish a significant relationship between them at the .05 level (one-tail test). 156 An analysis of the data show that subjects in Groups 1 and 2 who found the instructional techniques for "Musical Concepts" less effective than the other four areas also scored lower on the "Musical Concepts" part of the TMTLA test. The need for improvement of the instruc tional unit and instructional techniques for developing improved and confident understanding of Musical Concepts is inferred from these data. An analysis of the data shows that subjects in Groups 1 and 3 found the instructional technique less effective than those employed in the other areas and they also scored lower on the "Musical Elements" part of the TMTLA test. The need for improvement of the "Musical Elements" unit and teaching techniques is inferred from these data. Question 7 What are the observable problems and constraints affecting the selection and validation of the educational films? While the films were found to be satisfactory for the purpose of the study, two general areas of concern were expressed which relate to the content of the films. First, most film viewers expressed the view that segments of the films were so well rehearsed that spontaneous teacher-student interaction was compromised. Secondly, the elements of rhythm and tone color, while frequently a part of the content of the four films, were not the direct focus of any of the available films. All other elements were sufficiently explored. Question 8 What are the observable problems and constraints affecting the organization and implementation of the instructional procedures? The greatest restraint on the outcome of the two units of instruction was time. The ten class sessions were found to be adequate for introducing and developing an understanding of teaching method, selected materials, and musical activity. The time needed to explore musical elements and particularly musical concepts was not ade quate. The four observationswere sufficient for intro ducing the subjects to a variety of ways the five aspects explored might be applied in teaching children but not adequate to give depth to the experience. Thus, it was concluded that an additional five class sessions for presentation-participation and a morning of observa tion or several more observation sessions would provide greater depth to the unit of instruction. Conclusions and Implications The implications of the following conclusions should be confined to the population used in the study. Based upon the results obtained from the study of the relation- • ships and differences concerning the prospective elementary 158 teachers' ability to recognize the presence or absence of observed aspects of elementary general music teaching and learning it may be concluded that: 1. The results of the study show that the Presentation- Participation and Observation-Discussion units in combina tion provide a significantly more effective approach to assisting prospective teachers in identifying musical activities and teaching materials. Furthermore, the subjects who received this treatment scored the highest of the four groups on all five areas of the test. 2. The results of the study consistently support the notion that Observation-Discussion unit when presented prior to the Presentation-Participation unit is signifi cantly less effective. 3. Though the cumulative averages of the subjects did not significantly differ, cumulative average accounts for the treatest amount of variance found, 5 percent. 4. Most subjects who received the two units of instruction found the teaching techniques employed to be effective and satisfactory. 5. The subjects receiving the Presentation- participation unit of instruction were less satisfied with the teaching techniques employed in presenting musical concepts. This correlates with their lower test scores in 159 this area. Further, the subjects receiving the Observa- tion-Discussion unit of instruction were less satisfied with the teaching techniques employed in presenting musical elements. Their test scores were also lower in this area. Recommendations for Further Research The following recommendations are made in terms of the limitations of the study. 1. The Test of Music Teaching and Learning Awareness developed for this study could be further refined and administered to a larger population, including music education majors, so that its reliability as an instrument to determine the ability of prospective teachers to recognize the presence or absence of aspects of music teaching and learning may be further established. 2. Educational films and video-taped teaching inci dents need to be developed which further illustrate the five aspects of elementary general music teaching and learning selected for the study. 3. The addition of a pre-test, post-test such as the Music Education section of the National Teacher Examina tion and a test of knowledge of musical terminology could be added to the research procedures in a replica tion of the study. 160 4. The addition of several more Presentation- participation class sessions could be added for the purpose of clarifying musical elements and musical con cepts. 5. The addition of one or more video-taped or filmed teaching-learning incidents to the Observation-Discussion unit could improve the value of the first observational experience. 6. Requiring the subjects to write a summary of the particular aspects of the observation could help to enhance the value of the experience. 7. The refinement of the instruments for guiding observation could assist the subjects to improve in their awareness of the experience. 8. An investigation into the possible relationship of TMTLA scores and the attainment of teaching competency. ■ APPENDIX A A DESCRIPTION OP EDUCATIONAL FILM CONTENT 161 Basis for Test: Part I Discovering Dynamics in Music When a parade is far away, its music is soft. When a parade is close, its music is loud. In this way, the con cept of dynamics (soft and loud in music) is brought home to a primary class. The class is taught a marching song. They show dynamics in the song with instruments and with their voices. Then they listen to how a composer uses dynamics in his music. A Bernard Wilets Film. 14 min.— color only, $170. Rental rate, $8 Basis for Test: .Part II Discovering Form in Music Through teacher demonstration and pupil response, this film provides an introduction to form in music. A small unit of musical form is called a phrase. Phrases can be alike or they can be different. A song is usually made up of sev eral similar and contrasting phrases. Larger forms are built by combining sections of music— each section con taining a number of phrases. Sections can also be alike or different. A Bernard Wilets Film. 19 min.— color only, $210. Rental rate, $12.50. Basis for Test Part III Discovering Melody and Harmony The movement and relationship of melody and harmony in music are illustrated in this film. Notes in a melody can move in 163 repeats, steps, or skips. When notes are added above or below the melody, we call this harmony. Harmony also can move in repeats, steps, or skips. In this film, harmony is added to the melody through the use of descant and thirds and by playing instruments. A Bernard Wilets Film. 16 min.— color only, $185. Rental rate, $10. Basis for Test: Part IV Discovering Mood in Music f An elementary class sings a nostalgic song about autumn. Then they sing a gay song about spring. By comparing the two songs, they learn that music has different moods. Through listening to sections of "Petit Ballet,” the class discovers different ways that the composer has used to depict moods. Then they find that they can move in ways that refle ct the moods, of music and art. A Bernard Wilets Film. 15 1/2 rain.— color only, $180. Rental rate, $10. APPENDIX B COURSE BEHAVIORAL OBJECTIVES 164 165 To successfully complete this course students: 1. Will participate in public school observational experiences: 2. will read and prepare for class discussion selected readings: 3. Will lead a group in singing a familiar song after es tablishing correct pitch, tempo, and definite starting point: 4. Will prepare and present an experience in which students will learn to sing a new song. A recording should be used to model the song: 5. Will prepare and present an experience in which stu dents will have an opportunity to hear some particular musical content of an orchestral composition: 6 . Midterm examination. 