A Comparison of Two Methods of Teaching Music Appreciation.

Louisiana State University LSU Digital Commons LSU Historical Dissertations and Theses Graduate School 1979 A Comparison of Two Methods of Teaching Music Appreciation Oscar Lavonia Williams Jr Louisiana State University and Agricultural & Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_disstheses Recommended Citation Williams, Oscar Lavonia Jr, "A Comparison of Two Methods of Teaching Music Appreciation." (1979) LSU Historical Dissertations and Theses 3424 https://digitalcommons.lsu.edu/gradschool_disstheses/3424 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons It has been accepted for inclusion in LSU Historical Dissertations and Theses by an authorized administrator of LSU Digital Commons For more information, please contact gradetd@lsu.edu INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the material submitted The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction The sign or “ target” for pages apparently lacking from the document photographed is “Missing Page(s)” If it was possible to obtain the missing page(s) or section, they are spliced into the 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prints can be purchased at additional cost and tipped into your xerographic copy Requests can be made to our Dissertations Customer Services Department Some pages in any document may have indistinct print In all cases we have filmed the best available copy I Irtnjprcik/ < mi ■ ■vvi jivV M kSfilm s International 0 N Z E E B R O A D A N N A R B O R Ml 18 B E D F O R D ROW, L O N D O N WC1 R 4EJ E N G L A N D R ep ro d u ced with p erm ission o f th e copyright ow ner Further reproduction prohibited w ithout perm ission T927556 W I L L I A M S * O S C A R L A V D N I A , JR A C O M P A R I S O N O F T W O M E T H O D S OF T E A C H I N G M U S I C APPRECIATION THE LOUISIANA STATE UNIVERSITY AND A G R I C U L T U R A L A N D M E C H A N I C A L CCLL., P H D , 9 Unn A International '3 00 N ZEEB ROAD ANN A RBO R Ml 48106 R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission A COMPARISON OF TWO METHODS OF TEACHING MUSIC APPRECIATION A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Interdepartmental Program of Education by Oscar Lavonia Williams, Jr B.S., Southern University, I960 M.M.E., Louisiana State University, 1967 August, 1979 R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission ACKNOWLEDGMENTS The writer wishes to acknowledge with sincere appreciation the guidance and direction given h im by his committee during this study He is deeply thankful to his major professor and committee chairman, Dr Spencer J Maxcy, for his encouragement and assistance Appreciation is also expressed to Dr Sam Adams, Dr J Berton Gremillion, Dr Wallace McKenzie and Dr Richard Musemeche who served as committee members Special notes of thanks go to some colleagues on the staff of Southern University: Mrs of Libraries and her s t a f f ; Mrs Librarian, and Mrs Georgia Brown, Director Lucille Render, Music Hazel H Steward, Assistant Acquisitions Librarian for their assistance; and to the Southern U n i v e r ­ sity Foundation, for financial assistance for the study Appreciation is expressed to Dr Aldrich W Adkins, Chairman of the Division of Music at Southern University, whose interest and concern made it possible for the writer to complete this study, and to Mrs Beulah Clark, Coordi­ nator of Institutional Research for aiding in the statisti­ cal design ii R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited without p erm ission iii Grateful acknowledgment is extended to Mr Harrison J Baptiste for his contributions and assistance, especially to Mrs and Shirley W Webb for her unselfish help and patience in the typing of this dissertation Finally, this writer acknowledges the patience, devotion, unend i n g support and sacrifice which his wife Theta, and daughters Anrea and Tia so generously gave during the years prior to this study and while this study was in progress R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission TABLE OF C O N TE N T S Page A C K N O W L E D G M E N T S ii LIST OF T A B L E S vii A B S T R A C T viii CHAPTER I INTRODUCTION I II III IV V VI B A C K G R O U N D THE P R O B L E M DELIMITATIONS OF THE S T U D Y DEFINITION OF T E R M S IMPORTANCE OF THE S T U D Y ORGANIZATION OF THE S T U D Y 5 II REVIEW OF RELATED R E S E A R C H III THE E X P E R I M E N T 23 IV 6 Formulation of O b j e c t i v e s The Experimental D e s i g n The Subjects of This S t u d y The Experimental Setting The Experimental P e r i o d Materials for P r e - T e s t i n g The Pilot S t u d y P r o c e d u r e s The E x p e r i m e n t Treatment of