Beruflich Dokumente
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Guide to Research
in Music Education
Second Edition
ROGER P. PHELPS
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The first edition of A Guide to Research in Music Education was published by Wm. C. Brown Cornpany in 1969.
This textbook is a practical guide to the basic concepts and techniques of research methodology as they apply specifically to
music education. The increased demand for postbaccalaureate
and advanced graduate instruction has led many graduate schools
to add courses in research methodology in music education. Yet
because there is no general agreement on the meaning of
"music-education research, " these courses have varied in content
both qualitatively and quantitatively. The object of this book is to
present a concise, practical, and logical approach to the fundamental principles and methods of research that music educators
can readily understand and apply. Because of their usual preoccupation with the development and maintenance of performing
skills, these educators are often unfarniliar with the philosophical
and pragmatic connotations of research. The concepts and techV
niques described in this treatise are those that researchers in vanous disciplines have used successfully.
Largely an outgrowth of this writer's experience in teaching
graduate students in music-education and general-education research methodology classes, this book is designed for Courses in
the fundamentals of music-education research, for thesis seminars, and for independent researchers in music education or the
arts and humanities. It undoubtedly will be most useful to students in either a master's- or a doctoral-degree program, but the
postdoctoral researcher will also find it of value, and the adviser
will be able to use it for reference purposes.
At present there are several excellent publications on educational research, but their utility to music education has often been
less than satisfactory to music-research tyros. It was at the urging
of several of his students, who expressed the conviction that a
book was needed to concentrate specifically on problems peculiar
to music-education research, that the writer prepared the first
edition of A Guide to Research in Music Education. The everchanging field of research created a demand for a revision of the
book.
The content and bibliography for each chapter have now been
updated. Reflective thinking, originally included in the second
chapter, has been moved to the first, where the scientific method
is discussed. The third chapter contains hypothetical statements
relating to various components of a research design, with a discussion of why some are better than others. A section on oral
history has been added to the chapter on historical research. I
have expanded and largely rewritten the chapter on experimental
research, incorporating the material on statistics that was separate
in the first edition. Discussion of ethnographic research and reCent doctoral studies make the chapter on descriptive research
more current. The chapter on philosophical inquiry has been expanded and largely rewritten to include philosophical Systems and
philosophical analysis. The former chapter on analytical research,
Roger P. Phelps
Baldwin, New York
August 1, 1979
vii
3,
4.
61
65
81
82
5.
Contents
1.
Research
Selection of a Topic
Categories of Music-Education Research
The Research Climate
Research Concepts
The Scientific Method
Reflective Thinking
2.
...
Vlll
6.
48
90
91
92
101
104
105
107
121
122
124
125
127
128
130
138
143
150
156
158
161
163
164
166
170
7.
8.
9.
Notes
Index
323
322
Figures
Delimitation of a Research Topic
Format for a Research Design
Deficiencies Reported in Research Designs
Library Catalog Card
Random-Numbers Table
2 X 2 Factorial Design
Normal Probability Curve
Positively Skewed Curve
Negatively Skewed Curve
Rank-Order Correlation of Scores Obtained
on Music Tests
Omnibus Request for Information
Likert-Type Scale
Plato's 'Divided Line " Process
Ecker and Kaelin Levels of Discourse
Dissertation Title Page
L
33 1
337
'
Research
The term "research" has many meanings, some rather general
and others more specific. Hopkins states that research is "stnictured inquiry that: 1. Utilizes acceptable scientific methodology
to solve problems; 2. creates new generally applicable knowledge. "* It is this writer's contention that resgarch is a carefully
organized procedure that can result in the discovery of new
knowledge, the substantiation of previously held concepts, or the
rejection of tenets that have been widely acclaimed. Drew reports
that research "is a systematic way of asking questions, a systematic method of enquiry. "3 Engelhart also presents a definition of
educational research that is applicable to music education;
namely, the identification of generalizations that enable educators
to determine what is necessary to do for the education of children
and adult^.^ Madsen and Madsen point out that research is not
only a "way of thinking" and a "state of mind," but also a way
to "think rationally and objectively concerning the aspects of life
that can be studied scientifically.
Sound research consists of organization, execution, and dissemination, in logical sequence. Research obviously cannot be
conducted properly without a good plan of operation. On the
other hand, even a well-organized prospectus may not be implemented effectively, resulting in insufficient data. Both organization and execution must be of the highest caliber. In scientific
degree began in the 1920s. Until the advent of World War I1 the
master's degree generally was considered to be adequate for
music teachers, even on the college or university level. In the past
thirty years, however, the pressure on college and university
music teachers by administrators has caused a rethinking of
graduate music education, with the result that many beginning
postbaccalaureate students now anticipate that a master's degree
may only be a transitional step to a terminal degree. An aspirant
for a teaching position at the college or university level now can
hardly hope to rise above the rank of assistant professor without
an earned doctorate except in a few isolated situations. A byproduct of this coercion has been the demand for doctorates with
emphases different from those the traditional Ph.D. and Ed.D.
have presented. Several colleges and universities in the United
States now offer the D.M.A. (Doctor of Musical Arts) and the
Mus.D. (Doctor of Music). A recent development is the D.A.
