The Effect Of Colored Accent Marks In Music Notation ...

University of Mississippi University of Mississippi

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Electronic Theses and Dissertations Graduate School

2016

The Effect Of Colored Accent Marks In Music Notation During The The Effect Of Colored Accent Marks In Music Notation During The

Sight-Reading Process For High School And College Wind Sight-Reading Process For High School And College Wind

Instrumentalists Instrumentalists

Eric Bradley Malone University of Mississippi

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Recommended Citation Recommended Citation Malone, Eric Bradley, "The Effect Of Colored Accent Marks In Music Notation During The Sight-Reading Process For High School And College Wind Instrumentalists" (2016). Electronic Theses and Dissertations. 710. https://egrove.olemiss.edu/etd/710

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THEEFFECTOFCOLOREDACCENTMARKSINMUSICNOTATIONDURINGTHESIGHT-

READINGPROCESSFORHIGHSCHOOLANDCOLLEGEWINDINSTRUMENTALISTS

AThesisPresentedfortheMasterofMusic

DegreeTheUniversityofMississippi

by

ERICB.MALONE

August2016

CopyrightEricB.Malone2016ALLRIGHTSRESERVED

ii

ABSTRACT

Thepurposeofthisstudywastotestnewwaysofimprovingthesight-reading

processinmusic.Thisexperimentalstudyhasbeensplitintotwoidenticalstudies

completedindifferentsettings.Thefirststudyutilized56volunteerwindinstrumentalists

fromahighschoolbandassubjects,whilethesecondstudyutilized30volunteerwind

instrumentalistsfromacollegebandassubjects.

Thesamepretest-posttestexperimentwasusedforeachstudy.Thesubjectswere

randomlydividedintoanexperimentalgroupandacontrolgroup,whiletwoshortmusical

excerptswerecomposedtousefortheexperiment.Thepretestexcerptwasunalteredto

determinenaturaltendenciesofaccentsduringthesight-readingprocessforeachgroup.

Theposttestexcerpthadtheaccentmarksprintedinredinkfortheexperimentalgroup

only,whilethecontrolgroupreadtheexcerptinunalteredblackink.Allofthetestswere

audio-recorded,andthesubjectsfilledoutaquestionnaireofadditionalinformationafter

theposttest.

Aftertherecordingswereevaluatedtodetermineifthesubjectsperformedthe

accents,theresultswererevealing.Thehighschoolstudyshowedthatonly16%of

subjectsperformedaccentsduringthepretest,andtheposttestshowed43%ofsubjectsin

theexperimentalgroupperformedaccents.Thecollegestudyshowedthat40%ofsubjects

performedaccentsduringthepretest,andtheposttestshowed93%ofsubjectsinthe

experimentalgroupperformedaccents.Thequestionnaireshowedthatlessons,older

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subjects(inhighschoolonly),andbrassplayerstypicallyperformedaccentsmore

consistently.Collegesubjectsalsoclearlyperformedtheaccentsmorethandidhighschool

subjects.

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DEFINITIONS:

1. Color,fortheuseofthisstudy,isalwaysred.

2. Accentsareatypeofarticulationusedtoinstructthemusiciantoplaceemphasison

acertainbeatornote.Fortheuseofthisstudy,“accents”refertonormal(>)accent

marksonly.

3. Assistant,fortheuseofthisstudy,appliestothepersonthattheresearcherusedto

administertheexperimentwithasecondgroupofsubjectstomaketheprocess

moreefficientandgainmoresubjectsforthestudy.

4. Judge,fortheuseofthisstudy,appliestotheexpertmusiciansthattheresearcher

recruitedtolistentotherecordingsandevaluatewhetherthesubjectperformedthe

accentsintheexcerptsornot.Thesemusicianswereallintheprocessof

completingaMasterofMusicdegreeinMusicEducation.

5. LocationDirector,fortheuseofthisstudy,referstothebanddirectorofeach

location.

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TABLEOFCONTENTS

ABSTRACT...................................................................................................................................................................ii

LISTOFDEFINITIONS...........................................................................................................................................iv

LISTOFTABLES......................................................................................................................................................vi

LISTOFFIGURES....................................................................................................................................................vii

CHAPTER1:INTRODUCTION.............................................................................................................................1

CHAPTER2:REVIEWOFLITERATURE..........................................................................................................5

CHAPTER3:METHODOLOGY...........................................................................................................................22

CHAPTER4:RESULTS..........................................................................................................................................29

CHAPTER5:DISCUSSION...................................................................................................................................39

LISTOFREFERENCES..........................................................................................................................................46

LISTOFAPPENDICES...........................................................................................................................................50

VITA..............................................................................................................................................................................66

vi

LISTOFTABLES

1. QuestionnaireResultsSheet---HighSchool..................................................................................52

2. QuestionnaireResultsSheet---College...........................................................................................54

3. HighSchool,College,andCombined-Experimentalv.ControlGroupData....................32

4. HighSchoolandCollegeGenderAnalysis-Experimentalv.ControlGroupData.........33

5. HighSchoolandCollegeAgeAnalysis-Experimentalv.ControlGroupData................34

6. CombinedNumberofYearsinBandAnalysis-Experimentalv.ControlGroup

Data...............................................................................................................................................................35

7. HighSchoolandCollegeInstrumentTypeAnalysis-Experimentalv.ControlGroup

Data...............................................................................................................................................................37

8. CombinedNumberofYearsinLessonsAnalysis-Experimentalv.ControlGroup

Data...............................................................................................................................................................38

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LISTOFFIGURES

1. Combined(HighSchoolandCollege)ObservedRecordingResultsforChi-Squared

Analysis........................................................................................................................................................29

2. Combined(HighSchoolandCollege)ExpectedRecordingResultsforChi-Squared

Analysis........................................................................................................................................................30

3. HighSchoolObservedRecordingResultsforChi-SquaredAnalysis.................................30

4. HighSchoolExpectedRecordingResultsforChi-SquaredAnalysis..................................31

5. CollegeObservedRecordingResultsforChi-SquaredAnalysis..........................................31

6. CollegeExpectedRecordingResultsforChi-SquaredAnalysis...........................................31

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CHAPTER1:INTRODUCTION

Sight-readinghasalwaysbeenoneofthemostimportantskillsthatamusiciancan

have.Theabilitytolookatnotationonapieceofmusicandperformitproficientlythevery

firsttimehelpsgreatlyinfuturerehearsalsofthatpiece.Itallowstheperformertospend

lesstimeworkingonbasicfundamentalslikerhythms,pitches,andpulse;whileallowing

himorhertospendmoretimeonthedetailslikemusicality,articulation,and

interpretation.Sight-readingisaskillthatmustbedevelopedthroughpractice.However,

therearealwaysmusicianslookingforsimpletrickstohelpthemselvesandtheirstudents

tosight-readmoreefficiently.Whilethereisnotricktosolveallofthemysteriesofsight-

reading,therearesomethingsthathavebeendiscoveredtohelpamusicianalongthe

processofimprovement.Someoftheseactivitieshavebeendiscoveredandpassedalong

throughtheyears,whileothershavestillyettobediscovered.

Sinceover60%oftheproblemsinsight-reading(McPherson1994)aretypically

identifiedasbeingrhythmic,itisnosurprisethatmusicianshaveworkedonwaystomake

rhythmmoreaccessibletoyoungmusicians.Oneofthekeywaysthatmusicianshave

helpedwiththerhythmicaspectofsight-readingisthroughbodymovement.Onewaythis

canbeseenisbythemusiciankeepingpulsebytappingthefootwhenplaying.Thisis

somethingseenwithmostmusiciansfromearlyyearsofstudytotheprofessionallevel.

Anotheractionthatsomemusiciansemploywhensight-readingistheclappingofrhythms

beforetheyperformtheexcerpt(Boyle1970).Patternrecognitionexercisesprovetobe

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anotheractionperformedbymusicianstoaidintheabilitytosight-readmoreproficiently.

Ithasbeenfoundthatusingflashcardsinthebeginningyearsofmusicstudycanaid

musiciansindeterminingpitchnamesaswellastheintervalsthatarebeingusedinsight-

readingmaterials(Fineet.al2006).

Thesesingularskillswerefoundtobehelpful,butnottheonlynecessaryskills

whenreadingmusic.Itwassoondiscoveredthatatruemusiciancannotbeproficientat

sight-readingwithonesingularskill,butmustinsteadhaveacollectionofskillsthatprove

tobeofimportancetoallmusicians.Althoughrhythmictrainingisnecessaryalongwith

patternrecognition,therearemanyotheraspectsofmusictrainingnecessaryaswell.The

abilitytointernallyhearmusicbeforeithasbeenplayed.Thishasbeenestablishedas

importantbytheresearchofBobbitt(1970),Harris(2001),andMishra(2014).These

studies,alongwithothersdiscussedinChapter2,alsodescribethenecessaryskillssuchas:

attentiveandrapidlymovingeyes,musicalstyletraining,readingcomprehension,

psychomotorskills,andreactiontime.Someoftheseskillsareeasilytrained,whileothers

takemuchtimeanddedicationtoimprove,astheyarenotallphysicalskills,butcognitive

abilitiesaswell.

Someresearchershavealsolookedatthepossibilityofchangingmusicnotationto

involvetheuseofcolor.Thisuseofcolortoaltermusicnotationhasgonethroughaperiod

ofexperimentalstudiestodiscoverifithasviableuseinthefutureofmusiceducation.

Someofthesestudieshavebeenabittooradicaltobeusedasanewformofmusic

notation,likePoast’s(2000)ColorMusictechniqueusedtomakeapaintingthatisreadas

musicnotation.Othershavebeensimpleinnature,likeKuoandMing-Chuen’s(2013)

articledescribingtheuseoftwelvecolorsandshape-notesinsteadoftypicalnotation.

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Therehave,however,beensomeworthwhilestudiesdoneusingcolorsnottocompletely

erasetraditionalmusicnotation,buttohighlightitinstead.Thesestudiesshowpromising

waysofhowtohelpincreasetheproficiencyofsight-readingbymusicianswithsimple

changes.

Evenwiththetypesofactivitiesthathavebeenattemptedinordertoimprovethe

sight-readingprocessformusicians,nonehavebeenabletosolveanyproblemsontheir

own.Ittakesacollectionofthesestudiesandmethodstotrulyimprovetheprocessfor

currentandfuturemusicians.Thepurposeofthisstudyistotestnewwaystoimprovethe

sight-readingprocess.Asanaccomplishedmusician,Ihavebeenaskedtoadjudicatemany

auditions.Inmytimeasajudge,itseemsthatthelastthingthatmusiciansfocusonduring

thesight-readingportionofanauditionistheuseofdifferentarticulationsandaccentsthat

arepresentinthenotation.Thesesimplecomponentstothemusicwouldimprovethe

resultsoftheauditionexponentially,butthestudentsstillneglecttheseaspectsofthe

music.Perhapsoneofthereasonsthattheseportionsofthemusicareabandonedis

becausethenotationissocluttered.

Musiciansmustbecomeexpertsatdecodingsymbolsquickly,butitbecomes

difficultwhenamusicianmustreadsomanysymbolsatonceinordertoplayasinglebeat

ofthemusic.Thetimesignature,keysignature,pitch-name,accidental,dynamics,

articulation,accent,tempo,etc.mustallbereadandrememberedforeverysinglenote-

headinthenotation.Partsofthisnotationcaneasilygetlostinallofthisblackinkonthe

page.ThatiswhyIthoughtofafewsimplechangestomaketomusicnotationoverthe

pastfewyearsofmystudythathaveshednewlightonwaystoimprovesight-reading.

Althoughthisstudyisnotthefinalstepoftheprocess,itisanimportantstep.Thesmallest

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andmosteasilyignoredpartofnotationistheaccentmarkeitheraboveorbelowthenote-

head.Withthatinmind,makingasimpleadjustmenttothemusicnotationtobringmore

attentiontothissmall,butimportantsymbolseemsnecessary.

Itmakesperfectsensetoutilizetheadvancesintechnologytoprintmusicincolor.

Asseeninpreviousstudies,usingcolorinnotationcanhelptohighlightcertainaspectsof

notation.Perhapsthechangingofonesimplething,likethecoloroftheaccentmark,can

makeadifferenceinthesight-readingprocesswithminimaleffortforthemusician.Simply

makingthecolorofanaccentmarkinmusicnotationredwhileitissurroundedbyblack

inkmaydrawtheattentionofthemusiciantothatmarkwhileheorsheisreadingthrough

thenotation.Thisoneadjustment,unlikemanyoftheotheronesbeingstudied,would

requirenoadditionaltrainingforthemusiciansincetheworkhasalreadybeendone.Ifthe

musicianhasbeentaughtproperlytobeginwith,thenthiswilljusthelptobringthat

trainingtotheauditionprocessmorereadily.

