A Measurement of certain skills of musicianship among high school brass, woodwind, and percussion players

The differing abilities of sections of the high school band to handle certain musical skills relating to pitch and rhythm is often a topic of discussion among the directors of high school intrumental groups. Most often relegated to the bottom of the scale of musicianship is the percussion section, a fact supported by several writers and one particular study concluded in the early 1950s. Since that time, many educators have encouraged the development of a curriculum outline that not only helped the technical proficiency of young musicians but also enhanced their understanding of basic musical concepts. Using a test of musical achievement, this study was conducted to determine if there was still a difference in certain aspects of musicianship between various instrumental sections of the band. After careful consiaeration of several music achievement tests, the Iowa Test of Music Literacy was administered to 280 students enrolled in the bands of the Salt Lake and Granite School Districts. Each instrumentalist was also asked which instrument he normally played in the band, number of years he had played that instrument, secondary instrurnent{s), and amount of daily private practice. Band directors were also asked their instrumental specialty, number of years teaching and questions concerning their general philosophy of music education. Results Results of the study indicated that: 1) Brass players had the highest mean score in understanding "tonal concepts" with woodwind and percussion next in order. 2) Brass players scored highest in understanding "rhythmic concepts" with percussion and woodwinds next in order. 3) Brass players scored best overall with woodwind and percussion next in order. 4) The difference in mean scores between groups was not statistically significant. 5) There was a wide variation of individual scores within instrumental sections. 6) The average time spent in private practice was inversely proportionate to test scores. 7) There is a lack of double reed players in the band programs of the systems tested. Summary and Conclusion While there is a difference in ability to handle certain aspects of musicianship between sections of the band" the difference was determined to be not statistically significant and in some cases variation of players within instrumental sections to hear, recognize and write tonal and rhythmic patterns varied such that comparison between sections was not possible. The fact that practice time is inversely proportionate to the test scores of the various sections seems to indicate that young players are not being guided in proper practice habits. Directors and teachers need to offer material that will develop the entire musician and not just mechanical music makers.

A SKILLS OF BRASS, MEASUREMENT MUSICIANSHIP WOODWIND, AND OF CERTAIN AMONG HIGH PERCUSSION SCHOOL PLAYERS by Jay Michael A thesis Universi ty of Utah submitted in to Cottam the faculty of partial fulfillment of the for degree the Master of of Music Department of Music Univesity December of Utah 1976 the requiremen·ts UNIVERSITY OF. UT AH COLLEGE OF FINE ARTS SUPERVISORY COMMITTEE APPROVAL of a thesis submitted by Jay Michael Cottam I have read this thesis and have found it to be of for a master's . Chairman, Supervisory Committee I have read this thesis and have found it to be of for a master's satisfactory quality degree. satisfactory quality degree. Member, Supervisory Committee I have read this thesis and have found it to be of for a master's degree .. satisfactory quality UNIVEHSITY OF UT All COLLEGE OF FINE ARTS FINAL READli'JG APPROVAL To the Graduate Council of the University of I have read the thesis of Jay Hichael 'Cottam in its final form and have found U't ah: - that-IT) itsfor-rnat, citations, and bibliographic style are consistent and acceptable; (2) its illustrative materials including figures, tabl es, and charts are in place; and (3) the final manuscript is satisfactory to the Supervisory Committee and is ready for submission to the Graduate School. _/obLz-,_ Date Forrest D. Stoll Chairman, Supervisory Committee Approved for the Graduate Council - Ed'l.-lard D. Maryon Dean, College of Fine Arts ABSTRACT Introduction The school pitch differing band and abilities handle to is rhythm directors of high relegated to the school bottom percussion section, of the that time, of curriculum a educators many have that outline of young musicians derstanding of basic if achievement, there still was between cianship a musical this several the only helped but also study was in the writers and technical enhanced certain Since development conducted instrumental is the Using concepts. often 1950s. early to the among Most musicianship encouraged difference various the in not proficiency musical of scale high relating groups. supported by particular study concluded one skills the discussion intrumental fact a of topic a of sections musical certain often of their of test a to un­ determine aspects of musi­ of band. sections the Procedure After tests, achievement ministered Salt ist Lake was careful to and also 280 the consiaeration Iowa students Granite Test enrolled School asked which of of Music in Districts. instrument several he music Literacy the bands Each of was ad­ the instrumental­ normally played in the band, number of secondary instrurnent{s), tice. Band specialty, their directors number of had he years and asked instrument, daily private prac- instrumental their teaching and questions concerning years general philosophy of amount also were that played of education. music Results Results 1) of Brass the players understanding and 2) players the had "tonal scored 3) 4) 5) winds next in order. Brass players scored difference in was not 6) The a wide variation instrumental average There band understanding overall woodwind with between groups time is a lack programs of of individual scores sections. spent in private practice inversely proportionate 7) in statistically significant. was within best scores The woodwind percussion and wood- mean next There highest order. percussion in order. in and score mean concepts" with with "rhythmic concepts" that: highest in next percussion Brass indicated study of double the v to test reed was scores. players systems tested. in the Conclusion Summary and While certain band" there difference cally significant tonal and to sections offer not to indicate proper in difference determined sections fact the practice material that test that not was scores that will just mechanical of music statisti­ of players that write comparison is time the inversely various propor­ sections are not being guided Directors and