(Doctor of Arts), a more flexible, interdisciplinary, and individually oriented program of studies that enables a student to relate
music to other arts more effectively than can either the traditional
Ph.D. or Ed.D. The end product of the D.A. is a research paper
that is usually more product- or process-oriented than other doctorates. For example, one of this writer's D.A. candidates has
been examining the metallurgical properties of mouthpieces and
lead pipes of some brass instruments, using sophisticated
electron-scanning microscopes in an engineering laboratory.
There has been considerable criticism, much of it justified, of
the so-called "nontraditional doctorate, " which is interpreted to
be other than the Ph.D. or Ed.D. Although the D.A. is a new
degree, it should not be placed in the Same class as the nontraditional doctorate. The D.A. programs with which this writer is
familiar, unlike some of the nontraditional doctorates, screen candidates carefully, have certain residency requirements, and maintain high academic standards.'
Since all earned doctorates at present are based upon the acceptance of some type of "creative" project, students in music edu-
Selection of a Topic
Fortunately, many students give considerable thought to potential projects prior to enrollment in a graduate program. Others
depend upon expediency, mandate, suggestions from an adviser,
or some other extrinsic factor in choosing a topic. Such ambivalence can hardly result in anything more than inferior productivity. Researchers should choose a topic for investigation in
which they have an intense interest, one to which they may lay
claim as "their own. " It is inconceivable that anyone would
become involved in a research topic in which he or she is neither
totally engrossed nor in general agreement philosophically.
School administrators recognize that personnel perform most
efficiently in the areas where they are most competent and
interested. In the interest of educational efficiency, good administrative practice dictates that such predilections be honored
wherever possible through appropriate assignments. Why should
involvement in research operate under a different procedure? As if
in reply, Kelley notes that the conduct of worthwhile research is
not easy, and he also deplores those who dismiss its importance
too l i g h t l ~The
. ~ selection of an appropriate topic is very signifiCant for the researcher, and it will be treated more comprehenin the next two chapters.
While most graduate students pursue research in music educa-
A factor that has affected both the quality and kind of research
conducted in music education is the dichotomy to which this
writer called attention in 196011:on the one hand, there are those
educators who feel that music is a practice or skill and as such
does not lend itself readily to research techniques. This group is
opposed by those who recognize that music can and does properly
adapt itself to the recognized criteria for research but who feel
that it has not been conducted in as much depth as desirable. The
recent encouraging increase in research projects undertaken by
musicians and music educators suggests that at last the climate for
research activity has changed. Even a casual glance at titles of
some of the research completed in music will substantiate this
optimistic observation. A recent listing of research sponsored by
the U.S. Department of Health, Education, and Welfare reveals
that investigators in music have taken many directions.12
As music researchers have become better trained there has
been a tendency to overemphasize behavioral approaches to research. Many answers can best be obtained with experimental
procedures; however, some questions can better be answered by
using other methodologies, as this writer points out in a recent
article.13 The careful structuring of research projects in music
education, regardless of methodology used, should be accompanied by a subsequent meticulous implementation of the research plan to bring about valid and objective results that, when
disseminated, will be meaningful and practical to members of the
Profession.
10
in a few, but many educational researchers either deny its existence as a separate kind of research or suggest that its use is so
extremely limited as to be hardly worth serious consideration.
Yet in music education philosophical inquiry can be a very fruitful area for investigation. The last type, aesthetic inquiry (or
research), is a designation that normally relates to discovery of
the beautiful in the arts. In music, however, it rnay relate to
learning about a composer or the composer's music, or even to
any other area of investigation that focuses on music. When
concerned with the study and analysis of certain compositions of
a Composer, including the latter's role in the mainstream of music
history, it rnay be regarded quite properly as quasi-musicological
in scope. Many possibilities exist in the aesthetic type of research
for the music educator who has a good theoretical and musicological background.
Since the techniques, procedures, and characteristics of each of
these kinds of research as they relate to music education will be
presented in detail in subsequent chapters, they will just be mentioned here. Any one study, of Course, rnay incorporate some
aspects of the other research types, but its emphasis will be on one
of the five areas just listed. The organization of a study largely
detennines the format under which the research will be conducted. A historical study will emphasize the design for a historical study, a descriptive study the aspects of that kind of project,
and so on. The labels associated with a given research study
should not become a fetish, however, because the essential factor
is the information included in the study. Categorization, on the
other hand, is helpful in determining procedures that will be or
have been followed in a research study. For example, a study rnay
be aesthetic-descriptive, aesthetic-historical, or any other combination. In the former, a music or other aesthetic topic will be
approached using descriptive techniques, and in the latter, historical procedures .
Just as most research studies are not constituted exclusively in
11
12
means exhaustive, the following ten adjectives suggest the characteristics that successful investigators in music education need to
possess. They should be inquisitive, perceptive, objective, discriminative , impartial, candid, diligent , persistent, creative, and
erudite.
The inquisitive mind is the first requisite for research. Without
a passion on the part of an investigator for uncovering or learning
new knowledge, research is not possible. Once the desire to find
answers to problems has been affirmed, a perceptive mind is
necessary to formulate the most effective plan to be used for the
duration of the research. This format, obviously, should not be
immutable, but subject to modification as the need for emendation arises. After the research plan has been established, investigators need to obtain information with an objective viewpoint.