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CHAPTER2:REVIEWOFLITERATURE

Sight-reading

Sight-readinghasbeenidentifiedasoneofthenecessaryskillsofamusician.There

are,however,manyaspectsofsight-readingthathavebeenstudiedtodeterminehowto

improvethisskillamongcurrentandfuturemusicians.Thisresearchhasshownthatthere

aremanyaspectsofsight-readingthatmustbeimprovedtoimprovetheoverallabilityof

musicians.Therehavebeenstudiesthathaveshownalackofabilitywithregardto

rhythm,pitch,ageneralcollectionofmusicalabilities,selectcognitiveabilities,andeven

notationrecognition.

RegardingRhythm

Manystudieshavebeencompletedwithregardstoimprovingrhythmicaccuracy

andshowingthatrhythmisapitfalltothesight-readingprocess.Boyle(1970)showedthat

simplerhythmicmovement,likethetappingofamusician’sfootduringthesight-reading

processcanmakeamajordifferenceinaccuracy.Boyle’sstudyutilizedatotalof191

subjectsintheexperiment.Thesubjectsoftheexperimentalgroupweretrainedtotap

theirfoottothepulseduringthesight-readingprocessaswellasclappingtherhythms

beforetheybeginplaying.Theresultsoftheposttestshowedthattherhythmreadingskills

andsight-readingscoresweresignificantlyhigherfortheexperimentalgroupthanthey

wereforthecontrolgroup.Thissuggeststhatrhythmicmovementisvery

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advantageoustosight-readingefficiency.

ThisresearchbyBoylebeenexpandedbyothermusicresearchersthroughthe

yearsaswell.Onemusicresearcherthatsupportedfurthertheimportanceofrhythmic

readingabilityduringthesight-readingprocessisMcPherson(1994).McPherson’sstudy

showedthatthemajorityofmistakesmadeduringthesight-readingprocesswereindeed

rhythmicmistakes.Hisstudyincluded101highschoolclarinetandtrumpetplayersas

subjectsfortheexperiment.ThisAustralianstudysplitthethesubjectsintotwogroups,

Group1(gradesseventhroughnine)andGroup2(gradestenthroughtwelve).Therewere

littlesignificantresultsinGroup1,mostlybecauseofinconsistencybetweensubjects.

Group2showedthatbetween59%and64%(averageof61.3%)oferrorsmadeduringthe

sight-readingprocesswererhythmic.Thisnumberisdirectlyinlinewithprevious

researchstudiescitingmorethan60%oferrorsmadeinthesight-readingprocessas

rhythmic.Theothercategoriesofmistakeswerenotsignificantlyconsistenttomake

judgments.

Itiscleartoseefromthesestudiesthatrhythmisanimportantaspectwhenit

comestoreadingmusic.WithMcPherson’sstudy(1994)showingthatover60%ofthe

mistakesmadeduringsight-readingbeingattributedtorhythm,itisnowonderwhy

researchintorhythmreadingissoimportant.Boyle’s(1970)contributionsshowthe

possibilityofphysicalactionscouldhelprhythmicreadingabilitytobedeveloped.These

twostudiesshowaverylimitedviewofresults,butbothshowthatagoodportionofthe

mistakesmadeduringsight-readingcanbeattributedtorhythmicreadinginaccuracies.

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RegardingPitch

Anotherimportantfacetofsight-readingabilityasidefromrhythmreading,is

clearlyregardingpitch.Thisparticularaspectofmusicreadingisviewedbymanytobethe

mostimportant,whichmakessensewiththeamountofresearchdonetodevelopwaysto

improvepitchrecognitioninmusicians.AstudybyFineet.al(2006)showedthe

importanceofpatternrecognitioninsight-reading.Thisstudywasdonewithvocalists,so

itdidincludesomemoreparticularskillsetswithregardstopitchaccuracy.Thestudy

usedtwotests:anintervalsingingtestandthesingingofBachchoraleswithalterationsin

melody,harmony,orboth.Thestudy’sresultsshowedthatthevocalistsweremore

capableofsight-singingthealteredharmoniesthantheywereoftheothertwoversions.

Thestudyalsoshowedthat,aswasexpected,sight-readingabilityofvocalistsweredirectly

relatedtotheintervalsingingabilityofthevocalists.Thisstudydidshowthatpattern

recognitionwasextremelyimportanttothesight-readingabilityofvocalists.Thispattern

recognitionabilitycanbedirectlyrelatedtoinstrumentalistsaswellbecauseitdescribes

theabilityofrealizingpitchesbeforethemusicianperformsthem.Thisstudyshowsthat

readingpitchesisnotalwayssuchagivenwhenreadingmusic.

RegardingCollectionofNecessarySkills

Sometimestheresearchintomusicsight-readingdoesnotyieldasingleresultofa

necessaryskill,butinsteadyieldsacollectionofskillsthatarenecessarytobeagreatsight

reader.OnestudyofthisnaturecomesfromBobbit’s(1970)studyinwhichheintroduces

asystemofteachingmusicreadingskillstoelementary-agechildren.Hissystemof

teachingwastestedfornearlyayeartogetsomegoodresults.Thisstudyusedavarietyof

helpfultoolsliketape-recordedclips,slideshows,aswellasaveryquick-pacedmovement

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fromoneitemofinstructiontothenext.Hissystemspentnomorethanfiveminuteson

anyitemofinstructionandwasprogrammedsothateachlessoncouldhandlelargegroups

ofchildren,aswellasseparatingeachportionofthelessonintologicallysequencedsmall

steps.Theconceptsdependedonbeingabletograspthematerialwithalimitedamountof

timeandtheuseofrepetitiontoreinforceit.Heteachesintervalsinanordernot

dependentonscalesorkeys,butinsteadbasinghisprogressiononintervalsthatare

prevalentinmusicliterature.Hissystemdependsonstartingthisprogramedcurriculum

noearlierthanthirdgradeandhavingeachclasssplitintotwogroupsforsingingand

rhythmexercises.Hisresultsshowedthatafteronlytwenty-fivethirty-minutesessions,

fifthgradersthatwerepreviouslyunabletoevenrecognizeintervalswereabletosing

intervalsofaperfectfourth,majorthird,minorthird,andoctave.Healsousedasimple

analysisofworthwhilemusicliteraturewiththeclasstofindintervalsthattheywere

learningatthetime.Bobbittfeltthatcontinueduseofthissystemwouldleadtomuch

greatermusicalliteracyandagreaterappreciationofmusicliterature.

Anotherstudytodeterminethebestpredictorvariablesforsight-readingability

wasdonebyElliot(1982).Hestudiedthirtycollegeinstrumentalistsassubjectsand

lookedattheirtechnicalproficiency,sight-singingability,rhythm-readingability,

cumulativegradepointaverage,cumulativemusictheorygradepointaverage,cumulative

performancejurygradepointaverage,andmajorinstrumentgradepointaverage.Various

testswereusedaswellasthesubjects’schoolrecordstoobtaintherequiredinformation

forthestudy.Theresultsshowedthatthemostsignificantrelationshipwithsight-reading

performanceisduetorhythm-readingandhighperformancejuryscores.Thecombination

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ofthesetwofactorsprovedtobethemostconsistentpredictorsofhighachievingsight-

readers.

AnarticlebyHarris(2001)discussesthefunctionofeyeswhenreadingmusic,

calledrapideyemovement.Hisdescriptionisthattheeyemovesbackandforthacrossthe

pageasmanyasfiveorsixtimesasecond.Thisrapideyemovementisthekeytosight-

readingability.Healsodiscussesabasiccombinationoffactorsthatarenecessaryto

performasaproficientsightreader:recognizingpitch,understandingrhythm,looking

ahead,rememberingthekeysignature,observingnotationalmarkings,andremembering

fingerings.Healsodiscussesmorein-depthfactorsthatarenecessaryinthesight-reading

processlikeforminganauralunderstandingofthemusic,developingmusicalinstrinct,and

combiningnotesandrhythm,whilestillkeepingasteadypulse.Withthecombinationof

allofthesefactors,Harrisbelievesthatanyonecanperformimpressivelyduringthesight-

readingprocess.

Themeta-analysisdonebyMishra(2014)wasdonetodetermineifstudiesusing

experimentalmeasurestoinfluencesight-readingabilityhadanyeffect.Mishratook106

studiesintoaccountandanalyzedtheirresultsasawholetofindmoresignificantoverall

results.Thetreatmentswereseparatedintoelevencategoriesbytheauthor.Themost

effectivetreatmenttypesprovedtobeauraltraining,controlledreading,creativeactivities,

andsinging/solfege.Sincethetreatmenttypeswerenotallhomogeneousandnottreating

thesamesubjectsorthesamesubjectsize,itishardtoclassifytheresultsconsistently

throughouttheanalysis.

ThestudybyRaynerandPollatsek(1997)studiedthemovementsoftheeyes,the

optimalspanbetweentheeyesandthehands,andtheperceptualspanduringthesight-

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readingofmusic.Thestudyusespianistsassubjects,sincethistypeofstudyismore

commonwiththesemusicians.Theamountofpulsesthattheeyesreadaheadofthe

handswhilethemusicianisplayingtheinstrumentistheaimoftheexperiment.The

resultsoftheexperimentshowthatthetypicalandoptimalspanoftheeyesisabouttwoor

threepulsesaheadofthehandsforaskilledperformer.Thefinalaspecttestedwasthe

perceptualspan,meaninghowfaraheadtheeyesareactuallyviewingthenotation.Since

theeyesdoscansomuchfasterthanthemotorfunctionscanhandle,researcherswanted

toknowjusthowfaraheadtheeyesareseeing.Itwasconcludedthroughtheexperiment

thattheeyestypicallyseealittlemorethanasinglemeasureofmusicaltimeaheadofthe

hands.

ThearticlebySaxon(2009)isacompilationofskillsfromvariousstudiesand

articlestellingthebestwaystobeagreatsight-readerasamusician.Someofthe

suggestionsinclude:keeptheeyesmovingforward,neverlookbackatwhatcouldhave

beenbetter;donotcorrectmistakes;count;andkeepasteadytempo.Thearticlepresents

strategiestohelpwiththesesuggestionsandothers.Italsopresentseducatorswithsome

tipstohelpstudentsimprovetheirsight-readingability.

Zhukov(2014)didastudyevaluatingdifferentapproachestotheteachingofsight-

readingskillstopianists.Theresearcherwantedtodetermineifpianists’sight-reading

skillscouldbestrengthenedwithtraininginanyofthefollowingteachingapproaches:

accompanying,rhythmtraining,andtheunderstandingofmusicalstyle.Thestudyutilized

100pianistsforthestudyandtheyweregradedusingsoftwaretogivefourscoresona

pre/posttestsetup.Thepianistsweretrainedwiththeirrespectiveprogramfortenweeks

beforetheevaluationstookplace.Theresultsshowedthatrhythmtrainingandmusical

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styleunderstandingwerethemostsignificanttrainingprogramsandwereworthfurther

research.Nosignificantresultswerefoundforanyofthethree,however.

Fromthiscollectionofresearch,onecanseethatthebestsight-readingmusicians

donothaveonesingleskillthatmakesthemsoproficient,butinsteadtheyhavea

collectionofmanyskills.AccordingtoresearchbyElliot,Zhukov,andothersfromabove

sections,clearlyrhythmisanimportantskillthatmustbeincludedinthemixalongwitha

highmusicalstyleunderstandingresultinginproficientperformanceskills.Theresearch

ofRayner,Pollatsek,Harris,andSaxonshowsthatanothernecessaryfactorforsight-

readingisthecontinualmovementoftheeyeslookingaheadinthemusicandnoticing

importantfactorsthatarechanginginthenotation.Theseresearchersdiscussedhowthe

eyesmoveaheadofthehands,butmustnotbeexpectedtomovemuchfasterthanthe

handsareperforminginordertobeintheoptimaleye-handspan.TheresearchofBobbitt,

Harris,andMishrashowthatanotherimportantfactorinthesight-readingcollectionofa

musician’sskillsisanauralunderstandingofthemusic.Inorderforamusiciantobeable

tolookatthemusicandbeabletoplayitimmediately,heorshemustbeabletolookatthe

musicandbeabletohearthemusicinternallybeforeattemptingtoperformit.According

tothisresearch,thecollectionofskillsincludes:auraltraining,eyesthatconstantlymove

andnoticeeverything,musicalstyleunderstanding,andrhythmictraining.Witha

collectionofskillslikethese,anymusicianhasagoodchanceofbecomingaproficient

sight-reader.

