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DCCUMENT RESUME ED 033 96E 24 TE 499 924 AUTHOF 2ufftrunn, Karen Lee Fanta TITLE Effects cf a Listening ircgram in Contemporary Music Upon the Appreciaticn by Junicr High Scheel Students of Representative Literature of Cther Periods. Final Repert. INSTITUTICN California Univ., Eerkeley. Spcns Agency Cffice cf Education (DHEN), Washington, D.C. Eureau cf Research. 3ureau Nc ER-7-I-CS3 Plt Date Sep 68 Grant CEG-S-8-07C0S3-0C37-010 Ncre 128p. EDRS Price ELFS Price MF-$0.75 HC-$6.5C Descriptors Cultural Awareness, Cultural Education, *Cultural Enrichment, Disadvantaged Youth, Enrichment Programs, Fine Arts, Jazz, *Junior High School Students, *Listening Skills, Music Appreciaticn, *Music Education, Secondary Educaticn, *Transfer cf Training Abstract A study was conducted to deterffine the effect cf a taped, guided listening program cfcontemporary music cn students' understanding of ether styles ofmusic. Of the 72C students selected for the study frcff San Francisco junicr high schccls, 226 wereplaced in an experimental grcup which received 18 one-half hcurtaped listening lessens cf 20th-century art music, 132received Lecnard Eqrnstein's taped listening lessons,which did not include ccntemperary ffusic, 201 were placed ingeneral music classes and did nct receive a listeningexperience, and 161 served as a zero centre' groupwhich was nct exposed tc musical instruction and whichprovided a baseline for assessing students' aestheticjudgffents. The Kyme Test of Aesthetic Judgments inMusic was administered before and after the c weeks of instruction.Analysis of Covariance was made of the data. Results indicatedthatA1) knowledge gained through the study cf contemporarymusic was nct transferred tc musicof the past, and(2) the 20th-century art music prcgram had greatest successin inner-city "deprived" schools. (Author/ME) U.S. DEPARTMENT OF HEALTH,EDUCATION & WELFARE OFFICE OF EDUCATION REPRODUCED EXACTLY AS RECEIVEDFROM THE .THIS DOCUMENT HAS BEEN POINTS OF VIEW OR OPINIONS PERSON OR ORGANIZATIONORIGINATING IT. REPRESENT OFFICIAL OFFICE OFEDUCATION STATED DO NOT NECESSARILY POSITION OR POLICY. FINAL REPORT Project No. 7-1-093 Contract No.OEG-9-8-070093-0037-(010) EFFECTS OF A LISTENING PROGRAM INCONTEMPORARY MUSIC UPON THE APPRECIATION BY JUNIOR HIGHSCHOOL STUDENTS OF REPRESENTATIVE LITERATURE OF OTHER PERIODS by Karen Lee Fanta Zumbrunn University of California Berkeley, California September 1968 The research reported herein wasperformed pursuant to a contract with the Office of Education, U.S.Department of Health, Education, and Welfare. Contractors undertaking such projectsunder Government sponsor- ship are encouraged to express freely theirprofessional judgment in the conduct of the project. Points of view or opinions do not,therefore, necessarily represent official Office ofEducation position or policy. U.S. DEPARTMENT OF HEALTH, EDUCATION, AND WELFARE Office of Education Bureau of Research CONTENTS Page LIST OF TABLES iv ACKNOWLEDGMENTS Chapter I. INTRODUCTION 1 Statement of the Problem Hypothesis to be Tested Background and Need for the Study II. REVIEW OF RELATED LITERATURE 8 Introduction Types of Listeners Effects of Repetition Influence of Age, Sex, Socio-Economic Background, Other Factors Nature of Enjoyment Radio and Music Listening Research on Jazz Further Implications III. PROCEDURES 31 General Design of the Experiment Population and Sample The Experimental Music Listening Curriculum The Control Listening Curriculum The Instrument of Evaluation IV. RESULTS AND FINDINGS 42 V. CONCLUSIONS AND INTERPRETATIONS 47 VI. SUMMARY 56 BIBLIOGRAPHY 60 APPENDIX A. The Twentieth Century Art Music Curriculum 65 B. The Control Listening Curriculum 108 C. The Kyme Test of Aesthetic Judgments in Music . 112 Eric Document Resume LIST OF TABLES TABLE PAGE 1. Alameda County 33 2. Musical Selections Used in the Experimental Study 36 3. Total Score, 4-65 44 4. Score 4-50 145 5. Score 51-65 46 iv ACKNOWLEDGMENTS The writer wishes to acknowledge the guidance of her co-sponsors, Dr. George Kyme and Professor James L. Jarrett, and to express appre- ciation for their interest, support, and assistance in this study. The writer expresses her thanks to the late Professor Arden K. Ruddell and Professor Joaquin Nin-Culmell for their helpful suggestions as members of the committee supervising the study. The writer is indebted to her brother, Andy Fanta and to James Crawford for their generous loan of records used in this study; to Gail Gilbreath, Dave Angle, and the staff of the Ohio State University recording studio for the professional taping of the listening materials; to Paul Marshall for his interest and encouragement in this undertaking; andto the Southwestern Region of the Soroptimist Federation for their assistance