7. Will select one of the following tasks and prepare a lesson: a. Will prepare and present an experience designed to develop a musical concept through movement b. Will prepare and present an experience designed to develop a musical concept through the playing of melody, harmony, rhythm instruments c. Will prepare and present an experience designed to increase skill in reading musical notation 8. Pinal Project 9. Final Examination APPENDIX C FIRST CLASSROOM OBSERVATION GUIDE 166 TEACHING MUSICAL ACTIVITY MUSICAL TASK NO. Teacher Children ELEMENTS .MATERIALS. , . OTHER 1 2 3 4 167 APPENDIX D SECOND CLASSROOM OBSERVATION GUIDE 168 169 A. Teaching Methods Definitely Inferred from Not employed included; Observed Observation Observed 1. Review 1 2 3 2. Demonstration 1 2 3 3. Lecture 1 2 3 4. Questioning 1 2 3 5. Discovery 1 2 3 B. Musical Activities of the teacher and children included: Teacher 1. Singing 2 3 2. Playing 2 3 3. Moving 2 3 4. Creating 2 3 5. Listening 2 3 6 . Reading 2 3 Children 1. Singing 2 3 2. Playing 2 3 3. Moving 2 3 4. Creating 2 3 5. Listening 2 3 6 . Reading 3 C. Musical Elements being explored included: 1. Rhythm 1 2 3 2. Melody 1 2 3 170 Definitely Inferred from Not Observed Observation Observed 3. Harmony 1 2 3 4. Form 1 2 3 5. Tempo 1 2 3 6. Dynamics 1 2 3 7. Tone Color 1 2 3 8. Mood 1 2 3 D. Materials employed included: E. Other Teaching-Learning aspects observed: APPENDIX E THIRD CLASSROOM OBSERVATION GUIDE 171 172 Definitely Inferred from Not Item Observed Observation Observed D. Musical Concepts being explored included: 1. Unit Beat Rhythm 1 2 3 2. Metric Beat Rhythm 1 2 3 3. 2:1 Relationship of the Rhythm 1 4. Even or Uneven Rhythmic Pattern 1 2 3 5. Rhythm of the Melody 1 2 3 6 . Up-Down-Same Melodic Direction 1 7. Step-Skip-Same Melodic Movement (Conjunct-Disjunct) 1 2 3 8 . Melodic Range 1 2 3 9. High-Low Melodic Movement 1 2 3 10. Melodic Tonality 1 2 3 11. Multiple Harmonic Sounds (Chorids, Intervals) 1 12. Harmonic Rest- Unrest 1 13. Harmonic Texture (Descant) 1 2 3 14. Motive Form 1 2 3 15. Phrase Form 1 2 3 16. Sectional Form 1 2 3 17. Fast-Slow Tempo 1 2 3 18. Loud-Soft Dynamics 1 2 3 173 Definitely inferred from Not Item Observed observation Observed 19. Crescendo, Decres cendo Dynamics 1 2 3 20. Instrumental Tone Color 1 2 3 21. Vocal Tone Color 1 2 3 APPENDIX F TEST OF MUSIC TEACHING AND LEARNING AWARENESS 174 175 Name ...... Music 370 section: 9 11 12 4 General Information The teaching and learning situations in the films you are about to view have been carefully planned and rehearsed. Each film was designed to illustrate selected aspects of elementary general music teaching and learning. Each film has four or five teaching-learning tasks. The projectionist will stop the projector for a short period between tasks to allow some additional time to complete all items. Be certain to complete all items. It is suggested that where possible responses be made to items as a film is being viewed. It is further suggested that the "Musical Activities" and "materials" sections be read just before each teaching task is projected, as these two sections are different for each teaching-learning task. The "Methods," "Musical Elements," and "Musical Concepts" sections remain the same for each teaching-learning task. Select one of the following defined choices for each item: Definitely observed The item to which you are asked (1 ) to respond is definitely a part of the teaching-learning task. Inferred from The item to which you are asked Observation to respond is not verbally (2 ) mentioned but is being overtly demonstrated in the teaching- learning task. Not Observed The item to which you are asked (3) to respond is definitely not a part of the teaching-learning task. 176 Film 1: Dynamics - Task 1 1„1 T a s k 1 Musical Experiences with "The Big Bass Drum" song Item Definitely Inferred from Not Observed Observation Observed A. Teaching Methods employed in c lu d e d : 1. . Review 1 2 3 2. Demonstration 1 2 3 2. Lecture 1 2 3 4. Questioning 1 2 3 5, Discovery 1 '2 3 M usical Activities of the teacher and children included: * 1, Children'singing "The Big Bass Drum" 1 2 3 2, Selected children playing an accompanying rhythm . with percussion instruments 1 2 3 3. Teacher playing guitar to accompany the singing 1 2 3 4. Children marching to "The Big Bass Drum" 1 2 3 S. Teacher conducting the sing ing with a basic 4/4 beat pattern - 1 2 3 M usical Elements being explored • in c lu d e d : 1 * Rhythm 1 2 3 2. Melody 1 2 3 3. Harmony 1 2 3 4 , F o r m 1 2 3 5. T e m p o 1 2 3 6, Dynamics 1 2 3 7. Tone Color 1 2 3 fi. M ood 1 2 3 177 T a s k 1 Film 1; Dynamics - Task 1 1-2 Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d D. Musical Concepts being explored included: 1. Unit Beat Rhythm 2 3 2. Metric Beat Rhythm 2 3 3. 2:1 Relationship of the Rhythm 2 3 4. Even or Uneven Rhythmic 2 3 p a tte r n 5. Rhythm of the Melody 2 3 6. ' Up-Down-Same Melodic .2 3 D ir e c tio n 7. Stcp-Skip-Samc Melodic 2 3 Movement (Conjunct- D is ju n c t) 8. Melodic Range 2 3 9. . High-Low Melodic Movement 2 3 10, Melodic Tonality 2 3 11, Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rest-Unrest 2 3 13, Harmonic Texture 2 3 (D e sc a n t) 14, Motive Form 2 3 15. Phrase Form 2 3 16, Sectional Form 2 3 17, Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 19. - Crescendo, Dccrcscendo 2 3 D y n a m ic s 20. Instrumental Tone Color 2 3 21. Vocal Tone Color 2 3 178 T a s k 1 F ilm 1: D y n am ics - T a s k 1 1 .3 I te m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d E. M aterials employed included: 1. Tambourine, Rhythm Sticks, Sand Blocks 2. Record player 2 3 3, Song, "The Big Bass Drum" 2 3 4. G u ita r 2 3 5, Flannel Board 2 3 6, Musical Symbols and Words 2 3 (loud, soft, ) 7, Song, "I'd Like to Teach the W o rld " 8. Pictures of faucet, metronome, w a tc h 179 Film 1: Dynamics - Task 2 .1-4' T a s k 2 M usical Experiences with "The Marching Song Item Definitely Inferred from Not Observed Observation Observed A. Teaching Methods employed in c lu d e d : 1 . R e v ie w ' 1 2 3 2* D e m o n s tr a tio n 1 2 3 3. Lecture 1 2 3 4. Questioning 1 2 3 5, Discovery 1 2 3 M usical Activities of the teacher , and children included: 1. Teacher singing "The 1 2 3 M arching Song" 2. Teacher playing a resonator 1 2 3 bell for the pitch of "The Marching Song" 3, Teacher moving hands to 1 2 3 illustrate melodic direction * 4, . Teacher clapping the rhythm 1 2 3 of the melody 5. Children listening to the 1 2 3 m usical example "The M arching Song" 6. ^.Children singing "The 1 2 . 3 Marching Song" 7. Teacher singing a phrase of 1 2 3 "The M arching Song" ' • 8. Child plays the drum to 1 2 3 accompany the singing of "The Marching Song" 9. Teacher plays piano accom- 1 2 3 panlmcnt to "The Marching S o n g " M usical Elements being explored in c lu d e d : 1. Rhythm 1 2 3 2, Melody 1 2 3 3. Harmony 1 2 3 180 Film 1; Dynamics - Task 2 1 .5 T a s k 2 Ite m D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d 4 . F o r m 2 3 5 . T e m p o 2 3 6. Dynamics 2 3 7. Tone Color 2 3 6. M ood 2 " * 3 D. M usical Concepts being explored included: 1, Unit Beat Rhythm 2 3 2. Metric Beat Rhythm 2 3 3. 2:1 Relationship of the Rhythm 2 3 4, Even or Uneven Rhythmic 2 3 P a tte r n 5. Rhythm of the Melody 2 3 6. Up-Down.Same Melodic 2 3 D ire c tio n 7 . Step-Skip-Same Melodic 2 3 Movement {Conjunct- D isju n c t) 8. Melodic Range 2 3 9 . High-Dow Melodic Movement 2 3 10. Melodic Tonality 2 3 11. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rest-Unrest 2 3 13. Harmonic Texture (Descant) 2 3 14. Motive Form 2 3 15. Phrase Form 2 3 16. Sectional Form 2 3 17. Fast-Slow Tempo 2 3 181 Film 1: Dynamics - Task 2 1-6 T a s k 2 Ite m D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d I . IS. Loud-Soft Dynamics 2 3 19. Crescendo, Decresccndo 2 3 D y n a m ic s 20. Instrum ental Tone Color 2 3 * ’ 21. Vocal Tone Color 2 3 £. M aterials employed included: 1 . D ru m . 2 3 2. "Marching Song" 2 3 - 3. Resonator Bell 2 3 • 4. Finger cymbals 2 3 • 5. "Going to the Zoo" 2 3 • 6 . T a p e R e c o r d e r 2 3 182 Film 1: Dynamics - Task 3 1 -7 Musical Experiences with ''Parade" T a s k 3 Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d Teaching Methods employed • included: 1< R e v ie w 2 3 2. Demonstration 2 3 3 . L e c tu r e ... 2 3 4. Questioning 2 3 • 5. Discovery 2 B. M usical Activities of the teacher . and children included: '1. Teacher clapping the steady .2 3 beat with music "Parade" 2. Children clapping the steady 2 '3 - beat to “Parade" 3. Children listening to "Parade" 2 .3 - for changes in dynamics 4. Teacher plays melodic theme 2 3 . - on resonator bells 5. Children responding to dynamic 2: 3.* change by raising hands 6. Teacher claps the melodic 2 3 - theme for the children and includes dynamic changes 7. Children tapping fingers, clap ping knees, and clapping hands to dynamic changes in " P a r a d e " C, Musical Elements being explored in c lu d e d : • 1. Rhythm 2 3 •,2. Melody 2 3 - 3 . H a rm o n y 2 3 4 . F o r m 2 •3 - 5. T e m p o 2 3 * 183 Film 1: Dynamics - Task 3 1-8 T a s k 3 Item D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d 6. Dynamics 1 3 7. Tone Color 2 3 8 . M ood 2 3 D, M usical Concepts being explored in c lu d e d : 1. Unit Beat Rhythm 2 3 2, Metric Beat Rhythm 2 3 3 i 2:1 Relationship of the Rhythm 2 3 4. Even or Uneven Rhytlimic 2 3 ■ . Pattern • 5. Rhythm of the Melody 2 3 6*. Up-Down-Same Melodic 2 3 D ir e c tio n 7. Step-Skip-Same Melodic 2 3 Movement (Conjunct- D is ju n c t) 8. Melodic Range 2 3 9. High-Low Melodic Movement 2 . 3 10, Melodic Tonality 2 3 11, Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12, Harmonic Rest-Unrest 2 3 13, Harmonic Texture (Descant) 2 3 . 