Search

In this study, the authors examined whether a conductor's use of high-expressivity or low-expressivity techniques affected evaluations of ensemble performances that were identical across conducting conditions. Two conductors each conducted two 1-minute parallel excerpts from Percy Grainger's Walking Tune. Each directed one excerpt using high-and one using low-expressivity techniques. After watching a video of the four conducting segments set to a single audio performance of the selection by a university wind ensemble, participants (N = 118) evaluated ensemble expressivity using a 10-point Likert-type scale. Half of the participants also rated the expressivity of the conductor using a second identical scale. Ensemble expressivity was rated significantly higher for the high-expressivity conductors; effect size was strong (partial T|2 = .57). Among participants evaluating both conductor and ensemble, there was a significant moderate correlation between ratings (r = .56). [ABSTRACT FROM AUTHOR]

In this study, we examined effectiveness of recorded models in the context of ensemble rehearsals. Over a 5-week treatment period, directors of three middle/junior high and two high school bands systematically included professional recordings as part of their preparation of selected pieces. Students completed weekly self-evaluation reports assessing their individual progress and their ensembles' progress on model and no-model pieces. Using numerical and free-response formats, students evaluated self-achievement and ensemble achievement on notes/rhythms, articulation/dynamics, tuning, and balance. Expert evaluations revealed no difference in achievement between model and no-model pieces on pretreatment and posttreatment performance recordings. Student evaluations showed more modest achievement gains for model pieces. High school students demonstrated more positive self-evaluations for their own versus their ensembles' performance and greater overall differentiation in their evaluations across time. Middle school/junior high students were significantly more positive toward the model pieces. All students provided a greater number of free-response comments for model pieces. [ABSTRACT FROM AUTHOR]

Discusses the existence of a musical culture in ensembles. Strengths of school ensembles; Significant way of comprehending culture according to ethnomusicologist Bruno Nettl; Cultural themes that manifest in the school ensemble.

An editorial is presented which offers questions that could illuminate the complex environment of the performance-based music classroom. Topics discussed include expressive conducting which would demonstrate any perceived impact on the ensemble teaching context which has been found to be related to evaluations of ensemble performances; and concludes to interpret findings of accomplished music skill through one's ability to conduct expressively.

Authors of previous research have reported that U.S. English language learner (ELL) students participate in school-sponsored music ensembles (band, orchestra, and choir) at a lower rate than their native-English-speaking peers (non-ELLs). The current study examined this phenomenon using a nationally representative sample of U.S. 10th graders (14- to 16-year-olds across 751 high schools, N = 15,011) to estimate school music ensemble participation rates for ELL and non-ELL students. Consistent with prior research, initial results indicated that individual ELL status was a significant, negative predictor of participation. However, when our analyses took into account student socioeconomic status and academic achievement, results provided no evidence that ELL students participate in ensembles at different rates than non-ELL students. Results also indicate that school membership accounted for different ensemble participation rates. It may be that lack of opportunity—not lack of interest—explains the gap between ELL and non-ELL music participation that has been observed in prior research. [ABSTRACT FROM PUBLISHER]