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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. University Microfilms International A Bell & Howell Information Com pany 300 North Zeeb Road. Ann Arbor. Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 95052S0 An exploratory examination of the electroencephalographic correlates of aural imagery, kinesthetic imagery, music listening, and motor movement by novice and expert conductors Jackson, Elizabeth Helene, Ph.D. The Ohio State University, 1994 Copyright ©1994 by Jackson, Elisabeth Helene. All rights reserved. UMI 300 N. Zeeb Rd. Ann Arbor, MI 48106 AN EXPLORATORY EXAMINATION OF THE ELECTROENCEPHALOGRAPHIC CORRELATES OF AURAL IMAGERY, KINESTHETIC IMAGERY, MUSIC LISTENING, AND MOTOR MOVEMENT BY NOVICE AND EXPERT CONDUCTORS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the Graduate School of The Ohio State University By Elizabeth Helene Jackson, B.A., M.M. * * * * * * The Ohio State University 1994 Dissertation Committee: Dr. Marlin L. Languis Dr. David Butler f Music Dr. Judith K. Delzell Co-Advisor, School of Music Richard L. Blatti Copyright by Elizabeth Helene Jackson 1994 “There is a distinct class of musical philosophers, whom we may call the scientists of the present day; men whose researches as physicists have led them into a special inquiry into the natural laws and phenomena of sound. To this class belong Wheatstone, Tyndal, Blasema, and many others whose names must be familiar to every reader of contemporary musical literature. But undoubtably the most distinguished amongst musical scientists is Helmholtz, the German physicist and physician, whose work Die Lehre von den Tonempfindungen, recently translated into English by Mr. A. J. Ellis, has opened, as it were, a new world to the view of the musician. It may be said that the art of music profits little by these physical discoveries; but while the science is still in its infancy, we cannot predicate with certainty concerning the result of all this recent research. It may be that, at any moment, while the pen is in the hand, or the lips are moved to speech, some sudden burst of light, some new and splendid apocalypse, shall, by the instrumentality of science, irradiate the whole world of music, revealing forms of beauty, and spheres of vision, hitherto beclouded or unknown.” from A Concise History of Music 1897 H.G. Bonavia Hunt, B.Mus. Christ Church, Oxford To my husband Craig Kirchhoff, for his support, his love, and his willingness to “bet the farm” ACKNOWLEDGMENTS The author wishes to express sincere appreciation to the following persons: Dr. Marlin Languis, who introduced me to brain research and its role in the improvement of education. Thank you for your investment of time, effort, and money to this project, and for your priceless help with the methodology, analysis, and interpretation. Dr. David Butler, who believed in the ideas from the beginning, and who has helped me to discover the beauty of pure, abstract, curiosity-driven research. Dr. Judith Delzell, whose encouragement and knowledge as my teacher and advisor has been an inspiration to me since the day I arrived in Columbus. Professor Richard Blatti, whose guidance and expertise has stimulated in me and countless others a sincere passion for the art of conducting education. Richard Blatti, George Carr, Eugene Corporon, Steve Day, Tim Leasure, Craig Kirchhoff, H. Robert Reynolds, and Nyle Sexton for their priceless contribution of time, talent, and patience. Without you, this study could not have been possible. Leo Boyle HI for sharing his boundless knowledge of computers and all their wondrous mysteries. Dr. Patrick F. Casey, Dr. Richard G. Mayne, and Dr. David E. Scott for being wonderful colleagues throughout this long and sometimes precarious journey. My husband Craig, my parents, and my brother and sisters for their tremendous support and love. You are my greatest inspiration. My two cats Poco and Presto, who slept peacefully through the whole thing. VTTA July 2, 1960 ...........................................................Bom - Breckenridge, Minnesota 1983 ...................................................................................B.A. in Music Education, St. Olaf College, Northfield, Minnesota 1983-1985 ....................................................................................... Director of Bands, Wrenshall Public Schools, Wrenshall, Minnesota 1986 ...........................................................................................M.M. in Conducting, Northwestern University, Evanston, Illinois 1986-1990 ................................................................... Associate Director of Bands, Spring Lake Park High School, Minneapolis, Minnesota 1990-1993 .................................................................Graduate Teaching Associate, School of Music, The Ohio State University, Columbus, Ohio 1993-present ............................................................. Instrumental Music Educator, Hopkins Public School District #270, Minneapolis, Minnesota FIELDS OF STUDY Major Field: Music Studies in Music Education: Professors A. Peter Costanza, Judith K. Delzell, Patricia J. Flowers, Jere L. Forsythe, and Timothy A. Gerber Studies in Wind Conducting and Literature: Professors Richard L. Blatti and Craig Kirchhoff Studies in Music Perception: Professor David Butler TABLE OF CONTENTS DEDICATION ......................................................................................................... ii ACKNOWLEDGMENTS ..................................................................................... iii VITA ............................................................................................................................ iv LIST OF TABLES.................................................................................................... ix LIST OF FIGURES ............................................................................................... xii CHAPTER PAGE I. INTRODUCTION Introduction ....................................................................................... 1 External vs. Internal Perceptions ...................................... 2 The Conductor and Mental Imagery ................................ 3 The Education of the Conductor ..................................... 3 Statement of the Problem .............................................................. 5 Purpose of the Study ....................................................................... 6 Research Questions ......................................................................... 7 Definition of Terms ......................................................................... 8 Assumptions ................................................................................... 10 Limitations ........................................................................................... 11 U. REVIEW OF LITERATURE Introduction ...................................................................................... 12 Imagery and Conducting ....................................................................12 Aural Imagery .................................................................... 13 Audiation ........................................................................... 14 Kinesthetic Imagery .......................................................... 15 Verbal Imagery ................................................................. 16 Conducting Texts ............................................................. 16 Neurological Foundations ............................................................ 17 Localization of Function .................................................. 17 Divisions of the Cerebrum ................................................ 18 Measurement of Brain Activity ...................................................... 20 Electroencephalography ..................................................... 20 Frequency Bands ................................................................ 21 Brain Electrical Activity Mapping .................................. 21 Evoked Potentials ............................................................... 22 Components of the AEP Waveform ................................