They must be willing to accept the results of their research even
though the results may prove to be contrary to what they have
believed up to this point. Researchers should be discriminative in
determining what material will be useful in a written account of
the results of their research. Discrimination also implies that investigators ought to be impartial and not biased in their reporting. They should avoid the tendency to weight their evidence
because of some personal prejudice. A candid accounting, of
Course, suggests that investigators must be forthright and frank
with their presentation. This means that they accept and report
accurately all their research findings. If research is tobe successful
and complete, diligent attention to all details is necessary. Yet
diligence alone is not enough to guarantee good research. A
diligent researcher also needs to be persistent. Persistence implies that one will cany on a project despite obstacles that may
either appear to impede Progress or possibly intimate that the
results may be negative. Skillful researchers also should be creative. They must not only organize their project in an original way,
but also execute the study and disseminate the results in a manner
that is refreshing and different. Finally, researchers ought to be
13
Research Concepts
The researcher in music education can expect to encounter
certain terms or concepts that relate to procedures of research.
Those that refer only to specific areas or types of research will be
discussed in the appropriate chapters in this book. Others, which
are common to all types of research, follow. An understanding of
these items is important to the logical organization of a study.
14
15
16
tions eventually may lead to pronouncements that are substantiated quantitatively.16 Many research studies contain both qualitative and quantitative data. On the other hand, while it is possible for a research project to be so organized that it would contain
only qualitative data, it would be virtually impossible for a study
to contain quantitative but not qualitative data, because even in a
study where data are the result of some type of measurement,
narrative is necessary to explain the theoretical rationale for the
study, and a rationale Statement is a type of information.
It is not uncommon to examine research studies in music education that contain qualitative data only, with quantitative data
omitted, when there is every indication that they should have been
included. Such studies are ineffective and weak because the investigator did not proceed thoroughly and carefully to the next
significant step of quantifying information. For example, a qualitative study might be undertaken to l e r n which school systems
in a given state have instrumental music programs. These data,
readily obtainable by a questionnaire or other means, could be
useful to school administrators who do not have an instrumental
program, enabling them to report to their Boards of Education
that such a program is needed if children in the community are to
receive the Same cultural advantages as Youngsters in other
school systems. To music teachers, by contrast, these data would
be relatively useless because they give no indication of the actual
content of the instrumental programs surveyed. They merely signify the presence or absence of instrumental music in the school
systems investigated. Music supervisors more likely would be
interested in determining how their curricular offerings compare
with those of other schools. In other words, they might be interested to l e r n that a certain school has two orchestras, two
bands, or two choruses in the senior high school and thus try to
convince their superiors that this Pattern should be emulated.
Since music is largely concerned with skills, still unanswered is
the question of performing competency of the groups under con-
17
20
for embouchure development that result in a significant improvement in tone quality, but they still may be unable to analyze
why this transformation took place. Some music educators will
argue that development of practical skills should come first.
Then, if there is time and inclination, philosophical and theoretical concepts may be introduced. In the natural and physical sciences, where reflective thinking and an "intellectual" approach
normally are an adjunct to instruction, the scientific method is not
Strange to graduate students who initiate a research project. Observing this desirable fusion of skills and theory, Good states that
"science without philosophy is blind, while philosophy without
science is empty .
Music is a skill; consequently, the graduate student in music
education who has spent countless hours in the practice room
often is intellectually handicapped. Yet if research is to be successful some intellectual activity is necessary'. This intellectual
process is referred to as "critical" or "reflective thinking. " In a
recent article this writer stated that "critical or reflective thinking
is associated with logic and the scientific method, since all these
terms relate to obtaining information through metempirical rather
than empirical means. "23 Metempirical is a philosophical term
that refers to obtaining information solely through reasoning,
whereas observation and measurement characterize the empirical
method.
'lZ2
Reflective Thinking
An investigator must use reflective thinking to formulate a
problem into a pliable and workable format. As indicated earlier,
this initial phase of research unquestionably is one of the most
important, yet it frequently is treated perfunctorily. Several educational researchers, including Mason and Bramble, aver that the
21
22
then is obvious. Characteristic of any syllogism is the identification of three factors, each of which is repeated twice. In the
aforementioned example, "musicians, " "talented, " and "conductors" each appears two times. Of course, because of the acceptance of faulty assumptions, some syllogisms do not result in
valid conclusions. Consider this example:
'
I
I
24
25
26
10. Name and discuss the seven steps of reflective thinking presented in this chapter.
Supplementary Readings
3. Consider some of the problems that are of immediate concern to you, and make some type of preliminary investigation
to determine whether you will be able to reach a solution to
some of them.
4. Why is a proper "research climate" important for musiceducation research? What characteristics must a researcher
possess in order to meet the conditions of a proper "research
climate ' '?
27
ALMACK,
JOHNC. Research und Thesis Writing. Boston: Houghton
Mifflin, 1930, Chapters 2 and 4.
ARY,DONALD,
LUCYC. JACOBS,
and ASGHAR
RAZAVIEH.
Introduction
to Research in Education, 2nd ed. New York: Holt, Rinehart and
Winston, 1979, Chapter 1.
ASHER,J. WILLIAM.
Educational Research und Evaluation Methods.