14, Motive Form 2 3 15, Phrase Form 2 3 16, Sectional Form 2 3 17, Fast-Slow Tempo 2 3 18, Loud-Soft Dynamics 2 3 184 Film 1; Dynamics - Task 3 1 -9 T a s k 3 I te m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e r v e d 19. Crescendo, Dccresccndo 2 3 D y n a m ic s 20. Instrumental Tone Color 2 3 21. . Vocal Tone Color 2 3 E. M aterials employed Included: 1. Recording of "Parade" 2 3 2. Paper Soldier Visuals 2 3 3. Woodblocks and Finger 2 3- c y m b a ls 4. , Record player 2 '3 5. . Recording of "Pantomine" 2 3 6 . P ia n o 2 3 7. . Flannel Board 2 3 185 Film 1: Dynamics - Task 4 1-10 T a s k 4 Summary of the Musical Learning Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d A, Teaching Methods employed in c lu d e d : 1 . R e v ie w 1 2 3 2 . • Demon str ation 1 2 3 3 . L e c tu r e 1 2 3 4. Questioning 1 2 3 5 . D is c o v e ry 1 2 3 B. M usical Activities of the teacher and children included: t ■1, Children listening to the 2 3 - _ music'IParade" 2. Selected children playing 2 3 d r u m s 3. Children writing a new song 2' •3 4. Children creating a percussion 2 3 instrum ental accompaniment to "Parade" 5. All children moving to the 2 3 music "Parade" 6. Teacher playing "Parade" 2 3 . on the piano C. M usical Blcmcnts being explored in c lu d e d : 1 . R h y th m 2 3 2 .. M elo d y 2 3 3 . H a rm o n y 2 3 4 . F o r m 2 3 5 . T e m p o 2 3 6. Dynamics 2 3 7. Tone Color 2 3 S . M ood 2 3 186 Film I; Dynamics - Task 4 1-11 T a s k 4 Item D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d D. M usical Concepts being explored in c lu d e d : 1. Unit Beat Rhythm 2 3 2." M etric Beat Rhythm 2 3 3. 2:1 Relationship of the Rhythm 2 3 ■4. Even or Uneven Rhythmic 2 3 P a t t e r n 5. Rhythm of the Melody 2 3 6. Up -Down-Same Melodic 2 3 D ir e c tio n 7. . Step-Skip-Same Melodic 2 '3 Movement (Conjunct- D isju n c t) 8. Melodic Range 2 3 9- High-Low Melodic Movement 2 3 10, Melodic Tonality 2 3 11, . Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rcst-Unrcst 2 3 13. Harmonic Texture (Descant) 2 3 . 14. Motive Form 2 3 15. Phrase Form 2 3 - 16. Sectional Form 2 3 17. Fast-Slow Tempo 2 3 18. ■ Loud-Soft Dynamics 2 3 19. Crescendo, Decrcsccndo 2 3 D y n a m ic s 2CL Instrumental Tone Color 2 21. Vocal Tone Color 2 187 Film 1; Dynamics - Task 4 1-12 T a s k 4 Ite m D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d M aterials employed included: 1. "Parade" 2 3 2. Drums, Hats, Flags, Baton 2 3 3. Record player 2 3 4. Resonator Bells 2 3 5. Visuals of Musical Symbols 2 3 6. Visuals of Paper Soldiers 2 3- 7 . P ia n o 2 3. 6. Sandblocks, Temple Blocks 2 3 Wood blocks 188 Film 2: Melody/Harmony - Task 1 2-1 T a s k 1 M usical Experiences -with "Johnny Has Gone" Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d A. Teaching Methods employed in c lu d e d : 1. Review 1 2 3 2«. Demonstration 1 2 3 3. Lecture 1 2 3 4. Questioning * 1 2 3 5. Discovery .1 2 3 B. M usical Activities of the teacher • and children included: « * 1. Children singing "Johnny Has 1 2 3 G o n e " 2. ' One child accompanying the 1 2 3 song with autoharp * 3. One child accompanying the 1 2 3 song with string bass 4. One child demonstrates a 1 .2 3 portion of the melody • 5. Teacher demonstrates a 1 2 3 portion of the melody 6, Teacher plays the resonator 1 2 3 b e lls 7. Children listen to teacher 1 2 3 model of melody 8. Teacher plays the song "Johnny 1 2 3 Has Gone" on the piano 9. One child accompanying the 1 2 3 teacher with the autoharp C. M usical Elements being explored in c lu d e d : 1. Rhythm 1 2 3 2. Melody 1 2 3 3. Harmony 1 2 3 4 . F o r m 1 2 3 S . T e m p o 1 2 3 189 Film 2: Melody/Harmony - Task 1 2-2 T a s k 1 Item D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e r v e d 6. Dynamics 2 3 7. Tone Color 2 3 8 . M ood 2 3 D. M usical Concepts being explored In c lu d e d : 1. Unit Beat Rhythm 2 3 2. Metric Beat Rhythm 2 3 3. 2:1 Relationship of the Rhythm . 2 3 4. Even or Uneven Rhythmic 2 3 P a t t e r n 5. ' Rhythm of the Melody 2 3 6. Up -Down-Same Melodic 2 3 D ir e c tio n 7. ' Step-Skip-Samc Melodic 2 3 M ovement (Conjunct- D is ju n c t) 8. .Melodic Range 2 3 9. High-Low Melodic Movement 2 3 10. Melodic Tonality 2 3 11. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rest-Unrest 2 3 13. Harmonic Texture (Descant) 2 3 14. Motive Form 2 3 15. Phrase Form 2 3 16. Sectional Form 2 3 17* Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 190 Film 2: Melody/Harmony - Task 1 2 -3 T a s k 1 I te m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d 39. Crescendo, Dccresccndo 2 3 D y n a m ic s 20. ■ Instrum ental Tone Color 2 ■ 3 21. Vocal Tone Color 2 3 E. M aterials employed included: 1. String Bass 2 3 2. Autoharp 2 3 t 3. "Johnny Has Gone" 2 3 . 4. Resonator Bells 2 3 . 5. Tambourines 2 3 6. Visual of a Portion of the 2 3 M e lo d y 7 . P ia n o 2 3 8. Rhythm sticks. Finger cymbals 2 3 and Triangle 191 • Film 2: Melody/Harmony - Task 2 2-4 T a s k 2 Melodic Experiences with "Sarasponda" Item _ Definitely Inferred from Not Observed Observation Observed A. Teaching Methods employed in c lu d e d : 1, Review 1 2 3 2. Demonstration 1 2 3 3. Lecture 1 2 3 4. Questioning 1 2 3 5, Discovery 1 2 3 M usical Activities of the teacher and children included: . .1, Teacher played a "Descant" 1 2 3 with the resonator bells .2.. Teacher sings the melody to 1 2 3 ■"Sarasponda" .3* * Children sing the "descant" 1 ■ 2 3 .4. Teacher sings the "descant" 1 . 2 3 5,. Children read the notation 1 2 3 of the melody 6. Teacher claps the rhythm of 1 2 3 the melody 7» Children clap the rhythm of 1 2 3 th e m e lo d y M usical Elements being explored . included: * 1. . Rhythm 1 2 3 2. ‘ Melody 1 2 3 3. Harmony 1 2 3 4* F o r m 1 2 3 5 , T e m p o 1 2 3 6. Dynamics 1 2 3 7, Tone Color 1 2 3 8 . M o o d 1 2 3 192 Film 2: Melody/Harmony - Task 2 2-5 T a s k 2 Item Definitely Inferred from Not Observed Observation Observed D. M usical Concepts being explored included: 1 . Unit Beat Rhythm 1 2 3 2 .. Metric Beat Rhythm 1 2 3 3 . 2:1 Relationship of the Rhythm 1 2 3 4 . Even or Uneven Rhythmic 1 2 3 P a t t e r n 5. . Rhythm of the Melody 1 2 3 • 6 . Up-Down-Same Melodic 1 2 3 D ire c tio n 7 . Stcp-Skip-Same Melodic 1 2 •3 Movement (Conjunct- D isju n c t) 8. Melodic Range 1 2 3 ■9. High-Low Melodic Movement 1 2 3 10. Melodic Tonality 1 .. 2 3 Multiple Harmonic Sounds 1 n r 2 3 (Chords, Intervals) 1 2 . Harmonic Rest-Unrest 1 2 3 1 3 . Harmonic Texture (Descant) 1 2 3 1 4 . Motive Form 1 2 3 15 . Phrase Form 1 2 3 1 6 . Sectional Fcrin 1 2 3 1 7 . Fast-Slow Tempo 1 2 3 1 8 . Loud-Soft Dynamics 1 2 3 1 9 . Crescendo, Decrescendo 1 2 3 D y n a m ic s 20. Instrumental Tone Color 1 2 3 21. Vocal Tone Color 1 2 3 193 Film 2: Melody/Harmony - Task 2 2-6 T a s k 2 I te m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d K. M aterials employed included: 1. "Sarasponda" 2 3 2. Resonator Bells 2 3 3. Spinning Wheel 2 3 4. Bulletin Board 2 3 5* Visuals of Melodic M aterial 2 3 6. Words on Chalkboard 2 3 7. Tape Recorder 2 3 . 8,. Templeblocks 2 3 194 Film 2; Melody/Harmony - Task 3 2-7 T a s k 3 Harmonic Experiences with "Sarasponda" Item Definitely Inferred from Not Observed Observation Observed A. Teaching Methods employed in c lu d e d : 1 . R e v ie w 1 2 3 -2. Demonstration 1 2 3 3 . L e c tu r e 1 2 3 4. Questioning 1 2 3 5. Discovery 1 2 3 M usical Activities of the teacher and children included: • 1. A child plays the "descant" on 1 2 3 the resonator bells 2, Teacher sings the melody to 1 2 3 . . " S a ra s p o n d a " 3, Teacher plays the melody bells 1 2 3 4. Several children sing the 1 2 3 "descant" as other children sing the five parts of "Sarasponda" M usical Elements being explored in c lu d e d : 1 . R h y th m 2 3 2 . M e lo d y 1 2 3 3 . H a rm o n y 1 2 3 4 . F o r m 1 2 3 5 . T e m p o 1 2 3 6. Dynamics 1 2 3 7. Tone Color 1 2 3 8 . M ood 1 2 3 195 Film 2: Melody/Harmony - Task 3 2-8 T a s k 3 Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d D, Musical Concepts being explored included: 1. Unit Beat Rhythm 2 3 2.. M etric Beat Rhythm 2 3 3.. 2:1 Relationship of the Rhythm 2 3 4. t Even or Uneven Rhythmic 2 3 P a t t e r n 5. Rhythm of the Melody 2 3 6. Up-Down-Same Melodic 2 3* , Direction 7. Step-Skip-Same Melodic 2 *3 Movement (Conjunct- D is ju n c t) 8. Melodic Range 2 3 9. High-Low Melodic Movement 2 3 10. Melodic Tonality 2 3 11. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rest-Unrest 2 3 13. Harmonic Texture (Descant) 2 3 14.. Motive Form 2 3 .15. Phrase Form 2 3 16. Sectional Form 2 3. 17. Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 * 19. Cresccndo-Decrcscendo 2 3 D y n a m ic s 20. Instrumental Tone Color 2 3 21. Vocal Tone Color 2 3 196 Film 2: Melody/Harmony - Task 3 2 -9 T a s k 3 Ite m D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d £. M aterials employed included: 1. "Sarasponda11 2 3 2. Autoharp 2 3 3. Resonator Bells 2 3 4. Blackboard 2 3 5. Spinning Wheel 2 3 « 6. Visuals of Melody 2 3- 7. Percussion Instruments 2 3- 197 Film 2: Melody/Harmony - Task 4 2-10 T a c k 4 Harmonic Experience with "Sarasponda" Item . D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d A. Teaching Methods employed in c lu d e d : 1 . R e v ie w 2 3 2, 'Demonstration 1 2 3 . 