RegardingCognitiveAbilities

Althoughsight-readingdependsonmanyfactorslikenotesandrhythms,thereare

stillsomeabilitiesthatareessentialtosight-readingthatarenotaseasytomeasure.These

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cognitiveabilitiesaremuchmoredifficulttomeasureduringasight-readingperformance,

whichisonereasonwhytheseabilitieshaven’tbeentestedasmuch.Untilrecently,

researchintotheseareasinvolvingmusicdidnotoccurthatoften.Drai-Zerbibet.al(2011)

didastudyinvestigatingtheseabilitiesalongwiththeuseofeye-trackingtechnology.This

studyutilizedtwenty-fivepianistsassubjectsandusedthiseye-trackingtechnologyto

showthatthemoreexperiencedpianistswereabletolookthroughsight-readingexcerpts

morequicklyandfindproblemareastolookatmoreextensivelybeforetheinexperienced

pianistswereabletodothesame.Overall,theexperimentshowedthattheexpertswere

abletoanalyzetheproblemareasinthemusicanddiscoversolutionstotheseproblems

quickerthanthenon-expertsaswellasmoreefficiently.Thisuseofcross-modalityof

mentalactionsshowstheuseofacognitiveabilitythathadneverbeenexamineduntilthis

point.

AstudybyHaywardandGromko(2009)investigatedevenmorepredictorsofsight-

readingability.Thepredictorstestedweretechnicalproficiency,spatial-temporal

visualization,andauraldiscrimination.Thestudyutilizedseventywindinstrumentalistsas

subjects.Theywereassessedindividuallyandingroupsforallofthesefactors.Theresults

supportedotherresearchthatthesefourskillsareindeedthebestcognitivepredictorsof

goodsight-readingabilityamongmusicians.

Otherstudiesintocognitiveabilitiesweredonepreviouslyaswell.Oneoftheseby

Gromko(2004)testedmentalcapacitiestofindgoodpredictorsofsight-readingability.

Gromkoenlistedtheuseof98subjectstotestcertainskills:readingcomprehension,

rhythmic/tonalaudiation,spatialorientation,visualfieldarticulation,andothermorein-

depthskills.Gromkofoundthatmusicisindeedacompositeintelligencethatdrawson

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severaldifferentcognitiveskillswhenreadingmusic.Theskillsthatwerefoundtohave

themostinfluenceoverthesight-readingabilitieswerereadingcomprehension,rhythmic

audiation,andspatialorientation.Rhythmicaudiationsupportspreviousresearchthat

showedrhythmicreadingasoneofthebestpredictorsofgoodsight-readers.Spatial

orientationisbestexplainedbysayingthatmusiciansreadmusicasiftheyarereadingan

architecturalblueprint.Readingcomprehensioniseasilyexplainedtobeimportant

becausereadingmusicandreadingwordsarebothrulegovernedandbothdependonthe

abilitytodeciphersymbols.Thiscombinationshouldprovetobethebestpredictionof

sight-readingability.

OneofthestudiesbyKopiezet.al(2006)setouttoclassifysightreadersaseither

lowachievingorhighachievingbytestingtwenty-sevenpredictorvariablesforfifty-two

pianists.Thepianistsweretakenthroughaseriesoftestsandinterviewquestionstomake

adeterminationoftheirskillsforthesevariables.Thesevariablescouldbecategorizedinto

threegroups:generalcognitiveskills,elementarycognitiveskills,andpractice-related

skills.Althoughtheresearcherswerenotabletoclearlydillineateawaytoclassifythe

musiciansintolow/highachieversbecauseofunclearresults,theywereabletodiscover

otherusefulinformationtohelppredictbettersight-readingabilities.Oneresultshowed

thatsimplereactiontimemixedwithhighaccumulationofsight-readingpracticetendsto

producemoreefficientsight-readingmusicians.Also,sight-readingabilityinhigh-level

pianistsispartiallydeterminedbyacquiredexpertisepairedwithotherfactors,likespeed

ofinformationprocessingandpsychomotorspeed.

AverysimilarstudybyKopiezandLee(2006)usedfifty-twopianistsassubjects

withonlytwenty-threepredictorvariablestotestthroughdifferentexperimentsand

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interviewquestions.Thisstudywasusedtodetermineamodelformusiciansonwhichto

basetheirpracticetobeagreatsight-reader.Workingmemoryandshort-termmemory

provedtobethemostimportantgeneralcognitiveskillspresentinagoodsight-reader.

Thesetwocognitiveabilitiesareclearlyimportantinsight-readingmusicbecauseofthe

abilitytostoreinformationinthememoryinaninstantforashortperiodoftimetobeable

tolookaheadinthemusictosolvefutureproblemsbeforetheinstantofperformance.The

onlyelementarycognitiveabilitythatwasanysignificanceforagoodsight-readerappears

tobetrillspeed.Thiscognitiveabilitydirectlyrelatestopsychomotorskills.Themodel

resultsalsoshowedthemostrelevantexpertise-relatedskillistheamountoftimespent

practicingsight-reading.

WiththeresultsoftheKopiezet.alstudies,itisclearthatpsychomotorskills,short-

termmemory,workingmemory,andreactiontimearethemostimportantcognitive

abilitiestohaveinordertobeagoodsight-reader.Gromko’sstudyshowstheneedfor

readingcomprehensionskillsandspatialorientationaswell.Furtherreinforcementof

Gromko’sresearchcamewithhercolleagueHaywardwhentheyfoundthattechnical

proficiency,spatial-temporalvisualization,andauraldiscriminationprovedtobethemost

helpfulpredictors.TheideaofgoodreadingcomprehensiongoesalongwithDrai-Zerbib

et.al’sstudy,whichalsoproducedhelpfulresults,sayingthattheabilitytolookahead

whileplayingandcomprehendingwhatmusicisahead.Thecollectionofallofthese

cognitiveabilitiesmakesforthepotentialofagreatmusicsight-reader.

RegardingNotation

Onetopicofinterestthatgetslittleresearchintoitseffectsonsight-readingisthe

effectsofnotation.Notationaldifferencesarerareinthesetimesbecauseallpublishers

15

andprinterstypicallyusethesamestyleofsoftwarethatareconfiguredinthesameways

toprintmusic.Thisdoesnotnecessarilymeanthatconventionalnotationisthemost

effectivestyleofnotationwhenreadingmusic,andresearchintothisideaiscertainly

worththeeffort.Gregory(1972)didastudyregardingthisidea.Thestudyusedsixty-

threeclarinetplayersassubjectsforthestudy.Thesubjectswereaskedtosightread

excerptsthatwerepresentedinfourdifferentways:conventionalnotation,conventional

notationwithpulsesindicatedbyvisiblemarkings,notationspacedproportionallyto

rhythmicduration,andanotationwithstemlessnoteheadsthatareelongated

proportionatelytorhythmicduration.Nosignificantresultswerenotedinthestudy,buta

surveyofthesubjectswasalsotakenandtheresultswereshown.Themostcomments

wereaboutthenotationindicatingpulseandthenotationwithstemlessnoteheads.The

firstonewasratedwellforthelearningprocess,butdistractingduringthesight-reading

process.Thesecondnotationstylewasmarkedastroublingbecauseoflackoffamiliarity.

Thisstudyshowsmostlyalackofresearchintothetopic,butshowstheuseofresearchlike

this.Althoughtherewerenosignificantresults,itstillshowedaninterestingideathatis

worthmoreresearch.

Sight-readingisanecessaryskillforanymusician,and,likeanyotherskill,needsto

bepracticed.Eventhoughamusicianshouldpracticesight-readingingeneral,developing

otherskillscanprovetobeoneofthemosthelpfulwaystoimproveproficiencyintheskill

ofsight-reading.Researchshowsthatthemostimportantskillinvolvedinsight-readingis

rhythm-readingability.TheresearchofMcPherson,Boyle,Elliot,andZhukovallsupport

thisclaimoftheimportanceofrhythm.Theirresearchshowswaysofimprovingthese

rhythmicabilitiesforthingsaseasyasclappingrhythmsbeforetheperformanceand

16

tappingthefoottothepulse.Anotherimportantskillisauraltraining,whichrelates

directlytopitchcontrolandaccuracy.Thenecessityofpitchandauraltrainingis

presentedbyBobbitt,Harris,Mishra,andFineet.al.Thedevelopmentofcertaincognitive

abilitiessuchaspsychomotorskills,short-termmemory,reactiontime,reading

comprehension,andspatialorientationarealsoevidentbecauseoftheresearchofKopiez,

Gromko,andDrai-Zerbibet.al.Thereisalsoadesiretoimproveresearchintotheeffectsof

notationonsight-readingabilitywiththestudyofGregory.Theskillsofanaccomplished

sightreaderwilldirectlytranslatetothenecessaryskillsofagreatmusicianandperformer

aswell.

ResearchUtilizingColor

ThisarticlebyPoast(2000)discussesthetechniqueofColorMusicandits

possibilitiesforthefuture.Poastdescribesindetailsomeofhiscolormusiccompositions.

Hediscussesvariousstudiesdoneincolorpsychologyandhowdifferentcolorsbringabout

specificconnotations.Hetalksabouthowtheseconnotationscanbeusedinmusicto

notateinamoreartisticwayusingthesecolorsandvariousshapesasopposedtonormal

notation.Thescorestothesecolormusicpiecestypicallyareworksofartthemselvestobe

shownattheperformance.Thisarticlediscussesthepastandfutureusesofthistechnique

inmusicnotation.

ThearticlebyColla(2001)isaneducator’sguidetointroducingandteaching

elementary-agedstudentswiththeuseof“rainbowsolfege.”Colladescribesthismethodas

idealforteachingchildrenfrombeginningyearsofmusicuntilthethirdgradewhenthey

begintransitioningtotraditionalblack-and-whitenotation.Thisideaistakenandadapted

fromIsaacNewton’sassigningofthecolorstothemajorscaleintheeighteenthcentury.

17

Thissystemassignspeacefulcolorsofthespectrumtothestabletonesinthediatonicscale,

whilegivingthemoreactivetonesamoreintensecolorofthespectrum.Tonic‘do’isgiven

blue,‘so’isyellow,‘mi’isgreen(mixtureofblueandyellow),‘re’isturquoise(mixtureof

blueandgreen),‘fa’isred,‘ti’isorange,and‘la’aspurple.Thissystemholdsmany

connectionsbetweenmusicandartbasedonhowthecolorswereassigned.Thetonesthat

leadtoeachotherareassignedrespectivecolorsthatleadtothemaswellintheartworld.

Itisbesttousethissystematsuchayoungagebecauseresearchshowsthatchildrenare

intuitivetocolormostduringthistimeandareintheideatimeperiodtolearntosingin

tune.Thisarticleofferswaystousethissystemintheclassroomandwaystouseiteven

pastthestagesofelementary-agedchildren.Collabelievesthatthissystemofferscreative

teachingandresearchpossibilitiesforthefutureofcolorinteachingstrategies.

KuoandMing-Chuen(2013)usethisarticleasaproposaltomusicteachersof

beginnerstotryanewstyleofmusicnotationthatutilizescolor.Thearticlealsopresentsa

studyusedtohelptheauthorsinventthisnewnotationbasedonproblemspresentedby

practicingmusicians.Itassignstwelvecolorstothetwelveindividualtonesthatmakeup

music.Thesystemalsoutilizesshape-notesintheformoftrianglestohelpdistinguish

betweennaturalpitchesandsharp/flatpitches.Thearticleshowssomeexamplesofwhat

certainmusicalselectionslooklikeinthisnewnotationaswell.

AstudybyRogers(1991)wasusedtodiscoverifinstructionalmaterialsutilizing

color-codednotationwouldpositivelyaffectstudents’performanceofmusicaltasksin

threeareas:performingfrommemory,sight-reading,andnamingletternamesofnotes.

Ninety-twobeginningwindplayersfromthefifthandsixthgradesweretestedinthis

study.Theexperimentalgroupusedmethodbookswhereeachpitchwashighlightedina

18

differentcolorwhilethecontrolgroupusedthesamebookswithoutthecoloredhighlights.

Aftertwelveweeks,theyweretested.Althoughthestudentsstatedthattheyfavoredthe

color-codednotation,theresultsdidnotshowanysignificantdifferenceonanyofthetests

onewayoranother.