Boston: Little, Brown, 1976, Chapter 1.
BEST,JOHNW. Research in Education, 3rd ed. Englewood Cliffs, N.J.:
Prentice-Hall, 1977, Chapter 1.
BEVERIDGE,
W. I. B. The Art of Scientific Investigation. New York:
Vintage Books, 1950, Chapters 1, 3, 4, and 7.
BORG,WALTER
R., and MEREDITH
D. GALL.Educational Research: An
Introduction, 3rd ed. New York: Longman, 1979, Chapter 1.
R., and ERNEST
NAGEL.An Introduction to Logic und
COHEN,MORRIS
Scientific Method. New York: Harcourt Brace, 1934, Chapters 1
and 11.
COOK,DAVID
R ., and N. KENNETH
LAFLEDR.
A Guide to Educational
Research, 2nd ed. Boston: Allyn and Bacon, 1975, Chapter 1.
DREW,CLIFFORD
J. Introduction t o Designing Research and Evaluation. St. Louis: C. V. Mosby, 1976, Chapter 1.
MAX D. Methods of Educational Research. Chicago:
ENGELHART,
Rand McNally, 1972, Chapter 2.
GAY,L. R. Educational Research: Competencies for Analysis und Application. Columbus, Ohio: Charles E. Merrill, 1976, Chapter 1.
GOOD,CARTERV. Essentials of Educational Research. New York:
Appleton-Century-Crofts, 1966, Chapter 1.
28
HILLWAY,
TYRUS.Introduction to Research, 2nd ed. Boston: Houghton
Mifflin, 1964, Chapters 1, 2, 7, and 17.
HOPKINS,CHARLES
D. Educational Research: A Structure for Inquiry.
Colurnbus, Ohio: Charles E. Merrill, 1976, Chapters 1 and 2.
KERLINGER,
FREDN. Behavioral Research: A Conceptual Approach.
New York: Holt, Rinehart and Winston, 1979, Chapter 1.
.
Foundations of Behavioral Research, 2nd ed. New York: Holt,
Rinehart and Winston, 1973, Chapter 1 .
MADSEN,
CLIFFORD
K., and CHARLES
H. MADSEN,JR. Experimental
Research in Music. Raleigh, N.C.: Conternporary, 1977, Chapters 1
and 2.
MASON,EMANUEL
J., and WILLIAMJ. BRAMBLE.Understanding
und Conducting Research: Applications in Education und the
Behavioral Sciences. New York: McGraw-Hill, 1978, Chapters 1
and 2.
MOULY,
GEORGE
J. The Science of Educational Research, 2nd ed. New
York: Van Nostrand Reinhold, 1970, Chapters 1, 2, and 3.
PETZOLD,
ROBERTG. "Directions for Research in hlusic Education, "
Music Educators Journal, January 1964, 50,5:39-42.
PHELPS,ROGERP. "Critical Thinking: A Prerequisite for All Sound
Research, " The New York Stute School Music News, March 1978,
41,7:31-32.
RUMMEL,
J. FRANCIS.
An Introduction to Research Procedures in Education, 2nd ed. New York: Harper and Row, 1964, Chapter 1.
SAX,GILBERT.Empirical Foundations of Educational Research. Englewood Cliffs, N.J.: Prentice-Hall, 1968, Chapters 1 and 2.
TRAVERS,
ROBERT
M. W. An Introduction to Educational Research, 4th
ed. New York: Macrnillan, 1978, Chapter 3.
, DEOBOLD
B. Understanding Educational Research: An
VAN DALEN
Introduction, 4th ed. New York: McGraw-Hill, 1979, Chapters 1 and
2.
WATANABE,
RUTH T. Introduction to Music Research, Englewood
Cliffs, N.J .: Prentice-Hall, 1967, Chapter 1.
WHITNEY,FREDERICK
L. The Elements of Research, 3rd ed. Englewood Cliffs, N.J .: Prentice-Hall, 1950, Chapters 1 and 2.
Research Methods in Education: An Introduction,
WIERSMA,
WILLIAM.
2nd ed. Itasca, 111.: F. E. Peacock, 1975, Chapter 1.
29
WILLIAMSON,
JOHNB . , DAVIDA. KARP,and JOHNR. DALPHIN.The
Research Craft: An Introduction to Social Science Methods. Boston:
Little, Brown, 1977, Chapter 1.
WISE,JOHNE., ROBERT
B. NORDBERG,
and DONALD
J. REITZ,Methods
of Research in Education, Boston: D. C. Heath, 1967, Chapter 1.
2 . Formulating the
Problem
Formulating the problem is unquestionably the most important
initial step in research. As noted in the previous chapter, a problem that uses reflective or critical thinking as evidenced in the
scientific method is much easier to bring to a satisfactory solution
than one that does not. The most profound as well as the least
significant problems may prove to be disconcerting to music
educators, but if ways are found to resolve this dilemma, their
teaching will be more effective. The realization that many problems still remain for the researcher in music education has both
good and bad aspects. Most impelling, perhaps, is the negative
connotation, because it suggests that conditions, however they
31
Sources of Information
In the formulation of a problem, application of the time-wom
"who, when, where, what, why, how " can be most beneficial
to an investigator. Graduate students, in a sincere and diligent
endeavor to ferret out unique information, often overlook some
of the most obvious sources available to them. Some of the most
significant ideas for research projects in music education may
come from the following, not necessarily listed in order of importance:
(1) textbooks relating to various aspects of
music;
(2) professional and privately printed journals
for music educators;
(3) lists of graduate theses, dissertations, and
projects;
(4) reports of subsidized research;
(5) graduate seminars and classes;
(6) conferences with advisers and professors;
(7) discussions with fellow graduate students;
(8) difficulties pinpointed in the classroom;
(9) speeches and lecture-demonstrations at national, regional, and state meetings of
music educators; and
(10) visits to libraries, archives, museums, etc.
