DOCSLIB.ORG

A Comparison of Preference Responses of White and African

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A Comparison of Preference Responses of White and African Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1995 A Comparison of Preference Responses of White and African-American Students to Musical Versus Musical/Visual Stimuli and Their Relationship to Same- And Other Group Attitudes. Steven Joseph Morrison Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Morrison, Steven Joseph, "A Comparison of Preference Responses of White and African-American Students to Musical Versus Musical/Visual Stimuli and Their Relationship to Same- And Other Group Attitudes." (1995). LSU Historical Dissertations and Theses. 6038. https://digitalcommons.lsu.edu/gradschool_disstheses/6038 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. A Bell & Howell Information Company 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 A COMPARISON OF PREFERENCE RESPONSES OF WHITE AND AFRICAN-AMERICAN STUDENTS TO MUSICAL VERSUS MUSICAL/VISUAL STIMULI AND THEIR RELATIONSHIP TO SAME- AND OTHER-GROUP ATTITUDES A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The School of Music by Steven J. Morrison B.M., N orthw estern University, 1986 M.M., University of Wisconsin - M adison, 1988 August 1995 OMI Number: 9609112 UMI Microform 9609112 Copyright 1996, by OMI Company. All rights reserved. This microform edition is protected against unauthorized copying under Title 17, United States Code. UMI 300 North Zeeb Road Ann Arbor, MI 48103 ACKNOWLEDGMENTS This research effort would have been little more than idle speculation without the invaluable assistance of the students of Golden Meadow Junior High School, Golden Meadow Middle School, Lowery Middle School, Maitland Elementary School, Oaklawn Junior High School, Port Allen Middle School, Sherwood Middle School and University High School, along with their generous and helpful teachers Claire Waistell, Ronald Washington, Philip Lanier, Denise Roper, Sheila Brooks, Courtney Murrow, Penny Hallman, Scott Norton and Patty Speaks. No student could hope for a doctoral committee more sincerely interested and helpful than the one with which I was fortunate enough to work. My endless thanks to James Byo, Jane Cassidy, Joyce Jackson and Frank Wickes. With such a supportive and knowledgeable group of individuals behind me, it would have been difficult not to succeed. It would be impossible to give enough credit to Cornelia Yarbrough who, through untiring effort, succeeded in shaping not only my present written endeavor but myself as well. I will spend the rest of my professional career trying to repay my debt to her. And, finally, it has always and sometimes only been through the support of my parents that I have been able to even aspire to each of my goals. Their unfailing love and support far overshadows any achievement I could ever hope to attain. TABLE OF CONTENTS Page ACKNOWLEDGMENTS....................................................... ii LIST OF TABLES................................................................................................... v LIST OF FIGURES................................................................................................. v ii ABSTRACT ........................................................................................................... viii CHAPTER 1 INTRODUCTION AND REVIEW OF LITERATURE 1 Introduction.................................................................................... 1 Ethnicity and the Theoretical Model of Music Preference................................................................ 1 Review of Literature...................................................................... 6 Ethnicity and Attitude............................................................ 7 Preference as an Indicator of Attitude........................... 7 Interaction as an Indicator of Attitude......................... 11 Use of Ethnically Specific Instructional Materials ... 14 Role-modeling....................................................... 17 Ethnicity and Preference........................................................ 20 Extra-musical Influences on Preference Responses.. 20 Ethnically Neutral Stimuli.............................................. 23 Ethnically Specific Stim uli.............................................. 25 S um m ary.................................................................................... 31 2 METHOD........................................................................................... 35 S u b jects............................................................................................. 35 Attitude Survey.............................................................................. 36 Musical Examples.......................................................................... 38 Photographic Slides........................................................................ 