DOCSLIB.ORG

The Effect of Ethnicity on the Age-Of-Onset of the Male Voice Change

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Effect of Ethnicity on the Age-Of-Onset of the Male Voice Change THE EFFECT OF ETHNICITY ON THE AGE-OF-ONSET OF THE MALE VOICE CHANGE Ryan Austin Fisher, B.M.E., M.M. Dissertation Prepared for the Degree of DOCTOR OF PHILOSOPHY UNIVERSITY OF NORTH TEXAS December 2008 APPROVED: Debbie Rohwer, Major Professor and Chair of the Division of Music Education Warren Henry, Minor Professor Don Taylor, Committee Member Donna Emmanuel, Program Coordinator in the College of Music James C. Scott, Dean of the College of Music Sandra L. Terrell, Dean of the Robert B. Toulouse School of Graduate Studies Fisher, Ryan Austin. The effect of ethnicity on the age-of-onset of the male voice change. Doctor of Philosophy (Music Education), December 2008, 100 pp., 10 tables, 6 illustrations, references, 114 titles. The purposes of this study were to describe the characteristics of the changing male voice in 4th, 5th and 6th grade students using Cooksey’s maturation stages and, to compare the age-of- onset of the male voice change in African American, White, and Hispanic male students. Participants included volunteer 4th (n = 61), 5th (n = 73), and 6th grade male students (n = 63) from 2 urban elementary schools, 5 suburban elementary schools, 1 suburban middle school and 1 urban middle school in the North Texas region. The three ethnic groups represented in this study were: African American (n = 62), White (n = 58), and Hispanic (n = 77). Results indicated that approximately 46% of 4th grade participants, 62% of 5th grade participants, and 67% of 6th grade participants were classified as changing voices. A descriptively larger percentage of African American participants were classified as changing voices than Hispanic and White participants. Also, a larger percentage of African American and Hispanic participants were descriptively classified in the more advanced stages of the voice change than White participants. Urban African American, White, and Hispanic participants had a larger percentage of males classified as changing voices than suburban African American, White, and Hispanic participants. Results of a one-way, between subjects ANOVA revealed no significant main effect for ethnicity, F (2, 51) = .42, p = .66, η2 = .02. The overall mean age-of- onset for participants in this study was approximately 11.20 years of age. Copyright 2008 by Ryan Austin Fisher ii ACKNOWLEDGEMENTS First, I give all honor and glory to my Father for the incredible grace He has granted me throughout my life and especially throughout the doctoral program. I would like to extend my deepest appreciation to my major professor, Dr. Debbie Rohwer for her patient guidance throughout this process and the incredible knowledge and wisdom she has imparted to me. I would also like to thank my committee members, Dr. Warren Henry and Dr. Don Taylor, for their invaluable input and constant encouragement. Sincere appreciation must also be given to the district and campus administrators as well as the phenomenal music educators who assisted with this research study. To all of the tremendous participants who volunteered for this study, I must express my indebtedness to you. Last, but certainly not least, I would like to thank my incredible family. None of this would have ever been possible without the encouragement and support from my amazing wife, Heather, and handsome son, Austin. This tremendous accomplishment would mean very little without my loving family to share it with. iii TABLE OF CONTENTS Page ACKNOWLEDGEMENTS...........................................................................................................iii LIST OF TABLES......................................................................................................................... vi LIST OF FIGURES ...................................................................................................................... vii Chapters 1. INTRODUCTION .................................................................................................. 1 Need for the Study ...................................................................................... 1 Purposes of the Study.................................................................................. 5 Definitions................................................................................................... 6 Limitations .................................................................................................. 7 2. REVIEW OF THE LITERATURE ........................................................................ 9 Physiological Characteristics Associated with Puberty.............................. 9 Theories of the Male Voice Change ......................................................... 11 British Male Voice Change Theories............................................ 13 American Male Voice Change Theories....................................... 16 Age-of-Onset of the Male Voice Change ................................................. 22 Ethnicity and the Male Voice Change ...................................................... 24 School Setting and the Male Voice Change ............................................. 27 Conclusion ................................................................................................ 29 3. METHOD ............................................................................................................. 31 School Districts......................................................................................... 33 Procedures................................................................................................. 34 Research Design........................................................................................ 37 Data Analysis............................................................................................ 40 Validity and Reliability............................................................................. 41 4. RESULTS ............................................................................................................. 47 Research Questions................................................................................... 47 Research Question 1 ..................................................................... 