AnotherstudybyRogers(1996)wasdonetodiscoverwhethertheuseofcolored

rhythmicnotationduringinstructionaltimeswouldaffecttherhythm-readingskillsof

sixty-fourfirstandsecondgraders,asopposedtothecontrolgroupofseventystudents.A

twenty-threeweektrialperiodwasusedtofullyintegratetheexperimentalgroupintothe

program.Liketheabovestudy,amajorityofthestudentspreferredreadingthiscolored

notation.Thisstudyshowedthattheexperimentalgroupdidhavenoticeablyhigherscores

intheirrhythmreadingthanthecontrolgroup,butonlyonthecolorednotation.When

Rogerstestedthesamesubjectsusingtraditionalblackandwhitemusicnotation,the

controlgrouphadaslightlyhighersight-readingscorethandidtheexperimentalgroup

thatwasusedtoreadingcolorednotation.Thisshowsthatwiththenewstimulus

removed,noimprovementsweremade.Theseresultsposemoreresearchquestionstobe

answered.

Thesestudiesshowpreviousattemptstoutilizecolorinmusicteaching.Oneuseof

colorbyPoastcompletelycombinestheworldsofartandmusicbycomposingapieceof

musicwhilecomposingamasterpieceofart.Theperformerinterpretsthepaintingand

performsapieceofmusicbasedonthepaintingpresented.Thisisacompletelynew

innovationinwhichthemusicianisnolongerperformingasetofinstructionsfrom

standardnotation,butisinsteadinterpretingapiecebyanartistinmusicalformat.Ina

sense,creatingthesoundtogoalongwiththevisual.Thiscombinationofmusicandart

19

wascontinuedinColla’sarticleaboutRainbowSolfegeandthepossibilitiesthatexistfor

theeducationofchildrenwiththissystemofpedagogy.Thecombinationofcolorsand

solfegewerecombinedtoevokethevisualandauralperceptionsofchildrenatsucha

youngandimpressionableage.Thisstyleofteachingleadsstraightintotheresearch

presentedbyKuo,Ming-Chuen,andRogersbyutilizingcolorasdifferentpitches.Thisidea

wastakenfromcenturies-oldtraditionsandrenovatedtofitwiththeeducationalsystemof

todaytohelpchildrensight-read,performfrommemory,andrecognizepitchesbysight.

Thoughnosignificantresultswerefound,thestudiesdidshowpromisethatdeserved

moretesting.Rogerscontinuedhisstudybypresentingcolorwithrhythmicfiguresinstead

ofpitch.Thisstudywasmetwithmoresuccessandshowsevenmorepromiseforfuture

researchintotheuseofcolorwithmusicnotation.

Synesthesia

AstudybyBankierisandSimner(2015)wasdonetodetermineiftherewasalink

betweensynesthesiaandsoundsymbolism.Synesthesiaisaconditionthatcausesunusual

cross-modalacuities,likesoundtriggeringcolorsorwordstriggeringtaste.Sound

symbolismisthepropertyofsomewordsfortheirmeaningtobelinkedwiththeir

enunciations.Meaningthatinsomecases,non-nativespeakerscanunderstandthe

meaningofforeignwords.Thestudyincludednineteensynesthetesandfifty-sevennon-

synestheses.Theylistenedto400wordsfromtenunfamiliarlanguagesandwereasked

themeaningsofthewordsinatwo-alternativeforced-choicetest.Synesthetessignificantly

outperformedtheircounterpartsinthistest,suggestingalinktosoundsymbolism.

Synesthesiaisnotsimplyconfinedtothetypeofpersonthatseescolorswithsoundor

hearsandwordandtastesit.Therearemanydifferenttypesofsynesthesiathathave

20

presentedtheresearchworldwithmanypossibilities.Sincesynesthesiapresentssucha

fascinatingpossibilityofmusicianslookingatmusicalnotationandseeingcolors,more

researchintothisfieldisnecessary.

ResearchRegardingArticulations/Accents

ThisstudybyGeringeret.al(2006)usedninetymusicmajorsassubjectsto

considertheeffectsofarticulationstylesontheawarenessofmodulatedtempos.The

subjectsheardexcerptsfromtwopiecesofmusicthatcontainedbothstaccatoandlegato

passages.Theexcerptshadbeenmodifiedtograduallyincreasetempo,graduallydecrease

tempo,ornotchangetempo.Theresultsshowthatthearticulationstyleandthedirection

ofthetemporalmodulationdidaffectthesubject’sperceptionoftemposignificantly.Allof

thestaccatoselectionswerethoughttobeincreasingintempomorethanthatofthelegato

selections.Thisstudyshowshowdifferentarticulationstylescanaffectthedriveofa

musicalselectionaswellaswhatthenaturalpreferencefortempofluctuationsareforthe

humanear.

ThisarticlebyTolson(2012)isaneducator’sguidetoreadingandteaching

articulationsinajazzensemblesetting.Therearesomanypiecesofmusicinthejazz

ensembleworldwithsomanydifferentjazzarticulations,butitisdifficultfortheeducator

todecipherthebestwaytoteachthesearticulationsasveryfewaretrainedinjazz

articulationsduringtheireducation.Thisarticleprovidesasolidfoundationtobeginthat

educationaswellasguidelinestohelpunderstandhowtoteachthisstyletoanensemble

withtheuseofarticulationsyllables.

Articulationsandaccentsareanimportantpartofthemusicallanguage.These

smallsymbolscanbeusedtodrivemusictemposforwardortoholdthembackwithoutan

21

audienceevenrealizingthatitishappening.Thisphenomenonisdemonstratedbythe

studycompletedbyGeringeret.al.Thatstudydemonstratedhowstaccatoarticulations

candrivethetempoofapieceofmusicforward,asisthenaturalinclinationperceivedby

thehumanear.Thelegatoarticulationscandotheexactopposite.Inordertotake

advantageofthesenaturaltendenciesofarticulations,amusicianmustbetaughtthe

properwaytoperformthesearticulations.ThislessonistaughtbyTolson’sarticle.He

givesaninstructionalguidetostrategiesneededtoteachmusicianshowtoproperly

articulateandaccentinagivenpieceofmusic.

22

CHAPTER3:METHODOLOGY

PilotStudy

ApilotstudyofthesametypewasperformedinAprilof2015foraresearchclass.

Thepilotstudycontainedonesinglesight-readingexcerptwithtwoaccentmarkspresent

inthenotation.Theexperimentalgroupreadthenotationwithaccentsprintedinredink

whilethecontrolgroupreadthenotationwithaccentsprintedinblackink.Thesubjects

wererecordedusinganaudiorecordingdevice.Theresearcherlistenedtoeachrecording

andjudgedwhetherthesubjectperformedtheaccentsthatwerepresentintheexcerpt

withasimple‘yes’or‘no’response.Theresultswerethenanalyzedandorganized.Inthe

studyof125highschoolsubjects,only34%ofthemperformedaccentsduringthesight-

readingprocess.Ofthat34%,70%ofthemwereintheexperimentalgroup.Theseresults

supportpreviouslystatedmaterialthatmostmusiciansdonotseemtoperformaccents

duringthesight-readingprocessingeneral.Thispilotstudyhelpedtheresearcherto

developthemostefficientset-upforthemethodologyusedinthepresentexperiment.

ReceivingPermission

Thisisanexperimentalresearchprojectinvolvingafewsimpleprocesses.Since

thisprojectincludeshumansubjects,theresearcherfirstsubmittedaproposalforthe

experimenttotheUniversityofMississippiInstitutionalReviewBoard(IRB)forapproval.

Oncealloftherequirementsweremetandapprovalwasgrantedfortheproject,the

researcherbeganthenextsteps.

23

Theresearcherthenattemptedtogainpermissiontoworkwiththreepublichigh

schoolbandprogramsthroughtheirrespectiveadministratorsaswellasvolunteersina

universitybandprogram.Theresearcherdecidedtofocusononepublichighschooland

thecollegestudentsonlybecauseofschedulingdifficulties.Theresearcherreceived

permissiontouseanaudiorecordingdevicewitheachsubjectinthestudy.Althoughthe

subjectswererecorded,thesubjectsremainedanonymousandnopersonalinformation

wasrequestedordisplayedduringthisstudy.Afterpermissionwasgrantedfromthe

administrator,theresearcherdiscussedtheexperimentwiththehighschoolbanddirector

(locationdirector)andcollegedirector(locationdirector)togainpermissionfromthemas

wellassetuptwoseparatedaysfortheteststobecompletedateachschool.The

researcheralsoscheduledadaybeforethetestingbeganateachlocationtogiveabrief

descriptionoftheprojecttothesubjects,sotherewouldbenofalsepretensesaboutthe

project.

Theresearcherreceivedalistofnamesorganizedbyinstrumentfromthehigh

schoollocation.Atthispoint,thesubjectswereassignedtoeitherthecontrolgrouporthe

experimentalgroup.Theresearcherassignedsubjectsintogroupsbymakingsurethere

wasabalancedinstrumentationforeachgroup.Thecollegegroup’ssubjectswere

assignedsothateachgroupwouldhavethesamenumberofsubjects.Eachsubjectwas

givenanidentifiercardwithafour-digitcodeonittokeepthesubjectsanonymousduring

therecordingprocess.Thisidentifiercardwasusedtoaidintheanalysisoftheresults

fromExcerptAtoExcerptB.Thecardsweremadeforeachsubjecttogivetothe

moderatoroftheexperimentatthestartoftherecording.Theresearcherarrangedwith

24

thelocationdirectorfortheuseoftworooms.Eachroomwassetupwithtwochairsand

twostands.

Preparation

Theresearcherdevelopedtwoshortsight-readingexcerpts,ExcerptAandExcerpt

B,whichweremadeappropriateforallmusiciansbeingtested.Eachexcerptcontainsat

leasttwoinstancesofanaccentmarkinthemusicnotation.Theresearcherprintedtwo

copiesofeachexcerpt.ExcerptAremainsintraditionalblackinkforboththeexperimental

andcontrolgroups.ExcerptBisintraditionalblackinkforthecontrolgroup,buthasbeen

alteredfortheexperimentalgrouptocontainaccentmarksprintedinredink.The

excerptswereprintedforeveryinstrumenttypeandplacedintoafolderforthe

appropriategroup.Therearetwocopiesofeachfolder.Onecopywasmadeforthe

researcherandtheotherfortheassistant.

Theresearcheralsocreatedashortquestionnaire(Appendix9)forthesubjectsto

completeafterthesecondexcerptwasperformed.Thequestionnaireonlycontainsseven

questions.Thereisaplacetowritethesubject’sidentifiercode,age,instrument,gender,

numberofyearsinband,numberofyearstakinglessons(ifany),andtoreportany

colorblindness.

RecruitingHelp

Theresearcherfoundtwocolleaguestouseasjudgesinthestudy.Thejudgeswere

graduatestudentspursuingaMasterofMusicdegreeinmusiceducation,justlikethe

researcher.Theresearcheractedasthethirdjudgeforthestudy.Judge1playssaxophone,

judge2playstrumpet,andjudge3playstuba.Thethreeexpertjudgesweretrainedto

evaluatetherecordingsbyreplyingwitheitherayesornoresponsetoeachrecording

25

basedonwhetherthesubjectperformedanaccentatthespecifiedtimeinthemusic.They

wereallgivenacleardefinitionofwhatanaccentsoundslike(aslistedinthedefinitions

portion).Sevenrecordingswerecreatedforreliabilitytestingandwerenotincludedinthe

experiment’srecordings.Thereliabilitycoefficientwascalculatedbydividingthetotal

numberofagreementsbythetotalnumberofinstancesandresultedina.90agreement.

Oncetheexperimentwascompleted,thejudgeslistenedtoeachoftherecordingsto

dothesamethingtheydidforthereliabilitytest.Theyfollowedalongwiththeircopyof

themusicalexcerptandrecordedeithera‘yes’or‘no’astowhetherthesubjectperformed

anaccent.

Theresearcheralsogainedtheaidofanassistant.Thisprovedtobenecessaryin

ordertodoublethenumberofsubjectstested.Thehighschoolband’sstudentteacherwas

usedasanassistantatthehighschool(noassistantwasnecessaryatthecollege)toensure

thattheassistantwaspresentwithoutfail.Thisisthemostefficientdesignplan.