teachers players habits. the possible. practice young of recognize and such varied not variation hear, to sections be handle to ability to cases some rhythmic patterns The tionate was and in instrumental between a aspects of musicianship between the within is develop makers. vi the entire seems need musician in to and ACKNOWLEDGMENTS Sincere Stoll for many teacher and of course appreciation years friend. this study of is dedicated His continued has been directors fall schedule. bald, Richard Stephen who is Frohm, Chatelain, service Forrest a competant as extended Vernon Roger the to time the Bird, Darol seven during Denison offered helpful suggestions Finally, specil thanks a Ronald Wangern, all Cole D. Dr. guidance throughout scheduled graciously Clinton to invaluable. Recognition and thanks band extended and busy Archi­ and positive feedback. stantly supported the and positive maintaining Without have her been a assistance impossible. writer the to both Karen in attitude Cottam who administering toward its completion of this con­ the test completion. study would TABLE OF CONTENTS Page ABSTRACT iv .... ACKNOWLEDGMENTS vii Chapter 1. THE PROBLEM 1 Introduction 1 . Purpose of the Study Need for the Study . II. III. IV. V. SURVEY OF THE LIMITATIONS 3 . 4 . LITERATURE. OF THE 5 STUDY 9 PROCEDURE 12 RESULTS 17 Results Results the of Survey Data of Test by Small Band . Analysis--By VI. . INTERPRETATION Tonal Test . . . OF TEST . of . . . . Test Results RESULTS. of VIII. SUMMARY AND 22 24 27 27 .. 29 30 . the Interview with Band Directors VII. ... Instruments Test Rhythm Total . Families 17 Within Sections 32 CONCLUSION. RECOMMENDATIONS FOR FURTHER 34 STUDY 38 DEFINITIONS 40 BIBLIOGRAPHY 41 LIST OF TABLES Table 1 2 Page Population of by the ITML Bands Tested 18 Players Instrumental tors and Direct6r 4 and Average Years Played and Average Time Spent in Daily Private Practice by High School Brass, Woodwind, and Percussion 3 Schools Mean the cepts, (ITML) Specialites Number of of Schools Scores for . the and Tonal Standard Concepts, and Total for Test of Years . Band as a . . . . Direc­ Band 20 Tested Deviations Rhythmic (SO) Con­ Test of Music Literacy Group and National 21 Sample 5 Mean Scores 19 and Standard Deviations of Major Instrl®ental and National Sample Groups on Tonal, Rhythmic and Total Test . 25 CHAPTER THE ONE PROBLEM Introduction school High ment their sion differences bands. of The they hear can them give a horn; old often an instruments to if tin band is disper- "If they have good shaped mouth, a that even played give them a drum" selec- haphazard more of selection the and 1 The high school band is apparently composed of heterogeneous group of young people who play for instrument lJames of Choice for of players young if ear, indicates the in a the regarding instrumental axiom research play have they have they quoted Published tions. random. if com- elementary level. and violin; a for which to sections among given in manner junior high flute; a often most heard often are musicianship give them well, give them piano, of the is the in directors reason achievement recruited are is the on band one of several "A Webster, B. Instrument" reasons Study (Master's of and a take particular the Children's thesis, a band Reasons University of The most common reason was "I like the way Kansas, 1954). the next most comon rea­ In decending order, it sounded." sons to to "The were: play," play," strument instrument "my father and/or "-1. t at needed was horne. II in Ln t r i.q u ed "i t mother it me," thought the band," and "we looked easy for me best had the in­ 2 class for rather a than level of the on certain other level as its of weakest The at an As Gordon acceptable fundamental (the literacy and reads 2The determine of the Salt band social was in and and that teacher/parental ual (Iowa ty, Iowa: Educational Research well as of the to all, active acquire development include to and and these of mo r e and "tonal mode distinguish and tonal hear perform instrument. feel rhythmic what one form) .,,3 Cole of complet.ed a study to high school band members School reason Districts musical as in 1975. The belonging to the enjoyment as second for third. Iowa Tests of Music Literacy Universi ty of Iow-The Bureau and Service, 1970), p. 1. 3Edwin Gordon, and five literature chosen ability Stephen with the most ability musically pressure of behaviors the main the always are at pressured by perfor- and, music) Granite direc- unlike function only his perform starting members upon attitude to that star a their (the to enjoyment and Ci players some the notational general Lake his at recognize and understand to These to ability study indicated The all on depends listening writer the abilities. can with however, perception writes band level skill behaviors. and meter when and discriminately, skills aural rhythmic familiar explains, advanced more the expected are listen available, band instrumentalists, be styles, the has because player deadlines, various which team substitutes, participants. mance requires band the enters player proficiency realizing popular basketball bench Each social usually reasons, attributes hand, of of 2 musicanship and offers unique attitudes, tor, a number instrumental. different own a ot.her any Man­ of 3 would It sampling among the band should dle basic be that with seem the sections and rhythmic difference, however, a their students, and what achievement within the of band, all in their abilities random of sections han­ to skills. There how band directors observe has uncovered concerning research band aforementioned the equally compare tonal of the does to seem class. Purpose of the Study The tively in whether abilities dle basic growing cess, up the or area and Band else so The sis. in the they a tum but a from were to "tin ear" that response Through inquiry bf afraid outside only corne their a also thought, even drummer" is learned others expressed, a it became empha­ apparent to excuse of "No, self-imposed from misinformed in encourage popular a not unimpor­ instrumental particular was or lis­ considered therefore, educate to indi­ any sources presumedly "fringe" and, concept The I'm as ro­ education would growth han­ to percussionist a aware directors orchestra foreign musician; not As public corne and musical section drummers. ignore disparity instrumentalists always painfully was a objec­ through personal study and discriminate percussion tant involved classroom within tening. existed material. rhythmic being writer school tram an and band determine to was actually school high and study technical help would only vidual the of the there not or tonal the of purpose dic­ educators. that the I'm 4 drummer's plight not was isolated an