Ruth V Brittin
Datos Biográficos
| ID | 5872516 |
|---|---|
| NOMBRE | Ruth V Brittin |
| NOMBRES | Ruth V |
| APELLIDO | Brittin |
| FIRMA | BRITTIN R V |
| AFILIACIONES | Syracuse University |
| VERIFICADO | No |
| TOTAL DE OBRAS | 10 |
| TOTAL DE CITAS | 33 |
| TOTAL COMO AUTOR | 10 |
| TOTAL COMO EDITOR | 0 |
| PRIMER AÑO DE PUBLICACIÓN | 1991 |
| AÑO MÁS RECIENTE DE PUBLICACIÓN | 2013 |
| ÍNDICE H | 4 |
Young Listeners’ Music Style Preferences
Listeners ( N = 543) in grades 4, 5, and 6 rated their preference for 10 instrumental and vocal selections from various styles, including four popular music selections with versions performed in English, Spanish, or an Asian language. Participants estimated their identification with Spanish/Hispanic/Latino and Asian cultures, the number of languages they spoke, and the number of musical styles the adults in their family listened to at home. There…
Preservice and Experienced Teachers' Lesson Plans for Beginning Instrumentalists
Preservice and experienced teachers ( N=58, from 7 universities) wrote lesson plans for a hypothetical beginning band lesson, using one page from a band method book as source material. Lesson plans were analyzed for word count, level of detail, and for strategies that appeared most frequently. Experienced teachers used fewer words than undergraduates but revealed the same number of strategies and level of detail, on average. There were institutio…
Instrumentalists' Assessment of Solo Performances with Compact Disc, Piano, or No Accompaniment
Middle school and high school instrumentalists listened to 12 instrumental performances: four with no accompaniment, four with piano accompaniment, and four with compact disc accompaniment. Listeners (N = 188) judged the soloist's performance quality and indicated the performance's best feature and aspect needing most improvement. Listeners also rated their preference for each accompaniment. Materials were taken from popular beginning band method…
Children's Preference for Sequenced Accompaniments
Second graders through sixth graders ( N = 343) listened to 10 musical selections in music classes and marked their preference and perception of each selection's tempo on rating scales. Listeners responded to children's songs played with nine electronic keyboard sequenced accompaniments, including popular to more traditional folk styles. The tenth accompaniment style featured simple chords with piano timbre, included to represent a typical acoust…
Researchers in Music Education/Therapy
This study offers a look at accepted standards for evaluation of eminence and productivity in the scientific community and updates the database established by Standley (1984) from the contents of the three premier journals in the field of music education/therapy research: the Journal of Research in Music Education (JRME), the Bulletin of the Council for Research in Music Education (CRME), and the Journal of Music Therapy (JMT). Data from the last…
Continuous versus Summative Evaluations of Musical Intensity
The primary purpose of the present study was to compare two different methods of measuring subjects' perceptions of overall effect: (1) a record of subjects' ongoing evaluation that is averaged to obtain an overall rating (labeled “continuous') and (2) a single rating of intensity given by subjects at the conclusion of a music excerpt (labeled ”summative“). Subjects were asked to evaluate the level of musical intensity expressed in various music …
Listeners' Preference for Music of Other Cultures
This study was designed to investigate listeners' preferences for music of other cultures, as determined by 10-point Likert-type scales and by continuous ratings taken throughout the duration of each excerpt with a Continuous Response Digital Interface (CRDI). Music major (n = 75), nonmusic major (n = 75), and junior high school (n = 75) musicians participated. One-third of each groups subjects rated the selections with a Likert-type rating-scale…
Comparing Continuous versus Static Measurements in Music Listeners' Preferences
In this investigation, we compared listeners' preferential ratings of art music, derived by conventional static ratings taken through 10-point Likert-type scales, and continuous ratings taken throughout the duration of each excerpt with a Continuous Response Digital Interface (CRDI). Music majors (n = 100) and non-music majors (n − 100) rated twelve excerpts of Western art music, including three substyles (Baroque, Romantic, and 20th-century) and…
An Empirical Method for Measuring the Aesthetic Experience to Music
This study was designed to investigate empirically the “aesthetic experience” as individually defined by each subject. Subjects ( N = 30) were faculty members and advanced graduate students at a large university school of music. Each subject listened to a 20-minute excerpt from Act I of Puccini's La Bohème and simultaneously manipulated the dial of a Continuous Response Digital Interface (CRDI) to indicate perceived aesthetic level. The CRDI dial…
The Effect of Overtly Categorizing Music on Preference for Popular Music Styles