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34
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Vulnerability of Music-Education
Research
Music-education research often has been vulnerable to attacks
not only from leaders in other disciplines but also from members
of the profession. In many instances the claims have been justified; in others, not so. Music basically is a skill, and this, no
doubt, makes it difficult for a researcher to state in objective
terms what actually takes place while the skill is being performed. Conversely, cognitive concepts are sometimes difficult
to translate into objective skills. To Pose an obvious question,
how can one objectively measure the effectiveness of a teacher of
violin in a private studio as against his performance in a
classroom with a group of violinists? To be Sure, certain subjective judgments can be made, based on an evaluation of the performance of his students, but this is an indirect type of measurement for a researcher who might have as her topic "A Study to
Compare the Effectiveness of a Violin Teacher in Private Studio
Teaching as Contrasted to His Classroom Violin Teaching. " This
indirect measurement results in a determination of pupil performance rather than the direct evaluation of the effectiveness of the
teacher himself. It may be validly argued, however, that pupil
37
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ing and implernenting hypotheses that are logical and testable can
diminish weaknesses of this kind. False hypotheses delude both
researcher and research consumer. Interpretation of these data
also requires a researcher who possesses both a perceptive and a
creative mind.
Research that requires little or no background in rnusic does
not seem to be as prevalent in music education today as it once
was. It would appear that those charged with the responsibility of
directing music-education research studies not only are competent musically, but also, equally important, have an understanding
of research techniques and procedures. Persons from other disciplines who wish to pursue a study in the area of music evidently
are being discouraged if they do not have an adequate musical
background, or they are being required to strengthen their knowledge of rnusic before proceeding with the research.
Studies containing errors due to the failure of the investigator
to ferret out original source material continue to be more abundant than they should be. With the pressure incumbent upon
receiving a degree as expeditiously as possible, such is to be
expected. It is unfortunate that some graduate students, often not
by choice, rnust be rnore concerned with meeting certain deadlines than with the quality of the research they report. With rising
costs of education and of needed supplies, the researcher often
finds the proverbial vise closing tighter and tighter. It is hoped
that larger amounts of financial Support will become available
from govemment agencies and universities so the anxiety and
pressure to complete a graduate degree will not be a deterrent to
high-quality research. The lessened pressure to meet certain deadlines, because of financial exigencies, will make it easier, also, for
research advisers to make more effective appraisals of students'
work. In a more relaxed atmosphere careless errors may be recognized and rectified more easily.
Closely related to the previous research deficiency is the proffering of erroneous conclusions because the researcher did not
40
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arts. Many did not have general and specific methodology courses,
psychological principles of education, skill in the performing
areas of music, or Student teaching. To engender an understanding of the philosophies, principles, and problems of rnusic education is not easily accomplished in two or three Semesters of
graduate instruction. 1s it not reasonable to assume that those who
have taught in the public schools are in a better position to cope
with practical problems and potentialities in the field when they
enroll in a graduate program of music education than are those
who lack such experience? A new cloud is appearing on the
horizon. With the decreasing birthrate and the closing of both
elementary and secondary schools due to declining enrollment,
colleges and universities will themselves begin to experience a
severe decline in enrollrnent around the middle 1980s or the early
1990s. This means that cornpetition for students will become
even rnore intense, resulting in a lowering of Standards to admit
unqualified students to graduate music-education programs.
Fortunately, the increase in graduate courses in music education has been accompanied by a recognition of the responsibility
on the part of institutions to offer courses that devote some attention to research techniques. This factor, perhaps more than any
other, has resulted in a gradual increase in both the quantity and
quality of research studies in music education. There seems to be
an unanimous agreement among researchers that good research
usually does not just happen. Addressing themselves to this point,
Barzun and Graff affirm that "reading, writing, und thinking are
the three activities of research. "6
45
46
Chambers's reference to advisers serving as "intellectual nursemaids" is both amusing and tragic. The implication is that
students will merely put the "flesh" on "skeletons" constructed
by their advisers. Advisers can no more do students' reflective
thinking for them than they can take their examinations. Advisers
should direct attention to questionable Patterns of thinking and
organization of materials. Their suggestions should be practical,
relevant, and within the framework of the research proposal. Advisers' remarks are suggestions, not mandates, with full responsibility for accepting or rejecting them resting with the students,
upon whom, also, the onus eventually falls for defending their research.
Stating the problem clearly has been discussed earlier in this
chapter and needs no additional elaboration here; we need only
reiterate its importance.