typical of many sections of the band. sections soe musically as of the band student's of for not were well as the Study would instrument instrumentalist's rhythmic better the effectively be used twenty years in particular or to and help fledged band whether group educators help has to them this by were known, tonal basic directors performance curriculum been written attention the ideal to different better musicians. not handle as to help achieve The has study been goals. to the better and them If educators. educators could the In percussion of past section the their potential would help carried more that directors encourage sections a Knowing poper instructional objectives further personal pay more and the much to whole own prepare to used be their of abilities could ability material could evaluate were prepared perceive and understand student musical behavior. an quite there seems question of achievement and the to answer choice It others. were Need The that but situation band as full determine out. as CHAPTER TWO SURVEY discussed As flict between that that which tive achievement to or that agree rather than weaker teachers the has on published is a performance and those the of levels did not.4 showed students while the non-private basic knowledge slightly music of of seem private gifted people music level. students Roper directors the instrumentalists significant no and Concerningrela- availability competencies of the school con- given for the stronger Reasons include music An of some directors band by research. by section{s) reports find difference. as be to seems band musicians, junior high the with there particular instrument, and who LITERATURE observed published among sections or is by individual. section mentary THE earlier, which been it OF On musicianship, other the studied concluded students in differences who better staff that levels were ele- hand, privately of no the between the private performance better again within prepared significant 5 4Rita J. Hutchesson, "Group Instruction in Piano: Investigation of the Relative Effectiveness of Group and Individual Piano dissertation, 5Bueford Attitudes (Master's and at the Beginning Level" University of Iowa, 1955). Instruction State Roper, "A Comparative Analysis of the Progress of Two Instrumenta: Groups" University of Kansas, 1950). T. Musical thesis, (Ph.D. 6 The levels of education often asked the learned skills. with is, reason echo the perhaps, in- consequent development of other related musi- out this of specifically are in music discipline technical and to play achievement. musical by Gordon, often is proficiency As equated was conclusion. percusionists Vida previ- performance technique however, Other necessarily equal musical understanding. not authors Directors musical musicianship does obvious in current most a This ously pointed in instrumental of most and found publications. value The ability and trade the about curriculum. strument cal and be can education music improving schools public music school for argument all Chonoweth, speaking states: enough qualification for any for a percussionist whose lot is usually viewed as that of gi ving 'rhythmic support or occasionally an exotic color to the Rhythm is only a lyricism of 'other instruments. part of technique, and technique is only a part What is the musicianship sought of musicianship. There is not a then, and how is it obtained? simple formula in answer to this perennial problem, for standards are determined by the extent of a goal and by the- extent of a talent.6 Technique musician, Certainly have bands a a sense are recent band 1 not of talent article posed more?" is direction. afflicted wi th class, score--or is particuiarly His study "Is Lnd i ca t ed in the must also high school most is, curriculum question, 6Vida Chonoweth, (April 1964). it "pa r f o rmaric i tis. concerning the As talent but relevant ". Jack the Mercer, in high curriculum school the that the curriculum "Musicianship," The in Percussionist 7 the classroom selected mind) and crete to was of out "happenstance" that most for goals ... it be can other band their than (which score with directors the had was next usually program concept of no in con- 7 bands. inferred that little effect has participation ior the revere performing the on musical group behav­ of acquisition performance is a planned effort by the performing experience with 8 additional kinds of musical understanding. skills, unless teacher to This summarization Benner ly the the the than of basic several of is thought as skills. personal incorrect. directors of understanding technical research responsibility of shoulders writer's which of the instrumentalists achieve the the places upon that by there enrich as Willard percussionist(s) who oft grow This assumption through the not" is Musser, old is assume assimilated the ranks false. axiom, more Charles progress squaretimes been has they is I. musical music experience, taught findings by often and From "Lh a t; correct speaking specifically said: considerable contact with percussion stu­ high school age, it has become apparent that they are generally ignorant of the aesthetic charac­ teristics of musici although they play with technical mu­ proficiency, they have only the most rudimentary 9 sical grasp of what they are attempting. After dents of 7Jack Mercer, More?" Music Educators Ills the Journal Curriculum 58 the Score--or (February 1972) :50-54. 8Charles H. Benner, "Teaching Performing Groups,1I Research to the Music Classroom No.2 (Washington, 1972), p. 10. D.C.: Music Educators National Conference, From School 9Willard I. Musser, "Musicianship for the High Percussionist," Ludwig Drummer 3 (Fall 1963) :214. 8 He trolled" rather label most young to on goes who players than general Drummers barrel when shipe Aliferis students sion the and woodwind lack 892 lowest of players. musical total of bottom skills the of musician- not relative aural The skills. mean score of even score the indicated research among music standing all in percusgroups highest significantly tra{led His training their and did but the at entering college freshman rhytlic subtest be discussion of a Percussionists rhythmic to determine to the had group to con·- principles,," always tested harmonic, tested. musical comes 1950 in of usage it "computer as "taught particular operations are seem players both a on brass definite entering college freshman percussion students. 