and confidence in this project. Teachers and principals of schools participating in this study were cooperative, enthusiastic and helpful. The important contribution of my husband John, by his patience, assistance, and understanding cannot be fully expressed. To John, Mimi, Dad vi CHAPTER I - INTRODUCTION Statement of the Problem The purpose of this research was to study the effects ofa taped, guided listening program in twentieth century art musicupon the under- standing by junior high school students of other styles of music. Specifically, it was postulated that junior high school studentsre- ceiving guided, analytical listening in twentieth centuryart music would show a greater understanding of representative works fromthe seventeenth, eighteenth, and nineteenth centuries,as measured on a test of aesthetic judgments in music than students receiving other listeninginstruction, other music instruction, or a zero control group not exposed tomusic instruction. Hypothesis to be Tested It was hypothesized that there would beno significant differences among the four treatment groups, namely, (1) the experimentalgroup which would receive guided, taped listening lessons totwentieth century art music, (2) the control group which would receive Leonard Bernsteintaped listening lessons, exclusive of twentieth century art music, (3)the control group consisting of general music classes which would not receive a guided listening experience, and (Li) the zero controlgroup which would not be exposed to musical instruction. Background and Need for the Study The idea of guiding music listening arrived with thechanging and expanding music public of the eighteenth century. Since that time, in- struction in music appreciation has been justified inpart on the basis of the public's desire for it. Musicians and teachers also felta need to provide guidance in listening. Music appreciation, in the form of listening experiences, appeared in the school musiccurriculum during the first two decades of the twentieth century. During the 1920's, music supervisors designed highly structuredcourses in music appreciation for teaching by elementary classroom teachers.These curricula attempted to build a listening repertoire for children throughthe study of "suitable" compositions. By the 1930's, a growing distrust of music appreciationas it had been taught resulted in its declineas a curricular subject. Many teachers felt there had been an excessive emphasisupon intellectualization of the listening experience. Thus, there was a growing tendency to consider music listening as primarilya means of enjoyment. Until almost J950, music appreciation in theschools existed primarily as a subject to be related to other musical and non-musicalareas. Since the late 1950's and early 196u's, however,there has been renewed interest in providing significant listening activitiesfor all students. There is I., a continuing and growing awareness of the importance of listening to music with discrimination and understanding. "Too often music is viewed as something less than a fine art," wrote James Jarrett in the Music Educators Journal, "In calling music a fine art, we distinguish it as an aesthetic art from (a) practi- cal arts like driving a car or writing shorthand, from (b) merely enter- taining arts like juggling and tight rope walking, from (c) athletic arts like basketball and squeak, and from (d) minor aesthetic arts like cake decorating and cosmetics."'One conclusion of the 1968 Music Educators National Conference biennial convention of 1968 was the re- affirmation of the need to teach music as a fine art, not as something peripheral to the curriculum. Music education today aims at developing a "knowledgeable" audience. "While liking or disliking a piece of music is the prerogative of the student, his decision should be based on knowledge of the music. Music education thuR should help students base their musical choices on defensible values." 4Listening must be regarded as another learning activity, not as a means of relaxation and recreation after the rigors of other studies. The Yale Seminar on Music Education stated: Of the three main components of the curriculum, composing, performing, and listening, perhaps the moat difficult one for the teachers to guide is listening. Defenders of a listening program acknowl- edge that so far it seems to have had little success below the college level, but they attribute this to a lack of proper classroom guidance, due in turn to insufficient knowledge and skill on the part of the teachers.3 One of the primary objectives of the junior high school music program should be to provide opportunities for students to become discerning listeners. The vast majority of students will be primarily consumers, music listeners, for the rest of their lives.