It is incumbent on researchers, as already indicated, to
familiarize themselves with the literature in th'eir field. Many
advisers continue to be distressed by the inordinately large
number of students who come to them for advice regarding a
"red-hot" idea before they have examined the literature to determine whether the proposal is feasible. Such a Course would
eliminate many projected topics, leaving the students free to devote their energies, and those of their advisers, to topics within the
realm of possibility. It is conceivable that two individuals may be
proceeding with the Same topic unbeknown to one another. Although the likelihood of this happening is slim, Good and Scates
give an account of two music-education research studies conducted on the Same national organization, although they were not
done at the Same time. The projects were completed in different
sections of the country even though the institutions were only
three-hundred miles apart, but the initial study, which was
finished five years before the second, could easily have been
located by the second investigator in Doctoral Dissertations Accepted by American Universities. lo
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53
Figure I
Delimitation of a Research Topic
TENTATIVE
TITLE
How DELIMITEDFROM
PREVIOUS
LISTING
United States
A History of Instrumental Delimited to instrumental
Music in the United
music
States
A History of Instrumental Further delimited to one
Music in the Southem
region of the United
United States
Stares
A History of Instrumental Additional chronological
Music in the Southern
delimitation
United States from Earliest Times to 1965
The Development of Slight change of title and
Municipal Symphony
further delimitation to
Orchestras
in
the
specific form of instruSouthern United States
mental ensemble
from Earliest Times to
1965
The Development of Additional delimitation to
Municipal Professional
exclude amateur groups
Symphony Orchestras
but to include a specific
in the State of Florida
state of the United States
from Earliest Times to
1965
54
their study will be essentially historical, experimental, descriptive, philosophical, aesthetic, or a combination of these. The ultimate determination is largely predicated on the previous steps.
Knowledge of relevant information is an important next step.
Students who, searching through various resources, both published and unpublished, find that their chosen topic has already
been adequately investigated should either recast the problem or
abandon it altogether. A paucity of information, of Course,
suggests fertile areas for investigation that eventually might result
in meaningful contributions to human knowledge. Moreover, a
wealth of material might enable investigators to concentrate on a
more specialized phase of the problem. Their methodology will
be governed to some extent by the kind of data they seek. An
experimental project, which would have as its end result the formulation of conclusions to controlled observations, would necessitate the quest for a different type of data than would a historical
study, which might rely heavily on original manuscripts or documents found in archives. In either instance the information sought
must be pertinent to the topic at hand.
Experimental and descriptive studies, in particular, frequently
make use of tests, statistics, special equipment, or questionnaires. Sometimes it is necessary for the researcher to devise and
validate tests or special equipment with the specific purposes of
the research in mind; in others standard items rnay be used.
Investigators devise questionnaires, almost without exception, to
fit the needs of a particular study, usually descriptive. Unlike a
test, which rnay be validated or standardized, a questionnaire
rarely can be used by more than one researcher unless another is
investigating the Same problem under comparable conditions.
Researchers rnay use standardized tests to supplement those they
have devised themselves. When tests, equipment, or instruments
are not available, investigators must either develop them themselves, adapt existing tests for purposes of their study, or revise
their methodology to use those in existence.
55
56
57
58
Supplementary Readings
ALMACK,
JOHNC. Research und Thesis Writing. Boston: Houghton
Mifflin, 1930, Chapters 2 and 4.
ARY,DONALD,
LUCYC. JACOBS,
and ASGHAR
RAZAVIEH.
Introduction
to Research in Education, 2nd ed. New York: Holt, Rinehart and
Winston, 1979, Chapter 2.
BARZUN,
JACQUES,
and HENRYF. GRAFF.The Modern Researcher,
3rd ed. New York: Harcourt Brace Jovanovich, 1977, Chapter 2.
BEST,JOHNW. Research in Education, 3rd ed. Englewood Cliffs, N. J .:
Prentice-Hall, 1977, Chapter 2.
BORG,WALTER
R., A N D MEREDITH
D. GALL.Educational Research:
An Introduction, 3rd ed. New York: Longrnan, 1979, Chapters 2 and
3.
CHAMBERS,
M. M. "Selection, Definition, and Delirnitation of a Doctoral Research Problem, " Phi Delta Kappan, November 1960,
42,2:71-73.
COOK,D A V ~RD. , and N. KENNETH
LAFLEUR.
A Guide to Educational
Research, 2nd ed. Boston: Allyn and Bacon, 1975, Chapter 2.
59
DEWEY,
JOHN.How We Think. Boston: D. C. Heath 1933, Chapter 7.
ENGELHART,
MAX D. Methods of Educational Research. Chicago:
Rand McNally, 1972, Chapter 3.
Fox, DAVIDJ. The Research Process in Education. New York: Holt
Rinehart and Winston, 1969, Chapter 2.
GAGE,N. L., ed. Handbook of Research on Teaching. Chicago: Rand
McNally, 1963, Chapter 2.
GAY,L. R. Educational Research: Competencies for Analysis und Application. Columbus, Ohio: Charles E. Merrill, 1976, Chapter 2.
GOOD,CARTER
V. Essentials of Educational Research. New York:
Appleton-Century-Crofts, 1966, Chapter 2.
"Graduate Study in Music Education," Journal of Research in Music
Education, Fall 1954, 2,2: 157- 170.
GRIFFITHS,
D A N ~ EE.