10" recent More their upgrade basic musical which offered curient the articles None liography. but entire concepts relating these of survey has encouraged techniques of teaching section percussion literature any relative and to band achievement books may insight among help become not be the of the aware found study could to the various to only pitch and rhythm. except the Aliferis additional and directors in be A the bib- found question of sections of the high school band. 10 tionship Journal of Aliferis and John E. Stecklein, "The Rela­ Instrument to Music Achievement Test Scores," Research in Music Education 5 (Spring 1957) :3-1 James of CHAPTER LIMITATIONS be considered precarious instrumental a of measurement Any wide achievement of array the tors vary most impossible valid The best tested schools achievement ITML Other areas rated by ITML material, within the time Even still or more is one for The reason in use that and hope not of test students measures only and study. and there why and be educa­ Local would it would be a nation­ of Music curriculum of the The test. not two ITML and of Test Iowa al­ be reliable for of such are differences and is an Measurement innateabil­ their areas of musician­ "rhythmic concepts." achievement accurate definition the aptitude concepts" this exact possible. as an the musicians must would the as among testing. classes test such closely musical of best. followed that "tonal ship labeled at could test, as test The achievement their a one development concerns ities. give STUDY THE OF compensate for all (ITML), Literacy are to standardized ally of content to enough teaching. materials THREE and behavior the By restricting precise data are be can not test acquired limitations. using problems a test that of the cannot be calibre of the eliminated. ITML, there Several of 10 the directors the test in student (This to hear section and They students to be planning on deaing the year progressed. the test all of did tion of did problems did who in test not of were calm Most the fundamentals eye. as worked of and minor their they expected and modes were aspect of musicianship treble to one clef director readers treble in affect the or low in on the as that was because "G" clef. brass sec­ expected. greatest limitation of the study administration the honor to still they students' of right these While surroundings. test the was test. to take the overall of and bands the we£e had. not begun directors in in None to of put the fall their after a band band term busy working planning were class the the they concert to directors on the were ability school performance literature. incorporate had on·the of finished field . a interruptions from detracted given was technique required public abili ty of concentrate. commitments Perhaps the that written seem much the care The year. portion interruptions of the class by school personnel not to aural particu1arly expressed by en.c:)lintered frequent, some this were not as Probably There with concern band not distinguish the to exercises limitation tonal deal t wi th slanted- toward was This the had however,' say, able Another the the distinguish between,major modes.) the that something they was class. commented more with and. in the the expressed plans to 11 do however, so, Lastly, ned strike to tered in involved the were the Granite Teachers' the the during Granite it did not School rescheduled Cypress High School). affect the time Association test District. was All an completed While overall this proved the an being of the test saw the adminis­ schools (except inconvenience, testing program. CHAPTER FOUR PROCEDURE By administering large sample Lake band it area, tained of to than were instrument any), time grade was be years are aid to all years years the to aptitude tests an of in sort some tests toward geared students tests of at of the rhythmic data such as (if private study and Teachers the ob­ instrument secondary student. and Related sections. band, tonal Salt be sections asked were school current are the as in not varied their and use age appropriate were the for are student are talent instrument. several or they as and music instrumentalists. for achievement discovering appropriate were of elementary instrumental director considered and manufacturing companies publish These achievement eacn of in a the could data certain not to teaching experience. just beginning an the specialty, sources type test. Most other in or spent practicing, asked Almost vate the sufficient musicall better played instrumental total that determine whether to test type high school band students of hoped was tended areas the achievement an aptitude numerous. who is designed as and These use pri­ in assigning types of determining Among the achievement "Aliferis Music l\chieve- 13 ment "Iowa with "Iowa Test," Test its the of "Watkins-Farnum Performance Music test manual Test of A Literacy." Music Literacy" for chosen was each "level and obtained was of sample the Test," and test of three" the along the following reasons: 1. The stated (ITML) Literacyfl mine student's a students the of achievement "to deter­ other among individuals felt ITML measured the various in an the Since determine to Validity--The seemed the to also direction of of groups test appropriate closely to the schools tested. manual, the ITML is the validity into (split-half), and standard the and course to According three level of the consideration group samples, sampling method, ity coefficient expres£ed by tified of the im­ determining the reliability coeffi­ information, a deemed .61. Reliability--Taking cient follow most test method of skills band musician high school the and Music use. portant 3. was was to purpose achievement." study of rhythmic aural perception and ITML band, Test standing the the 2. the relative literacy of purpose include tonal in and music "Iowa goals of the use error of the the statistical reliabil­ the author of measurement of test according to of 8 .91 jus­ the 14 Leonard 4. and and to the both clearly which sound reasonable were the case booklets and answer marked for facilitated portion of reel with was and tration the and rhythms), Charles to was test. subtest "Aural manual and is on the made is test and concepts" is divided Leonard and each various printed com- adminisof two "rhythmic into three (the ability modalities and (the ability to with what is page "Notationa Understanding" (the House, Foundations (New York: McGraw Hill Robert W. Principles of Music Educat.ion Book Company, 1959), pp. 341-42. one in is proper Perception" disinguish The on tape recorder. test The was etc., Playback outlining "tonal Each recorded tape. ITML in students distribution. test reel the by "Reading Recognition" equate what heard), at forty-seven booklets. Sony TC200 a Each parts labeled hear are Periods instrument, name, to labeled concepts." used test the detailed of subtests blocks ITML. from booklet Administration--The plete time minutes. seven-inch and results minute adminsiter Eqipment--The to a&ninistra- materials, schoqls