47 iv Research Question 2 ..................................................................... 51 Research Question 3 ..................................................................... 58 Research Question 4 ..................................................................... 64 5. CONCLUSIONS AND RECOMMENDATIONS ............................................... 66 Design and Analysis ................................................................................. 66 Summary of Results.................................................................................. 67 Discussion................................................................................................. 69 Research Question 1 ..................................................................... 69 Research Question 2 ..................................................................... 73 Research Question 3 ..................................................................... 74 Research Question 4 ..................................................................... 76 Limitations ................................................................................................ 77 Recommendations for Future Research.................................................... 79 Appendices A. INSTITUTIONAL REVIEW BOARD LETTERS .............................................. 83 B. INFORMED CONSENT/ASSENT FORM.......................................................... 86 REFERENCES ............................................................................................................................. 93 v LIST OF TABLES Page 1. Ethnic Group Representation by Grade and School Type................................................ 32 2. Discussion of Threats to Internal Validity for This Study................................................ 38 3. Pilot Study Ethnic Group Representation by Grade ......................................................... 45 4. Descriptive Statistics for Age, HTP, and LTP by Voice Change Stage ........................... 48 5. Overall Descriptive Statistics for 4th, 5th and 6th Grade Participants ................................ 50 6. Overall Descriptive Statistics for African American, White, and Hispanic Participants ........................................................................................................................................... 53 7. Descriptive Statistics for 4th, 5th, and 6th Grade Participants by Ethnicity........................ 56 8. Descriptive Statistics for Urban and Suburban School Participants by Grade ................. 60 9. Descriptive Statistics for Urban and Suburban School Participants by Ethnicity ............ 62 10. ANOVA Summary Table ................................................................................................. 65 vi LIST OF FIGURES Page 1. Scientific pitch notation. ..................................................................................................... 7 2. Cooksey’s voice change stages (mean ranges and tessitura)............................................ 20 3. Approximate vocal ranges for 4th, 5th, and 6th grade participants. .................................... 51 4. Approximate vocal ranges for 4th, 5th, and 6th grade African American, White, and Hispanic participants........................................................................................................
Load more

Recommended publications
  • Treble Voices in Choral Music
    loft is shown by the absence of the con• gregation: Bach and Maria Barbara were Treble Voices In Choral Music: only practicing and church was not even in session! WOMEN, MEN, BOYS, OR CASTRATI? There were certain places where wo• men were allowed to perform reltgious TIMOTHY MOUNT in a "Gloria" and "Credo" by Guillaume music: these were the convents, cloisters, Legrant in 1426. Giant choir books, large and religious schools for girls. Nuns were 2147 South Mallul, #5 enough for an entire chorus to see, were permitted to sing choral music (obvious• Anaheim, California 92802 first made in Italy in the middle and the ly, for high voices only) among them• second half of the 15th century. In selves and even for invited audiences. England, choral music began about 1430 This practice was established in the with the English polyphonic carol. Middle Ages when the music was limited Born in Princeton, New Jersey, Timo• to plainsong. Later, however, polyphonic thy Mount recently received his MA in Polyphonic choral music took its works were also performed. __ On his musi• choral conducting at California State cue from and developed out of the cal tour of Italy in 1770 Burney describes University, Fullerton, where he was a stu• Gregorian unison chorus; this ex• several conservatorios or music schools dent of Howard Swan. Undergraduate plains why the first choral music in Venice for girls. These schools must work was at the University of Michigan. occurs in the church and why secular not be confused with the vocational con• compositions are slow in taking up He has sung professionally with the opera servatories of today.
    [Show full text]
  • Children in Opera
    Children in Opera Children in Opera By Andrew Sutherland Children in Opera By Andrew Sutherland This book first published 2021 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2021 by Andrew Sutherland Front cover: ©Scott Armstrong, Perth, Western Australia All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-6166-6 ISBN (13): 978-1-5275-6166-3 In memory of Adrian Maydwell (1993-2019), the first Itys. CONTENTS List of Figures........................................................................................... xii Acknowledgements ................................................................................. xxi Chapter 1 .................................................................................................... 1 Introduction What is a child? ..................................................................................... 4 Vocal development in children ............................................................. 5 Opera sacra ........................................................................................... 6 Boys will be girls .................................................................................