41 Preference Forms............................................................................ 42 Procedure........................................................................................... 47 Pilot D ata ........................................................................................... 48 3 RESULTS.......................................................................................... 51 Preference Responses.................................................................... 51 Free Preference Responses .......................................................... 64 Attitude Responses........................................................................ 68 Preference and Attitude Correlation......................................... 75 S u m m ary........................................................................................... 77 iii 4 DISCUSSION AND CONCLUSIONS....................................... 79 P reference........................................................................................ 79 White Subjects.......................................................................... 79 African-American Subjects.................................................... 82 Comparison of White and African-American Subjects' Responses............................................................ 85 A ttitu d e............................................................................................. 89 Relationships Between Preference and Attitude................... 92 Implications of the Findings and Recommendations for Further Study...................................................................... 94 Summary and Conclusions.......................................................... 98 REFERENCES......................................................................................................... 102 PHOTOGRAPHIC CREDITS.............................................................................. 110 RECORDING CREDITS....................................................................................... I ll APPENDICES A SOCIAL SITUATION INVENTORY........................................ 112 B PREFERENCE FORMS................................................................. 117 C PILOT FOLLOW-UP SURVEY.................................................... 126 D RAW PREFERENCE DATA......................................................... 128 E RAW ATTITUDE DATA ............................................................. 144 VITA......................................................................................................................... 160 i v LIST OF TABLES Table Page 2.1. Musical E xam ples...................................................................................... 41 2.2. Distribution of Selected P hotographs..................................................
Load more

Recommended publications
  • A Delphi Study: Exploring Saudi Faculty and Student Perceptions of the Factors Promoting Nursing Student Retention and Success
    A DELPHI STUDY: EXPLORING SAUDI FACULTY AND STUDENT PERCEPTIONS OF THE FACTORS PROMOTING NURSING STUDENT RETENTION AND SUCCESS A dissertation submitted to the Kent State University College of Nursing in partial fulfillment of the requirements for the degree of Doctor of Philosophy by Homood A. Alharbi August 2015 Dissertation written by Homood A Alharbi Diploma in Nursing, Burraidah Health Institute, Saudi Arabia, 1999 B.S.N., The University of Jordan, Jordan, 2004 M.S.N., Griffith University, Australia, 2006 Ph.D., Kent State University, USA, 2015 Approved by ________________________, Chair, Doctoral Dissertation Committee Barbara L. Drew ________________________, Member, Doctoral Dissertation Committee Carol A. Sedlak ________________________, Member, Doctoral Dissertation Committee Carolyn J. Murrock ________________________, Member, Doctoral Dissertation Committee Martha C. Merrill ________________________, Member, Doctoral Dissertation Committee Alicia Crowe Accepted by ________________________, Director, Joint Ph.D. in Nursing Program Mary K. Anthony _______________________, Dean, College of Nursing Barbara Broome ii © Copyright, 2015 by Homood A Alharbi All Rights Reserved iii DEDICATION I dedicate this work to all those who supported my educational efforts over the years including: my caring parents, my loving wife, my wonderful children, my brothers and sisters, and my deceased brothers. iv ACKNOWLEDGEMENTS I would like to thank the many people behind this work. I would like to send my sincerest appreciation to my dissertation advisor, Dr. Barbara L. Drew who was a tireless supporter of this research from the beginning, reading draft after draft. Special thanks and acknowledgements to my dissertation committee: Dr. Carol A. Sedlak, Dr. Carolyn J. Murrock, and Dr. Martha C. Merrill; and my graduate faculty representative, Dr.