L Research in Educational Administration: An
Appraisal und a Plan. New York: Bureau of Publications, Teachers
College, Columbia University, 1959, Chapter 1 .
HILLWAY,
TYRUS.
Introduction to Research, 2nd ed. Boston: Houghton
Mifflin, 1964, Chapter 8.
HOPKINS,
CHARLES
D. Educational Research: A Structure for Inquiry.
Columbus, Ohio: Charles E. Merrill, 1976, Chapter 4.
JONES,RALPHH., ed. Methods und Techniques of Educational Research. Danville, 111.: Interstate Printers and Publishers, 1973, Part 1.
KOEFOD,PAULE. The Writing Requirements for Graduate Degrees,
Englewood Cliffs, N. J .: Prentice-Hall, 1964, Chapter 1.
MASON,EMANUEL
J., A N D WILLIAM
J. BRAMBLE.
Understanding und
Conducting Research: Applications in Education und the Behavioral
Sciences. New York: McGraw-Hill, 1978, Chapter 3.
MOULY,
GEORGE
J. The Science of Educational Research, 2nd ed. New
York: Van Nostrand Reinhold 1970, Chapter 4.
PHELPS,ROGERP. "The Doctoral Dissertation: Boon or Bane?" College Music Symposium, Fall 1978, 18,2:82-93.
RUMMEL,
J. FRANCIS.
An Introduction to Research Procedures in Education, 2nd ed. New York: Harper and Row, 1964, Chapter 2.
RUNKEL,
PHILIPJ., and JOSEPHE. MCGRATH.
Research on Human
Behavior. New York: Holt, Rinehart and Winston, 1972, Chapter 2.
SAX,GILBERT.
Empirical Foundations of Educational Research. Englewood Cliffs, N. J.: Prentice-Hall, 1968, Chapter 3.
60
TRAVERS,
ROBERT
M. W. An Introduction to Educational Research, 4th
ed. New York: Macmillan, 1978, Chapter 4.
ed. Second Handbook of Research on Tesching, Chicago: Rand
McNally, 1973, Chapter 1.
TUCKMAN,
BRUCEW. Conducting Educational Research, 2nd ed. New
York: Harcourt Brace Jovanovich, 1978, Chapter 1.
VANDALEN,
DEOBOLD
B. Understanding Educational Research: An
Introduction. New York: McGraw-Hill, 1979, Chapter 7.
WATANABE,
RUTH T. Introduction to Music Research. Englewood
Cliffs, N.J .: Prentice-Hall, 1967, Chapter 8.
WHITNEY,
Frederick L. The Elements of Research, 3rd ed. Englewood
Cliffs, N.J.: Prentice-Hall, 1950, Chapter 3.
WIERSMA,
WILLIAM.
Research Methods in Education: An Introduction,
2nd ed. Itasca, 111.: F. E. Peacock, 1975, Chapter 3.
WILLIAMSON,
JOHN B., DAVID
G . KARP,and JOHNR. DALPHIN.
The
Research Craft: An Introduction to Social Science Methods. Boston:
Little, Brown, 1977, Chapter 2.
,-
62
63
64
Figure 2
Format for a Research Design
Title
Subproblems
Definitions of Terms
Delimitations
Basic Assumptions
Basic Hypotheses
Need or Significance of the Study
Related Literature
Met hodology
Bibliography
Personal Qualifications
Appendix
65
The nocturne, a character piecefor piano, was introduced by John Field (1782-1837). As applied to a
somewhat melancholy or languid style, with an expressive melody over a broken-chord accompaniment, the term "nocturne" has been used by many
composers, but perhaps the individual irlho adapted
the idea most successfully was Frederic Chopin. (It is
interesting to note that both Field und Chopin it8rote
eighteen nocturnes.) As a Pianist you Want to examine
the development of the nocturne to assist you in performing nocturnes by various Composers.
A title that might be derived from the above material is: "The
Nocturnes for Piano of John Field and Frederic Chopin." How-
66
67
first statement is not valid because it suggests that all compositions designated as "nocturnes" are the Same. The second
statement is not valid because no indication of comparing the
composers' nocturnes is given in the original statement. While
valid, the fourth statement is not as complete as the third one.
The third statement, then, is best because it incorporates more
of the information contained in the original statement than any
of the others.
During the Course of collecting data it may prove desirable to
make changes in the title as well as in the problem statement, as
noted previously. Whitney voices a generally accepted principle,
that an alteration of both research design and title should result
when it is evident that the research is proceeding differently than
originally p r o p ~ s e d . ~
Sometimes known as "subordinate "
Subproblems
or ' 'specific problems, " subproblems,
either in declarative or interrogatory
form, state the atomistic or more precise aspects of the problem
statement. In other words, the statement of the problem is broken
down into more definite components. Subproblems, however,
are not to be confused with subtitle. Subproblems are expressed
in cognitive or conceptual terms and like the statement of the problem, indicate what the researcher plans to do or find out. Subproblems are the parts that make up the whole or gestalr. The
researcher must find answers to these subproblems in order to resolve the main problem. Subproblems should be proffered in logical order because they indicate the direction the research will take.
In many theses or dissertations each subproblem will become a
chapter in the final document.