    [Show full text]
  • Florida State University Libraries
    Florida State University Libraries Electronic Theses, Treatises and Dissertations The Graduate School 2009 John M. Cooksey: Choral Music Educator and Conductor Roger H. Hale Follow this and additional works at the FSU Digital Library. For more information, please contact [email protected] FLORIDA STATE UNIVERSITY COLLEGE OF MUSIC JOHN M. COOKSEY: CHORAL MUSIC EDUCATOR AND CONDUCTOR By ROGER H. HALE A Dissertati n submitted t the C llege f Music in partial fulfillment f the re,uirements f r the degree f D ct r f Phil s phy Degree A.arded: Summer Semester, 0112 The members f the C mmittee appr 3e the Dissertati n f R ger H. Hale defended n May 00, 0112. ____________________________________ Ke3in A. Fent n Pr fess r Directing Dissertati n ____________________________________ Christ pher M re Outside C mmittee Member ___________________________________ Andr5 J. Th mas C mmittee Member ____________________________________ Alice-Ann Darr . C mmittee Member The Graduate Sch l has 3erified and appr 3ed the ab 3e named c mmittee members. ii I dedicate this t my dear .ife KayDe, .h has pr 3ided supp rt at e3ery le3el during this pr 7ect. I c uld n t ha3e d ne it .ith ut y u8 iii ACKNOLEDGEMENTS This pr 7ect . uld n t ha3e been p ssible .ith ut the enc uragement and supp rt f many pe ple in my life. First, I . uld li9e t than9 my ma7 r pr fess r Dr. Ke3in Fent n, .h spent many h urs helping me thr ugh e3ery aspect f this pr 7ect.
    [Show full text]
  • Singing for Two: Experiencing Pregnancy As a Classical Singer
    Singing For Two: Experiencing Pregnancy as a Classical Singer by Catherine Marie Gardner A thesis submitted in conformity with the requirements for the degree of Doctor of Musical Arts Faculty of Music University of Toronto © Copyright by Catherine Marie Gardner 2017 Singing for Two: The Experience of Pregnancy for the Classical Singer Catherine Gardner Doctor of Musical Arts Faculty of Music University of Toronto 2017 Abstract The purpose of this study was to understand more fully the experience of pregnancy for the classical singer. Though research has uncovered the physical implications of pregnancy for the non-singer, aspects which can impact the classical singer, such as breath mechanics, hormonal fluctuations, and the many other physical changes brought on by pregnancy, have not been fully investigated. My first objective was to find out how the physical aspects of pregnancy impact singers as they continue to perform through these changes. My second objective was to discover what the emotional implications of pregnancy are for the classical singer. Did emotional changes instigated by pregnancy occur that influenced the singer’s performance anxiety, routine and sense of self as a performer? My final objective was to investigate the social implications of pregnancy for the classical singer. How are pregnant classical singers viewed and treated within the performance realm? Is there support for singers who become pregnant? What are the implications for career trajectory and timing? !ii This study uses mixed methods to enhance and expand the range of information gathered. In- depth interviews were conducted on two pregnant and one recently pregnant classical singers.
    [Show full text]
  • Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church
    THE CATHOLIC UNIVERSITY OF AMERICA Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church A TREATISE Submitted to the Faculty of the Benjamin T. Rome School of Music Of The Catholic University of America In Partial Fulfillment of the Requirements For the Degree Doctor of Musical Arts in Sacred Music © All Rights Reserved By Jennifer L. Seighman Washington, D.C. 2015 Catholic Choir School Models in the United States: Reinvigorating the Musico-Liturgical Life of the Church Jennifer L. Seighman, D.M.A. Director: Leo Nestor, D.M.A. Choir schools have been an intrinsic part of the Catholic Church since the fourth century. While the Holy See has instructed that such schools and training be diligently promoted, few programs exist, and even less is known about them. This paper provides much-needed research on Catholic choir school programs and the benefits they offer to the twenty-first-century Church, particularly in bringing the musico-liturgical goals of the Second Vatican Council to fruition. Using a multi-case-study approach, I investigate the only known Catholic institutions in the United States currently employing a traditional choir school education of rigorous daily instruction in choir and sung liturgy: St. Paul’s Choir School (Cambridge, MA), The Madeleine Choir School (Salt Lake City, UT), and The Atonement Academy (San Antonio, TX). To formulate the framework for this study, a survey of related literature was made encompassing musico-liturgical directives of the Second Vatican Council, Church documents calling for chorister formation, papal writings, scholarly sources addressing sacred music within the Catholic Church, and various sets of education standards.