    [Show full text]
  • Summer Mustang, July 6, 1995
    CALIFORNIA POLYTECHNIC STATE UNIVERSITY SAN LUIS OBISPO Su m m e r M ustang JULY 6,1995 VOLUME UX, No. 137 THURSDAY Vice President Koob picked Collectin' Spinnin' Tops to head-up his alma mater; to bid farewell next month By Mldiosl Koufmos torate, also in chemistry, from Sum m a Staff Writer the University of Kansas. Kouu was chair of the Cal Poly will lose one of its chemistry department at NDSU senior administrators to the for six years and chair of the ^ r V I University of Northern Iowa physics department there before next month. he was promoted to vice presi­ Senior Vice President and dent^______ Vice President for Academic Af­ fairs Robert D. Koob will return Koob was selected for the to his alma mater on August 15, after being selected as UNI’s position for his excellence in ¿ ^ ^ «Í' next president. ^ V I ' Koob was selected for the leadership and communication position by the Iowa State Board of Regents for his excellence in abilities. leadership and his communica­ V 1 tion abilities, according to In a written statement. Presi­ m ^ / S . I Regents President Marvin dent Baker commented on Koob’s Pomerantz. service record at Cal Poly. Before coming to Cal Poly in “Bob’s great energy, intel­ 1990, Koob, 53, was vice presi­ ligence and skill have been of dent of academic affairs at North enormous benefit to Cal Poly," V ** *♦ ■ Dakota State University (NDSU) the statement said. "He has in Fargo, N.D. from 1985-90. He provided strong academic leader­ served as the university’s inter­ ship and helped the university im president for a year of that move forword under the most dif­ period.
    [Show full text]
  • Model Music Curriculum: Key Stages 1 to 3 Non-Statutory Guidance for the National Curriculum in England
    Model Music Curriculum: Key Stages 1 to 3 Non-statutory guidance for the national curriculum in England March 2021 Foreword If it hadn’t been for the classical music played before assemblies at my primary school or the years spent in school and church choirs, I doubt that the joy I experience listening to a wide variety of music would have gone much beyond my favourite songs in the UK Top 40. I would have heard the wonderful melodies of Carole King, Elton John and Lennon & McCartney, but would have missed out on the beauty of Handel, Beethoven and Bach, the dexterity of Scott Joplin, the haunting melody of Clara Schumann’s Piano Trio in G, evocations of America by Dvořák and Gershwin and the tingling mysticism of Allegri’s Miserere. The Model Music Curriculum is designed to introduce the next generation to a broad repertoire of music from the Western Classical tradition, and to the best popular music and music from around the world. This curriculum is built from the experience of schools that already teach a demanding and rich music curriculum, produced by an expert writing team led by ABRSM and informed by a panel of experts – great teachers and musicians alike – and chaired by Veronica Wadley. I would like to thank all involved in producing and contributing to this important resource. It is designed to assist rather than to prescribe, providing a benchmark to help teachers, school leaders and curriculum designers make sure every music lesson is of the highest quality. In setting out a clearly sequenced and ambitious approach to music teaching, this curriculum provides a roadmap to introduce pupils to the delights and disciplines of music, helping them to appreciate and understand the works of the musical giants of the past, while also equipping them with the technical skills and creativity to compose and perform.
    [Show full text]
  • Exploration of Urban Extension County Offices: Identifying Patterns of Success Using a Modified Delphi and Case Study
    Copyright by Warren Jack Kerrigan, Jr. 2005 ABSTRACT The Cooperative Extension Service was established in 1914 when the United States of America was a predominantly agrarian society. America’s population according to the 2000 U.S. Census data is 79 percent urban. Extension’s urban county offices provided educational programs to address the needs and issues of contemporary urban life. The practices of urban county offices are becoming increasingly important to the future of the Cooperative Extension Service system. The purpose of this study was to identify current practices and project the patterns of success in urban Extension for the next two to five years (2007 – 2010) A case study and a Modified Delphi technique, descriptive research designs, were used for this exploratory study. The case study site was purposefully selected based on its reputation as an exemplary urban office. The staff of this office was interviewed about office operations and programming, programs were observed, and marketing materials and educational documents were analyzed to provide input into the statements used in the Modified Delphi survey instrument. The case study provided a baseline of current practice. A purposeful sample of Extension professionals and experts across the United States was selected to serve as the panel of experts in three rounds of the Modified Delphi. The study was conducted utilizing a web-based survey instrument, ii which allowed prompt responses to statements and rapid analysis of the data. The case study participants were interviewed in a focus group for reactions to the statements used in the Modified Delphi, providing the practitioners’ perspective in reaction to the Delphi panel’s recommendations.