tested varied were 11 test forty-five fifty-five 7. the computing Time--Two the guidelines. affordable. required 6. House Cost--Cost of tion, 5. and 11 15 ability Both to sUbtests There within the test order In still remain group consisted within schools high Cottonwood, West of of Granite participate administered by Utah). voted ond 19 of thus strike, to the part of to the additional the same of and schools to of fifteenth 1972, Districts. and South, Olympus, which take year. Granite the School eleven the The of did test November University Teacher's matters, test Tests determined test. for Totals of Association cancellation of business but was the Cypress High School Band school not test sec­ (total etc., 17pcrsons from completing the test. and remaining 280 musicians completed both the tonal rhythmic the sample the of Kearns, Education, forCing Illness, persons). an test sixth time same time the area, seven opportunity Music the three" Skyline, while Those busy the difficulty having Granite Highland, not. an the (B.A. this At prevented The given between Cottam Karen did from and participated were because Lake East, ITML. study. geographic students Salt Cypress, this the . large enough sample group and a same band Granger and declined the the Schools High obtain to for of "Lev e L sections. heard) is form to each system, chosen was what levels separate aforementioned test combined are six are notate musically portions. hand-scored were each and section personal of and·standard the test information and were were scores for the coded total and 16 computer correlated. Each phlosophy for his band standing, years at of and the band director education, related to personal current was his interviewed rehearsal building tonal Ln f o rrna t Lon school and such concerning his techniques, goals and as rhythmic years instrumental under­ teaching, specialty. CHAPTER FIVE RESULTS Results The charted was talists prises the 38.7 the of as families horns) French cent; clarinets 9.6 years average The 12 reeds section brass group, 545 of total. the The (oboe, (trumpets, flutes percent; alto per- seems bass clarinet, 2.1 bassoon) en­ down the Breaking brass and percent; high school band of high 22.9 com- major cor- 18.2 per­ clarinet) percent; percussion 6.9 percent. number brass of 4.9 years for played years; and woodwinds percussion 6.2 for 2). average woodwinds, (Boston: for years; (Table clarinet, and percent; The 5.22 (Bb double percent; saxes composed instrumen- percussion players norms further, instrumentation various The reported by Singleton.12 nets, 28.2 and traditional of 1). percent of survey ratios woodwind woodwind brass, conform with the in (Table 6.9 Data Survey the the percent; instrumental for band percussion group, rollment was collected to,determine within centages to data of 23 practice minutes for time per brass, day and was 41 33 minutes minutes Ira C. Singleton, Music in Secondary Allyn and Bacon, In3304. for Schools TABLE POPULATION High School Number OF SCHOOLS of Students Enrolled in School Cypress of Taking TESTED Students BY THE ITML Woodwind Brass ITML 24 1,259 19 10 5 2,200 46 16 27 Hig"hland 1,700 49 17 28 Skyline 2,100 35 15 19 1,700 49 -21 25 2,200 52 13 37 Total East 49 South 2,700 Number BANDS West Cottonwood AND 1 . 299 22 . 116 - Perc 163 I I 19 TABLE AVERAGE YEARS PLAYED PRIVATE WOODWIND, AVERAGE BY AND TIME BRASS, PLAYERS (minutes) 23 Brass 4.9 Woodwind 5.2 33 6.2 41 Percussion Variations, percussion. mous from of Three specialized played had oboe the subtests and the (Table test tion of of the of total seven players, one (Table 3). in bassoon or more for deviations indicate All years. the instrumental test groups variance the of homogeneity the different test tested each of the relative groups in the 4). Because a three stndard and scores standing of each of band for schools the at clarinet were specialized one enor- were daily. teachers two trumpet, and might be expected, hours seven teaching band been Mean two in as four to nothing Practice Private Daily of Time Average Played (years) DAILY IN SPENT SCHOOL HIGH PERCUSSION Years Average Instrument AND PRACTICE 2 and to could in variance each be test standard the was applied total considered to to deviations, to each determine have corne sec- if from the a TABLE INSTRUMENTAL AS High School SPECIALTIES A OF BAND BANI) DIRECTOR OF Intrumental Specialty of Band Director 3 DIRECTORS THE AND SCHOOLS Number at NUMBER TESTED of Years School Cottonwood Trumpet Cypress Oboe East Clarinet 3 Highl'and Clarinet 6 Skyline Bassoon 2 South Trumpet 4 West Trumpet 5 1 13 MEAN SCORES AND STANDARD AND DEVIATIONS TOTAL FOR Instrument High 4 TABLE Brass IOWA TEST (SD) TEST GROUP Tonal Number Taking Test FOR OF THE MUSIC AND NATIONAL Concepts Mean TONAL SD CONCEPTS, (ITML) RHYTHMIC CONC LITERACY SAMPLE Rhythmic Concepts Mean SD Total Mean 58.79 6.39 58.19 10.19 58.41 42 58.14 6.47 60.17 7.38 59.19 Flutes 51 57.81 5.12 58.63 7.64 58.31 Clarinets 79 57.05 6.72 57.75 8.19 57.28 Saxophones 27 58.52 4.31 57.92 8.29 58.08 6 53.50 5.47 5.3.83 3.19 53.66 20 54.94 7.26 58.35 10.86 56.90 5.26 58.30 7.92 58.30 Low 64 Brass Double Reeds Percussion National 58.50 I 22 common population. If it was determined significant difference between populations, vaiance of mean scores Results "Tonal brass be for of Test Small by mean score and double high brass. dard deviation The manual. of national the of test homogeniety of groups showed the differences That occurred by chance were rather than in by on behind est this low were as section brass and follows: flutes. low the only clar­ national the stan­ test that showed of Analysis scores not scores could to be have deviation. sections did be Scores, brass, Band the in actual some Surprisingly percussionists could than variance between instrumental but less homogeneous. variations is, "Rhythmic Concepts" by est that that in the above were sample given all significant. test flutes, following varied of variances variances reeds the wthin low brass, reeds flutes and double the only The obtained" by the high was percussion, and if determine to sections saxophones, mean homogen­ was sample determined Sections instrumental highest The of homogeneous. the order. sample applied each section with inets, the variance Concepts" by The could the was analysis statistically significant. were were groups If applied. variance of homogeneity the be not analysis of eous, the could there that not found from flutes, score in the third highest to percussion, high­ place low­ high 23 brass, saxophones, deviations varied more wide spread of ing a samples showed tween the the Total in making to score top of the of the both of scale double the consistant most clustered showed sis of