TITLE: Constructions of Musical Ability AUTHOR: Susan Hallam SOURCE: Bulletin of the Council for Research in Music Education

(Spr. & Sum., 2002) PURPOSE:

This study is an extension of the research carried out by Hallam and Prince (in press), which used qualitative methods to determine how participants perceived the construct, musical ability.

RESEARCH QUESTION(S):
What factors, such as genetics or the environment, determine an individuals musical ability?

SUBJECTS:
The subjects, ages 14 and over, came from an opportunity sample including children and teachers from a city school, an extra-curricular music school in a shire county, and a higher education institution. They were categorized into one of eight groups based on occupation, level of musical achievement, and whether or not they played a musical instrument. Here are the following categories, the number of subjects included in each category, and the categories percentage total:

Subject Type
Children (more than 2 yrs. of musical experience) Adults (5th gr. or below instr. experience) Non-Music Educators Musicians Adults (no active involvement in extra-curricular music) Children (less than 2 yrs. of musical experience) Adults (6th gr or above instr. experience) Children (no musical experience) TOTALS:

Number
135 106 80 55 47 33 20 14 490

% of total
27.6% 21.6% 16.3% 11.2% 9.6% 6.7% 4.1% 2.9%

METHODOLOGY:
Each construct category derived from the previous qualitative study (see list of categories below) was represented by several statements. For instance, statements relating to having a musical ear were: 1) Musical ability depends on having perfect pitch, 2) Musical ability is being able to play by ear, 3) Musical ability is being able to internalize sound. These statements were responded to through levels of agreement on a 5-point scale. Subjects were also asked to provide information regarding age, gender, occupation, and musical experience. The questionnaire was self-administered. Construct categories derived from the previous qualitative study, whether they were learned or innate: Musical Ear Rhythmic Ability Listening & Understanding Response to Music Appreciation of Music Declarative Knowledge about Music Evaluative Activities Being Able to Play or Sing Reading Music Technical Skills

Emotional Sensitivity Communication & Interpretation Ensemble Skills Composition/Improvisation Organization of Sound Creativity

Integration of Skills Metacognition Motivation Personal Expression Origins of Musical Ability

RESULTS:
The data was analyzed using SPSS 10. Overall, musical ability was most strongly conceptualized in relation to rhythmic ability, organization of sound, emotional sensitivity, communication, motivation, personal characteristics, an integration of complex skills, and ensemble skills. Analysis of variance was undertaken to explore differences in response to each category by the members of each group type. The following were the significant findings: Variance/Level of Response No significant differences Group Type All groups Construct Categories Musical ear; rhythmical ability; listening & understanding; response to music; being able to play an instrument or sing; being able to read music; metacognition; relating to the origins of musical ability. Appreciation of music; knowledge about music; evaluation of music; emotional sensitivity; composition/improvisation/creativity. Appreciation of music; knowledge and evaluation. Communication; ensemble skills; emotional sensitivity; organization of sound.

Highest Response Rate High Response Rate Strongest Agreement

Children (less than 2 yrs. of musical experience) All Children Musicians

CRITIQUE:
First of all, how is this considered a qualitative study if the results are of a quantitative fashion? It uses an SPSS 10 data analysis tool, and a 5-point scale. I also feel that the scope of the study is too large in hoping to isolate the common factors of musical ability. It is also too general and opinionated given the nature of the subjects and that the study was conducted as a questionnaire. I agree with Hallam & Shaws remarks about the studys limitations. For example, they express that the subjects only represent one cultures perception of musical ability, as opposed to studying multiple cultures perceptions. Also, I strongly feel that their suggestion for interviewing school children directly would yield more telling information about the true nature of musical ability.

PRACTICE IMPLICATIONS:
Overall, I dont find this study or its results practical when it comes to music instruction. The study illustrates and reveals a lot about how different populations define musical ability, but it doesnt really suggest any particular new or different approaches to teaching music. The study did, however, reinforce for me that musical ability is a combination of all of the identified construct categories, and that effective music instruction activities address the categories simultaneously.