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Measuring Music Reading: a Guide to Assessment Methods

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Measuring Music Reading: a Guide to Assessment Methods Measuring Music Reading: A Guide to Assessment Methods Mary Claire Jensen A Thesis Presented in Partial Fulfillment of the requirements for the Degree Master of Arts in Music University of Ottawa © Mary Claire Jensen, Ottawa, Canada, 2016 Abstract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ey Words: Music Reading, Sight Reading, Measurement, Assessment, Classification ! ""! Acknowledgements I wish to thank many people for their support and encouragement throughout the completion of this project: To Professor Comeau - your high expectations, standards, and example have pushed me to learn and write more than I ever thought I could. I am thankful for all of your time, honesty, and encouragement. To Lu, Mikael, and Yixiao - thank you for your friendship, for helping me in so many ways, and for making the Piano Pedagogy Research Laboratory such a lovely place in which to work. To my thesis committees members Professor Keillor, Professor Moore, and Professor Dineen – thank you for sharing your time and expertise to help me think through and improve this document. To my colleagues, especially Susan, Sandra, Meganne, Johanna, and Jillian – I am so thankful to have had classes and lunch dates with you. All the very best to each of you in your educational pursuits. To Ed, Lorraine, Wanda, Mike, and Meganne – thank you for taking the time to read my thesis drafts and to offer feedback. To all of the teachers who have been examples of excellent teaching and who have developed my love for music and education – Susan Gibbon, Dr. Bill-John Newbrough, Dr. Paul Young, Professor Gilles Comeau – thank you for choosing to dedicate your careers to education. To Allie, Ottawa and Doylestown friends, and my extended family – thank you for your support in little and big ways. With such a busy two year-stretch, you have helped out more than you’ll ever know. To my very best friend - Greg, thank you for always knowing that I could do this, and for going on this journey with me. I love you. To my darling baby boy - Henry, you are such a joy and have taught me to slow down and explore. May you continue to love music as you grow. I love you. To Mom and Dad – thank you for encouraging my love for the piano, and violin, and for all of your sacrifice for my musical pursuits. I am so happy to have been so close to you these past two years and loved having you in our home each week. I love you. Finally, all glory to God, who has given me all of these opportunities and wonderful people to enjoy them with. ! """! Measuring Music Reading: A Guide to Assessment Methods Table of Contents Abstract................................................................................................................................ii Acknowledgements............................................................................................................iii List of Tables....................................................................................................................xiii List of Figures...................................................................................................................xiv INTRODUCTION...............................................................................................................1 CHAPTER 1: Review of Literature.....................................................................................1 1.1. Music Reading..................................................................................................2 1.1.1. Importance of Music Reading Ability...............................................2 1.1.2. Complexity of Music Reading Ability...............................................5 1.2. Music Reading Assessment..............................................................................5 1.2.1. Definition of Terms............................................................................6 1.2.2. Types of Assessment..........................................................................8 1.2.3. History of Music Assessment Compilation.....................................12 1.3. Research Problem and Objectives..................................................................14 1.3.1. Inconsistency of Assessment...........................................................14 1.3.2. Limits of Music Reading Assessment..............................................16 1.3.3. Statement of Objective.....................................................................19 CHAPTER 2: Methodology...............................................................................................21 2.1. Establishing a Research Problem....................................................................21 2.2. Conducting a Comprehensive Search.............................................................22 2.3. Examining the Information.............................................................................23 2.4. Considering the Information within a Given Context.....................................26 2.4.1. Selection of the Broad Categories of the Framework......................26 ! "8! 2.4.2. Selection of the Subcategories of the Framework...........................27 2.4.3. Framework for each Chapter...........................................................29 2.5. Examining and Comparing the Body of Research to Give an Overall Result.....................................................................................................................32 CHAPTER 3: Test Measurements.....................................................................................33 3.1. Test Descriptions............................................................................................33 3.1.1. General Music Tests........................................................................35 3.1.1.1. Tests of Aptitude...............................................................37 The Drake Musical Aptitude Tests....................................38 The Musical Aptitude Profile (MAP)................................38 The Advanced Measures of Music Audiation (AMMA)...39 3.1.1.2. Tests of Achievement.......................................................40 The Aliferis Music Achievement Test (MAT)..................40 The Bentley Measures of Musical Abilities.......................41 The Colwell Musical Achievement Test (MAT)...............41 The Iowa Tests of Musical Literacy (ITML).....................43 3.1.2. Music Reading Tests........................................................................45 3.1.2.1. Sight Reading or Rehearsed Reading...............................47 Standard Test – The Watkins-Farnum Performance Scale (WFPS)..............................................................................47 Author-Composed Tests....................................................50 3.1.2.2. Sight-Singing....................................................................50 Standard Test – The Belwin-Mills Singing Achievement Test.....................................................................................50 Author-Composed Tests....................................................51 ! 8! 3.2. Music Reading Studies Using Tests...............................................................52 3.2.1. Cognitive Process Studies................................................................53 Piano Production Salis 1977; 1980 Banton, 1995 Drake & Palmer, 2000 Gilman, 2000 Gudmundsdottir, 2003; 2010a Stewart, Walsh, & Frith, 2004 Lee, 2004; Kopiez & Lee, 2006; 2008, and Kopiez, Weihs, Ligges, & Lee 2006 Woodwind and Brass Instrument Production Havlicek, 1968 Elliott, 1982b Rhythm Reading Production Shehan, 1987 Production by Transcription Halpern & Bower, 1982 Production with Repetition Pick, Unze, Metz, & Richardson, 1982 Sight-Singing Production Scripp, 1995 Fine, Berry, & Rosner, 2006 3.2.2. Instructional Studies.........................................................................78 Piano Production ! 8"! Lowder, 1973 Micheletti, 1980 Betts & Cassidy, 2000 Kostka, 2000 Pike & Carter, 2010 Zhukov, 2014a Woodwind and Brass Instrument Production MacKnight, 1975 Grutzmacher, 1985; 1987 Salzberg & Wang, 1989 Rhythm Reading Production Boyle, 1968 Palmer, 1976 Bebeau, 1982 Sight-Singing Production Demorest, 1998 Henry, 2004 3.2.3. Correlational
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