3. JLccture 1 2 3 4. Questioning 1 2 3 5. Discovery 1 2 3 B. M usical Activities of the teacher and children included: I.. Teacher plays thirds on the 1 2 3 resonator bells .2. . Children listen to teacher 1 2 3 playing bells - 3. A child plays the thirds on 1 2 3 resonator bells -4i Teacher sings melody to new 1 ■ 2 3 part of song, "Sarasponda" 5. Children sing and move hands 1 2 3 'to the melodic direction of ‘new part of "Sarasponda" 6. Teacher plays the harmony to 1 2 3 "Sarasponda" on the piano ■ 7. Teacher sings harmony to a 1 2 3 new part of the song "Sarasponda" 8. Children read the harmony 1 2 3 part from chalkboard 9. Divided into parts, the child 1 2 3 ren sing the harmony and melody to "Sarasponda" 10. Selected children accompany with autoharp and resonator b e l l s C. M usical Elements being explored in c lu d e d : 1 . R h y th m 2 3 2 . M e lo d y 2 3 198 Film 2: Melody/Harmony - Task 4 2-11 T a s k 4 Item D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d 3 . H a rm o n y 2 3 4 . F o r m 2 3 5 . T e m p o 2 3 6. - Dynamics 2 3 7. Tone Color 2 3 8 . M ood 2 3 D.. M usical Concepts being explored In c lu d e d : 1. Unit Beat Rhythm 2 3 2. Metric Beat Rhythm 2 3 3. 2:1 Relationship of the Rhythm Z 3 4. Even or Uneven Rhythmic 2 3 P a t t e r n 5. Rhythm of the Melody 2 3 6. Up -Down-Same Melodic 2 3 D ire c tio n 7. Stcp-Skip-Samc Melodic 2 3 Movement (Conjunct- D is ju n c t) 8. Melodic Range 2 3 9. High-Low Melodic Movement 2 3 10. Melodic Tonality 2 3 11. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rcst-Unrest 2 3 13. Harmonic Texture (Descant) 2 3 14. Motive Form 2 3 15. Phrase Form 2 3 16. Sectional Form 2 3 199 Film 2: Melody/Harmony - Task 4 2-12 T a s k 4 I te m D e fin ite ly Inferred from H ot O b s e rv e d Observation O b s e rv e d 17. Fast-Slow Tempo • 2 3 18. Loud-Soft Dynamics 2 3 19. Crescendo, Dccrescendo 2 3 D y n a m ic s 20. Instrumental Tone Color 2 3 21. Vocal. Tone Color 2 3 E. ' M aterials employed included: 1. "Sarasponda” . 2 3 ‘ 2. Resonator bells 2 .3- 3. Chalkboard 2 3 4. Visuals of Melody/Harmony 2 3 5 . P ia n o 2 3 • 6. Finger Cymbals, triangle 2 . 3 7. Autoharp 2 3 200 Film 2: Melody/Harmony - Task 5 2 -1 3 T a c k 5 Summary of the M usical Learning Item D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d A. Teaching Methods employed in c lu d e d : 1. R e v ie w 1 2 3 2. . Demonstration 1 2 3 3. L e c tu r e 1 2 3 4. Questioning 1 2 3 5. Discovery 1 . 2 3 M usical Activities of the teacher • and children included: 1. Children sing melody to "When 1 2 3 Johnny Comes Marching Home it 2. ■ Selected children play Autbharp 1 2 3 Resonator bells, Drums 3. Teacher accompanies with the 1 2 3 T a m b o u rin e 4 . A selected child plays the 1 ' 2 ' 3 p ia n o 5. The teacher directs the music 1 2 3 with a 4/4 beat pattern M usical Elements being explored . included: 1. R h y th m . •’ ;; 1 2 3 2. M e lo d y 1 2 3 3. H a rm o n y 1 2 3 4 . F o r m 1 2 3 5. T e m p o 1 2 3 6* D y n a m ic s 1 2 3 7 . T o n e C o lo r 1 2 3 8. M ood 1 2 3 201 Film 2: Melody/Harmony - Task 5 2 -1 4 T a s k 5 Ite m D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d D. Musical Concepts being explored included: 1. Unit Beat Khylhm 2 3 2.‘ Metric Beat Rhythm 2 3 3. 2:1 Relationship of the Rhythm 2 3 4. Even or Uneven Rhythmic 2 3 p a tte r n 5. Rhythm of the Melody 2 3 6. Up-Down-Same Melodic 2 3 D ir e c tio n ■ 7. Step-Skip-Samc Melodic 2 3 Movement (Conjunct- . Disjunct) 8. Melodic Range 2 3 9. High-Low Melodic Movement 2 3 10. Melodic Tonality 2 3 11. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rest-Unrest 2 3 13. Harmonic Texture (Descant) 2 3 14. Motive Form 2 3 15. Phrase Form 2 3 16. Sectional Form 2 3 17. Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 19. Crescendo, Dccrescendo 2 3 D y n a m ic s 20. Instrumental Tone Color 2 3 21. Vocal Tone Color 2 3 202 Film 2: Melody/Harmony - Task 5 2 -1 5 T a s k 5 I te m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d E. M aterials employed included: 1. "When Johnny Comes 2 3 Marching Home" 2. Visual of the harmony part 2 3 - to be played 3. Tape Recorder 2 3 4. Resonator Bells 2 3 5. Rhythm Instruments 2 3 6. Visual of the Melody .2 3 ' 7« P ia n o 2 X 203 Film 3: Form - Task 1 3-1 T a sk 1 M usical Experiences with a Sea Chanty Item Definitely Inferred from N o t Observed Observation O b s e rv e d A. Teaching Methods employed in c lu d e d : 1 ., R e v ie w 1 2 3 2 . Demonstration 1 2 3 3 . L e c tu r e 1 2 3 4 . . Questioning 1 2 3 V D is c o v e r y 1 2 3 B. M usical Activities of the teacher and children included: 1. A child playing an autoharp 2 3 accompan iment 2. Teacher plays the melody with 2 3 resonator bells 3. A child solo singing with child 2 3 ren answering with a chorus r e f r a i n 4. Children read the words from 2 3 the chalkboard 5. A child playing an "introduction1* 2 3 and "coda" with the resonator b e lls 6. Class listens as two students 2 3 replay the introduction 7. Other children read the bell 2 3 part from the notation 8. Teacher sing a phrase of the 2 3 S e a C h a n ty C. M usical Elements being explored included: . 3. Rhythm 1 2 3 2. Melody 1 2 -3 3. Harmony _____ 1 2 3 4. Form 1 2 3 5. Tempo 1 2 3 204 Film 3: Form - Task 1 3 -2 T a s k 1 Ite m D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d 6. Dynamics 2 3 7. Tone Color 2 3 8 . M ood 2 3 D. M usical Concepts being explored in c lu d e d : 1. Unit Beat Rhythm 2 3 2. Metric Beat Rhythm 2 3 3; 2:1 Relationship of the Rhythm 2 3 4. Even or Uneven Rhythmic 2 *3 P a t t e r n 5. Rhythm of the Melody 2 3 6. Up-Down-Same Melodic 2 3 D ir e c tio n 7. Stcp-Skip-Samc Melodic 2 3 Movement (Conjunct- D is ju n c t) 8. Melodic Range 2 3 9. High-Low Melodic Movement 2 3 10. Melodic Tonality 2 3 11. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rest-Unrest 2 3 13. Harmonic Texture (Descant) 2 3 14. Motive Form 2 3 15. Phrase Form 2 3 16. Sectional Form 2 3 17. Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 205 Film 3: Form - Task 1 3 -3 T a s k 1 I te m Definitely Inferred from N o t O b s e rv e d Observation O b s e rv e d 19. Crescendo, Decrescendo 2 3 D y n a m ic s 20. Instrumental Tone Color 2 3 21. Vocal Tone Color 2 3 13. M aterials employed included: 1. Tape recorded "Blow the Man 2 3 D ow n" 2. Autoharp 2 3 3. Record Flayer 2 3. 4m Resonator Bells 2 3. 5. Visual of Melodic Notation 2 3 6. Flannel Board 2 3 7 . D ru m s 2 3 8. Felt Words {Phrase, AB, 2 3 Introd., Coda) 206 Film 3: Form - Tack 2 3-4 T as M usical Experiences with a foc's'le Sea Chanty Item Definitely Inferred from Not Observed Observation Observed A. Teaching Methods employed in c lu d e d : 1. Review 1 2 ’ 3 2. Demonstration 1 2 3 3, Lecture 1 2 3 4. Questioning 1 2 3 5,‘ Discovery 1 2 3 M usical Activities of the teacher and children included: . 1. Teacher sings a Sea Chanty and 1 2 3 accompanies with the autoharp * • 2. Children respond to the phrase 1 2 3 ends by raising hands ■3. T e a c h e r p la y s th e p ia n o 1 2 3 4. A child plays a ''ship's bell" 1 2 3 at the end of each phrase * 5. A child plays the melody on 1 2 3 th e b e lls 6. Teacher resings the first 1 2 . 3 p h r a s e 7. Children listen to determine 1 2 3 phrase form • 8. Teacher plays the phrases on 1 2 3 the resonator bells M usical Elements being explored in c lu d e d : 1. Rhythm 1 2 3 2. Melody 1 2 3 3, Harmony 1 2 3 4 , F o r m 1 2 3 5._ Tempo 1 2 3 207 Film 3: Form - Task 2 3 -5 T a s k 2 Item D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d 6* D y n a m ic s 2 3 7, Tone Color 2 3 8 . M ood 2 3 D. M usical Concepts being explored in c lu d e d : 1. Unit Beat Rhythm 2 3 2. ' M etric Beat Rhythm 2 3 3. 2:1 Relationship of the Rhythm 2 3 4. Even or Uneven Rhythmic 2 •3 P a tte r n 5. Rhythm of the Melody 2 3 6. ' Up-Down-Same Melodic 2 3 D ire c tio n 7. Stcp-Skip-Same Melodic 2 3 Movement (Conjunct- D isju n c t) 8. Melodic Range 2 3 9. High-Low Melodic Movement 2 3 10*: Melodic Tonality . 2 3 11. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. ‘ Harmonic Rcst-Unrcst 2 3 13. Harmonic Texture (Descant) 2 3 14. Motive Form 2 3 15. Phrase Form 2 3 16. Sectional Form 2 3 17. Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 19. Crescendo, Dccresccndo 2 3 D y n a m ic s 208 Film 3: Form - Task 2 3 -6 ?dsh 2 Ite m D e fin ite ly Inferred from N o t O b s e r v e d Observation O b s e rv e d 20. Instrumental -Tone Color 2 3 21. Vocal Tone Color 2 3 Si M aterials employed included: 1. Pictures of Sailors 2 3 2. Autoharp 2 3 ' 3. Ship Bell 2 3 4. Flannel Board 2 3- 5. Bulletin Board with words 2 3 6. "Blow Ye Wind" 2 3 209 Film 3: Form - Task 3 3 -7 T a s k 3 M usical Experiences with "Sailing" Item D e fin ite ly Inferred from N o t O b sc ved Observation O b s e rv e d A. Teaching Methods employed ■ in c lu d e d : I. R e v ie w 1 2 3 2.Demonstration 1 2 3 3 . L e c tu r e 1 . 2 3 4.Questioning 1 2 3 S. Discovery 1 2 3 B. M usical Activities of the teacher and children included: 1. Teacher points to visual of 2 3 m elodic theme of "Sailing" 2. Children listen and read as 2 3 the notation of the music "Sailing" is played 3. Children are selected to move to the sections of the Hondo form of the m usic "Sailing" 4. .A child places representative visuals of the form on the flannel board 5. Selected children accompany the movement activity with percussion instruments 6. The teacher conducts the musi cal activities with a 3/4 beat pattern C. M usical Elements being explored in c lu d e d : 1, Rhythm 1 2 3 2 . M e lo d y 1 2 3 3. Harmony 1 2 3 4 , F o r m 1 2 3 S. T e m p o 1 2 3 2 X 0 Film 3: Form - Taek 3 3 -8 T a s k 3 Item D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d 6. Dynamics . 