    [Show full text]
  • THE OFFICIAL PUBLICATION of the ARIZONA CHAPTER of the AMERICAN CHORAL DIRECTORS ASSOCIATION
    ANTIPHON THE OFFICIAL PUBLICATION OF THE ARIZONA CHAPTER of the AMERICAN CHORAL DIRECTORS ASSOCIATION Winter 2014-2015 Volume 19, Issue 2 Arizona ACDA Leadership President: Greg Hebert Corona del Sol High School, Tempe St. Thomas the Apostle Catholic Church, Phoenix President-Elect: Elizabeth Schauer University of Arizona, Tucson St. Mark’s United Methodist Church, Tucson Past President: Frank Sargent Apache Wells Community Church, Apache Wells Secretary: Aimee Stewart Chandler Children’s Chorus, Chandler Treasurer: Joyce Bertilson Retired Antiphon Editor: Thomas Lerew Green Valley Community Chorus, Green Valley Christ Church United Methodist, Tucson Antiphon Assistant Editor: Elizabeth Schauer Cantaremos Honor Choirs Chair: Jason Neumann Mountain View High School, Mesa Hospitality Chair: Sherie Kent Kino Junior High School, Mesa Membership Chair: Mary Ellen Loose Chandler-Gilbert Community College, Chandler Website Manager: David Topping Phoenix Chorale, Phoenix Arizona Repertoire & Standards Chairs Boychoirs: Albert Lee Akimel A-al Middle School, Phoenix Children’s & Community Youth Choirs: Danya Tiller Phoenix Girls Chorus, Phoenix College & University Choirs: Ryan Holder Northern Arizona University, Flagstaff Community Choirs: Terrie Ashbaugh Southern Arizona Women’s Chorus, Tucson Ascension Lutheran Church & School, Tucson Ethnic & Multicultural Perspectives: Jeff Hunt Moon Valley High School, Phoenix Vocal Jazz: Craig Peterson Mesa Community College, Mesa Junior High/Middle School Choirs: Melanie Openshaw Stapely Junior High School,
    [Show full text]
  • A Comprehensive Study of the Male Voice Mutation Alexander A
    The University of Akron IdeaExchange@UAkron The Dr. Gary B. and Pamela S. Williams Honors Honors Research Projects College Winter 2015 A Comprehensive Study of the Male Voice Mutation Alexander A. Looney The University Of Akron, [email protected] Please take a moment to share how this work helps you through this survey. Your feedback will be important as we plan further development of our repository. Follow this and additional works at: http://ideaexchange.uakron.edu/honors_research_projects Part of the Education Commons Recommended Citation Looney, Alexander A., "A Comprehensive Study of the Male Voice Mutation" (2015). Honors Research Projects. 190. http://ideaexchange.uakron.edu/honors_research_projects/190 This Honors Research Project is brought to you for free and open access by The Dr. Gary B. and Pamela S. Williams Honors College at IdeaExchange@UAkron, the institutional repository of The nivU ersity of Akron in Akron, Ohio, USA. It has been accepted for inclusion in Honors Research Projects by an authorized administrator of IdeaExchange@UAkron. For more information, please contact [email protected], [email protected]. MALE VOICE MUTATION 1 Running Head: A COMPREHENSIVE STUDY OF THE MALE VOICE MUTATION A Comprehensive Study of the Male Voice Mutation Alexander A. Looney Senior Honors Project in Music The University of Akron May 8, 2015 MALE VOICE MUTATION 2 Abstract This research project is a comprehensive study of the male voice mutation. The beginning of the document will provide a brief history of the approach to the male voice mutation dating back to the ancient Greek and Roman times. Information and pedagogical middle school classroom application of the contemporary voice mutation theories by Duncan McKenzie, Irvin Cooper, Frederick Swanson, and John Cooksey will also be discussed.
