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A Study of the Development of Musicality in the Junior High School and the Contribution of Musical Composition to This Development

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A Study of the Development of Musicality in the Junior High School and the Contribution of Musical Composition to This Development R E P O R T RESUMES ED 01532 24 EA 000 938 A STUDY OF THE DEVELOPMENT OF MUSICALITY th THE JUNIOR HIGH )5 SCHOOL AND THE CONTRIBUTION OF MUSICAL COMPOSITION TO THIS DEVELOPMENT. FINAL REPORT. BY- KYME, GEORGE CALIFORNIA UNIV., BERKELEY REPORT NUMBER CO-H-254 PUB DATE JUL 67 REPORT NUMBER BR-5-0247 CONTRACT OEC-6-10-164 ECRS PRICE MF-$1.25 HC-$11.88 295P. DESCRIPTORS- *MUSIC EDUCATION, *JUNIOR HIGH SCHOOLS. *MUSIC READING, INSTRUCTIONAL MATERIALS, *CURRICULUM DEVELOPMENT, CREATIVE ACTIVITIES, EVALUATION, TESTS,*LISTENING SKILLS, FILMS, TAPE RECORDINGS, PERFORMANCE, TEACHING PROCEDURES, TEST CONSTRUCTION, TEST RELIABILITY, HUMANITIES, BIBLIOGRAPHIES, MUSIC ACTIVITIES, BERKELEY, DEFINING MUSICALITY AS THE ABILITY TO GRASP A MUSICAL IDEA IN ITS TOTALITY, THIS RESEARCH INVESTIGATED THE RELATIVE EFFECTIVENESS OF MUSICAL PERFORMANCE (BOTH ORCHESTRAL AND CHORAL), GUIDED LISTENING, MUSIC READING, AND MUSICAL COMPOSITION AS MEANS OF DEVELOPING SUCH MUSICALITY. THE INSTRUMENT OF EVALUATION WAS A TEST OF AESTHETIC JUDGMENTS IN MUSIC DERIVED FROM THE WING, HEVNER, GORDON, AND KYME TESTS OF MUSICALITY WHICH ARE EMPIRICALLY VALIDATED WITH TEACHER RATINGS OF PUPILS. NINE JUNIOR HIGH SCHOOLS COMPRISED THE SAMPLE. THE 3,083 STUDENTS PARTICIPATING INCLUDED A ZERO CONTROL SAMPLE OF 671 STUDENTS WHO TOOK NO MUSIC CLASSES DURING THE TIME OF EXPERIMENT, AN EXPERIMENTAL SAMPLE OF 555 WHO WERE TAUGHT COMPOSITION, 645 ORCHESTRA STUDENTS, 737 CHORAL STUDENTS, 405 WHO PARTICIPATED IN GUIDED LISTENING, AND 70 STUDENTS CLASSED AS A MUSIC READING CONTROL. THE STATISTICAL TREATMENT OF THE DATA (PRE- AND POST-INSTRUCTION TEST SCORES) UTILIZED AN ANALYSIS OF COVARIANCE. THE EXPERIMENTAL SAMPLE SHOWED SIGNIFICANT GAINS COMPARED TO THE ZERO CONTROL (F VALUE=54.47), THE CHORAL SAMPLE (F=29.42), . AND THE LISTENING CONTROL (F=11.78). THE GAINS OF THE ORCHESTRAL AND CHORIC READING SAMPLES WERE NOT SIGNIFICANTLY DIFFERENT FROM THOSE OF THE EXPERIMENTAL. ANALYSIS OF DATA. SCHOOL BY SCHOOL, REVEALED THAT MUSICAL COMPOSITION IS MOST , EFFECTIVE AT HIGHER SOCIOECONOMIC LEVELS, THOUGH INSTRUMENTAL PERFORMANCE IS THE MOST UNIVERSAL EFFECTOR. THE GUIDED LISTENING PROGRAM WAS NOT PRODUCTIVE FOR SCHOOLS CLASSED AS CULTURALLY DEPRIVED. MUSIC READING WAS THE MOST EFFECTIVE LEARNING TOOL FOR THE LOWER SOCIOECONOMIC SCHOOLS. (HM) A STUDY OF THE DEVELOPMENT OF MUSICALITY IN THE JUNIOR HIGH SCHOOL AND THE CONTRIBUTION OF MUSICAL COMPOSITION TO THIS DEVELOPMENT BY GEORGE ICYME UNIVERSITY OF CALIFORNIA BERKELEY, CALIFORNIA JULY 1.967 U.S. Department of Healithi Education, and Welfare Office of Education Bureau of Research Contract No. 0E.4-10-164 Project No. H-254 FINAL REPORT Project No.H-254 Contract No.0E-6-10-164 MUSICALITY IN TEE JUNIORHIGH SCHOOL A STUDY OF TIEDEVELOPMENT OF COMPOSITION TO THISDEVELOPMENT AND THE CONTRIBUTIONOF MUSICAL July 1967 U.S. DEPARTMENTOF HEALTH, EDUCATION,AND WELFARE Office of Education Bureau ofResearch U.S. DEPARTMENT OF HEALTH, EDUCATION & WELFARE OFFICE OF EDUCATION TH1' DOCUMENT HAS BEEN REPRODUCED EXACTLY AS RECEIVED FROM THE PERSON OR ORGANIZATION ORIGINATING IT.POINTS OF VIEW OR OPINIONS STATED DO NOT NECESSARILY REPRESENT OFFICIAL OFFICE OF EDUCATION POSITION OR POLICY. A STUDY OF THE DEVELOPMENT OFMUSICALITY IN THE JUNIORHIGH SCHOOL AND THE CONTRIBUTION OF MUSICALCOMPOSITION TO THIS DEVELOPMENT Project No. H-254 Contract No. OE-6-10-164 George Kyme July 1967 The research reportedherein was performed pursuant to a contract with the Office ofEducation, U.S. Department of Health,Education,and Welfare. Contractors undertaking such projects under Governmentsponsorship are encouraged to express freely theirprofessional judgment in 'the con- duct of the project. Points of view oropinionsstated do not, therefore, necessarilyrepresent official Office of Education position, or policy. UniVersity of California Berkeley, California `." "noomMAMIli. VAIIIMBA CONTENTS Page INTRODUCTION 1 Statement of the Problem 3 Hypothesis Background 4 Proposed Instrument of Evaluation 8 Literature Related to the' Experiment 8 Literature Related to the Proposed Evaluation 13 METHOD 20 Time of the Experiment 20 Make-up of the Population 20 Brief Description of the Experimental Curriculum 21 Music Reading Curriculum 22 The Composition Curriculum 40 Description of the Listening Curriculum 41 Performance Curriculum 46 Developing the Instrument of Evaluation 47 Description of the Tests Used as a Preliminary Battery . 