2 3 7. Tone Color 2 ' 3 8 . M ood 2 3 D. M usical Concepts being explored in c lu d e d : • I Unit Beat Rhythm 2 3 2. M etric Beat Rhythm 2 3 3. 2:1 Relationship of the Rhythm 2 3 4. Even or Uneven Rhythmic 2 '3 P a t t e r n 5* Rhythm of the Melody 2 3 6. Up- Down-Same Melodic 2 3 D ire c tio n 7. Step-Skip-Same Melodic 2 3 Movement (Conjunct- D is ju n c t) 8. Melodic Range 2 3 9. High-Low Melodic Movement 2 3 10. Melodic Tonality 2 3 11. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rcst-Unrest 2 3 13. Harmonic Texture (Descant) 2 3 14. Motive Form 2 3 15.. Phrase Form 2 3 16. Sectional Form 2 3 17. Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 211 Film 3: Form - Task 3 3 -9 T a s k 3 Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d 19. Crescendo, Decrescendo 2 3 D y n a m ic s 20. Instrumental Tone Color 2 3 21.. Vocal Tone Color 2 3 E. M aterials employed included: 1. Percussion instruments 2 3 ,2.' Recorded instrumental 2 3 ''Sailing*' 3. A conducting baton 2 3' 4. Representative pictures for 2 .3 form (boat, bird, fish) ' 5. Melodic notation 2 3 6. Tape recorder 2 3 7. Resonator bells 2 3 8. Bulletin Board ; 2 3 212 Film 3: Form - Task 4 3-10 T a s k 4 Summary of Musical Learning Item Definitely Inferred from Not Observed Observation Observed A. Teaching Methods employed in c lu d e d : * 1 . R e v ie w 1 2 3 2. Demonstration 1 2 3 3 , L e c tu r e 1 2 3 4. Questioning 1 2 • 3 S. t Discovery 1 2 3 M usical Activities of the teacher * and children included: 1 1, Children listen to "Sailing 1 2 3 and move to the form 2» Children to accompany the 1 2 3 movement activity with percussion instruments 3. The teacher plays the finger 1 2 3 cymbals as a means of conducting the m usical a c tiv itie s M usical Flcmcnts being explored included: . 1 . R h y th m 2 . 3 2 , M e lo d y 1 2 3 3 . H a rm o n y 1 2 3 4 . F o r m 1 2 3 5 . T e m p o 1 2 3 6, Dynamics 1 2 3 7. Tone Color 1 2 3 8 . M ood 1 2 3 213 Film 3: Form - Task 4 3-11 T a s k 4 Item Definitely Inferred from Not Observed Observation Observed P. Musical Concepts'being explored included: 1. Unit Beat Rhythm 1 2 3 2. Metric Beat Rhythm 1 2 3 3. 2:1 Relationship of the Rhythm 1 2 3 ' 4. Even or Uneven Rhythmic 1 2 3 • P a t t e r n 5. Rhythm of the Melody 1 2 3 6 . Up-Down-Same Melodic 1 2 3 D ir e c tio n 7. Stcp-Skip-Same Melodic 1 2 • 3 Movement (Conjunct- D isju n c t) 8 . Melodic Range 1 2 3 9* High-Low Melodic Movement 1 2 3 10. Melodic Tonality 1 .2 3 1 1 . Multiple Harmonic Sounds 1 2 3 (Chords, Intervals) 1 2 . Harmonic Rest-Unrest 1 2 ■ 3 13. Harmonic Texture (Descant) 1 2 3. 1 4 . Motive Form 1 2 3 1 5 . Phrase Form 1 2 3 1 6 . Sectional Form 1 2 3 1 7 . Fast-Slow Tempo 1 ' 2 3 1 8 . Loud-Soft Dynamics 1 2 3 1 9 . Crescendo, Decrescendo 1 2 3 D y n a m ic s . 2 0 . Instrumental Tone Color 1 2 3 2 1 . Vocal Tone Color 1 2 3 214 Film 3: Form - Task 4 3 -1 2 T a s k 4 Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d E, M aterials employed included: 1. "Sailing" 2 2.. Flannel Board 2 3. Tape Recorder 2 3 4. Finger Cymbals 2 3 5. Percussion Instruments 2 3 6 . P ia n o 2 3' 215 Film 4: Mood - Task 1 4 -1 T a s k 1 M usical Experience with "Autumn" Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e r v e d A. Teaching Methods employed in c lu d e d : 1. . Review 2 3 2. Demonstration 2 3 3. L e c tu r e 2 3 4. Questioning 2 3 5. Discovery •2 3 ' D. Musical Activities of the teacher and children included: 1. Children sing "Autumn" 2 3 2. Teacher plays the autoharp 2 3 3. Selected children playing 2 3 resonator bell accom paniment to "Autumn" 4* Selected children accompany with percussion instrum ents 5. Teacher conducts with a 4/4 beat pattern C. Musical Elements being explored in c lu d e d : 1. R h y th m 2 3 2, M e lo d y 2 3 3. H a rm o n y 2 3 4 . F o r m 2 3 5, T e m p o 2 3 6, Dynamics 2 3 7. Tone Color 2 3 8, M ood 2 3 216 Film 4: Mood - Task 1 4 - 2 T a s k 1 Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d D. Musical Concepts being explored in c lu d e d : 1. Unit Beat Rhythm 2 3 2.* M etric Beat Rhythm 2 3 3. 2:1 Relationship of the Rhythm 2 3 ,4, Even or Uneven Rhythmic 2 3 P a t t e r n 5. Rhythm of the Melody 2 3 6. Up-Down-Same Melodic ' z\ 3 D ir e c tio n 7. Step-Skip-Samc Melodic 2 '3 Movement (Conjunct- D is ju n c t) 6. Melodic Range 2 3 9* High-Low Melodic Movement 2 3 10. . Melodic Tonality 2 3 11*. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rcst-Unrest 2 . 3 13. Harmonic Texture (Descant) 2 3 , 14. Motive Form 2 3 15. Phrase Form 2 3 16. Sectional Form 2 3 17. Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 19. Crescendo, Dccrescendo 2 3 D y n a m ic s 20.' Instrumental Tone Color 2 3 21. Vocal Tone Color 2 3 217 Film 4: Mood - Task 1 4-3 T a s k 1 Item Definitely Inferred from Not Observed Observation Observed E. M aterials employed included: 1* "Autumn" 1 2 3 2. Resonator Dells '1 2 3 218 Film 4;. Mood - Task 2 4-3f T a s k 2 M usical Experience with "Coming of the Spring" Item Definitely Inferred from Not Observed Observation Observed A. Teaching Methods employed in c lu d e d : • 1.* R e v ie w 1 2 3 2. Demonstration 1. 2 3 3. Lecture 1 2 3 4. Questioning 1 2 3 ,5m- D is c o v e r y 1 2 3 M usical Activities of the teacher and children included: ’ 1* Teacher plays pitch on the 1 2 3 resonator bell 2. Children sing "Coming of 1 2 3 the Spring" 3. Teacher plays piano accom 1 . 2 3 paniment to "Coming of the Spring" *4* -A c h ild a c c o m p a n ie s th e s in g in g 1 2 3 with the resonator bells M usical Elements being explored in clu d ed * * 1. Rhythm 1 2 3 2* M e lo d y 1 2 3 3 . H a rm o n y 1 2 3 4 . F o r m 1 2 3 5 . T e m p o 2 3 6. Dynamics 2 3 7. Tone Color 1 2 3 '8 a M ood 2 3 219 Film 4: Mood - Task 2 4-S T a s k 2 Ite m D e fin ite ly Inferred from N ot O b s e rv e d Observation • O b s e rv e d D. M usical Concepts being explored included: 1. Unit Beat Rhythm 2 3 2. Metric Beat Rhythm 2 3 3. 2:1 Relationship of the Rhythm 2 3 4. Even or Uneven Rhythmic 2 3 P a t t e r n 5. Rhythm of the Melody 2 3 6. Up-Down-Same Melodic 2 3 D ir e c tio n 7. ‘ Step-Skip-Same Melodic 2 '3 M ovement (Conjunct- * Disjunct) 8. Melodic Range 2 3 9. High-Low Melodic Movement 2 3 10. Melodic Tonality 2 3 11. ' Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rcst-Unre&t 2 3 13. Harmonic Texture (Descant) 2 3 14. Motive Form 2 3 15. . Phrase Form 2 3 16. Sectional Form 2 3 17. Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 19. Crescendo, Decresccndo 2 3 D y n a m ic s 20. Instrumental Tone Color 2 3 21. Vocal Tone Color 2 3 220 Film 4: Mootl - Task 2 4 -6 T a s k 2 Item Definitely Inferred from N o t Observed Observation O b s e rv e d E. M aterials employed included: 1. “Coming of the Spring" I 2 3 2. Resonator Bell 1 2 3 221 Film 4: Mood - Task 2 4-9 T a s k 3 Comparison of "Autumn" and "Coming of the Spring" Item D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d A. Teaching Methods employed in c lu d e d : " 3. - Review 2 3 2. Demonstration 2 3 3 . L e c tu r e 2 3 4. Questioning 2 3 ’ 5. Discovery 2 3 B« M usical Activities of the teacher .and children included: 1, Children sing "The Coming of Spring" and "Autumn" Z, Teacher plays major and minor 2 3 chords on the autoharp 3. A child plays the major/minor *2 3 ' chord on the Autoharp 4. Children listen to teacher 2 3 chording to discover m ajor/m inor differences 5. Teacher conducts the resinging of the two songs with a 4/4 beat pattern C. M usical Elements being explored in c lu d e d : 1 . R h y th m 2 3 2 . M elo d y 2 3 3 . H a rm o n y 2 3 4 . F o r m 2 3 5 a T e m p o 2 3 6. Dynamics 2 3 7. Tone Color 2 3 8 . M ood 2 3 222 Film 4: Mood - Task 3 4-B T a s k 3 Item Definitely Inferred from Not Observed Observation Observed D. M usical Concepts being explored included: 1 . Unit Beat Rhythm 1 ' 2 3 2 . Metric Beat Rhythm 1 2 3 3 . 2:1 Relationship of the Rhythm 1 2 3 4 . Even or Uneven Rhythmic 1 2 3 P a t t e r n 5 . Rhythm of the Melody 1 2 3 6 . Up-Down-Same Melodic 1 2 3 D ire c tio n 7 . Step-Skip-Same Melodic 1 2 3 Movement (Conjunct- D is ju n c t) 8. Melodic Range 1 2 3 9 . High-Low Melodic Movement 1 2 3 1 0 . Melodic Tonality 1 • 2 3 1 1 . Multiple Harmonic Sounds 1 2 3 (Chords, Intervals) 1 2 . Harmonic Rest-Unrest 1 . 2 3 1 3 . Harmonic Texture (Descant) 1 2 . 3 1 4 . Motive Form 1 2 . 3 1 5 . Phrase Form 1 2 3 1 6 . Sectional Form 1 2 . 3 1 7 . Fast-Slow Tempo 1 2 3 1 8 . Loud-Soft Dynamics 1 2 3 1 9 . Crescendo, Dccrescendo 1 2 3 D y n a m ic s 2 0 . Instrumental Tone Color 1 2 3 2 1 . Vocal Tone Color 1 2 3 223 Film 4: Mood - Tank 3 4-9 T a s k 3 J te m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d E. M aterials employed included: 1. Conducting baton 2 3 2. . Phonograph 2 3 3. "Autumn1* 2 3 4. ■ "Coming of the Spring" 2 3 5. Chalkboard 2 3 6 . V is u a ls 2 3' 7. Percussion Instruments 2 .3 224 Film 4: Mood - Tack 4 4-K> T a s k 4 M usical Experience with "Petit Ballet" Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d A. Teaching Methods employed in c lu d e d : 1 . H e view 2 3 2. Demonstration 2 3 3 . L e c tu r e 2 3 4. Questioning 2 3 , 5.. D is c o v e ry 2 3 B. M usical Activities of the teacher and children included: 1. Children listen to recorded music, "Petit Ballet" to determine picture which depicts their response to th e m u s ic 2. The girls move to the first 2 3 section of the music 3. The boys move to the second 2 3 section of the m usic 4. Teacher accompanies at the 2 3 p ia n o C. M usical Elements being explored in c lu d e d : 1 . R h y th m 2 3 2 . M elo d y 2 3 3 . H a rm o n y 2 3 4 . F o r m 2 3 5 . T e m p o 2 3 6. Dynamics 2 3 7. Tone Color 2 3 8 . M ood 2 3 225 Film 4: Mood - Task 4 4 -1 * T a s k 4 Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d D. • M usical Concepts being explored included: 1. Unit Beat Rhythm 2 3 2. ’ M etric Beat Rhythm 2 3 3. 