    [Show full text]
  • Media Culture: Cultural Studies, Identity and Politics Between The
    Media Culture Media Culture develops methods and analyses of contemporary film, television, music, and other artifacts to discern their nature and effects. The book argues that media culture is now the dominant form of culture which socializes us and provides materials for identity in terms of both social reproduction and change. Through studies of Reagan and Rambo, horror films and youth films, rap music and African- American culture, Madonna, fashion, television news and entertainment, MTV, Beavis and Butt-Head, the Gulf War as cultural text, cyberpunk fiction and postmodern theory, Kellner provides a series of lively studies that both illuminate contemporary culture and provide methods of analysis and critique. Many people today talk about cultural studies, but Kellner actually does it, carrying through a unique mixture of theoretical analysis and concrete discussions of some of the most popular and influential forms of contemporary media culture. Criticizing social context, political struggle, and the system of cultural production, Kellner develops a multidimensional approach to cultural studies that broadens the field and opens it to a variety of disciplines. He also provides new approaches to the vexed question of the effects of culture and offers new perspectives for cultural studies. Anyone interested in the nature and effects of contemporary society and culture should read this book. Kellner argues that we are in a state of transition between the modern era and a new postmodern era and that media culture offers a privileged field of study and one that is vital if we are to grasp the full import of the changes currently shaking us.
    [Show full text]
  • Andy Warhol 'Jean-Michel Basquiat'
    Basquiat Boom for Real 2 Introduction 4 New York /New Wave 9 SAMO© 12 Canal Zone 15 The Scene 20 Downtown 81 22 Beat Bop 25 Warhol 33 Self-Portrait 36 Bebop (Wall) 40 Bebop (Vitrine) 42 Art History (Wall) 45 Art History (Vitrine) 46 Encyclopaedia (Walls) 52 Encyclopaedia (Column) 55 Encyclopaedia (Vitrine) 57 Notebooks 59 The Screen 64 Interview Jean-Michel Basquiat was one of the most significant artists of the 20th century. Born in Brooklyn in 1960, to a Haitian father and a Puerto Rican mother, he grew up amid the post-punk scene in lower Manhattan. After leaving school at seventeen, he invented the character ‘SAMO©’, writing poetic graffiti that captured the attention of the city. He exhibited his first body of work in the influential group exhibition ‘New York/New Wave’ at P.S.1, Institute for Art and Urban Resources, Inc., in 1981. When starting out, Basquiat worked collaboratively and fluidly across media, making poetry, performance, music and Xerox art as well as paintings, drawings and objects. Upstairs, the exhibition celebrates this diversity, tracing his meteoric rise, from the postcard he plucked up the courage to sell to his hero Andy Warhol in SoHo in 1978 to one of the first collaborative paintings that they made together in 1984. By then, he was internationally acclaimed – an extraordinary feat for a young artist with no formal training, working against the racial prejudice of the time. In the studio, Basquiat surrounded himself with source material. He would sample from books spread open on the floor and the sounds of the television or boom box – anything worthy of his trademark catchphrase ‘boom for real’.
    [Show full text]
  • 2020 Annual Report
    2020 Annual Report 1 Contents 4-5 Letters from KConnect Leadership 6 Accountability Partners Council KConnect Structure 7 Frequently Asked Questions What Does KConnect do? 8 - 9 The KConnect Workplan Our Success Measures 10 - 11 Report Card 2020 Data 12 - 15 Equity in COVID-19 A Discussion with a Panel of Experts 16 - 19 Housing The Housing Stability Alliance 20 - 21 Doulas Day One Doula Collective 22 - 27 Network Member Listing 2 3 Letter From The President BOARD OF work that has been established. My TRUSTEES purpose or ‘my why’ behind this work is closely tied to my upbringing. I am the Andrew Brower son of Mexican immigrants and grew up W.K. Kellogg Foundation in low-income housing and a struggling school system in California. My parents Lynne Ferrell moved to Grand Rapids when I was in Frey Foundation my first year of high school. We were Krista Flynn fortunate enough to purchase a home TCF Bank near Northview High School, where Cle Jackson I learned quickly that not all school districts are created equal. My change in Blue Cross Blue Shield Michigan education, neighborhood, and community Dr. Juan Olivarez networks helped me learn first-hand how Andrew Brower, Teresa Weatherall Neal, Dorothy A. Johnson Center important it is to invest in ALL students KConnect Board of Trustees Co-Chair KConnect Board of Trustees Co-Chair Salvador Lopez, President for Philanthropy and work collectively to create a system Photo by Isabel Garcia Kevin Polston that provides students with a high quality Letter From the Co-Chairs Godfrey-Lee Public Schools Hello! For those of you who have not met education and experience, no matter their race, gender, or socio-economic status.