Testing-HighSchool

Atotalof56highschoolwindinstrumentalistscompletedthestudy.Thefirstdayof

thetestwasdevotedtoExcerptAforbothgroups(theexperimentalgroupandthecontrol

group).Theresearcher/assistant(moderator)distributedtheidentifiercardstothe

subjectsastheenteredthetestingroomonthefirstday.Eachmoderatortestedhalfofthe

subjects,butbothhadanevenmixofexperimentalandcontrolgroupsubjects.The

moderatorinvitedthesubjectsinoneatatime.Whenenteringtheroom,thesubjectswere

givenanidentifiercardbythemoderator.Theidentifiercodesignaledwhichfoldertouse

(eithertheexperimentalfolderorthecontrolfolder).Thesubjectwasthenpresentedwith

ExcerptAandgiventhirtysecondstoviewtheexcerptwithoutmakinganynoiseonthe

26

instrument.Afterthirtysecondspassed,themoderatortoldthesubjecttobeginthesight-

reading.Oncethesubjectfinishedtheexcerpt,theywereaskedtoleaveasthenextsubject

enteredtorepeattheprocess.OncethetestsforExcerptAwerefinished,theresearcher

collectedtheresultsandfiledthemwiththelocationnameonapersonallaptopinorderto

keeptherecordingstogetherandprivate.

Aweeklater,thesecondtestdaywasdevotedtothealteredExcerptB.The

moderatorsusedthesamesetupandprocedurethatwasusedduringthefirsttestingday.

Theonlydifferenceintheprocedurewasthatthesubjectscompletedthequestionnaire

beforecomingintothetestingroom.Theyhandedthecompletedquestionnaireand

identifiercardtothemoderatorbeforesight-readingbegan.AfterExcerptBtestswere

completed,theresearchercollectedtheresultsandfiledthemonthelaptopjustasbefore.

Testing-College

Atotalof30collegewindinstrumentalistscompletedthestudy.Thefirstdayofthe

testwasdevotedtoExcerptAforbothgroups(theexperimentalgroupandthecontrol

group).Themoderatortestedallofthesubjects,andhadanevenmixofexperimentaland

controlgroupsubjects.Themoderatorinvitedthesubjectsinoneatatime.Whenentering

theroom,thesubjectsweregivenanidentifiercardbythemoderator.Theidentifiercode

signaledwhichfoldertouse.ThesubjectwasthenpresentedwithExcerptAandgiven

thirtysecondstoviewtheexcerptwithoutmakinganynoiseontheinstrument.After

thirtysecondspassed,themoderatortoldthesubjecttobeginthesight-reading.Oncethe

subjectfinishedtheexcerpt,theywereaskedtoleaveasthenextsubjectenteredtorepeat

theprocess.OncethetestsforExcerptAwerefinished,theresearchercollectedtheresults

27

andfiledthemwiththelocationnameonapersonallaptopinordertokeeptherecordings

togetherandprivate.

Aweeklater,thesecondtestdaywasdevotedtothealteredExcerptB.The

moderatorusedthesamesetupandprocedurethatwasusedduringthefirsttestingday.

Theonlydifferenceintheprocedurewasthatthesubjectscompletedthequestionnaire

beforecomingintothetestingroom.Theyhandedthecompletedquestionnaireand

identifiercardtothemoderatorbeforesight-readingbegan.AfterExcerptBtestswere

finished,theresearchercollectedtheresultsandfiledthemonthelaptopjustasbefore.

Analysis/Results

Thejudgeswereremindedhowtoevaluatetherecordingsandinstructedtoprovide

asimple‘yes’or‘no’answerforeachrecordingastowhetherthesubjectperformedthe

accentornot.Theresearcherthenuploadedtherecordingstoaprivatestoragedrive

onlineandgavethetwojudgesaccesstoit.Thedrivecontainedthreefolders,oneforeach

judge.Eachfoldercontainedtherecordingsforeachlocationandaspreadsheettorecord

thedata.Thejudgeslistenedtotherecordingsanddocumentedtheirresults.Thejudges

didallofthedataentryonlineanddidnothavetosaveanyinformationtotheirown

devices.Alloftheinformationwastransferredtotheresearcher’spersonallaptopwiththe

originalrecordings.Theresearcherdeletedalloftheinformationthatisontheprivate

storagedriveaccordingtoprotocol.Theresearchercompiledtheresultsofthe

questionnaire.Thequestionnaire’sresultswereanalyzedandorganizedintoatable,and

thenthequestionnaireswereshredded.Soonafter,theoriginalaudiorecordingswere

deletedaswell.

28

Theresearcheralsocompiledtheresultsfromtherecordingresultscompletedby

thejudgesandusedChi-SquaredAnalysistoanalyzetheresultsoftheevaluations.The

resultswereorganizedandaredisplayedinthenextchapter.Thereweresomestudents

whowereonlythereforthefirsttestingday,buttheirresultsweredisregarded.The

resultswereallcompiledandareintheappendix.Table1showsalloftheresultsforthe

recordingsandquestionnaireofthe56highschoolwindinstrumentaliststhatwereusedas

subjectsinthestudy.28ofthesubjectswereinthecontrolgroupand28wereinthe

experimentalgroup.Table2showsalloftheresultsfortherecordingsandquestionnaire

ofthe30collegewindinstrumentalistsusedinthestudy.15ofthesubjectswereinthe

controlgroupwhiletheother15wereintheexperimentalgroup.Theseresultswereused

totestthenullhypothesisthatwasstatedpreviously:Theuseofcolortobringattentionto

theaccentmarkswillhavenoeffectontheperformanceofthedesiredaccentduringthe

sight-readingprocessthantheuseofstandardmusicnotation.

29

CHAPTER4:RESULTS

Analysis

Theanalysisshowsthatwiththetwogroupscombined,thenullhypothesisis

rejected,whichmeansthattheuseofcolortobringattentiontoaccentmarksdoeshavean

effectontheperformanceofaccentsduringthesight-readingprocess.UsingtheChi-

SquaredTestforCross-CategorizedFrequencyData,Figure1showstheobservedresults

forthetwogroups(highschoolandcollege)combinedinatablenecessaryforChi-Squared

Analysis.Figure2showstheexpectedresultsforthecombinedgroupsinthesametypeof

table.Forthisgroupofdata,χ2(chi-squared)iscalculatedat9.07andthedegreeof

freedom(df)valueis1.Withthisinformation,asignificancevalueof.5%isgiven.This

meansthatthedifferencebetweentheexperimentalgroup’sposttestyesvalue

(26/31=83.9%)andthecontrolgroup’sposttestyesvalue(12/28=42.9%)mustbewithin

.5%fortheresultstobeinsignificantandthenullhypothesisaccepted.Thatisnotthecase,

sothenullhypothesisisrejectedforthecombinedgroup.

Combined-Observed PretestYes PosttestYes TotalsExperimental 5 26 31Control 16 12 28Totals 21 38 59

Figure1Combined(HighSchoolandCollege)ObservedRecordingResultsforChi-SquaredAnalysis

30

Thenullhypothesisisalsorejectedinthehighschoolgroupdata,meaningthatthe

useofcolortobringattentiontoaccentmarksdoeshaveaneffectontheperformanceof

accentsduringthesight-readingprocessforhighschoolsubjects.Figure3showsthe

observedresultsforthehighschoolgrouponlyinatableforChi-SquaredAnalysis.Figure

4showstheexpectedresultsforthehighschoolgrouponly.Forthisgroupofdata,χ2(chi-

squared)is9.12andthedegreeoffreedom(df)valueis1.Withthissimilarinformation,a

significancevalueof.5%isagaindetermined.Thismeansthattheexperimentalposttest

value(12/12=100%)andthecontrolposttestvalue(5/14=35.7%)mustbewithin.5%in

orderfortheresultstobeinsignificantandthatsamenullhypothesistobeaccepted.

Again,thatisnotthecase,sothenullhypothesisisrejectedforthehighschoolgroupas

well.

Combined-Expected PretestYes PosttestYes TotalsExperimental 11.03 19.97 31Control 9.97 18.03 28Totals 21 38 59

Figure2Combined(HighSchoolandCollege)ExpectedRecordingResultsforChi-SquaredAnalysis

HighSchool-Observed

PretestYes PosttestYes Totals

Experimental 0 12 12Control 9 5 14Totals 9 17 26

Figure3HighSchoolObservedResultsforChi-SquaredAnalysis

31

Theanalysisshowsthatwiththecollegegroup,thenullhypothesisfailstobe

rejected,meaningthatthereisnodatatosuggestthattheuseofcolortobringattentionto

accentmarkshasaneffectontheperformanceofaccentsduringthesight-readingprocess

forcollegesubjects.UsingtheChi-SquaredTestforCross-CategorizedFrequencyData,

Figure5showstheobservedresultsfromthecollegegroup.Figure6showstheexpected

resultsforthecollegegroup.Forthisgroupofdata,χ2(chi-squared)is1.06andthedegree

offreedom(df)valueis1.Withthisdata,asignificancevalueof30.3%isdetermined.This

meansthattheexperimentalposttestvalue(14/19=73.7%)andthecontrolposttestvalue

(7/14=50%)mustbewithin30.3%inordertoshowthattheresultsareinsignificantand

acceptthenullhypothesis.Thesedataverifythefailuretorejectthenullhypothesisfor

collegesubjects.

HighSchool-Expected

PretestYes PosttestYes Totals

Experimental 4.15 7.85 12Control 4.85 9.15 14Totals 9 17 26

College-Observed PretestYes PosttestYes TotalsExperimental 5 14 19Control 7 7 14Totals 12 21 33

Figure4HighSchoolExpectedResultsforChi-SquaredAnalysis

Figure5CollegeObservedResultsforChi-SquaredAnalysis

College-Expected PretestYes PosttestYes TotalsExperimental 6.91 12.09 19Control 5.09 8.91 14Totals 12 21 33Figure6CollegeExpectedResultsforChi-SquaredAnalysis

32

Table3strengthensthefindingsdiscussedinpreviousparagraphsasitshowsthe

statisticsofbothgroupsindividuallyandcombined.Italsoshowstheposttestdatabroken

downbycontrolgroupandexperimentalgroup.

HighSchool

PretestYes

PretestYes% PosttestYesandPostTestYes%

Control

Control% Experimental

Experimental%

Total 9of56 16.1% 5of28 27.8% 12of28 42.9%

College

PretestYes


Control


Experimental%

Total 12of30 40% 7of15 46.7% 14of15 93.3%

Combined

PretestYes


Control


Experimental%

21of86 24.4%

12of43 27.9% 26of43 60.5%

TheinformationinTables4,5,and6showtheanalysisofgender,age,andnumber

ofyearsinband,respectively.Thesetableswereusedtoanalyzeeachaspectofthe

questionnairecompletedbyeachsubjectaswellastheoverallresults.ThedatafromTable

4shownosignificantadvantagetoeithergenderduringeitherphaseoftheexperiment.

Table3HighSchool,College,andCombined-Experimentalv.ControlGroupData

33

Inthehighschoolgroup,thedatadosuggestthatageissignificantsignificant

overall.ThedatainTable5showtheanalysisofthedifferentagesofthetwogroups

duringtheexperiment.Duringthepretestphaseofthehighschoolgroup,thepercentageof

subjectsperformingaccentsrisesexponentiallyhigherforeachadditionalyearinagefor

thesubjects.Thiscontinuesuntilreachingtheageofeighteen.Lookingattheposttest

phaseforthehighschoolgroup,averysimilartrendcanbeseen.Agefourteenhasthe

lowestpercentageofsubjectsperformingaccents,andeachsuccessiveagegetsahigher

percentagethantheonebefore.Thistime,however,eventheeighteenyear-oldsubjects

performbetteroverall.Itisalsoworthnotingthattheexperimentalgroupforeachagedid

betterthandidthecontrolgroupforeachage.Noclearpatterncanbeseeninthecollege

group’sperformanceofaccentsamongages.Theexperimentalgroupdoesstillappearto

performaccentsmorethandoesthecontrolgroup.Thiswillbediscussedfurtherinthe

nextchapter.