the Control Group Treatment of the Experimental Group P o s t - T e s t i n g Source of D a t a Pre Test - Post T e s t 23 24 24 25 25 25 25 26 PRESENTATION AND ANALYSIS OF D A T A 29 Difference Be t w e e n Mean Scores on the Teacher-Made Pre-Test * * iv R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission 26 27 27 27 28 28 29 V C H A PTER IV Page PRESENTATION AND ANALYSIS OF DATA (Continued) Significance of Scores on the Grade-point A v e r a g e s Difference Between Mea n Scores on Grade-point A v e r a g e s Significance of Scores on Music Facts Pre-Test Difference Between Mean Scores on Music Facts Pre-Test Significance of Scores on Music Skills P r e - T e s t Difference Between Mean Scores on Music Skills P r e - T e s t Difference Between Mea n Scores on Perceptual Skills P r e - T e s t Presentation of Post-Test D a t a Difference Between Mean Scores on the Teacher-Made Post-Test Scores Significance of Scores on Music Facts P o s t - T e s t Difference Between Mean Scores on Music Facts P o s t - T e s t Significance of Scores on Music Skills Post-Test Difference Between M ean Scores on Music Skills Post-Test Significance of Scores on Perceptual Skills Pos t - T e s t Difference Between Mean Scores on Perceptual Skills P o s t - T e s t Comparison of Mean Scores on the TeacherMade Pre-Test P o s t - T e s t Comparison of Mean Scores on Pre-Test Post-Test Music F a c t s Comparison of Mean Scores on Pre-Test Post-Test Music Skills Comparison of Mean Scores on Pre-Test Post-Test Perceptual Skills R ep ro d u ced with p erm ission o f th e copyright ow ner Further reproduction prohibited w ithout perm ission 30 30 31 31 32 32 33 33 3^ 3^ 35 35 35 36 36 37 37 38 38 v i CHAPTER V Page CONCLUSIONS AND RECOMMENDATIONS HO REFERENCES C I T E D HH AP P E N D I C E S 50 TEACHER-MADE PRE-TEST POST-TEST MUSIC APPRECIATION: A SELF-INSTRUCTION C O U R S E 50 A B SUMMARY, 58 V I T A 195 R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission L IS T OF T A B L E S T a b le Page 9- 10 11 12 13 Difference Between Kean Scores on the Teacher-Made P r e - T e st-Post-Test 25 Difference Between Mean Scores on GraaePoint A v e r a g e 25 Difference Between Mean Scores on Music Facts Pre- T e s t 25 Difference Between Mean Scores on Music Skills P r e - T e s t 27 Difference Between Mean Scores on Perceptual Skills P r e - T e s t 28 Difference Between Mean Scores on the Teacher-Made Pre-Test - P o s t - T e s t 29 Difference Between Mean Scores on Music Facts P o s t - T e s t 30 Difference Between Mean Scores on Music Skills P o s t - T e s t 30 Difference Between Mean Scores on Perceptual Skills P o s t - T e s t 31 Comparison of Mean Scores on the Teacher-Made «Fre-Test-Post-Test 32 Comparison of Mean Scores on Pre-Test-FostTest Music F a c t s 32 Comparison of Mean Scores on Pre-Test-FostTest Music S k i l l s 33 Comparison of Mean Scores on Pre-Test-PostTest Perceptual S k i l l s 3? vii R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission Reproduced with permission of the copyright owner Further reproduction prohibited without permission SONATA FORM DEVELOPMENT EXPOSITION First Theme (T onic) Trans Second T hem e ( D o minant or Relative Ma j o r ) NOTE: Trans Codetta Working over of musical ideas Rarely are new melodies intro­ duced RECAPITULATION First Trans T hem e (Tonlc- Sec Trans Theme Coda ) SONATA F O R M SHOULD NOT BE CONFUSED W I T H THE TERM "S O N A T A ” MEANING AN E N TIRE PIECE SONATA FORM INVOLVES ONLY ONE M O V E M E N T A SONATA HAS SEVERAL MOVEMENTS H CO ro 183 The Orchestra Probably the most significant change in music from the Baroque to the Classical period was the establishment of the orchestra and the development of the musical forms to go with it About the middle of the 18th century Mannheim became the site of a patron-supported orchestra that was to influence the course of music history The Mannheim Orches­ tra was noted for its excellence and its experimentation with new effects, such as the gradual crescendo and d e c r e s c e n d o The pieces developed by composers attracted to the Mannheim Orchestra were developed through trial and error a nd called " symphonies." The Symphony Symphonic composition centered in the cities of Berlin, Mannheim and Vienna One of the greatest of the Viennese symphonic composers was Wolfgang Amadeus Mozart Despite his short life and the disappointments that plaqued him, Mozart composed 52 symphonies numbers, Mozart never used opus although some were added later by publishers His works were catalogued by a Viennese botanist named Kochel M o z a r t ’s Symphony No 40 in G Minor This symphony is an excellent work through which the symphony and the sonata form may be