47 Item Statistics of the Test of Aesthetic Judgments inMusic 68 Difficulty of the Items and Their Variation 68 Reliability Indices of the Items 68 Validity Indices of the Items 69 Test Reliability and the Error of Measurement 69 An Empirical Analysis of Item Clusters 71 75 RESULTS _ DISCUSSION 86 CONCLUSIONS AND IMPLICATIONS 90 SUMMARY 92 REFERENCES APPENDIXES 103 A. Exemplary Lessons in Musical Composition . A-1 to A-80 B. The Music Reading Curriculum B-I to B-51 C. The Listening Program: Music as a Humanity'C-1 to C-53 Eric Document Resume iii ACKNCMLEDGMENTS This research project was conceived and carried out in the main by graduate students in Music Education at the University of California. These students, some working as teachers in the junior high schools while working toward the doctorate or master's degree, have generated an enthusiasm which has carried over into the public school music class- rooms in the San Francisco Bay Area to the betterment of themselves as well as music education in general. Without intentionally underestimating the contribution of the prac- tice teachers who assisted in carrying out the curriculum innovations, we should like to express our deepest appreciation to Mack Crooks and Richard Letts, two gifted young composers who have worked diligently in developing the compositional techniques, to Tom Haynes and Jewel Lord, who have given direction to the "Humanities" Listening Lessons, and to Seong Soo Lee, whose knowledge and skills in computer programming have been most helpful. Finally, we should like to express our appreciation to Nancy Coons, whose patience in preparing the various manuscripts has established her as the secretary par excellence for musical research projects. iv INTRODUCTION The purpose of this study has been to develop and redesign in- structional materials and methods in the field of elementary musical composition that would contribute to the development of musicality in students at the junior high school level. Concomitantly, it has been anticipated that this study would lead to the development ofa much- needed instrument of evaluation in musical growth, and that it might add to our knowledge of the underlying factors which contribute to musicality. The impetus for this study was provided by certain recom- mendations suggested by the Seminar on Music Education held at Yale University from June 17 to June 28, 1963. Since this research was based on the Palisca report of the Yale Seminar (46),a review of that report would suggest the underlying rationale of this study. The twelve-day seminar represented a new departure in, several re- spects. It was probably the first time in recent history that such a cross section of professional interests in music was achieved in an extended conference in music teaching. The participants did not come as representatives, but as individuals. In spite of their diversity, the participants had much in common. Each was concerned about music education, but few had participated before in curriculum development. Most, therefore, could view the problems set before them with inter- ested detachment. They could also appraise current practices in music education from a certain distance combined with an intimate knowledge of the musical issues. Most had grown up within the educational sys- tem that they wanted to revise. Some felt grateful to this system for providing them with what they considered to be a good foundation; others looked back and wondered if they had not acquired musical com- petence in spite of it. The following statements, taken verbatim from the report of that seminar, indicate the need for this study: Dissatisfaction with the condition of music in our schools is not a recent phenomenon. Various. organizations of music teach- ers have long been concerned with improvement of method and scope. The realization that elements of challenging intellectual and aes- thetic substance are too often lacking in the music curriculum led the Music Educators National Conference, for example, to focus at- tention in its national meeting in 1962 on "The Study of Music, An Academic Discipline." Two professional societies outside the immediate field of elementary and secondary education, The Ameri- can Musicological Society and the College Music Society, have also been actively exploring means for strengthening teaching at these levels through their committees on local music, both appointed in 1948. Musicality: Thn development of musicality is the primary aim of music ed- ucation from kindergarten through the twelfth grade. Musicality 1 is universally understood. by musicians, but it is a.quality diffi- cult to define. The analogous quality with respect to language would be verbal ability. Essentially it is the capacity, to express accurately through pitch and time the mental image of a musical idea. Conversely, it is the capacity to grasp in its completeness and detail a musical idea heard. It can be assumed that a degree of musicality is a natural attribute of everyone. For each pupil there is a way his particular share of it can be tapped and de- veloped. Curriculum Basis: Musicality
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