GenderAnalysis HighSchool PretestYes PretestYes% PosttestYesandPostTestYes%

Control Control% ExperimentalExperimental%

Male 3of21 14.3% 1of11 9.1% 4of10 40%Female 6of35 17.1% 2of18 11.1% 8of17 47.1%

College PretestYes PretestYes% PosttestYesandPostTestYes%

Control Control% ExperimentalExperimental%

Male 10of21 47.6% 6of10 60% 9of11 81.8%Female 2of9 22.2% 2of4 50% 5of5 100%Table4HighSchoolandCollegeGenderAnalysis-Experimentalv.ControlGroupData

34

Asidefromafewseparateyearsofstandout,nosignificantpatterncanbe

foundthatsuggeststhatthenumberofyearsinbandaffectsasubject’sabilityortendency

toperformaccentsmorereadily.TheinformationinTable6showsananalysisofthe

numberofyearsinbandforeachofthesubjectsduringtheexperiment.Sinceitdidnot

seemrelevanttosplitthedataintogroups,thesedataarecombinedforthetwogroups.It

canbeseen,however,thattheexperimentalgroupdoeshavehigherpercentagesthandoes

thecontrolgroup.

AgeAnalysisHigh

School PretestYesPretestYes

% PosttestYesandPostTestYes%

Control


Experimental%

14 0of4 0% 1of2 50% 0of2 0%15 1of17 5.9% 0of6 0% 4of11 36.4%16 4of19 21.1% 1of10 10% 4of9 44.4%17 4of13 30.8% 1of8 12.5% 3of5 60%18 0of3 0% 2of2 100% 1of1 100%

College PretestYes


Control


Experimental%

18 1of2 50% 1of2 50% N/A N/A19 2of4 50% 2of2 100% 2of2 100%20 3of6 50% 1of2 50% 4of4 100%21 1of5 20% 1of2 50% 2of3 66.7%22 3of6 50% 1of5 20% 1of1 100%23 1of5 20% 1of1 100% N/A N/A24 1of3 33.3% 0of1 0% 2of2 100%25 1of2 50% N/A N/A 2of2 100%26 1of1 100% N/A N/A 1of1 100%

Table5HighSchoolandCollegeAgeAnalysis-Experimentalv.ControlGroupData

35

NumberofYearsinBandAnalysis Combined PretestYes PretestYes% PosttestYesandPostTestYes%

ControlControl% Experimental

Experimental%

1 0of1 0% N/A N/A 0of1 0%3 1of5 20% 0of3 0% 1of2 50%4 2of13 15.4% 0of4 0% 1of9 11.1%5 4of18 22.2% 1of10 10% 7of8 87.5%6 1of13 7.7% 0of6 0% 3of7 47.9%7 2of6 33.3% 4of5 80% 1of1 100%8 4of6 66.7% 3of5 60% 1of1 100%9 1of5 20% 1of3 33.3% 2of2 100%10 3of7 42.9% 1of1 100% 5of6 83.3%11 1of2 50% 1of1 100% 1of1 100%12 0of2 0% 0of2 0% N/A N/A13 2of2 100% 0of1 0% 1of1 100%14 1of3 33.3% 0of1 0% 2of2 100%15 0of1 0% N/A N/A 1of1 100%16 0of1 0% N/A N/A 1of1 100%

Theresultsshowthatbrassplayers,andmorespecificallytrumpetplayers,perform

accentsmoreconsistentlythanothers.Thenextsetofinformationdisplaysananalysisof

thesubjectsbytypeofinstrumentandispresentedinTable7.Althoughthereisnodata

thatsaydefinitivelythatoneinstrumentperformsaccentsmorefrequentlythananyother,

thesedatadosuggestthattrumpetplayerstendtoaccentmoreconsistentlythandoother

instrumenttypes.Nomatterthephaseoftheexperimentorthegroup(highschoolor

college),thepercentageofaccentingtrumpet-playingsubjectstendtobecloseto50%,

whereas,allotherinstrumenttypesseemtofluctuatequiteabit.Whenitcomesto

instrumentfamilies,resultspresentthemselvesalittlemoreclearly.Inthehighschool

grouppretest,thebrassplayersperformedtwiceaswellasthewoodwindplayersdid

Table6CombinedNumberofYearsinBandAnalysis-Experimentalv.ControlGroupData

36

(21.4%v10.7%).However,duringtheposttestphase,thetwofamilieswerealmosteven

with28.6%ofthebrasscomparedto32.1%ofthewoodwinds.

InstrumentAnalysis

HighSchoolPretestYes


Control Control% Experimental Experimental%Flute 0of12 0% 0of5 0% 4of7 57.1%Clarinet 2of9 22.2% 1of5 20% 2of4 50%Saxes 1of6 16.7% 0of4 0% 1of2 50%Bassoon 0of1 0% N/A N/A 1of1 100%Trumpet 3of7 42.9% 1of4 25% 1of3 33.3%Horn 1of7 14.3% 1of4 25% 0of3 0%Trombone 1of11 9.1% 2of5 40% 2of6 33.3%Euphonium 0of1 0% N/A N/A 1of1 100%Tuba 1of2 50% 0of1 0% 0of1 0%

Brass 6of28 21.4% 4of14 28.6% 4of14 28.6%Woodwind 3of28 10.7% 1of14 7.1% 8of14 57.1%

CollegePretestYes


Control Control% Experimental Experimental%Clarinet 1of2 50% 1of1 100% 1of1 100%Saxes 2of9 22.2% 2of4 50% 4of5 80%Bassoon 0of1 0% 0of1 0% N/A N/ATrumpet 4of7 57.1% 2of3 66.7% 4of4 100%Horn 1of5 20% 2of3 66.7% 2of2 100%Trombone 2of3 66.7% N/A N/A 3of3 100%Euphonium 2of3 66.7% 0of3 0% N/A N/A

Brass 9of18 50% 4of9 44.4% 9of9 100%Woodwind 3of12 25% 3of6 50% 5of6 83.3%

CombinedBrass 15of46 32.6% 8of23 34.8% 13of23 56.5%CombinedWoodwind 6of40 15% 4of20 20% 13of20 65%

Table7HighSchoolandCollegeInstrumentTypeAnalysis-Experimentalv.ControlGroupData

37

Thecollegegroupwasverysimilarinresults.Exactly50%ofthebrassplayers

performedaccentsduringthepretestphasewhileexactly25%ofthewoodwinds

performedaccentsduringthesamephase.Again,theposttestpresentedthefamiliesas

almostevenwith72%ofthebrassfamilyperformingaccentscomparedto66.7%ofthe

woodwindfamily.Sincethesametrendisseeninbothgroups,thereisnoneedtolookat

thecombinedstatistics.Theexperimentalgroupdidshowimprovementforboth

instrumentfamilies,butthewoodwindfamilyincreaseditsnumberssignificantlymore

duringtheposttestphasethandidthebrassfamily.Thiswillalsobediscussedinthenext

chapter.

Resultsindicatedthatmusiclessonsdohaveapositiveaffectontheexperiment.

Thelastcollectionofinformation,Table8,displaysananalysisofthenumberofyearsin

musiclessonsforthecombinedgroupofsubjects.Byexaminingthedataofthepretest

phase,nodefinitivepatternseemstoarisetosuggestthatlessonsmakeadifference.A

similarlackofapatternoccurswhenviewingthedatafortheposttestphaseofthe

experiment.Whenlookingatthedataatthebottomofthetable,however,aclearpattern

doesseemtoarise.Althoughitdoesnotappeartomatterhowmanyyearsthesubjects

tooklessons,asignificantpatternisvisiblewhenlookingatthesimplefactifthesubjects

havetakenmusiclessonsornot.Thesubjectswhohavetakenlessonsperformedaccents

240%morethandidthosewhohadnottakenanymusiclessonsduringthepretestphase.

Duringtheposttestphase,thesubjectswhohadtakenlessonsperformedaccents300%

morethandidthosewhohadnottakenanylessons.Itisalsonoteworthytomentionthat

theexperimentalgroupdidperformsignificantlybetterthandidthecontrolgroupagain.

38

NumberofYearsinLessons Combined PretestYes PretestYes% PosttestYesandPostTestYes%

Control

Control%

Experimental

Experimental%

0Years 7of47 14.9% 4of27 14.8% 7of20 35%(0<1)Years 1of3 33.3% 0of1 0% 2of2 100%1Year 1of11 9.1% 1of2 50% 6of9 66.7%2Years 4of6 66.7% 2of3 66.7% 3of3 100%3Years 2of4 50% 0of1 0% 3of3 100%4Years 2of5 40% 2of3 66.7% 1of2 50%5Years 1of5 20% 2of3 66.7% 2of2 100%6Years 2of4 50% 1of2 50% 2of2 100%9Years 1of1 100% 0of1 0% N/A N/A

NoLessons 7of47 14.9% 4of27 14.8% 7of20 35%Lessons 14of39 35.9% 8of16 50% 19of23 82.6%

Table8CombinedNumberofYearsinMusicLessonsAnalysis-Experimentalv.ControlGroupData

39

CHAPTER5:DISCUSSION

Basedonalloftheinformationpresented,thefollowingclaimscanbemadeabout

thecombinedgroups:theuseofcolordoesmakeadifferenceintheperformanceof

accents;thepilottestdatamatchwiththecurrentexperimentaldata;genderdoesnot

appeartomakeadifferenceintheperformanceofaccents;brassplayerstendtoperform

betterinitially,butperformevenlywithwoodwindswiththetreatmentadded;thenumber

ofyearsinbandisinsignificant;andthosewhohavehadmusiclessons(nomatterthe

timeframe)performaccentsmorethanthosewhohavenothadlessons.Additionally,age

onlymakesadifferenceinthehighschoolgroup.Theinformationreportedthroughthe

questionnairetopicspresentsalotofdatatosiftthrough,butanalysesofallofthesedata

donotdefinitivelyproveanyoftheseclaims.Theydo,however,presentsomeinteresting

discussionsthatcanbearguedfororagainstinthischapter.

Implications

Overall,thehighschoolgroupinthecurrentexperimentstrengthensthefindings

fromthepilotstudy.Whencomparingthecurrentexperimenttothepilottest,onlythe

posttestresultscanbeconsidered,sincetheprocedureduringthatphasematchesthepilot

testprocedure.Inthehighschooldata,only30.4%(17/56)ofthesubjectsperformedthe

accentsduringtheposttestphase.However,70.6%(12/17)ofthosewhoperformedthe

accentsintheposttestwerepartoftheexperimentalgroup.Thefigure30.4%is

40

insignificantlylessthanthe34%ofsubjectswhoperformedaccentsinthepilottest.The

70.6%matchesalmostperfectlywiththepilottestdataof70%.

Thecombineddatasetshowsslightlymixedresultswhencomparedtothepilottest

data.Thedatashowthat44.2%(38/86)ofthesubjectsperformedaccentsduringthe

posttestphaseoftheexperiment.Thatnumberissignificantlyhigherthanthe34%

observedduringthepilottest.Also,68.4%(26/38)ofthoseaccentingsubjectsduringthe

posttestphaseweremembersoftheexperimentalgroup.Thatnumberisinsignificantly

smallerthanthepilottestnumberof70%.

Theconclusionsforthecollegegroupdefinitivelyshowthatcolordoesnotmakeas

muchofadifferenceasitdoesinthehighschoolgroup.Inthecollegeportionofthestudy,

anastounding70%performedtheaccentsintheposttestphase.Thatismorethandouble

thepercentageofhighschoolsubjectsof30.4%.Thatisalsoadrasticallyhighernumber

thanthepilottestdataof34%.Averysimilar66.7%(14/21)ofthoseaccentingsubjectsin

theposttestweremembersoftheexperimentalgroup.Thatnumberisinsignificantlyless

thanthe70%ofaccentingsubjectswhowerepartoftheexperimentalgroupinthepilot

test.

Basedontheresultsandtheircomparisonstothepilottestdata,itisdefinitivethat

theadditionofcolorpositivelyaffectsthehighschoolgroupofsubjects.Theresultsare

howeverinconclusiveforthecollegegroup.Thecollegesubjectsclearlyperformaccents

morethandohighschoolsubjectsoverall,buttheexperimentalgroupwasonthesame

levelregardlessofthegroupidentification.

Thegenderanalysiswasinterestingbecauseofthelackofsignificanceonewayor

another.Theresultsshowedarelativelyevenpercentageofsubjectsaccentingduringthe

41

performance.Thehighschooldatawereverysimilarthroughoutbothphasesofthe

experiment.Thecollegegroup,however,showedasignificantdifferenceinthepretest

portionofthestudy.Here,47.6%ofthemalesaccentedcomparedwith22.2%ofthe

females.Thatseemsverysignificantsincethemalesperformedaccentstwiceasmuchas

thefemalesdid.However,duringtheposttestphaseoftheexperiment,theresultsevened

outagain.Therefore,thefemaledataincreasemuchmorethandidthemaledataduring

theposttestphase.