    [Show full text]
  • Mixed up and Upside Down
    Mixed Up and Upside Down Underdeveloped Registers in Men and Women Due to Vocal Trends in Popular Music: Turning Two Pedagogic Challenges into Opportunities in Today’s Voice Studio April Young INTRODUCTION In 1967, William Vennard labeled falsetto the unused register for men and chest the unused register for women, and at that time, it was true.1 Voice teachers, especially those with young or beginning students, can no longer have this expectation. Untrained singers often imitate two trends in con- temporary commercial music (CCM) that shape some of the challenges these students bring into the voice studio; one trend is now familiar and the other comparatively recent. Trend one is demonstrated by female singers, April Young who utilize primarily chest voice and carry this production higher than is generally acceptable in classical singing. They usually have not undergone training for high “belt,” and rarely use head voice, which is often weak and has limited range. Trend two is demonstrated by male singers, who frequently utilize falsetto and less often use chest voice, which is commonly lacking in strength, scope, and coordination. Definitions for registers have changed over time, as voice science and technology have progressed. For the purposes of this discussion, the follow- ing definition of physiological vocal registers will be used: “the muscular adjustment of the vocal folds; the relative participation of the thyroaryte- noid (TA . ) muscles and the cricothyroid (CT . ) muscles.”2 TAD for Thyroarytenoid Dominance will refer to chest, mode 1, or heavy mechanism; CTD for Cricothyroid Dominance will refer to head, mode 2, or light mecha- nism.
    [Show full text]
  • The Adolescent Singing Voice in the 21St Century: Vocal Health and Pedagogy Promoting Vocal Health
    The Adolescent Singing Voice in the 21st Century: Vocal Health and Pedagogy Promoting Vocal Health D.M.A. DOCUMENT Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Musical Arts in the Graduate School of The Ohio State University By Rianne Marcum Gebhardt Graduate Program in Music The Ohio State University 2016 D.M.A. Document Committee: Dr. Robin Rice, Advisor Dr. Julia Shaw, D.M.A Committee Dr. Kristina MacMullen, D.M.A. Committee Dr. Elliot Bendoly, Exam Committee Copyright 2016 Rianne Marcum Gebhardt ABSTRACT This document examines vocal health and pedagogy as they relate to the adolescent singing voice in the 21st century, and based on the understanding gained, it develops strategies to prevent vocal injuries in adolescence, carrying good vocal hygiene into adulthood. Music educators working with adolescent singing voices can use this document as a guide to lead their students to adopt healthy vocal habits and come to an awareness of their instrument, helping to prevent vocal injury. The author begins by reviewing literature on the topics of vocal health, hygiene and pedagogy concerning both adult and adolescent singers, and focuses on literature specifically relating to the adolescent singing voice. A healthy voice stems largely from sensible and hygienic vocal habits. The cultivation of good vocal habits seems to be more difficult to achieve as our world becomes louder and busier. Adolescence is the time when most vocal habits form establishing into a unique voice. Thus, music educators working with adolescents must seize the opportunity to replace unhealthy vocal habits with healthy ones in these young singers.
    [Show full text]
  • The Singing Voice During the First Two Years of Testosterone Therapy: Working with the Trans Or Gender Queer Voice
    The Singing Voice During the First Two Years of Testosterone Therapy: Working with the Trans or Gender Queer Voice Tessa Romano In partial fulfillment of the Doctorate of Musical Arts University of Colorado Boulder April 2018 2 3 Committee Signatures ___________________________________ Jennifer Bird-Arvidsson ___________________________________ Mutsumi Moteki ___________________________________ Patrick Mason 4 Abstract In order to better serve singers who identify as trans men or gender queer, voice teachers must understand the vocal effects of hormone replacement therapy, specifically that of testosterone therapy. Testosterone therapy is the only type of hormone replacement therapy that permanently changes the voice and eventually results in a full octave drop or more of a person’s spoken fundamental frequency. Due to such a dramatic shift, the voice change process can be turbulent. This dissertation is designed to educate both cis gender voice teachers and trans and gender queer singers on the process of vocal change during the first two years of testosterone therapy because the most vocal change occurs within the first two years. In addition to information on what to expect during the first two years of testosterone therapy, this dissertation also discusses language surrounding trans issues, the effects of different types of chest binders on the singing voice and it evaluates each form of testosterone therapy in regard to their effect on the voice. 5 Statement of Purpose I decided to write my pedagogy dissertation on working with trans and gender queer voices after attending the lecture by Laverne Cox in Mackey Auditorium in the spring of 2017. Laverne Cox, an actress and trans activist, said that evening: “When a trans woman gets called a man, that is an act of violence.” Upon hearing her say that, I realized how incredibly gendered the language is that we use in singing.
