Music Preference 1 - Brent Hugh's personal and business web pages

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Music Preference 40 preference ratings due to discussion (treatment ID) but ratings from introduction by play (treatment IP) dropped almost to the level of no introduction (see Table 8 and Figure 1). Discussion The results show, again, that introducing the music, whether by discussion or by an audience-involving play, makes a significant difference in preference ratings. For some of these groups and some of the treatments, the magnitude of change due to the treatment is larger than the largest magnitude of change due to different repertoire. For instance, the difference from treatments N versus IP in group LE is 0.46 (11.5%), larger than the difference from repertoire selections Bach versus Schumann, which is 0.33 (8.3%). Certainly, then, at least some of the differences in preference ratings due to the treatments are substantial. These results give further insight into the reason for the change in preference ratings. The change in attitude about the music apparently stems mainly from the interaction between the performer and the audience and the information that is communicated in this interaction. The particular interests and capabilities of the age group determine which form of interaction (discussion or audience-involving interactive activity) is most effective. Although the difference in ratings between introduction by discussion (ID) and introduction by a dramatic play (IP) did not rise to the level of significance, it is interesting that, in the aggregated group and in groups LE and MS, ratings for treatment IP were higher than those for ID. This tends to support the idea that activities promoting interaction between audience and performer and inviting active participation of audience members will be more effective in changing music preference. Music is a social activity and social factors are important in affecting attitudes towards it.
Music Preference 41 Equally remarkable as the overall greater effectiveness of treatment IP is the different response of the upper elementary group (UE) to this treatment (see Figure 1). Preference ratings from group UE had a positive response to treatment ID but response to treatment IP was much lower. This seems to be an individual reaction of this grade to the treatment; it may be that this grade, which was the oldest in its elementary school, had a distaste for dramatic plays, which they may have perceived as a childish activity. On the other hand, the responses of group LE (1 st and 2 nd graders) to treatments ID and IP may reflect that fact that some of the introductory discussion (treatment ID) was above their cognitive level, so that treatment ID was only moderately effective. The hands-on nature of treatment IP may have helped this group to grasp the concepts presented, making treatment IP very effective for this group. In any event, the difference in response to treatment by different grade levels underscores the fact that educators and musicians wishing to affect the musical preferences of audience members should use their good judgement and experience in planning activities to introduce musical works. Any activity that introduces the music and/or composer and that appeals to the audience and is appropriate to their level of understanding (Schaffrath, 1978), will likely have a positive influence on audience attitudes towards the music. On the other hand, the effect on preference ratings may be small if the audience dislikes the introductory activity, finding it either simplistic and below their level of interest or too complex and above their level of understanding. Although some treatments are more effective than others with particular age groups, it is worth pointing out that all results from school groups show a positive response to introductory activities. Though in some cases the response is very small, the effect of introductory activities on music preference was always positive. This result should be encouraging, both to educators
Page 1 and 2: Can Musicians Alter the Music Prefe
Page 3 and 4: The Musician Introduction Why Influ
Page 5 and 6: Music Preference 5 across musical g
Page 7 and 8: Music Preference 7 easier to manipu
Page 9 and 10: Music Preference 9 training and hig
Page 11 and 12: Music Preference 11 listening group
Page 13 and 14: Music Preference 13 4. Are there mu
Page 15 and 16: Music Preference 15 Stipp (1990) ag
Page 17 and 18: Music Preference 17 Berkeley, 1997)
Page 19 and 20: Music Preference 19 is the hardenin
Page 21 and 22: Music Preference 21 less. It simply
Page 23 and 24: Music Preference 23 greater depth.
Page 25 and 26: Music Preference 25 may develop a d
Page 27 and 28: Music Preference 27 results in the
Page 29 and 30: Music Preference 29 Presentations i
Page 31 and 32: Music Preference 31 21-80, 53% indi
Page 33 and 34: Music Preference 33 Considering the
Page 35 and 36: Music Preference 35 applied to each
Page 37 and 38: Questions Music Preference 37 Quest
Page 39: Music Preference 39 "Performer was
Page 43 and 44: School audiences. Music Preference
Page 45 and 46: Music Preference 45 the students ar
Page 47 and 48: Music Preference 47 Question 4: Do
Page 49 and 50: Music Preference 49 concert was hel
Page 51 and 52: Music Preference 51 4. For some sub
Page 53 and 54: Music Preference 53 correct, audien
Page 55 and 56: Table 1 Age Distribution of Recital
Page 57 and 58: Table 3 Latin-Square Experimental D
Page 63 and 64: Table 9 Music Preference 63 Repeate
Page 65 and 66: Table 11 Preference Ratings by Age
Page 67 and 68: Table 13 Preference Ratings by Age
Page 69 and 70: Table 15 Music Preference 69 Elemen
Page 71 and 72: Table 17 Music Preference 71 Intera
Page 73 and 74: Preference Rating 4.4 4.2 4.0 3.8 3
Page 75 and 76: WORKS CITED Music Preference 75 Alp
Page 77 and 78: Music Preference 77 Fung, C. K. V.
Page 79 and 80: Music Preference 79 LeBlanc, A., Co
Page 81 and 82: Music Preference 81 Rubin D. C., Ra
Page 83 and 84: Appendix A Outlines of Information
Page 85 and 86: Outline of informational introducti
Page 87 and 88: Music Preference 87 The final movem
Page 89 and 90: Music Preference 89
Page 91 and 92:
Music Preference 91
Page 93 and 94:
Music Preference 93
Page 95:
Appendix E Recital program used for
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