Theagefactoroftheresultsprovedtomakeadifferenceforthehighschoolgroup,

butdidnotseemtomatteratallinthecollegegroup.Itmakesperfectsenseforanolder

musiciantoperformaccentsmoreconsistentlythanayoungermusicianbecauseof

experienceandtraining.Theoldersubjectmostlikelywouldhavebeentaughtthe

differentareasofimportanceinmusicandwouldhavemoreexperiencesight-reading

musicwithalotofmusicalityinitcomparedtoamoreinexperienced,youngersubject.The

posttestshowedthattheyoungestsubjectsdidthepoorestwitheachadvancementinage

performingbetter.

Whentryingtodiscoverwhichinstrumentfamilyandtypeperformedaccentsthe

mostconsistentlythroughoutthesubjects,thebrassfamilyandtrumpet-playingsubjects

seemedtohavethebestoutcomes.Althoughitisdifficulttopickanyoneinstrumentas

beingthemostconsistentamongthewindinstrumentalists,oneinstrumenttypedoes

seemtobethemostconsistentinperformingaccents.Thatinstrumentisthetrumpet.The

trumpetgroupeitherhadthehighestpercentageorwasinthetoppercentileforeach

phaseoftheexperimentinthehighschool,college,andcombinedgroups.Trumpetplayers

oftenhavetoplaythemelodyorsometimesfanfares,andthesepartsofmusicfrequently

42

haveaccents.Thisisprobablyareasonthattrumpetsubjectsdidbetteroverallthanother

subjects.Theinstrumentfamilyresearchseemedtofollowsuitwiththetrumpetdata.The

brassfamilyofinstrumentsperformedaccentsmoreconsistentlyduringeveryphaseofthe

experimentexcepttheexperimentalgroupduringtheposttestforthehighschoolsubjects.

Thisdatashowsthatbrassplayersaremorelikelytoperformaccentsoverall,butalsothat

woodwindplayersmaynotnoticethemaseasily.

Thequestionnaireresultsshowthatthesubjectswhotooklessonsperformed

accentsmoreconsistentlythandidthosewhohadnottakenlessons.Curiously,thesedata

dosuggestthatitdoesnotmatterthenumberofyearsthatasubjecthastakenlessons,it

onlymattersthatthesubjecttooklessonsatsomepoint.Theresultsshowthatthosewho

havetakenlessonsperformbetween240%and300%betterthanthosewhohavenothad

lessons.Thoseareabsolutelystaggeringnumberstoconsider.

LimitationsandFutureResearch

Asdiscussed,thegenderanalysisshowednosignificanceforeithergender.The

datadidshowaninconsistencyduringthecollegepretestportionofthestudy,however,

withthe47.6%ofmalesaccentingcomparedtothe22.2%offemales.Sincethemale

numberismorethandoublethatofthefemale,itissignificanttoanobserver.Themale

samplesizewasalsomorethandoublethatofthefemalesamplesize.Statistically,that

couldhaveskewedtheresultsslightly.Withthesedrasticdifferencesinthenumberof

subjects,thisrepresentsaninterestingexperimenttoreplicateonalargerandmore

balancedscaletodetermineifthereisasignificantdifferenceonewayoranother.

Thecollegegroupresultsforageshowedacompletelackofsignificance,whichis

unexpected.Muchlikethegenderanalysis,thenumbersofsubjectsforeachagewasquite

43

differentandcouldhaveskewedthenumbersslightly.Basically,thesamplesizeswerenot

largeenoughorbalancedenoughtogainanymeaningfuloutcome.Thisareaofthe

experimentshouldbereplicatedtodetermineiftheresultsareaccurateornot.

Thereisnodiscernablepatternfoundinthedatathatsuggestsanynumberofyears

inbandisbetterthananyotherThedataforthenumberofyearsinbandwasexpectedto

matchupwiththeageresults.Thesubjectsthatwereinbandlongerwereexpectedtobe

olderandwouldhavemoreexperience.Thisexpectationprovedtobetrueinthatthere

wasnosignificantpatternofimportance,muchliketheagedataincollege.Again,the

samplesizeforeachdatapointisquitesmalloverall,sothereisanopportunityformore

study.

ThereasonthatIdidnotincludepercussionistsinthisstudyisbecauseaccentsare

averynecessaryandbasiccomponentofpercussionmusic.Percussionistsaredefinitely

goingtoperformaccentsmoreconsistentlythanwindinstrumentalists.Thisexperimental

designkeepsthedatafromgettingskewedbypercussionists.Thisideadoesrepresentan

areaoffurtherstudy,however.Onecouldeasilyreplicatethestudyonlylookingat

instrumenttypesandcomparingperformancesofaccentsamongthedifferentinstrument

typesandfamilies.

Whenlookingatthecollectivedata,lessonsdohaveapositiveaffectinthe

performanceofaccentsaswell.Muchlikeageandnumberofyearsinband,itwas

expectedthatthenumberofyearstakingmusiclessonswouldmakeadifferenceinthe

databecauseoftheobviousexperienceplayingmultipletypesanddifficultiesofmusic.

Thedatasuggestotherwiseseeingastherewasnoobviouspatternthatarosebylookingat

thedata.Again,itcouldbeduetothefactthatthenumberofsubjectsformostofthedata

44

pointsisquitelow.Thiscouldbeanotheraspectoftheexperimentthatshouldbestudied

further.

Thefinalaspectofthesurvey,color-blindness,cannotbedefinitivelyprovenfrom

thisstudyeither.Therewereonlythreesubjectsthatwerecolor-blind.Twoofthemwere

inthecontrolgroup,sotheywerenon-factors.Theotheronewasintheexperimental

group,butperformedaccentsappropriatelyduringboththepretestandposttest.Theone

intheexperimentalgroupwasalso25yearsofageandhadtakenlessons.Therefore,

basedonpreviousresults,hewouldbeexpectedtoperformtheaccents.Overall,no

definitivestatementscanbemadeaboutcolor-blindnessbasedonthisstudy.

Anotheraspectofthisexperimentthatshouldbetestedistheuseofothercolors

besidesred.Redwaschosenforthisexperimentbecauseaccentmarksaremeanttobe

playedforcefullyandmakeanimpactinthemusic.Icouldnotthinkofanothercolorthat

signifiesthesamekindofreaction.Redseemedtobethemostapplicabletothisparticular

aspectofmusic.Theexperimentcouldeasilybereplicatedusingothercolorstoseeifa

differentcolorbringsaboutmorepositiveresults.Otherstudiescouldalsobedoneadding

colortodifferentformsofarticulation.Thiswasasimpleexperimentandshouldbe

replicatedinmanydifferentways.

Conclusion

Themostimportantpartofthisstudyisthefactthatthecolormadeadifferencein

theperformancebythesubjects.Usingcolorlikethisseemsprettylimitedforitspurposes,

buttruthfully,theusesarequitenumerous.Someeducatorsmightusethisresearchto

validatetheuseofhighlightersduringscorestudyormusicrehearsalstodrawattentionto

certainpartsofthemusicforboththeconductorandthemusicians.Thisiscertainlya

45

validpoint.Othersmayusethismaterialtosuggestawayofkeepingtheattentionof

youngmusiciansduringmusicclassbyusingdifferentcolorsinthemusic.Stillothersmay

suggestthattheresearchissimplyawayofutilizingtechnologymoreintheclassroom.I

thinkthisresearchisvalidforallofthesereasons,butalsoforothers.

Ithinkthisresearchisnotonlyvalid,butnecessary.Idonotthinkthattheuseof

colorinmusicnotationissomethingthatisjustagoodideaforthefuture.Ithinkitisan

ideathatneedstobeimplementedinmusicnotationnow.We,asmusicians,arelimiting

ourselvestoonesimplecolortoshowsomanyimportantthings.Justbecausemusic

notationhasbeendonethiswayforsuchalongtimeisnoreasontokeepfollowingthe

tradition.Ifthereareclearadvantagestousingsimpleadvancesintechnology,thenthere

isnoreasonnottousethem.Musiciansarereadytogopaperlesswithanattempttousing

tabletsinsteadofcopyingmusic,butnoonehasutilizedthepossibilityofcoloredinkona

pieceofmusic.Itseemsasthoughmusiciansaretryingtoskipafewtechnologicalsteps

thatcouldmakeahugeimprovementinthecraftthatismusic.

Itseemsclearthroughthisstudythatmanythingscaninfluenceamusician’sability

tonoticeandperformaccentsduringthesight-readingprocess.Themostinfluentialones

duringthisstudywereageduringhighschool,instrumenttype,andwhetheramusician

takesmusiclessons.Thereisopportunityformoretestingtoseeifothercolors,theagesof

collegestudents,numberofyearsinlessons,gender,andthenumberofyearsinbandmake

adifferenceduringthesight-readingprocess.Onethingisclear;however,andthatisthe

factthattheadditionofcolortoaccentmarksdoesmakeasignificantpositivedifferencein

theperformanceofaccentsduringthesight-readingprocess.

46

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50

LISTOFAPPENDICES

51

APPENDIXA:QUESTIONNAIRERESULTS

52

Table1:QuestionnaireResultsSheet---HighSchool

IdentifierCode Instrument Age Gender

#Yearsin

Band

#Yearsin

LessonsColorblind?

Accent?Attempt

1/Attempt2

PC09 Clarinet 14 Female 3 0 No No YesPC11 Flute 16 Female 4 0 No No NoPC12 Trombone 18 Male 7 0 No No YesPC13 Flute 15 Female 3 0 No No NoPC15 Flute 16 Female 6 0 No No NoPC18 Trumpet 17 Female 7 5 No Yes YesPC22 Trumpet 17 Male 6 0 No No NoPC24 Trumpet 16 Female 5 0 No Yes NoPC26 Saxophone 17 Male 7 0 No Yes NoPC28 Flute 17 Female 6 0 No No NoPC29 Saxophone 17 Male 6 0 No No NoPC32 Clarinet 15 Female 4 0 No Yes NoPC34 Flute 16 Female 5 0 No No NoPC36 Clarinet 17 Female 6 0 No No NoPC40 Trumpet 16 Female 5 0 No Yes NoPC43 Saxophone 16 Male 5 0 No No NoPC45 Horn 16 Female 5 0 No No NoPC46 Tuba 17 Male 6 0 No Yes NoPC47 Horn 16 Female 5 0 No No NoPC52 Trombone 17 Female 5 9 No Yes NoPC53 Clarinet 16 Female 4 0 No Yes NoPC54 Trombone 18 Male 7 0 No No YesPC55 Clarinet 14 Female 4 0 No No NoPC56 Saxophone 15 Male 5 0 No No NoPC57 Horn 15 Female 5 0 No No NoPC58 Horn 16 Male 5 0 No Yes Yes

PC59 Trombone 15 Male 3 0Yes-Red/Blue No No

PC60 Trombone 15 Female 4 0 No No NoPE09 Flute 16 Female 5 0 No No YesPE10 Horn 16 Male 6 0 No No NoPE11 Flute 17 Female 5 0 No No YesPE13 Flute 15 Female 4 0 No No NoPE15 Trombone 15 Male 4 0 No No NoPE17 Flute 14 Female 4 0 No No NoPE20 Trumpet 15 Male 5 0 No No Yes

53

Appendix1:Table1:QuestionnaireResultsSheet---HighSchool

PE22 Trombone 16 Female 5 1 No No NoPE24 Clarinet 17 Female 6 4 No No YesPE26 Flute 17 Female 6 0.5 No No YesPE28 Flute 15 Female 4 1 No No YesPE30 Flute 15 Female 4 1 No No NoPE33 Saxophone 14 Female 4 0 No No NoPE38 Tuba 16 Male 6 0 No No NoPE40 Trombone 15 Female 1 0 No No NoPE41 Horn 15 Male 4 0 No No NoPE42 Trumpet 16 Female 6 0 No No NoPE43 Trombone 17 Male 3 3 No No NoPE44 Bassoon 15 Male 5 1 No No YesPE45 Clarinet 15 Female 3 0 No No NoPE46 Euphonium 16 Female 5 0 No No YesPE47 Clarinet 16 Female 4 0 No No NoPE52 Trombone 18 Female 7 0 No No YesPE53 Horn 15 Male 4 0 No No NoPE54 Trombone 16 Male 6 0 No No YesPE55 Clarinet 16 Female 5 0 No No YesPE56 Trumpet 17 Male 6 1 No No NoPE60 Saxophone 15 Male 5 0.25 No No Yes

Key PE-Experimental PC-Control 28-Experimental 28-Control

54

Appendix 2:Table2:QuestionnaireResultsSheet---College

Table2:QuestionnaireResultsSheet---College

IdentifierCode Instrument Age Gender

#Yearsin

Band

#Yearsin

LessonsColorblind?