    [Show full text]
  • Arizona ACDA Changing Voice.Pptx
    7/18/17 Arizona ACDA Summer Conference Tuesday, July 18, 2017 Strategies for Working with the Male Changing Voice! in the Choral Setting Tom Shelton Westminster Choir College [email protected] Tomsheltonmusic.com What Is Your PHILOSOPHY? 1 7/18/17 If you can walk You can dance. If you can talk You can sing. Zimbabwean Proverb Where there is great love, there are always miracles. Willa Cather, 1876-1947 American Writer 2 7/18/17 We must always change, renew, rejuvenate ourselves; otherwise we harden. Johann von Goethe, 1749-1832 German Poet and Writer Life is change. Growth is optional. Choose wisely. Karen Kaiser Clark, b. 1938 American Legislator and Feminist 3 7/18/17 A wise man makes more opportunities than he finds. Francis Bacon, 1561-1626 English Philosopher “We are what we repeatedly do. EXCELLENCE, then, is not an act but a habit.” - Aristotle 4 7/18/17 I am easily satisfied With the very best. Sir Winston Churchill, 1874-1965 British Statesman, Prime Minister There is a great man, who makes every man feel small. But the real great man is the man who makes every man feel great. G.K. Chesterton, 1874-1936 English Novelist & Critic 5 7/18/17 I want everyone to love music for LIFE, not just the years they are in choir. 6 7/18/17 Everyone doesn’t need to major in music (…and shouldn’t); however, everyone should be a music supporter and advocate! They should ALL want to sing as adults and support the arts! Information is POWER 7 7/18/17 Changing Voice Research • Duncan McKenzie • Irving Cooper • Frederick Swanson • John Cooksey • Patrick Freer • Henry Leck Duncan McKenzie Training the Boy’s Changing Voice • Progression of vocal change through what he calls the alto-tenor.
    [Show full text]
  • Identification of the Adolescent Male Voice: Unchanged Vs. Falsetto By
    Identification of the Adolescent Male Voice: Unchanged vs. Falsetto by John B. Wayman, B.M.E. A Thesis In Music Education Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of Master of Music Education Approved Dr. Janice Killian Chairperson of the Committee Dr. Bruce Wood Professor Angela Mariani Fred Hartmeister Dean of the Graduate School May, 2009 Texas Tech University, John B. Wayman, 3/2009 ACKNOWLEDGEMENTS This milestone would not be possible with the assistance of my extremely knowledgeable and supportive committee, the selfless faculty at Texas Tech, and the love and patience of my friends and family. Many thanks specifically to Dr. Janice Killian. Your inspiration and guidance has been invaluable and much appreciated. To my Grandmother, your steadfast love and ability to tag team against all odds will forever be remembered. I dedicate this document to my loving mother’s memory. She so desperately wanted to see me reach this milestone in person, but will smile on me from heaven. ii Texas Tech University, John B. Wayman, 3/2009 TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT v LIST OF TABLES vii LIST OF FIGURES viii CHAPTER I. INTRODUCTION 1 II. REVIEW OF RELATED RESEARCH 2 III. METHODOLOGY AND MATERIALS 9 IV. RESULTS 16 V. DISCUSSION 29 BIBLIOGRAPHY 36 APPENDICES A. HUMAN SUBJECTS APPROVAL – RECORDING CHILDREN PARTICIPANTS 40 B. RECORDING CHILDREN PARTICIPANTS CONSENT FORM 42 C. HUMAN SUBJECTS APPROVAL – PRE-SERVICE MUSIC EDUCATOR TESTING PARTICIPANTS 44 D. PRE-SERVICE MUSIC EDUCATOR TESTING PARTICIPANTS CONSENT FORM 46 E. RECRUITING SPEECH 48 F.
    [Show full text]