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University Microfilms International j'Kl \ /f-IHHUA[) ANN AH HOP Ml.Ji’IHf, 1H Rf m ORLJ ROW I ON DON WC' R 'U J i N'.O AMO 3 00170*? BU*MS, ‘iYLfcH H I L f AN t:.PfKHF\Tf,L I* Vt Sf lDAU J% OF NFLHDIC CQNTDJtt RFC t< I I I ^ Y 11* rtftTHPVFN THtMT AND VAUAII THE PHI . • ST.'. T *. FYit/iRjllY* PH.D., 177* CbP* . 1 / 7 IJ ^ ^ » A Y L i ! ■'» ri I L 7 Uni\*rsitY Micrdrilrrts International 300 N ^FtBHOA[> ANN AHBOH Ml 4B>0b Copyright by Ayleen Hilt Burns 1979 AN EXPERIMENTAL INVESTIGATION OF MELODIC CONTOUR . RECOGNITION IN BEETHOVEN THEME AND VARIATIONS DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Ayleen Hilt Burns, B.S., M.A, ****** The Ohio State University 1979 Reading Committee: Approved By Henry L. Cady A. Peter Costanza Dean H. Owen School off Music William Poland \ Co-Adviser School of Music ACKNOWLEDGMENTS I want to thank Dr. Henry Cady, my advisor, for the knowledge, ideas, and guidance which he contributed to this study. His concern and encouragement were instrumental in helping me complete this dissertation which spanned my residencies in five states, three teaching positions, and more years than were intended when it was begun. I also want to thank him for making it possible for me to conduct the experiment at the University of Delaware. The students, faculty, and Plato Project staff were helpful in every way. Dr, Dean Owen has my sincere thanks for giving generously of his expertise and time which enabled me to do an interdisciplinary project between psychology and music. Also, thank you to Dr. William Poland for cultivating the "soil” from which grew the questions for this study and to Dr. Peter Costan2a for his kindness and efficiency in directing the completion of the dissertation project. Jim Wilson of the Plato Project at the University of Delaware, Dr. Frank Martin, Director, Statistical Center at the University of Minnesota, and Julie Wild, a statistician at the University of Minnesota, provided special assistance critical to the study. I want to thank them for giving so ably and freely of their talents. I want to thank my mother, Ayleen Hilt, for keeping things in a healthy perspective with her ever-present good humor and wit and for her constant support. Also, to Rosa Stolz, who provided insights and ii encouragement at important junctures during this study, thank you for a special friendship. Finally, my appreciation to my husband, Denver, for his constant encouragement and the endless hours which he gave unselfishly. His expertise and critical comments contributed significantly to this dissertation. iii VITA June 23, 1 9 4 1 . Born - Greeneville, Tennessee 1963 ................ B.S., Music Education, The Ohio State University, Columbus, Ohio 1964-1966 ............ Junior high school vocal music teacher, Bexley, Ohio 1967-1969 ....... Teaching Assistant, Class Piano, The Ohio State University 1969 ................ M.A., Piano Pedagogy, The Ohio State University 1969-1971 ............ Teaching Associate, Class Piano, The Ohio State University 1973-1974 ............ Instructor in Music Theory and Piano, Xavier University, New Orleans, Louisiana 1977-1978 , .......... Instructor in Music Theory, University of Minnesota, Minneapolis, Minnesota 1978 - present .... Instructor in Music (part-time faculty), Hamline University, St. Paul, Minnesota PUBLICATIONS 1970. "Develop Musicianship through Improvisation." Clavier, IX, No. 4 (April, 1970), 49-46. FIELDS OF STUDY Major Field: Interdisciplinary— Music Education, Music Theory, and Psychology Studies in Music Education: Professor Henry L. Cady Studies in Music Theory and Psychology of Music: Professor William Poland Studies in Psychology: Professor Dean H. Owen TABLE OF CONTENTS Page ACKNOWLEDGMENTS.............................................. ii VITA ......................................................... iv LIST OF TABLES .................................... vll LIST OF FIGURES................................................ viii LIST OF C H A R T S .............................................. xii Chapter I. INTRODUCTION......... .................................... 1 Problem.............................................. 12 Objective............................ 16 H y p o t h e s e s .......................................... 16 II. APPROACH TO THE PROBLEM................................. 19 Operational Definitions of Terms........................ 20 Varied Properties Selected from Beethoven ............. 26 Commentaryfor Justification of Hypotheses ........... 45 III. EXPERIMENT ............................................. 52 P r o t o t y p e s .......................................... 52 Variables.................................. 59 S u b j e c t s ............................................ 87 P r o c e d u r e s .......................................... 88 IV. RESULTS................................................. 98 V. DISCUSSION OF INTERACTIONS ............................. 110 Interaction: Between Interpolation of Tones and Change in Order of Temporal Intervals ............... 116 Interaction: Between Octave Transposition of the First Part and Change in the Order of Temporal Intervals...................................... 122 v Chapter Page Interactions: Among Octave Transposition of the First Part of the Tone Series, Octave Transposition of the Last Part of the Tone Series, and the Interpolation of T o n e s ............ 130 Interactions: Between Meter Change and the Interpolation of Tones ............................ 143 Interactions: Among Meter Change, Interpolation of Tones, and Octave Transpositions of the Last Part of the Tone S e r i e s ...................... 153 VI. SUMMARY AND CONCLUSIONS................................ 166 Problem......................... 166 P rocedures................... 169 Results............................................. 171 Discussion and Conclusions .......................... 180 Suggestions for Further Research .................... 185 APPENDICES A. List of Beethoven Theme and Variations Uses as a Basis for the Transformations.......................... 193 B. Notation of the 162 Transformations Used in the Experiment........................................... 195 C. Introductory Material Presented to Subjects ............ 223 BIBLIOGRAPHY ................................................ 24 3 MUSICAL SCORES ............................................. 244 ADDITIONAL SOURCES ......................................... 245 vi LIST OF TABLES Table Page 1. Summary of four types of melodic variation in Op. 34 . 42 2. Summary of altered characteristics of prototypes ........ 83 3. Analysis of Variance of the differences in the mean percent correct recognitions resulting from the effects of the five v a r i a b l e s ............................ 104 4. Data for the Analysis of Variance of differences in the mean percent correct recognitions among four groups of subjects with different amounts of eartraining experience................................................. 107 5. Analysis of Variance of differences in the mean percent correct recognitions among four groups of subjects with different amounts of eartraining experience................................................. 107 6 . Data for the Analysis of Variance of differences in the mean response times among four groups of subjects with different amounts of eartraining experience ............. 109 7. Analysis of Variance of differences in the mean response times among four groups of subjects with different amounts of eartraining experience ........... 109 vii LIST OF FIGURES Figure Page 1. Octave designation