The Construction and Validation of a Test of Expressive Phrasing in Music

IS MUSICAL EXPRESSION in performance too subjective and individualistic for measurement and categorization? Does the intricate comples of expression break down into generalizations and rules? Is this important facet of performance and appreciation dependent upon situation, medium, and/or performer? Furthermore, if generalizations and rules of expression really exist, how much do they change over a period of time? How much variance exists among artist performers? Are rules of expression, if they do exist, often unobserved or violated by performers when they reach artist stature? Obviously, these questions are of considerable importance to the professional performer and to the music educator. Even if rules of expressive performance can be formulated, is it feasible or practical to devise a test to measure this ability? Can an objective instrument be constructed in such a suS jective, nebulous area? One can readily imagine the problems in such a project, but the need is great for such a test. First, a test of musical expression could be utilized by applied instrumental or vocal teachers to evaluate student achievement and understanding of this important facet of performance. Besides pointing up deficiencies or omissions in the present educational program, it would aid the music edun cator in assessing the general direction of a child's talent. The ability of students tends more or less in one direction, being either more technical than emotional, or more intellectual than emotional, or more emotional than either intellectual or technical, and so forth. By discovering the tendency of the child in this respect, the teacher can esercise his ingenuity in an effort to develop a well-balanced performer. Second, an expression test could be employed as an evaluative instrument in music appreciation courses, since the native aesthetic sensibilities plus all the cumulative educational influences involved in the total musical reaction are presumably measured. Third, such a test might well prove useful as an aid in teaching expression, serving to delineate the elements of expression which are difficult to verbalize or demonstrate to the student. Fourth, it might even prove useful in revealing aptitude since many authorities claim that the ability to perform or perceive the ewressive elements of music is more dependent upon innate capacity than upon training and experience. Fifth, an indirect advantage would accrue manifested in an increased cognizance of expression on the part of both the student and the teacher; it would stimulate activity in this neglected area, thereby de-emphasizing the present American obsession with technique. This increased cognizance and understanding may assist in the organization of a functional instructional program and an examination of present pedagogical techniques. A test of this type would have important implications for more precision and clar

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• Music Sensitivity

  Martha L Peters•Journal of Leisure Research•1969

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• Forum

  Open Access•Cornelia Yarbrough•Journal of Research in Music…•2001

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• Individual Expressive Performance

  Open Access•Paul Broomhead•Journal of Research in Music…•2001

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