    [Show full text]
  • Press Release
    Press release The Guggenheim Museum Bilbao presents on July 3, 2015 Jean-Michel Basquiat: Now’s the Time Sponsored by Iberdrola is pleased and proud to support the Guggenheim Museum Bilbao's production of Jean-Michel Basquiat: Now's the Time, one of the most important exhibitions ever devoted to this American artist and the first thematic examination of his output. Though Basquiat was only active for a brief period in the 1980s, he produced one of the most remarkable bodies of work of the 20th century, with a formal and conceptual appeal that continues to fascinate audiences today. He combined images and texts in a unique style—mixing hieroglyphics and comics, high and low culture—to present a revealing vision of the world tinged with pain. Basquiat’s creations are manifestos that denounce inequality, racism, prejudice, and discrimination and defend the values of freedom, dignity, and respect. His art is steeped in music and poetry, harmoniously combining elements of everyday life with classic works of art, literature and music, anatomical drawings, and references to the world of sports, history (especially Afro-American history), life and death. Throughout his brief, precocious career, Basquiat never stopped creating. Once, when asked about his prolific output, the artist replied that he simply did not know what else to do with himself. In other words, for him art was a necessity. We hope and trust that visitors who come to the Guggenheim Museum Bilbao will enjoy this exhibition, a tribute to Basquiat’s brilliant and meteoric career. I congratulate the Museum and everyone who made it possible for this show to travel from Ontario, Canada, to our city, giving us a chance to enjoy the extraordinary work of this artist and takes its social message to heart.
    [Show full text]
  • Kynan Robinson Thesis
    The Making and Placing of The Escalators Kynan Robinson (BA, BMus, Grad. Dip. Ed.) QUT Creative Industries Master of Arts (Research) 2009 Key Words The Escalators, Kynan Robinson, sampling, stasis, minimalism, David Lynch, structured improvisation, memory, rule based composition, Australian music, improvising music, linear composition. ii Abstract The band The Escalators together with the music uniquely composed for it and a subsequent CD and DVDs was the work that emerged from my period of research. The areas of interest that were investigated were sampling, minimalism, stasis, the work of David Lynch, as well as a desire to produce new and innovative music. The above concepts defined the bands composition and makeup. While each may be regarded as a discreet concept with its own boundaries in my work they seamlessly intermingle resulting in that which is unique to The Escalators sound. The research methodology used for this work was practice led research. iii Contents List Of Illustrations 2 List Of Supplementary Works 3 Statement Of Originality 4 List Of Acknowledgement 5 1. Introduction 6 2. My Work Now, The Making and Placing of The Escalators 7 2.1 Sampling and Memory 8 2.2 Minimalism, Clock Time, Stasis and Repetition 13 2.3 Rule Based Composition/Structured Improvising 17 2.4 Creation of the Atmosphere/Ideas Generated From Investigating David Lynch’s Film and TV Work 20 3. The Process 25 4. Historical Context of My Work 28 5. Conclusions and Moving Forward 33 6. Appendixes 1 Explanation and Evaluation of the Individual Pieces 37 2 Performance Evaluation 40 3 Personal Composition Diary 43 4 Mixing and Recording Notes 46 5A Log Lady 48 5B Uncle Bob 50 5C Blue Fire 51 5D James Boy On A Motorcycle 53 5E The Great Northern 56 7.
