THE EFFECT OF PIANO ACCOMPANIMENT TYPE AND HARMONIC CONTEXT ON THE TUNING PERFORMANCE OF COLLEGE-LEVEL CHORAL MUSICIANS _______________________________________ A Dissertation presented to the Faculty of the Graduate School at the University of Missouri-Columbia _______________________________________________________ In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy _____________________________________________________ by TRISTAN FRAMPTON Dr. Wendy Sims, Dissertation Supervisor DECEMBER 2018 The undersigned, appointed by the dean of the Graduate School, have examined the dissertation entitled THE EFFECT OF PIANO ACCOMPANIMENT TYPE AND HARMONIC CONTEXT ON THE TUNING PERFORMANCE OF COLLEGE-LEVEL CHORAL MUSICIANS presented by Tristan Frampton, a candidate for the degree of doctor of philosophy, and hereby certify that, in their opinion, it is worthy of acceptance. _____________________________________________ Professor Wendy Sims _____________________________________________ Professor Brian Silvey _____________________________________________ Professor Paul Crabb _____________________________________________ Professor Lloyd Barrow _____________________________________________ Professor Brandon Boyd ACKNOWLEDGEMENTS Completing this dissertation was a challenging, rewarding, and educational opportunity. The primary reason for this edifying experience was the support of Dr. Wendy Sims, who I would like to thank for her insight and guidance throughout the crafting of this document. She is a true scholar and I am thankful for the opportunity to have studied with her. I would also like to thank Dr. Paul Crabb and Professor Ann Harrell, who were likewise instrumental in my education during my time at the University of Missouri. There were many others who supported and encouraged me in various ways throughout this process. My colleagues at St. Louis College of Pharmacy who kept me honest, pushing me toward my goal. Particularly, Dr. Bob Zebroski and Dean Kim Kilgore, who provided me with the flexibility in my teaching load that enabled me to collect all of my data. I would also like to thank Professor Jordan Cox, who was extremely helpful in assisting me to recruit participants for my study. And, while collecting data in Columbia, MO, my old friends at First Presbyterian Church, who graciously provided me with a place to work. There are friendships and relationships that have been tremendously important to me throughout this stage in my life. Both Dr. José Zayas Cabán and Mr. Mitchell Toebben have continually been a source of support, always willing to converse and provide guidance or feedback. And also my family, especially my wife, Sarah, and my children, who have been very understanding of the countless hours that my attentions have been focused this project. ii TABLE OF CONTENTS ACKNOWLEDGEMENTS ................................................................................................ ii LIST OF TABLES ............................................................................................................. vi LIST OF FIGURES .......................................................................................................... vii ABSTRACT ....................................................................................................................... ix Chapter 1. INTRODUCTION ...................................................................................................1 Purpose of Study ......................................................................................................4 Research Questions ..................................................................................................5 Definition of Terms..................................................................................................7 2. LITERATURE REVIEW ......................................................................................10 Effect of Experience on Intonation ........................................................................11 Discrimination of Frequency Changes...................................................................14 Intonation Perception .............................................................................................19 Intonation Tendencies ............................................................................................24 Comparison of Different Tuning Systems .............................................................27 Perception Versus Performance .............................................................................33 Intonation Pedagogy ..............................................................................................40 Conclusion .............................................................................................................47 3. METHOD ..............................................................................................................50 Independent Variables and Stimulus Melody ........................................................50 Dependent Variables ..............................................................................................55 Research Design.....................................................................................................56 iii Participants .............................................................................................................57 Procedure ...............................................................................................................59 Data Collection and Analysis.................................................................................62 Pilot Study Procedure and Modifications to the Study ..........................................64 4. RESULTS ..............................................................................................................67 Unison ....................................................................................................................70 Major 3rd ...............................................................................................................74 Minor 3rd ...............................................................................................................75 Perfect 5th ..............................................................................................................75 Comparison to Tuning Systems .............................................................................77 Summation .............................................................................................................83 5. DISCUSSION ........................................................................................................86 Effect of Piano Accompaniment ............................................................................87 Effect of Harmonic Context ...................................................................................90 Comparison to Mathematical Tuning Systems ......................................................91 Comparisons to Intonation Research .....................................................................94 Practical Application of Tuning Systems ..............................................................97 Limitations ...........................................................................................................100 Recommendations for Future Research ...............................................................103 Pedagogical Implications .....................................................................................104 REFERENCES ................................................................................................................109 APPENDICES A. Participant Questionnaire .....................................................................................116 iv B. Music Scores ........................................................................................................117 C. Campus Institutional Review Board Approval Letters ........................................127 D. Informed Consent Forms .....................................................................................129 E. Recruiting Session Script .....................................................................................131 F. Recording Session Script .....................................................................................132 G. Pilot Study Questionnaire ....................................................................................133 H. Composer Word Search .......................................................................................135 VITA ................................................................................................................................136 v LIST OF TABLES Table Page 1. Tuning System Reference with Means and Standard Deviations of Intonation Performance (in cents) of Music Intervals in Harmonic Contexts by Piano Doubling and Referential Tone Accompaniment Types ..........................................................................................69 2. Repeated Measures Analysis of Variance of Intonation Performance of the Unison Interval with the Root of the I Chord by Accompaniment Type .......................................................................................70 3. Repeated Measures Analysis of Variance of Intonation Performance of the Major 3rd Interval in Various Harmonic Contexts by Accompaniment Type ........................................................................72 4. Repeated