2;1 Relationship of the Rhythm 2 3 4. Even or Uneven Rhythmic 2 3 P a t t e r n 5.- Rhythm of the Melody 2 3 6'.’ Up-Down-Same Melodic 2 3 D ir e c tio n ' 7. Step-Skip-Samc Melodic 2 3 Movement (Conjunct- D is ju n c t) 8.’ Melodic Range 2 3 ■ 9. High-Dow Melodic Movement ‘ 2 3 10. Melodic Tonality -2 3 11. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rest-Unrest 2 3 13. Harmonic Texture (Descant) 2 3 * 14. Motive Form 2 3 . . 15. Phrase Form 2 3 16. Sectional Form 2 3 17. Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 19. Crescendo, Decrescendo 2 3 D y n a m ic s 20. Instrumental Tone Color 2 3 226 Film 4: Mood - Task 4 4 - 1 2 T a s k 4 Ite m D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d E, M aterials employed included: 1. Recorded “Petit Ballet" 2 3 2. Pictures 2 3 3 . S c a rv e s 2 3 4. Chalkboard 2 3 5. Record Player 2 3 6 . P ia n o 2 3* 227 Film 4: Mood - Task 5 4-13 T a s k Summary of Musical Learning Item Definitely Inferred from Not Observed Observation Observed A. Teaching Methods employed in c lu d e d : ' 1. Review 1 2 3 2. Demonstration 1 2 3 3. Lecture 1 2 3 4. Questioning 1 . 2 3 5. . Discovery 1 2 3 M usical Activities of the teacher and children included: 1. Children sing "Autumn" in 1 2 3 a major key 2. Teacher plays the resonator 1 2 a bells to set the tonality 3. Teacher accompanies the 12 3 singing with the resonator b e lls 4 4. ■ Children singing "Coming of 1 2 3 the Spring" in minor key 5. Selected children accompany 1 2 3 ■ the singing with Autoharp and resonator bells M usical Flcm ents being" explored ' in c lu d e d : 1. Rhythm 1 2 3 2. Melody 1 2 3 3. Harmony 1 2 3 4 . F o r m 1 2 3 5 . T e m p o 1 2 3 6. Dynamics 1 2 3 7. Tone Color 1 2 3 0 . M ood 1 2 3 228 F ilm 4: Mood » Task 5 4 -1 4 T a s k 5 Item D e fin ite ly Inferred from N ot O b s e rv e d Observation O b s e rv e d D. Musical Concepts being explored included: 1. Unit Beat Rhythm 2 3 2.' Metric Beat Rhythm 2 3 '3. 2:1 Relationship of the Rhythm 2 3 4. Even or Uneven Rhythmic 2 3 P a tte r n " 5. Rhythm of the Melody 2 3 6. Up-Down-Same Melodic 2 3 D ire c tio n 7. Stcp-Skip-Samc Melodic 2 3 Movement (Conjunct- D isju n c t) 8. Melodic Range 2 3 9. High-Low Melodic Movement 2 3 10. Melodic Tonality .2 3 11. Multiple Harmonic Sounds 2 3 (Chords, Intervals) 12. Harmonic Rest-Unrest 2 3 13. Harmonic Texture (Descant) 2 3 14. Motive Form 2 3 15. Phrase Form 2 3 16. Sectional Form 2 3 17. Fast-Slow Tempo 2 3 18. Loud-Soft Dynamics 2 3 19. Crescendo, Decrescendo 2 3 D y n a m ic s 20. Instrumental Tone Color 2 3 21. Vocal Tone Color 2 3 229 Film 4: Mood - Task 5 4 -1 5 T a s k 5 Ite m D e fin ite ly Inferred from N o t O b s e rv e d Observation O b s e rv e d £, M aterials employed included: 1. "Coming of the Spring'1 2 3 2. ■ Resonator Bells 2 3 3. ■ Autoharp 2 3 4.■ P i c t u r e s 2 3 5 . . P ia n o 2 3 6. Bulletin Board 2 3' ‘1. APPENDIX G SUBJECTS' BACKGROUND INFORMATION QUESTIONNAIRE 230 231 Social Name Security No. Campus Address Telephone No. 1. Do you play the piano? yes no Period of study (in years): 1. 1 quarter 2. Half year 3. 1 year 4. 2 years 5. 3 years 6 . 4 years 7. 5 years 8. More than 5 years. How many? _____ 2. What other instruments do you play? 01. Trumpet Instruments No. of yrs. 02. Trumbone 03. French horn 04. Tuba 05. Clarinet 06. Flute 07. Oboe 08. Bassoon 09. Violin 10. Cello 11. Viola 12. Double bass 13. Percussion 14. Guitar 15. Ukulele 16. Organ 17. Recorder 18. Flutophone 19. Other: 3. Did you sing or play in a performance group in junior or senior high school? Group No. of y r s , Jr. High Chorus Jr. High Band Jr. High Orchestra Sr. High Chorus Sr. High Band Sr. High Orchestra Other: 232 4. Have you participated in any community musical organizations? yes no Organization Humber of years Chorus Band Orchestra Church choir Other: 5. Did you take any elective music courses in high school? yes no Course No. of yrs. of study Theory ______ Music History Humanities Appreciation Other: 6. Have you participated in a performance organization at Ohio State or any other college or university? yes no Organization No. of Years Womans Glee Club ______Mens Glee Club ______University Chorus ______Concert Choir______Concert Band ______Orchestra ______Other: 233 7. Have you taken Music 270? Yes No 8 . Have you taken Music 271? Yes No 9. Have you taken any other music course at Ohio State or any other college or university? Yes . N o Music 141 Music 142 Music 200.01 Otheri ______ 10. Have you taught some music to children before? Yes No Describe your experience: 11. Which methods courses have you completed? (See following page for guide to courses) Courses Amount of observation experience in hrs. 234 Required Professional Courses 01. Art Education 500 - Art for Elementary Teachers 02. Education 460 - Child Guidance 03. Education 461 - Conceptions of Teaching 04. Education 467 - Introduction to Children's Literature 05. Education 502 - Arithmetic 06. Education 507 - Language Arts 07. Education 508 - The Social Studies 08. Education 511 - Science 09. Education 513 - Reading 10. Education 585.10 - Student Teaching 11. Education 640 - Foundations of Education I 12. Education 641 - Foundations of Education II 13. Education 642 - Foundations of Education III 14. Health Education 300 - Health Education for Elementary Teachers 15. Music 270 - Basic Experiences in Music: Fundamentals 16. Music 271 - Basic Experience in Music: Literature and Listening 17. Music 37 0 - Music for Elementary Teachers 18. Physical Education 323 - Creative Physical Ed. for Elem. Teachers 19. Psychology 230 - Introduction to Educational Psychology 20. Sociology 220 - Sociology of Education 21. Anthropology 261 - Introduction to Anthropology 22. Speech Communication 235 - Speech Functions and Respons ibility of Teacher 23. Education 594.47 - Group Studies 24. Other: ______25. Other: APPENDIX H STUDENT EFFECTIVENESS-SATISFACTION SCALE FOR INSTRUCTIONAL TECHNIQUES EMPLOYED 235 236 Name ...... Treatment Groups 1 and 2 The purpose of this scale is to determine the extent to which you felt the TECHNIQUES employed in introducing selected aspects of general music teaching and learning were effective and satisfying. a. Effective - the extent to which the method helped you increase your understanding of selected aspects of general music teaching and learning. b. Satisfying- the extent to which you were comfort able and contented with the method and found it adequate, unobjectionable, and pleasing. Each of the following statements is to be rated on each of these two factors by circling the number which best des cribes your beliefs. For example, if your beliefs are related to the word on the right, circle "5." If your beliefs are related to the word on the left, circle "I." Degrees of beliefs can be placed along the scale as desired with a neutral belief placed in the center posi tion. Please mark every item. 1. An overview of selected teaching methods through read ings and instructor lecture-demonstration: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying 2. An overview of musical activities through instructor lecture-demonstration: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying 3. An overview of musical elements through readings and instructor lecture-demonstration: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying 237 4. An overview of musical concepts through readings and instructor lecture-demonstration: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying 5. An overview of teaching materials through readings and instructor lecture-demonstration: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying Written comments would be appreciated concerning what you liked least about the unit of instruction, what you liked most about the unit, and what you might offer for improv ing the unit of instruction in the future. s 238 Treatment Groups 2 and 3 6 . Brief review of the teaching methods which were a part of the observations: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying 7. Brief review of musical activities which were a part of Observation 1: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying 8 . Brief review of the musical elements which were a part of Observation 1: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying 9. Brief review of musical concepts prior to Observation 4: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying •10. Brief review of the teaching materials employed after each observation: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying 11. Class discussion sessions following the observations: a. Ineffective 1 2 3 4 5 Effective b. Not satisfying 1 2 3 4 5 Satisfying Written comments would be appreciated concerning what you liked about the unit of instruction, what you liked least about the unit, and what you might offer for improving the unit of instruction in the future. * APPENDIX I FILM VIEWING GUIDE: PRELIMINARY FORM 239 TEACHING TEACHING MUSICAL ACTIVITY MUSICAL MUSICAL TASK NO. METHOD ELEMENT CONCEPT MATERIALS Teacher Children 240 APPENDIX J DETAILED FILM VIEWING GUIDE: PRELIMINARY FORM 241 TEACHING TEACHING MUSICAL ACTIVITY MUSICAL MUSICAL TASK NO. METHOD Teacher Children ELEMENT CONCEPT MATERIALS Review Listening Listening Rhythm Unit Beat Metric Beat Pattern: 2-1 Demon- Singing Singing Even or uneven stration Rhythm of the Melody______Lecture Playing Playing Up-Down-Same Step-Skip-Same Range High-Low Tonality Question- Moving Moving Harmony Multiple sounds ing (chords, intervals) Rest-Unrest Texture______Discov- Creating Creating Form Motive ery Phrase Section Expressive Devices: Reading Reading Tempo Fast-slow Dynamics Crescendo Decrescendo Loud-Soft ' Tone Soprano-A1to- Color Tenor-Bass Instruments 242 APPENDIX K SUPPLEMENTAL READINGS FOR PRESENTATION PARTICIPATION UNIT 243 244 1. Bergethon, Bjornar and Eunice Boardman. Musical Growth in the Elementary School/ 2nd ed. New YorkT:Holt/ Rinehart and Winston, 1970. A. Preface, v. How to Use This Book, vii Preparation of the Teacher, 1-18. Why Teach Music? What shall We Teach? How Shall We Teach? When Do We Teach? b. Planning for musical activities Planning for Listening Activites, 269 Planning for Singing Activities, 272 Planning for Playing Activities, 274 Planning for Moving Activities, 278 Planning for Creative Activities, 279 Planning for Reading Activities, 280 Classroom Instruments, 283 2. Leonhard, Charles and Robert House. Foundations and Principles of Music Education, 2nd ed. New Yorks McGraw-Hill Book Company, 1972 Chapter 8 "Methods of Teaching Music," pp. 275-318. 3. Fowler, Charles. "The Discovery Method." Journal of Research in Music Education, Vol. XIV, Summer, 1966. Also found in Perspectives in Music Education, Source Book III. Washington, D.C.: Music Educators National Conference, 1966, pp. 232-240. 4. Woodruff, Asahel. "Concept Teaching in Music," Per spectives in Music Education, Source Book III, pp. 219-229. 5. Fowler, Charles. "Discovery: One of the Best Ways to Teach a Musical Concept," Music Educators Journal, October, 1970, Vol. 57, No"! 2, p p . 25-30'. APPENDIX L LESSON OUTLINE FOR CLASS DISCUSSION OF OBSERVATION 4 245 Teaching Teaching Musical Musical Musical Teaching Task Methods employed Activities employed Elements explored Concepts explored Materials Employed Teacher Children Task 1 Demonstration Playing Rhythm Unit Beat Rhythm (clapping) (steady beat) Rhythm game Game Lecture Rhythm of the Speaking Form words (chanting) Repeat Task 2 Demonstration Reading Rhythm Rhythm of the - Rhythm pattern Rhythm words Pattern Questioning Playing Form Repeat sign (clapping) Harmony Multiple sounds Chanting (round) Tempo Augmentation Task 3 Lecture Playing Rhythm Rhythm of the Percussion Instru percussion words instruments: mental instruments Hand drum, tone Rhythm blocks, woodblock, Pattern temple block, Form Rondo (ABACA) 6 4 2 APPENDIX M TEST QUESTIONS FOR CLASS SESSION 7 247 248 TEST QUESTIONS FOR CLASS SESSION 7 1. List the six musical activities outlined by the authors of the text. 2. Name five of the eight musical elements introduced in class. 3. List four of the five teaching methods explored in class. 4. Circle the teaching methods listed in response to item three which are more child-centered. 5. Discuss the three levels of response to an art object discussed in class. \ APPENDIX N CORRELATION MATRIX 249 Coll Coll Coll Coll Coll Course Course Course Course Course Instr. Exp. HsCrs. Mth. Obs. Ase Cum Plano 1 2 3 4 6 Tench Total Tot Tot. Tot Tot Tot 1 Age 1.000 -0.009 0.071 -0.081 -0.104 0.032 -0.054 -0.025 0.144 -0.157 0.086 0.061 -0.068 0.015 0.071 2 Cum 1.000 -0.020 0.002 0.160 0.036 0.063 0.051 0.123 -0.243 0.087 0.050 0.084 -0.227 -0.056 3 Piano 1.000 -0.140 -0.082 0.169 0.080 0.110 0.153 -0.144 0.156 0.235 0.210 • 0.001 0.017 4 Coll.Course 1 1.000 0.623 -0.020 0.057 0.046 0.116 0.198 0.106 0.081 0.065 0.246 0.144 5 Coll.Course 2 1.000 0.006 0.091 0.074 0,077 0.129 0.205 0.208 -0.109 0.233 0.0S9 6 Coll.Course 3 1.000 0.324 0.263 0.161 -0,072 0.375 0,418 0.063 -0.125 -0.166 7.Coll.Course 4 1.000 0.812 0,132 0.027 0.076 0.171 -0.041 -0.064 -0.054 8 Coll.Course 6 1.0000.107 0.060-0.888 -0.097 -0.034 -0.042 -0.056 9 Teach 1.000 -0.132 0.211 0.290 0.137 0.270 0.173 10 Total 1.000 0.054 -0.077 -0.015 0.076 0.061 11 Inscr.Tot 1.000 0.606 0.134 -0.035 -0.020 12 Exp.Tot 1.000 - 0.158 -0.090 0.002 13 HsCrs.Tot 1.000 -0.001 -0.094 14 Mth.Tot 1.000 0.450 15 Obs.Tot 1.000 1. Age: chronological age, * 9, Teach: prior elementary music teaching experience, 2. Cum: cumulative grade point average, 10. Total: total of all variables. 3. Piano: number of years studying piano, 11. Xnstr.Tot.: number of years studying a musical 4. College Course 1: Music 270 "Basic Experiences in Music: instrument, Fundamentals," 12. Exp.Totl: number of years of participation In a 5. College Course 2: Music 271 "Basic Experiences in Music: Junior or senior high school or per Literature and Listening," formance group, 6. College Course 3: Music 141 "Introduction to Music: 13. HaCrsTot.: number of years of study in a high Baroque to the present," school music course, 7. College Course 4: Music 142 "Introduction to the History 14. Mth.Tot.: number of method courses completed, of Western Music I: Classical Antiquity 15. Obs.Tot.: number of hours of observation. 8. College Course 6: Music 143 "Introduction to the Hldstory Western Music II: 1730 to the present," BIBLIOGRAPHY Amidon, Edmund J., and Hough, John B. Interaction Analy sis; Theory, Research, and Application. Reading, Mass.: Addison Wesley Publishing Co., 1967. BFA Educational Media, 2211 Michigan Avenue, Santa Monica, California. Bjornar, Bergethon and Eunice Boardman. Musical Growth in the Elementary School. 2nd ed. New York: Holt, Rinehart and Winston, 1970. Bloom, Benjamin S. ed. Taxonomy of Educational Objectives, Handbook I, Cognitive Domain. New York: David McKay C o ., Inc., 1956, p. 7~. Boney, Joan, and Rhea, Lois. A Guide to Student Teaching in Music. Englewood Cliffs, N.J.: Prentice-Hall, Inc., T970. Cady, Henry L. A Conference on Research in Music Educa tion. U.S. Office of Education, Project 6-1388. Columbus, Ohio: The Ohio State University, Research Foundation, May 1967, p. 28. Colwell, Richard J. A Critique of Research Studies in Music Education. USOE Research Project 6-10-24$, Arts and Humanities Branch, 1969; Ernst, Karl D., and Gary, Charles L. The Study of Music in Elementary School: A Conceptual Approach. Washington, D.C.: Music Educators NationalConfer ence, 1967. Ferguson, George A. Statistical Analysis in Psychology and Education. fae\7 York: McGraw-Hill Book Co., 1966. Flanders, Ned A. Analyzing Teaching Behavior. Reading, Mass.: Addison-Wesley Publishing Co., HF70. Guilford, J. P. Fundamental Statistics in Psychology and Education. New York: McGraw-Hill Book Co., 1965, pp. 74-75. 251 252 Klotman, Robert, ed. Teacher Education in Music: Final Report. Washington, D.C.: Music Educators National Conference, 1973. Leonhard, Charles, and House, Robert. Foundations and Principles of Music Education. 2nd ed. New York: McGraw-Hill Co., 1972. Morgan, Hazel Nohavec. Music Education Source Book. Chicago; Music Educators National Conference, 1949, pp. 38-39. Mursell, James L. Successful Teaching. 2nd ed. New York: McGraw-Hill Book Co., 1954, p. 299. Schneider, Erwin H., and Cady, Henry L. Evaluation and Synthesis of Research Studies Relating to Music Edu cation' I Cooperative Research Project E-016, Item ED 010298 in ERIC Document Reproduction Service. Cleveland, Ohio: Bell and Howell Co. Woodruff, Asahel. "Concept Teaching in Music." Per spectives in Music Education, Source Book III, pp." 219-229. Zimmerman, Marilyn plederer, and Sechrest, Lee. How Children Conceptually Organize Musical Sounds. U.S. oifice of Education, Project 5-0256. Evanston, 111.: Northwestern University, 1968. Articles and Periodicals Andrews, L. O. "A Curriculum to Produce Career Teachers for the 1980’s,11 Theory Into Practice, VI, No. 5 (1967), 236. ______. "A New Concept in Professional Laboratory Experiences for Prospective Teachers." Current Issues in Music Education: A Symposium for College teachers of Music Education^ Columbus, Ohio: The Ohio State University, 1963, p. 57. Bloom, Judith M. "Video Tape and the Vitalization of Teaching." Journal of Teacher Education, XX, No. 3 (Fall, 1969)7 "311-315. 