    [Show full text]
  • Cmp Red Rock.Pdf
    Corridor Management Plan – Table of Contents 4.0 Evaluation of Intrinsic Qualities................. 23 4.1 Definitions and Standards................................. 23 4.2 Archaeological................................................. 24 4.3 Cultural........................................................... 25 4.4 Historic........................................................... 29 4.5 Natural............................................................ 30 4.5.1 Hydrology.............................................................. 30 4.5.2 Climate.................................................................. 30 4.5.3 Soils and Vegetation.............................................. 31 4.5.4 Wildlife.................................................................. 34 4.5.5 Special Status Species............................................ 35 4.5.6 Paleontological Resources...................................... 35 4.6 Recreational.................................................... 35 4.6.1 Trails..................................................................... 36 4.6.2 Other Recreational Opportunities........................... 39 4.7 Scenic............................................................. 39 4.7.1 Corridor Overview: Red Rock Country................... 40 4.7.2 Maps of Existing Scenic Resources......................... 44 ii 4.7.3 Visual Assessment from 1986 Scenic Road Application Report................................................. 48 4.7.4 U.S. Forest Service Visual Quality Objectives.......... 49 4.7.5
    [Show full text]
  • Providing Educational Opportunities to Sex Workers
    ABSTRACT In most industries today, workers and their employers take for granted that they will continue to learn more about their career fields. They expect to hone their skills, practice new approaches, and learn about the latest technologies and research advances. However, it is not readily apparent that sex workers have an awareness of continuing education being available for their types of work. This dissertation researches the existing educational opportunities for sex workers and provides an overview of who offers what. Various organizations, private websites, workshops, videos, health clinics, therapists, conferences and other sources, offer education of various kinds, and for various reasons. This dissertation then surveys 150 sex workers’ attitudes toward career-related education, their levels of interest, and exactly what they’re interested in learning. Results are tabulated by job description, level of industry experience, and age of the respondents. The overall response was highly favorable toward education. The most popular course topics (out of 28 choices) were, in order, Legal Issues, Career Enhancement, Financial Advice, Super Sex Technologies, Self Defense, and the History of Sex Work. The classes least of interest were, in order, Advanced Safer Sex Techniques, Building Self Esteem, and How to Be A Better Lover. Next a focus group of sex workers and sex worker educators was assembled. The survey results were shared with this panel of experts who analyzed and discussed them. The group first noticed that the most popular classes were similar to those that would also be of most interest to self-employed individuals in other industries: career-specific skills, and classes in marketing, legal and financial issues.
    [Show full text]
  • REMY SHAND: CANADIAN SOULMAN Introduction
    REMY SHAND: CANADIAN SOULMAN Introduction Remy Shand is a 24-year-old musician from away after their first commercial success. Winnipeg who has struck it big—a big-time The intense competition and often ruthless record deal. His debut album, recorded in the marketing cannot be underestimated. More basement of his parents’ home, was passed than ever before, major label companies are around to friends and acquaintances for struggling with declining sales as the public feedback. Before he knew it he had a record turns away from “megastars” who have deal with Universal Music Canada and had traditionally generated the bulk of profits for signed a contract with Motown in the United the companies. States. He is the first Canadian ever signed Given the difficulty of winning recording by Motown, and it appears his album, The contracts with the major labels, more and Way I Feel, is going to do very well. The more artists are releasing their albums inde- album debuted at No. 1 in Canada, unseating pendently, something fraught with a great Alanis Morrisette. In the U.S., a market few deal of financial risk. Canadians have been able to successfully Remy Shand, like many Canadian artists, crack, the album debuted at No. 39, with is exceptionally talented, but the fact that he 30000 units sold on little more than word of has been signed in the U.S. is the key to his mouth. One month later, in April 2002, over big break. Although the Canadian music 270 000 units had been sold and the album industry is thriving, once again we have an was in the Top 40.
    [Show full text]