groups scores to come the showed between brass better to worst statistically were equalled and of common to scores, low brass, clarinets, percussion, reeds a bottom the whose the at were at were be was the population, varied but of least had homogeneity of the four while saxophones more and bettered or flutes) percussion group test combined were players reeds high brass, scores groups his using scored considered be groups The from results be­ between significance scores double cannot double the scores. variance than low the The worse. variance than groups sections rhythmic from best of of sections and (low brass, while analysis The groups. students. saxophones, Three did the similar the all various percussion players Scores flutes, mean groups and sample size, reeds. national tonal (discounting significant). high brass, for mean had the of indicat­ other any within more of two complete test, group because Only but Standard reeds. than test conclusion instrumental by the varied any double within Aliferis 1950. When this scores scores national test in homogeneous, impossible. test than mean groups groups own found were and clarinets, the variance analy­ within making analysis impossible. 24 Analvsis--By of Analysis brass, woodwind, the and large in similar "Tonal Concepts" by The with sections brass woodwinds variance showed that That the chance the at there differences in quirk of some or "Rhythmic Concepts" by Percussion brass and better within variance between problems of related families but families received mean the is the highest less mean score of Analysis obtained scores five scores i.e., the statis­ were percent level of confi­ than five could percent chance have happened by testing. instrumental families again found ifself woodwinds groups the in Again, worse. variance was with middle because being greater than the analysis of groups, band, percussion falling after. that is, the 5). instrumental tically significant dence. of showed major (Table section and in Instruments sections percussion, combining players together not of Families of the variance impossible to determine. Total by instrumental test the When ferneces was found between not to point to the fact about equal in total brass, be test families scores woodwind and computed, knowledge each of the dif­ percussion players statistically significant that, overall, their were section the which may of the band is fundamentals of music. MEAN TABLE SCORES AND STANDARD GROUPS DEVIATIONS ON TONAL, Tonal OF 5 MAJOR RHYTHMIC Concepts INSTRUMENTAL AND AND TOTAL NATIONAL SAMPL TEST Rhythmic Concepts Total IT Instrument Mean 'SO Mean SD Mean Brass 58.54 6.40 58.97 9.20 58.72 Woodwinds 57.39 5.90 57.90 7.89 57.59 Percussion 54.95 7.26 58.35 10.82 56.90 National 58.50 5.26 58.30 7.92 58.30 f 26 However, wide dences that really do and that handle there not each basic distribution of have are an band has tonal and too many scores players understanding its within of groups within the evi­ band who basic musical gifted players rhythmic material. who are skills, able to CHAPTER SIX INTERPRETATION OF Tonal Brass concept players of section instrumentalists brass concept known the as is bands do relating the to in work more in of music Most jazz groups The section of to be the be texture test. branophones are to of the gain the of exposure them they see. hearing with your modes school and jazz the concert and and the directors section While not test concert did the stage how band. his instrument Tympani, increasingly more members of well. worst in the mallets important of behind as fits the to band surprising, eyes," inter­ section only require Also symphonic comprise the woodwind on the better a and what Contemporary music demands aware of do part of the percussion disheartening. sionist than school a tonal of other any differing use placed high high and the relating performance technique who Saxophones, helped High jazz. than hear ears and handle to Perhaps the they your able better idiom recognie important jazz ensemble, flutes. all with "seeing be band. jazz to fundamentals bands. the what ability vals in RESULTS Test to test the family of seem the TEST the that into and to the tuned the tonal results the the are percus­ over­ mem­ composers, 28 - and percussionists need total musical ability to demanding the rest of the much as the aesthetic the most from band? students "percusion only well as play these melodic not ant of context, understand to the high drum school words of of Musser, generally ignor­ music ... of what they double reed players grasp from do they as are age directors Are section the technical the possss characteristics rudimentary parts in the instruments. recall To of as their have they attemp­ are ting.,,13 There tire the sample. others only This small and makes sample data collected, reed players ized on chosen reed that the players reeds, low p 214. was. found a instrument is these Only to only where one of the play; three (Two were directors The in the to as for band question unanswered. No The of one them in of had double the special­ originally listed double the band and questions one as were to instrument waS is of the double the would administered a piano asked why they changed the a one listed why these players test personal the teacher the rest the saxophone players, played flutes en­ with players From they currently played need but that school instrument. the or of the in the- significance of reduces impossible. primary instrument.) 13 , not instrument. cause. so number comparisons from came player, clarinet able it instrument secondary as if difficult, that six were prob­ score during the "Musicianship for the High School Percussionist," 29 fall term when form ith caused the them The the facts to that of comparisons of is probably Each of lack mean scored best) scores within of the most not tern, lish language basic speak; of signatures and, its in from and occur. the as with Rhythm is any basic is able to made that however, it George Bernard Shaw's sistency in like the 'Eng­ one"is for is around one to patterns of rhythm, and description of play the them. incon- English spellin): in word fish could be interpreted and read the work "ghoti" since the "gh" has an "f" sound in the word "enough," the "0," an "i" sound as the word "women," and the "ti,' an "sh" sound as in ... as as in traditional sys- more recognize, write, Consider be rhythm same much The the one so was they should how arund better the score there are different methods with writing learnability. is test Rhythm, possible. easier one not sections the more this that patterns of speech, the per­ ambiguous of musical concepts. many ways inconsistencies usually experience percussion section did are time of observations approaches the subject There not peers. counting and differing concepts of different the this their significance one educator taught. the behind surprising the variation instruments" do Perhaps fall two reed (the low brass highest much double band. the the word "nation." 