examined The symphony was written in the summer of 1788 R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission Activity (REQUIRED LISTENING) Listen to musical example Symphony #40 in G Minor, § 32 — Mozart: K 550 (First Movement), Enjoyment of M u s i c , Machlis C710647 To make sure that you can hear the various portions of sonata form in this first movement, listen to the recording while following a clock or watch with a second hand Write down how much time elapses from the b e ­ ginning of the movement before each of these places in the form is reached The The The The second theme in the exposition _ beginning of the development _ first theme in the recapitulation _ second theme in the recapitulation (TURN THE PAGE AND CHECK YOUR ANSWERS) (If any difficulty is encountered in this activity consult the instructor for additional a s s i s t a n c e ) R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission 185 ANSW ERS At 0:49 In the first playing of the exposition - the exposition is repeated 3:50 - 3:52 5:08 6:17 This symphony, unique like others, is both typical and It is an excellent example of the style and a standard by w h i c h all symphonies of this period can be evaluated and understood The Concerto In many ways the concerto is like the symphony It is a work of some length and importance It makes use of the same forms as the symphony, a n d it is divided into m o v e ­ ments that are arranged in the same order of tempo and style There is one difference, however contain three movements instead of four Trio is not usually included in the individual movements vised, The Minuet and Other differences are evident First, each movement has an additional section called the C a d e n z a instrument alone Usually concertos Played by the solo The Cadenza has the quality of an i mpro­ virtuoso performance Second, Sonata-allegro m o v e ­ ments are a l t e r e d for the interplay of the solo instrument w i t h the orchestral ensemble Instead of one repeated ex­ p o s ition there is a double e x p o s i t i o n In the first R ep ro d u ced with p erm ission o f th e copyright ow ner Further reproduction prohibited w ithout perm ission 186 exposition the material is set forth by the orchestra alone The solo instrument then presents material of the second exposition while the orchestra assumes a secondary role The exposition takes the following form: A Orchestra alone bridge B A Solo instrument and orchestra bridge B The exposition is then followed by a development section involving both solo instrument and orchestra The movement concludes with a recapitulation, based upon the second exposition, A a cadenza, and closing material bridge B Cadenza Closing material In 7 } when he was nineteen years old, Mozart com­ posed three violin concertos, major in G major, D major, and A The A ma j o r violin concerto is one of the most fre­ quently performed of Mozart's works Activity (REQUIRED LISTENING) Listen to musical example # 33 — Concerto No in A Major Mozart: Violin (First Movement), Music Appre c i a ­ t i o n , Robert H i c k o k AS 12696 Listen to the first movement and answer the f o llow­ ing questions: Meter: A B Duple or quadruple Triple R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission 187 Mode A B The opening melody is played by A B C It has a cadenza The tempo changes It plays the opening melody of the movement The recapitulation opens with A B C The solo violin alone The entire orchestra Woodwinds only When the solo violin becomes prominent A B C Major Minor The first theme of the movement The solo theme A n e w theme The cadenza occurs A B C At the At the In the end of the development end of the movement, as a coda middle of the final tutti (TURN THE PAGE AND CHECK YOUR ANSWERS) R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission 188 ANSWERS A A B B B C (IF YOU HAD DIFFICULTY WITH THIS ACTIVITY, RE-READ THE SECTION ON THE CONCERTO MORE THAN ONE HEARING MAY BE N E C E S S A R Y ) Chamber Music Chamber music thrived in the Classical period, the social m i l i e u encouraged this type of music and The public concert was only beginning to be a factor in musical p r e ­ sentation Most perf-_ ances were still for private audi­ ences of the rich In Chamber music the n u mber of players on each part is limited tc one When the instrumentation of some chamber groups is considered, wrong violins, this definition may appear to be For instance., a string quartet consists of two one viola, and one cello There are, however, two distinct v i o l i n parts Voices are not customarily involved in chamber music, although early chamber works were influenced by vocal style R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission 189 One m an who had much to with the delineation of Chamber and Orchestral music d u r i n g the Classical period was Franz Joseph Haydn (1732-1809) One of Haydn's contri­ butions to music was the shaping of the string quartet With its instrumentation of two v i o l i n s , v i o l a , and c e l l o , the string quartet is probably the most significant grouping in the history of Chamber music Early in the l8th century, compositions called divertimentos were common implies, they were diversionary, As the name innocuous little pieces They could be played by either a quartet or a string orches­ tra Haydn took the divertimento, deleted one of its two minuets, and gave it more musical substance Activity (REQUIRED LISTENING) Listen to musical example Quartet Opus 33, No § 3^ — Haydn: String (The Bird), Music A p p r e c i a t i o n , Robert Hickok AS 12696 Listen to the entire quartet and answer the follow­ ing questions First M o v e m e n t : In the opening sections there are A B C D (is) Meter changes Mode changes A Cadenza A Fugue R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited without p erm ission 190 The m ain "bird" motive is played most often by t h e : A B C Violins V iola Cello Second M o v e m e n t : SCHERZO Meter: A B Mode: A B Duple or Quadruple Triple Ma j or Minor A recapitulation is: A B Present Not present TRIO The instrumentation is: A B C Two violins, viola, cello Two violins Violin, Viola, Cello The trio: A B Ends the movement Is followed by the scherzo Third Movement Mode: A B Major Minor Meter: A B Duple or Quadruple Triple R ep ro d u ced with p erm ission o f th e copyright ow ner Further reproduction prohibited w ithout perm ission Tempo: A B C Adagio Presto Allegro Fo urth Movement The main melody of the rondo theme is played by A B C Violins only Cello only All The rondo theme is heard in its original form: A B C Twice Three times Ten times The development is based on: A B The rondo theme Some other theme (MORE THAN ONE HEARING MAY BE REQUIRED) R ep ro d u ced with p erm ission o f th e copyright ow ner Further reproduction prohibited w ithout p erm ission 192 A N SW ER S First Movement: B A Second M o v e m e n t : B A A Trio B B Third M o v e m e n t : A B A Fourth M o v e m e n t : C B A (IF ANY DIFFICULTY IS ENCOUNTERED IN THIS ACTIVITY SEE THE INSTRUCTOR FOR ADDITIONAL ASSISTANCE.) (YOU ARE NOW READY FOR THE FOST-TEST) R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission 193 P O S T -T E S T TRUE OR FALSE A coda is the opening portion of a concerto Instruments of a string quartet viola, violin, cello, bass _3 Symphonic music developed primarily in Germany _4 The second section of the Sonata-allegro form is called the development The term "coda" refers to the introduction of a concerto _6 The cadenza is used by the composer to allow for a display of virtuosity by the soloist consist of (TURN THE PAGE AND CHECK YOUR ANSWERS) R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission 194 A N SW E R S TO P O S T - T E S T False False True True False True R ep ro d u ced with p erm ission o f the copyright ow ner Further reproduction prohibited w ithout p erm ission V IT A Oscar Lavonia Williams, Jr (born September 25, 1937), received the B.S degree from Southern University (I960), and the M M.E University degree from Louisiana State (1 967)- P r o m i 960 to 1966 he was Director of Bands at Jones Street Junior High School, Alexandria, Louisiana, and from 1968 to 1970 Director of Bands at Catholic High School, Baton Rouge, Louisiana He has been a member of the Music Faculty at Southern University, Baton Rouge, Louisiana, since 1970 195 R ep ro d u ced with p erm ission o f th e copyright ow ner Further reproduction prohibited w ithout p erm ission EXAMINATION AND THESIS REPORT Candidate: O scar Lavonia W illia m s , J r Major Field: E d ucation Title of Thesis: A Comparison Of Two Methods Of T eaching M usic A p p r e c ia tio n Approved: Major Professor and Chairman D ean of the GradUcRe School EXAMINING COMMITTEE: 6£k2s- Date of Examination: 7/12/79 R ep ro d u ced with p erm ission o f th e copyright ow ner Further reproduction prohibited w ithout perm ission \ ... A COMPARISON OF TWO METHODS OF TEACHING MUSIC APPRECIATION A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial... world demands the versatility and adaptability of its practitioners as that of music education Many critics insist that the music curricula is outdated, for not educating for today and castigate the... ission ABSTRACT The purpose of this study was to compare two methods of teaching music appreciation to college students preparing for careers as classroom teachers One class was taught by the traditional