Accent?Attempt

1/Attempt2OC01 Saxophone 23 Male 7 5 No No YesOC02 Euphonium 22 Male 13 2 No Yes NoOC03 Trumpet 19 Female 8 4 No Yes YesOC04 Clarinet 22 Male 9 4 No Yes YesOC05 Saxophone 19 Male 8 6 No Yes YesOC06 Trumpet 22 Male 12 5 No No No

OC07 Bassoon 21 Male 9 3Yes-Blue/Purple No No

OC08 Euphonium 22 Male 8 0.5 No Yes NoOC09 Euphonium 20 Female 9 0 No No NoOC10 Saxophone 22 Male 12 4 No No NoOC11 Trumpet 18 Male 8 2 No Yes YesOC12 Horn 21 Female 11 1 No No YesOC13 Saxophone 24 Male 14 6 No No NoOC14 Horn 18 Female 8 1 No No NoOC15 Horn 20 Male 10 2 No Yes Yes

OE01 Saxophone 25 Male 14 3Yes-Red/Green Yes Yes

OE02 Trombone 19 Male 8 1 No No YesOE03 Trombone 20 Male 10 1 No Yes YesOE04 Horn 21 Male 10 2 No No YesOE05 Trombone 20 Male 10 3 No Yes YesOE06 Saxophone 21 Male 10 0 No No NoOE07 Trumpet 22 Female 10 5 No No YesOE08 Trumpet 24 Male 13 6 No Yes YesOE09 Clarinet 20 Female 9 1 No No YesOE10 Horn 20 Male 10 2 No No YesOE11 Trumpet 19 Female 9 1 No No YesOE12 Saxophone 25 Female 15 5 No No YesOE13 Trumpet 21 Female 11 2 No Yes YesOE14 Saxophone 24 Male 14 6 No No YesOE15 Saxophone 26 Male 16 4 No No Yes

Key OE-Experimental 15-Experimental OC-Control 15-Control

55

APPENDIXB:SIGHT-READINGEXCERPTS

56

Appendix3:PretestSight-ReadingExcerptinScoreNotation

&&&&&&&&&?

&&?

&??

bb### ### ### #

b

#

b#

bb

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Flute

Oboe

Clarinet in Bb

Bass Clarinet

Contralto Clarinet

Contrabass Clarinet

Alto Sax

Tenor Sax

Baritone Sax

Bassoon

Horn in F

Trumpet in Bb

Trombone

Baritone (T.C.)

Euphonium

Tuba

œ œ œ œœ œ œ œ

œ œ œ œœ œ œ œœ œ œ œ





œ œ œ œ

q = 95 œ œ œ. œ. œ Œœ œ œ. œ. œ Œ

œ œ œ. œ. œ Œ

œ œ œ. œ. œ Œœ œ œ. œ. œ Œ

œ œ œ. œ. œ Œœ œ œ. œ. œ Œœ œ œ. œ. œ Œœ œ œ. œ. œ Œœ œ œ. œ. œ Œœ œ œ. œ. œ Œ



œ œ œ. œ. œ Œ

œ œ œ>> œ œ œ>


œ œ œ>> œ œ œ>œ œ œ>> œ œ œ>œ œ œ>> œ œ œ>

œ œ œ>> œ œ œ>œ œ œ>> œ œ œ>








œ œ œ. œ. œ ‰ Jœœ œ œ. œ. œ ‰ Jœ

œ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ Jœœ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ jœœ œ œ. œ. œ ‰ jœ

œ œ œ. œ. œ ‰ jœ

œ œ œ œ œ œ œ. œ.


œ œ œ œ œ œ œ. œ.œ œ œ œ œ œ œ. œ.œ œ œ œ œ œ œ. œ.

œ œ œ œ œ œ œ. œ.œ œ œ œ œ œ œ. œ.œ œ œ œ œ œ œ. œ.




œ œ œ œ œ œ œ. œ.œ œ œ œ œ œ œ. œ.

œ œ œ œ œ œ œ. œ.œ œ œ œ œ œ œ. œ.


œ œ œ œ œ ‰ Jœ















œ œ œ œ œ ‰ jœ

œ œ œ. œ. œ œœ œ œ. œ. œ œ

œ œ œ. œ. œ œœ œ œ. œ. œ œœ œ œ. œ. œ œ





œ œ œ. œ. œ œ

œ œ ˙œ œ ˙

œ œ ˙œ œ ˙œ œ ˙



œ œ ˙œ œ ˙

œ œ ˙œ œ ˙

œ œ ˙

Pretest Sight-Reading Excerpt

©

Score

57

Appendix4:PretestSight-ReadingExcerptFluteSubjectExample

& b 44 œ œ œ œq = 95 œ œ œ. œ. œ Œ œ œ œ>> œ œ œ> œ œ œ. œ. œ ‰ Jœ œ œ œ œ œ œ œ. œ.

& b6 œ œ œ œ œ ‰ Jœ œ œ œ. œ. œ œ œ œ ˙

Pretest Sight-Reading Excerpt

©

Flute

58

Appendix5:PosttestControlGroupSight-ReadingExcerptinScoreNotation

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bb

bb

bb

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bb

bb

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44

44

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44

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44

44

44

44

44

44

44

Flute

Oboe

Bassoon

Clarinet in Bb

Bass Clarinet

Contralto Clarinet

Contrabass Clarinet

Alto Sax

Tenor Sax

Baritone Sax

Trumpet in Bb

Horn in F

Trombone

Baritone (T.C.)

Baritone (B.C.)

Tuba

œ œ œ œ œ œœ œ œ œ œ œ

œ œ œ œ œ œ


œ œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œ




œ œ œ œ œ œ

˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ

˙ Œ œ œ


œ œ œ œ œ œ






œ œ œ œ œ œ

œ œ œ Œœ œ œ Œœ œ œ Œ

œ œ œ Œ

œ œ œ Œ

œ œ œ Œ

œ œ œ Œœ œ œ Œ




œ œ œ Œ

œ œ œ œ œ œ>

œ œ œ œ œ œ>

œ œ œ œ œ œ>

œ œ œ œ œ œ>œ œ œ œ œ œ>œ œ œ œ œ œ>œ œ œ œ œ œ>œ œ œ œ œ œ>

œ œ œ œ œ œ>œ œ œ œ œ œ>


œ œ œ œ œ œ>


œ œ œ œ œ œ>

œ œ œ œ œ œ>

œ œ œ œ œ œ>

œ œ œ œ œ œ>




œ œ œ œ œ œ>


œ œ œ œ œ œ>

œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ

œ œ œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

Posttest Control Group Sight-Reading ExcerptEric Malone

©2016

Score

59

Appendix6:PosttestControlGroupSight-ReadingExcerptFluteSubjectExample

& bb 44 œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ>

& bb6 œ œ œ œ œ œ> œ œ œ œ œ œ œ œ> œ œ œ œ œ

Posttest Sight-Reading ExcerptEric Malone

©2016

Flute

C2

60

Appendix 7:PosttestExperimentalGroupSight-ReadingExcerptinScoreNotation Note: All (>) marks are printed in red ink.

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bb

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44

44

44

44

44

44

44

44

44

44

44

44

44

44

44

Flute

Oboe

Bassoon

Clarinet in Bb

Bass Clarinet

Contralto Clarinet

Contrabass Clarinet

Alto Sax

Tenor Sax

Baritone Sax

Trumpet in Bb

Horn in F

Trombone

Baritone (T.C.)

Baritone (B.C.)

Tuba


œ œ œ œ œ œ






œ œ œ œ œ œ

˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ˙ Œ œ œ

˙ Œ œ œ


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œ œ œ œ œ œ>

œ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ

œ œ œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

œ> œ œ œ œ œ

Posttest Experimental Group Sight-Reading ExcerptEric Malone

©2016

Score

61

Appendix 8:PosttestExperimentalGroupSight-ReadingExcerptFluteSubjectExample Note: All (>) marks are printed in red ink.

& bb 44 œ œ œ œ œ œ ˙ Œ œ œ œ œ œ œ œ œ œ œ œ Œ œ œ œ œ œ œ>

& bb6 œ œ œ œ œ œ> œ œ œ œ œ œ œ œ> œ œ œ œ œ

Posttest Sight-Reading ExcerptEric Malone

©2016

Flute

E2

62

APPENDIXC:BLANKQUESTIONNAIRE

63

Appendix 9:BlankSubjectQuestionnaire

SubjectQuestionnaire

Identifier_______________________________________Instrument_____________________________________

Age______________________________________________Gender__________________________________________

Howmanyyears(includingthisyear)haveyoubeeninband?_______Haveyouevertaken

lessons?Ifso,howmanyyears_____________________________________________________________________

Areyoucolorblind?__________________________Ifso,pleaseexplainwhatformofcolorblindness

64

APPENDIXD:IRBAPPROVALEMAIL

65

Appendix 10: IRB Approval Email

7/23/16, 12:44 PMUniversity of Mississippi Mail - IRB Exempt Approval of 16x-228

Page 1 of 2https://mail.google.com/mail/u/3/?ui=2&ik=26a273b4dc&view=pt&q=…&qs=true&search=query&th=1537ab3e56a647cb&siml=1537ab3e56a647cb

Eric Malone <[email protected]>

IRB Exempt Approval of 16x-2281 message

[email protected] <[email protected]> Tue, Mar 15, 2016 at 9:35 AMTo: Eric Malone <[email protected]>, ANDREW PANEY <[email protected]>

Mr. Malone:

This is to inform you that your application to conduct research with human participants, “The Effect of Colored AccentMarks in Music Notation During the Sight-reading Process for High School Wind Instrumentalists" (Protocol #16x-228), has been approved as Exempt under 45 CFR 46.101(b)(#1).

Please remember that all of The University of Mississippi’s human participant research activities, regardless ofwhether the research is subject to federal regulations, must be guided by the ethical principles in The Belmont Report:Ethical Principles and Guidelines for the Protection of Human Subjects of Research.

It is especially important for you to keep these points in mind:

• You must protect the rights and welfare of human research participants.

• Any changes to your approved protocol must be reviewed and approved before initiating those changes.

• You must report promptly to the IRB any injuries or other unanticipated problems involving risks toparticipants or others.

If you have any questions, please feel free to contact the IRB at [email protected].

Ashley S. Crumby, PharmD

Graduate Student Assistant, Research Integrity and ComplianceUniversity of Mississippi

213 Barr

66

VITA Education: ItawambaCommunityCollegeFulton,MS AssociateofArt-May2011 Major:MusicEducation OverallGPAinResidency:3.77/4.00

TheUniversityofMississippiUniversity,MS BachelorofMusic-May2014 Major:MusicEducation(Instrumental) BachelorofArts-May2014 Major:Mathematics OverallGPAinResidency:3.68/4.00 OverallGPA:3.74/4.00Honors RecipientofOutstandingGraduateStudentinMusicEducation2016andActivities: RecipientofOutstandingGraduateStudentinMusic2016

ParticipatedinUniversityofNotreDame’s58thCollegiateJazzFestivalMemberofSigmaAlphaLambda[LeadershipandHonors]

MemberofPhiKappaPhi[HonorsSociety]MemberofPhiKappaLambda[MusicEducationHonors]MemberofMississippiProfessionalEducatorsPresentedoriginalresearchprojectatMissouriMusicEducators

Association MemberofNationalAssociationforMusicEducators

WinneroftheUniversityofMississippiConcertoCompetition-2012/2013

Chancellor’sHonorRoll-2011-2014DrumMajor(ItawambaCommunityCollege)-2008-2010MemberofPhiThetaKappa[LeadershipandHonorsSociety]

(ChapterVicePresident-2009/2010,ChapterPresident-2010/2011,GoldenKeyAward-2011,MemberoftheYearAward-2009-2011)

ItawambaCommunityCollegeFineArtsDivisionMostOutstandingStudent-2010/2011

SalutatorianatCaledoniaHighSchool-2008Memberofvariousperformingensemblesincludingjazzband,steel

drumensemble,windensemble,saxophonequartet,etc.

67

WorkExperience: NewHopeHighSchool,Columbus,MS SummerBandCampWorker2011-2013 NewAlbanyHighSchool,NewAlbany,MS BandStaffJuly2014-May2016 UniversityofMississippi,University,MS GraduateAssistantwithBandDepartmentAugust2014-June2016 HoustonHighSchool,Houston,MS DirectorofBandsJuly2016-

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