14 14Edwin Gordon, The Psychology of Music Teaching (Englewood Cliffs, New uersey:· Prentice-Hall, Inc., 1971), p. 79. 30 Students of learn language by using with feedback rhythm "an given then the occurs and over of correctness and meaning. in much approach. to eign them learn rhythms \1hile they in rhythm dent. one listens which are he trees of educators such a to the familiar. in the a "tunnel-vision" in program one is as of not to the alien the seem overall to see forest of "new" conscious building by standing of the basic skills Ibid. can Test similarity of the of music band is in to fail overcome. Total The stu­ are using well planned instructional objectives be for­ tongue Young players of piece, English an same way and patterns because known IS the busy listening hear II even so one in students that foreign language a and notation. setiing be do they rhythm a is not problem 15 play identi9al Only through material. of sort a the mother approach rhythm patterns the (as be must readiness" observation in contexts learning of student to because does to The musical in "ghoti" might words understood compensate can differing rhythm different musical a Shaw's as to in in The way. the writer's When that same inconsistencies been initially same the "expected for has It the over be can language) rote it acceptable foundation they often compensate for the fnconsistencies to in its some under­ ways 31 Band encouraging. with the each section need to minority are know sections orelse but play does did the the not and recognize who to want play first lesson. learn to read often do not where ensemble band the in the like Most you lent in can" the does and ties fully of ing the talents strength the band a course and of try in­ not it concern is the into band weaknesses build instruction the 0f school to reproduce the accurately is old no and musi­ difference "work it out longer as preva­ as was. high directors They ear. high to concert once the need the by the after demanding the directors students significant a hope that come is even drool a both mind, is see reach in requires them in not to or private Cbbham Billy they as to spent an write to Most they play hall and time ability beginning do especially offer and of or until there Band members groups. ability students attitude of Noted with the of what had rehearsal they sees The test. Rich read that one scores, total mean young playing, fact the Buddy to what the Relating test enthusiasm when most learn scores best understand to of members individual rhythmic patterns. the composer The cally. the time taking'more percussion section practices the on jazz ensemble, or sounds The worst teachers of ranking necessarily tonal recognize harder working correlaton. verse most either are despite the director. and practicing directors deviation within band with many need each to review abili­ care­ individual organization by member determin­ tht will build the weak and 32 capitaize form in what they the superior a to be band which the of the perform of than the in used of sections and band the the to groups of favor in ignored the to work out equally with each section. Interview with Band Directors the and were schools athletic at club as to working commented Each score the revolved on the clas of with spend of body the band central concerned were overall system of a around teach­ this direc­ themes. with improve conditions the events, meetings, to the in observations tested of time related comments and of greatest number of players. often work the talents. need public the the own (double reeds preference a with work their exploit tended instruments probably play­ personal perhaps directors service be teacher's those minority of relationship limited schools them. rallies, Most and scores the comments programs saw per­ really understand only the Besides other to have of Results they any Directors are them lets that their the contain and bands All of be band there may Directors status. tors the rather Specific problems study, in also are that indicating ing few a poorest sections of the band two their expect his band only to seem clustered. percussion) the not major groups same The did although more cannot if manner instruments instrument He doing. are There of ers strong. growing pressures concerts, parades text as and and to political civic expected events. their 33 bands to progress did not any aspect of musicianship that sal and conscientiously its technical said, in one way could do all of but musically by progressing technically or the class aside set was not difficulties. another, these All time part of of us time I am supposed things the to rehear­ directors the "Give with work to teach to and do I to improve the musicianship of .the individual bandsman." Each doing an director adequate job felt "under the directors felt they would stay that what they felt to the education of were skilled himself doing American in his circumstances." in music was youth. education job and All the and all important and relevant CHAPTER SUMHARY AND In the this summary relative musical members of Lake Major findings were as and Granite of the in next of in Brass scored players tonal woodwinds 4. While of the school band District. and there groups the con­ and it percussion total the in with mean determined was to order. in next ability skills aural difference tested, with "rhythmic order. on rhythmic a the on test best percussion was "tonal with woodwinds test descending and the on order. and woodwinds handle School of analysis an high players scored highest concepts" portion 3. the players scored highest percussion Brass presented follows: cepts" portion 2. has achievement of Salt Brass CONCLUSION study the 1. SEVEN scores not statistically significant. 5. The average time proportionate 6. There groups was of manipulate wide the to spent practicing the scores variation band tonal in the on within ability ad rhythmic was to inversely test. instrumental understand aural and material. 