253 Cady, Henry L. "Projections Concerning Change in Music Education Research." Current Issues in Music Educa tion; A Symposium for College Teachers of Music Education. Vol. III'. Columbus, Ohio: The Ohio State University, 1967, p. 24. Drumheller, Sidney J., and Paris, John. "An Effective Approach for Incorporating Teaching Experiences in Methods Courses." Journal of Teacher Education, XVIII (Fall, 1966), 290. Engbretson, William B. "Curricular Relevance in Teacher Education." Washington, D.C.: American Association for Higher Education, 1968. Flanders, Ned A. "Intent, Action and Feedback: A Prep aration for Teaching." Journal of Teacher Education, XIV, No. 3 (September 19S'"2'5T-2"St>". Fowler, Charles. "The Discovery Method," Journal of Research in Music Education, XIV (Summer, 1966). ______. "Discovery: One of the Best Ways to Teach a Musical Concept." Music Educators Journal, Vol. 57, No. 2 (October, 1970) , pp. 2l>-'3"0” Fulton, W. R., and Rupiper, O. J. "Observation of Teach ings: Direct vs. Vicarious Experience." Journal of Teacher Education, XIII (June, 1962), 157. Getz, Howard, et al. "From Traditional to Competency- Based Teacher Education." Phi Delta Kappan, LIV, No. 5 (January 1973), 300. Goodlad, John I. "An Analysis of Professional Laboratory Experiences in the Education of Teachers." Journal of Teacher Education, XVI (September, 1965), 264. Haack, Paul A. Reviewer. "Preparation of Instructional Units Capable of Accomplishing Specified Changes in Musical Behavior of Students." Council for Research in Music Education, Bulletin Nol 32 (Spring, 1973)/ pp. 33-37. Haberman, Martin. "Minicourses: The Prevention and Treat ment of Curricular Rigor Mortis in Programs of Teacher Education." Journal of Teacher Education, XIX (Winter, 1968), 439. 254 Hazard, William R.; Chandler, B. J.; and Stiles, Bindley J. "The Tutorial and Clinical Program for Teacher Edu cation. " Journal of Teacher Education, XVIII (Fall, 1967), 270" Housewright, Wiley L. ed. "Teacher Education in Music," Report of the Music Educators National Conference Commission on Teacher Education. Music Educators Journal (October, 1970), pp. 33-48. John, Robert. "Abstracts of Research Reports from MENC National Convention, March 1972." Journal of Re- search in Music Education, XX, No. 2 (Summer, 1972), 2T3- 2Y4'.------ Klotman, Robert H. Chairman, Task Group V. "Standards and Evaluative Critieria for the Education of Music Teachers," Final Report. Washington, D.C.: Music Education National Conference, 1972, Marani, Jean V. "Report Prepared for the Symposium on the Conant Report." Journal of Teacher Education, XV (March, 1964), 36. Murphy, Geraldine. "The Prospective Teacher as Observer." Journal of Teacher Education, XII (June, 1962), 151. Ohio State University Bulletin, The, LXXVII, No. 7, April 4, 1973, pp. 233-335 Phelps, Roger P. "Reviews," Journal of Research in Music Education, XV, No. 3 (Fall, 1967), 233-236. Reeder, Barbara, Chairman, Task Group IV. "Musical Com petencies for Classroom Teachers, Initial Report." Music Educators Journal (May, 1971), pp. 40-41. Sybouts, Ward. "Performance-Based Teacher Education: Does it Make a Difference?" Phi Delta Kappan, LIV, NO. 5 (January, 1973), 303. Thompson, Ralph H. "Where Teacher Education Programs Fail," Journal of Teacher Education, XXI (Summer, 1970), 267. Van Bodegraven, Paul. "Problems in Music Teacher Prepara tion." Music Educators Journal, September-October (1946), p.'' 2 9 . 255 Other P-STAT-Stepwise Regression. Princeton University version of M a y , 1972. SPSS Kendall Rank Correlation. Statistical Package for the Social Sciences. cFicago: University of Chicago, Department of Political Science and National Olinion Research Center, 1970, p. 153. Unpublished Materials Andrews, L. O. "What 1 think Student Teaching Should Become." Columbus, Ohio: The Ohio State University, 1968, p. 1. (Unpublished.) Aurand, Wayne Orion. "An Experimental Study of College Music Methods Class Laboratory School Participation Experience." Unpublished Ed.D. dissertation, Uni versity of Illinois, 1964. Borg, Robert L. "An Analysis of Music Teacher Education Programs in a Select Group of Midwestern Universities and Colleges." Unpublished Ph.D. dissertation, The State University of Iowa, 1959. Cook, Oliver G. "New Trends in Secondary School General Music and Implications for Teacher Education Pro grams." Unpublished Ed.D dissertation, Columbia University, 1970. The Division of Music Education, "Music 370: Music for Elementary Teachers." Duplicated materials provided for Music 370 Instructors, The Ohio State Univer sity, 1972-73. Dorman, Phyllis E. "The Relationship Between an Analysis of Teaching Incidents as Described by Undergraduate Seniors Majoring in Music Education- in Three New York State Colleges and Taba's Theoretical Construct of the Teaching-Learning Situation." Unpublished Ph.D. dissertation, State University of New York at Buffalo, 1969. Dissertation Abstracts, Vol. 30, December 1969, 2398—A-2399—A. 256 Ehlert, Jackson K. "Selection and Education of Public School Music Teachers." Unpublished Ph.D. disserta tion, University of Colorado, Boulder, 1949, p. 383. Pierbaugh, Harry W., Jr. "The Development and Evaluation of a Series of Sound Films for Music Teacher Train ing Education." Unpublished Ph.D. dissertation, State University of Iowa, 1963. Finley, John Thornton. "A Follow-Up of the Elementary and Secondary School Music Teachers Prepared at Jackson ville State University from 1956 through 1968 through a Survey of Graduates' Opinions, College Grades, Employers' Evaluation, and Pre-College Experience." Unpublished Ed.D. dissertation, George Peabody Col lege for Teachers, 1969. Gelvin, Miriam Pearl. "A Comparative Analysis of the Preparation and Practices in Student Teaching in Music." Unpublished Ph.D. dissertation, Northwestern University, 1956. King, Carl Darlington. "The Conservation of Melodic Pitch Patterns by Elementary School Children as Determined by Ancient Chinese Music." Unpublished Ph.D. dissertation, The Ohio State University, 1972. Kirk, Coleen Jean. "Guides for Improving the Student Teaching Experience in Musdc Education at the Univer sity of Illinois." Unpublished Ed.D. dissertation, Teachers College, Columbia University, 1953. Laxson, Robert Charles. "An Analysis of the Olinions of Selected Chico State College Graduates Regarding the Adequacy of Their Preparation to Teach Music." Unpublished Ph.D. dissertation, Northwestern Univer sity, 1966. Dissertation Abstracts, Vol. 27, Feb ruary, 1967, 2553-A-2554—A. Lee, Cecil Loran. "Developing Patterns of the Undergradu ate Music Education Curriculum in the United States." Unpublished Ph.D. dissertation, Brigham Young Univer sity, 1966. McDonald, Dorothy Taylor. "The Identification of Elemen tary School Children's Musical Concepts as a Function of Environment." Unpublished Ph.D. dissertation, The Ohio State University, 1970. 257 McMillen, Judith A. "A Feasibility Study of a Self- Paced Performance-Based, Laboratory-Centered Music Fundamentals Course for Prospective Elementary Class room Teachers.” Unpublished Ph.D. dissertation, The Ohio State University, 1971. Meyer, Lillian E. "Preparation of Instructional Units Capable of Accomplishing Specified Changes in Musical Behavior of Students.” Unpublished Ed.D. disserta tion, University of Miami, 1971. Mita, Setsuko. ”A Comparative Study of the Preparation of School Music Teachers in Japan and the United States." Unpublished Ph.D. dissertation, Michigan State Uni versity, 1957. Nolin, Wallace H. "Patterns of Teacher-Student Interac tion in Selected Junior High School General Music Classes.” Unpublished Ph.D. dissertation, The Ohio State University, 1970. Patrick, Nelson G. "A Comparative Study of Music Educa tion in Texas Four-Year Colleges and Universities." Unpublished Ed.D. dissertation, University of Texas, 1955. Pence, John R. "Theoretical Consideration and Illustra tive Approach in Professional Education Courses for Teachers of Music." Unpublished Ed.D. dissertation, University of Illinois, 1962. Raessler, Kenneth Ray. "A Comparative Study of Music Course Requirements and Professional Laboratory Ex periences of Undergraduate Programs in Music Educa tion in Selected Colleges and Universities in Pennsylvania, Maryland and New Jersey." Unpublished Ph.D. dissertation, Michigan State University, 1967, p. 81. Sarvis, Georgia Loper. "An Investigation of the Nature and Conditions of Music Education Courses in Teacher Training Programs in Selected Universities in the United States." Unpublished Ph.D. dissertation, University of Oregon, 1969. Dissertation Abstracts, Vol. 31, September 1970, 1124-A-1125-A. t 258 Schambaugh, Robert Franklin. "A Comparison of the Com petencies Necessary to Teach Elementary General Music Education and the Measured Competencies of Elementary Classroom Teachers." Unpublished Ed.D. dissertation, University of Colorado, 1960. Steg, Oal Walter. "Student Teaching for Music Majors." Unpublished Ph.D. dissertation, Northwestern Univer sity, 1948. Surplus, Robert Wilbur. "The Role of Student Teaching in the Pre-Service Education of Music Majors." Unpub lished Ed.D, dissertation, Columbia University, 1968. Tabor, Malcolm Leonard. "A Survey and Evaluation of Selected Student Teaching Programs in Music Educa tion. " Unpublished Ph.D. dissertation, University of Southern California, 1955. Wilson, George Hugh. "The Study of Professional Music Education at The Ohio State University." Unpub lished Ph.D. dissertation, The Ohio State Univer sity, 1958. Young, Lyle. "Guide to Professional Laboratory Experi ences in the Education of Music Teachers." Unpub lished Ed.D. dissertation, Teachers College, Columbia University, 1961.