This investigation was designed to examine the effect of overt listener categorization on preference for “crossover” excerpts (i.e., instrumental selections of artists nominated for Grammy awards in more than one popular style per year). Results showed no significant differences in nonmusic majors' (n = 534) preferential ratings subsequent to one of the following treatments: (a) stipulated categorization (pop, rock, jazz), (b) no overt categoriza…
The Effect of Overtly Categorizing Music on Preference for Popular Music Styles
This investigation was designed to examine the effect of overt listener categorization on preference for “crossover” excerpts (i.e., instrumental selections of artists nominated for Grammy awards in more than one popular style per year). Results showed no significant differences in nonmusic majors' (n = 534) preferential ratings subsequent to one of the following treatments: (a) stipulated categorization (pop, rock, jazz), (b) no overt categoriza…
Instrumentalists' Assessment of Solo Performances with Compact Disc, Piano, or No Accompaniment
Middle school and high school instrumentalists listened to 12 instrumental performances: four with no accompaniment, four with piano accompaniment, and four with compact disc accompaniment. Listeners (N = 188) judged the soloist's performance quality and indicated the performance's best feature and aspect needing most improvement. Listeners also rated their preference for each accompaniment. Materials were taken from popular beginning band method…
An Empirical Method for Measuring the Aesthetic Experience to Music
This study was designed to investigate empirically the “aesthetic experience” as individually defined by each subject. Subjects ( N = 30) were faculty members and advanced graduate students at a large university school of music. Each subject listened to a 20-minute excerpt from Act I of Puccini's La Bohème and simultaneously manipulated the dial of a Continuous Response Digital Interface (CRDI) to indicate perceived aesthetic level. The CRDI dial…
Comparing Continuous versus Static Measurements in Music Listeners' Preferences
In this investigation, we compared listeners' preferential ratings of art music, derived by conventional static ratings taken through 10-point Likert-type scales, and continuous ratings taken throughout the duration of each excerpt with a Continuous Response Digital Interface (CRDI). Music majors (n = 100) and non-music majors (n − 100) rated twelve excerpts of Western art music, including three substyles (Baroque, Romantic, and 20th-century) and…
Children's Preference for Sequenced Accompaniments
Second graders through sixth graders ( N = 343) listened to 10 musical selections in music classes and marked their preference and perception of each selection's tempo on rating scales. Listeners responded to children's songs played with nine electronic keyboard sequenced accompaniments, including popular to more traditional folk styles. The tenth accompaniment style featured simple chords with piano timbre, included to represent a typical acoust…
Listeners' Preference for Music of Other Cultures
This study was designed to investigate listeners' preferences for music of other cultures, as determined by 10-point Likert-type scales and by continuous ratings taken throughout the duration of each excerpt with a Continuous Response Digital Interface (CRDI). Music major (n = 75), nonmusic major (n = 75), and junior high school (n = 75) musicians participated. One-third of each groups subjects rated the selections with a Likert-type rating-scale…
Young Listeners’ Music Style Preferences
Listeners ( N = 543) in grades 4, 5, and 6 rated their preference for 10 instrumental and vocal selections from various styles, including four popular music selections with versions performed in English, Spanish, or an Asian language. Participants estimated their identification with Spanish/Hispanic/Latino and Asian cultures, the number of languages they spoke, and the number of musical styles the adults in their family listened to at home. There…
Researchers in Music Education/Therapy
This study offers a look at accepted standards for evaluation of eminence and productivity in the scientific community and updates the database established by Standley (1984) from the contents of the three premier journals in the field of music education/therapy research: the Journal of Research in Music Education (JRME), the Bulletin of the Council for Research in Music Education (CRME), and the Journal of Music Therapy (JMT). Data from the last…
Continuous versus Summative Evaluations of Musical Intensity
The primary purpose of the present study was to compare two different methods of measuring subjects' perceptions of overall effect: (1) a record of subjects' ongoing evaluation that is averaged to obtain an overall rating (labeled “continuous') and (2) a single rating of intensity given by subjects at the conclusion of a music excerpt (labeled ”summative“). Subjects were asked to evaluate the level of musical intensity expressed in various music …
The Effect of Overtly Categorizing Music on Preference for Popular Music Styles