35 7. Thre was in ers music the their basic sections of to musical band nificantly better There have individual those nuture cal this not exercises the ... is tic the foster The includes and minds primary learning of is not as context; In end an includes the standing of music a an the and playthe talents wide disturbingly are the less and scored this in their sig- of of advanced means a also players . ensemble in a end. an under­ and of historical and habits attitudes, in perfor­ to and of music man amp ro vemen t do concept of aesthe­ knowledge of musiTo but instrumental element to instruction performing the but itself, need their players the the within form of course of increased in among understanding. context, art Directors mature abilities music variances developed a less function an All other. cultivation and of understanding rhythm. section major one structural creative appreciations; 16 of developed their musical the end programs keeled even pitch clearly plan education. mance no who players only eed past twenty-five years, instrumentalists. directors must which of their any some band and skills but the apparent an than were dbuble congratulate the efforts over concepts floundering players, the but help bands the of high school band educators who have, brought of cannot lack tested. systems One definite a the aesthetic sensitivity. The practical application require the band his strengths and 16 cators director weaknesses Robert Garofalo, Journal to 60(November of such deermine lie and "BLucp r Ln t 1973) :39. for build for lofty goal a himself a will where curriculum Band," Music Edu­ 36 around selected his students mal structure talent in quality knows what the given the On ing they of learned learn is the be Musical only innate an If student a and musically proficient, local educators in who favor of do cannot learn.I8 he will motivation, band students not teachable.17 and and study, of peculiar that inversely related. of guidance fault- not are but another, well as player of limited because musical sensitivity. expected skills his Perhaps philosophies for if The lack the as stu- of will of such basic reviewed PrenticeHall, Madsen in and Music Inc., and used the p. goals H. 4. Madsen Jr., (Englewood Cliffs, 1970), playing. Educators p. 29. and rhythmic Association, Teaching, Charles and guideless their to Educators of Music skills the Music as grcups skills left and prac- musical tonal foundation more become his be for probably aural cannot Utah Music Psychology find scores student A will playing test need a materials. fundamental educators 18 Clifford K. Experimental Research Jersey: but concrete Conference, 17 of Students absorb to required National ractice be to seems and time practice There the mechanics fine mechanical and require nationally. ticing only be to guidance this producing are selective a must section one instrumentalist is also proper It are expressive quality of music. band is that will demonstrate their corrrrnand of both t:h.e for­ and he basis on dents to the but instructional objectives New 37 local do school for more parto" policies the easily student Exerci.ses interpreting be various fitted cians" and than listening, discrimination, reading and be invaluable the they or has better Any efforts it. to end percussion players balanced cianship aong 19 can that they only can and high school J. less in. and run the can number any of profes- many emphasis students are directed musically Robert be long using found be "extended" an 19 this the curriculum shown in in to "techni- on "musicians." understand what doi ng are for help may his him just telling There must more they "learn into Evidence well better personal philosophies, approaches, which journals. the in could sional and and Verner, all create better band and doing to perform curriculum as because why they woodwind, programs able to brass which create are musi- instrumentalists. "Opus Eleven," Newsletter of Contemporary Music Project 4 (Winter 1973). CHAPTER EIGHT RECOMMENDATIONS FOR FURTHER STUDY This difference cant their ability pitch, did determined between to identify differences determine ity, intelligence, mine whether music While program? further subject, of understanding band there modes, such research and a sections. been could its band in notated study wide variation What personal­ reasons struggle or signifi­ no The rhythms. be do well have is school high environmental or will band the there in notated should the innate student a and there why individuals within among that sections of the differing rhythms, not this has study in deter­ the studies numerous on only help promote members music by educa­ tors. all Almost group played choice choice? of a second a second Does do students in the concert The instrumentalists instrument. a who do Are perform musically he in the random as as of is the was reed players those for initial much stage band school do the sample help the How doing? than the reasons instrument secondary understand what better jazz ensemble the instrument playing player the of who better or only perform band? lack of double is sad considering 39 the need for fessional school these instrumerits orchestras double reed student chooses and bands. players? oboe an in Why What there are are bassoon or university arid the as the few high so that reasons a instru­ secondary a pro­ ment? do How musicians students of the able instrumental pared with these the as It of evaluated. How The fine fine or programs benefit to relation achievement? would successful? hoped in the What that is band in the directors. there music cornmon as com­ high school What makes material study served which were necessity for additional research. What makes program? has however, has to chance educator? successful schools done, rate they only happen by a well as instruments? programs local this those research do vocal Are string players Is the to basic musical materials are program? is musical many personality of successful the so rank and percussion there programs and is wind as successful and handle are all a in students? the system musicians band to There band other its purpose tested only and uncovered DEFINITIONS Instrumental i.e., Family: Large related sections of the band, brass, woodwinds, and percussion Instrumental Sections: Similar instrumental groups, i.e., high brass (trumpets, cornets, French horns); low brass (tubas, trombones, baritones); flutes; clarinets (Bb clarinets, alto clarinets, bass clarinets); saxophones (alto saxophone, tenor saxophone, baritone saxophone); double reeds (oboe, bassoon); and percussion (typani, mallets, accessories, membranophones) The portion of the "Iowa Test of Rhythmic Concepts: Literacy" that deals with the ability to identify ous meters, recognize differing rhythmic patterns notate short rhythmic exercises Tonal Concepts: Literacy" ous modes, The portion of the "Iowa Test of short melodic deals with exercises the vari­ and Music ability to identify recognize differing pitch patterns and that Music vari­ notate BIBLIOGRAPHY Books ronerican School Band Curriculum Directors Guide: The Association. 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Reasons for Choice Uni ve r s i.t y of