This investigation was designed to examine the effect of overt listener categorization on preference for “crossover” excerpts (i.e., instrumental selections of artists nominated for Grammy awards in more than one popular style per year). Results showed no significant differences in nonmusic majors' (n = 534) preferential ratings subsequent to one of the following treatments: (a) stipulated categorization (pop, rock, jazz), (b) no overt categoriza…
An Empirical Method for Measuring the Aesthetic Experience to Music
This study was designed to investigate empirically the “aesthetic experience” as individually defined by each subject. Subjects ( N = 30) were faculty members and advanced graduate students at a large university school of music. Each subject listened to a 20-minute excerpt from Act I of Puccini's La Bohème and simultaneously manipulated the dial of a Continuous Response Digital Interface (CRDI) to indicate perceived aesthetic level. The CRDI dial…
Comparing Continuous versus Static Measurements in Music Listeners' Preferences
In this investigation, we compared listeners' preferential ratings of art music, derived by conventional static ratings taken through 10-point Likert-type scales, and continuous ratings taken throughout the duration of each excerpt with a Continuous Response Digital Interface (CRDI). Music majors (n = 100) and non-music majors (n − 100) rated twelve excerpts of Western art music, including three substyles (Baroque, Romantic, and 20th-century) and…
Listeners' Preference for Music of Other Cultures
This study was designed to investigate listeners' preferences for music of other cultures, as determined by 10-point Likert-type scales and by continuous ratings taken throughout the duration of each excerpt with a Continuous Response Digital Interface (CRDI). Music major (n = 75), nonmusic major (n = 75), and junior high school (n = 75) musicians participated. One-third of each groups subjects rated the selections with a Likert-type rating-scale…
Researchers in Music Education/Therapy
This study offers a look at accepted standards for evaluation of eminence and productivity in the scientific community and updates the database established by Standley (1984) from the contents of the three premier journals in the field of music education/therapy research: the Journal of Research in Music Education (JRME), the Bulletin of the Council for Research in Music Education (CRME), and the Journal of Music Therapy (JMT). Data from the last…
Continuous versus Summative Evaluations of Musical Intensity
The primary purpose of the present study was to compare two different methods of measuring subjects' perceptions of overall effect: (1) a record of subjects' ongoing evaluation that is averaged to obtain an overall rating (labeled “continuous') and (2) a single rating of intensity given by subjects at the conclusion of a music excerpt (labeled ”summative“). Subjects were asked to evaluate the level of musical intensity expressed in various music …
Children's Preference for Sequenced Accompaniments
Second graders through sixth graders ( N = 343) listened to 10 musical selections in music classes and marked their preference and perception of each selection's tempo on rating scales. Listeners responded to children's songs played with nine electronic keyboard sequenced accompaniments, including popular to more traditional folk styles. The tenth accompaniment style featured simple chords with piano timbre, included to represent a typical acoust…
Instrumentalists' Assessment of Solo Performances with Compact Disc, Piano, or No Accompaniment
Middle school and high school instrumentalists listened to 12 instrumental performances: four with no accompaniment, four with piano accompaniment, and four with compact disc accompaniment. Listeners (N = 188) judged the soloist's performance quality and indicated the performance's best feature and aspect needing most improvement. Listeners also rated their preference for each accompaniment. Materials were taken from popular beginning band method…
Preservice and Experienced Teachers' Lesson Plans for Beginning Instrumentalists
Preservice and experienced teachers ( N=58, from 7 universities) wrote lesson plans for a hypothetical beginning band lesson, using one page from a band method book as source material. Lesson plans were analyzed for word count, level of detail, and for strategies that appeared most frequently. Experienced teachers used fewer words than undergraduates but revealed the same number of strategies and level of detail, on average. There were institutio…
Young Listeners’ Music Style Preferences
Listeners ( N = 543) in grades 4, 5, and 6 rated their preference for 10 instrumental and vocal selections from various styles, including four popular music selections with versions performed in English, Spanish, or an Asian language. Participants estimated their identification with Spanish/Hispanic/Latino and Asian cultures, the number of languages they spoke, and the number of musical styles the adults in their family listened to at home. There…
Neuroscience and Music Perception (10 obras) · Diverse Music Education Insights (9 obras) · Psychology (9 obras) · Mathematics (6 obras) · Preference (6 obras) · Statistics (6 obras) · Medicine (5 obras) · Art (4 obras) · Audiology (4 obras) · Computer Science (4 obras)