Using the hypothetical third statement of the problem noted
above, examine these subproblem statements:
(1) To compare the musical worth of the piano
nocturnes of John Field and Frederic
Chopin.
68
69
by authorities in the field. The sole purpose of including definition~is to bring about clarity. A well-balanced definitions
section contains both direct quotations from the literature and paraphrased terms. Definitions may be c o n c e p t u a l ~ l e a r l yand concisely operational-or indicating what the concept means-orfor instance, indicating what tool or instrument will be used to
obtain the desired information. A case in point: a researcher
provides a cognitive definition of "creativity" and then states
that "creativity " will be operationalized by using an instrument
like the Torrance Tests of Creative Thinking.l0 Researchers,
moreover, must neither offend their readers by defining terms that
are obvious, nor assume that all of their readers are as farniliar
and as well versed in their subject as they are. It is this desirable
balance for which the researcher must constantly strive.
Referring again to the hypothetical problem statement above,
study these definitions:
nocturne-a musical piece that suggests night
visions and dreams, sometimes called
nachstuck.
nocturne-a piano composition in a melancholy
or pensive style, characterized by an expressive melody over a broken-chord accompaniment.ll
Of the two definitions, the second is more indicative of what
characterizes the term "nocturne," and thus expresses its meaning more clearly. In this second example, also, although the definition is paraphrased, the source is given. With definitions this is
a desirable practice, and for direct quotations citation of sources is
a must.
A research plan that is open-ended
Delimitations
will rarely result in the most expeditious accumulation and interpretation
of data. In their understandable enthusiasm and zeal to make a
significant contribution to the world's knowledge, research tyros
70
who have a study that is too broad frequently delimit their study
even further than the subproblems require. At this point a distinction should be made between ''limitations " and ' 'delimitations. "
Limitations represent a circumscription imposed upon a researcher
due to external circumstances. For example, certain documents
researchers need may be unavailable because they have been destroyed by some catastrophe, are lost, or are inaccessible because
they are classified as confidential material. Delimitations are circumscriptions the researchers themselves place on their study . They
are necessary to eliminate ambiguity and to exclude certain infen-ed items that the researchers do not intend to include. Delimitations are cognitive, conceptual, or what Statements, and
often include a rationale for their inclusion. Some factors that
might determine the extent of an investigator's delimitations include time and money available, personal qualifications to conduct the particular research, and availability ofspecial equipment
or tools needed for the project.
One of the most important of these is the element of time. This
is not to imply that researchers should delimit their topic so much,
ostensibly because of the pressure of time, that their design
virtually is emasculated before the study has begun. The delimitations must be those that will enable them to organize their study
in such a manner that they can effectively and efficiently obtain
as complete data as possible. By contrast, there are not many
occasions when researchers will find it necessary to expand their
topic. Such a dilemma may suggest that the topic is too insignifiCant to be implemented.
Delimitations may be negative-prescribing areas in which a
study will not venture, thus giving investigators a better idea of
what they do hope to effect-r
positive-succinctly and clearly
circumscribing limits of the study from an affirmative standpoint.
Positive delimitations are not used as frequently as those stated
negatively because it is easy to confuse them with objectives of
the study.
71
72
73
74
75
76
77
cance of the proposed study for music education, for the music
teacher in the field. This evidence may be based on critical thinking or obtained from the literature. The presence or absence of
corroborating and supporting declarations, moreover, may or may
not be sufficient affirmation that the research is needed. To be
significant a proposal must rest on its own merits, with or without
the substantiation of others.
Sometimes researchers will include a forthright and convincing
account of what caused them to select the proposed topic. Sometimes referred to as "Incidence of the Problem, " this information,
if needed, should be included in the need or significance section.
One of the most important
Related Literature
steps in the preparation of a
research design is a review of
related literature. There are several reasons: the review can help
the researcher
(1) avoid duplication of efforts;
(2) delimit the research problem;
(3) determine what areas need further investigation; and
(4) discover new approaches, methods, or insights into a problem.
In the related-literature section investigators include a brief
historical resume of their particular area of research, listing some
of the most important sources of pertinent information. They
should, in addition, include concise accounts of other concepts
that may be relevant to their topic, such as philosophical,
psychological, or sociological implications.
In a recent publication this writer stressed the importance of a
thorough review of the literature because researchers undoubtedly
will be the experts in their specific area of research by the time
they complete the study. Without a careful examination of the
literature investigators will not know what has been researched,
and will thus find it difficult to know what remains to be done.I3
The researcher presents a bnef Summary of the significant
78
79
80
81
82
83
Area of Weakness
Methodology
Assumptions
Hypotheses
Suitability for Degree
Delimitations
Subproblems
Definitions
Related Literature
Significance of Study
Format
Problem
Bibliography
85
87
ture in the field. Suggestions for obtaining bibliographic information follow in the next chapter.
7. Why is a review of related literature one of the most important steps in the preparation of a research design?
88
Supplementary Readings
BORG,WALTERR., and MEREDITH
D. GALL.Educational Research:
An Introduction, 3rd ed.; New York: Longman, 1979, Chapter 2.
BURKE,ARVIDJ . , and MARYA. BURKE.Documentation in Education,
4th ed., rev. New York: Teachers College Press, 1967, Chapters 1 ,
4, 14. and 15.
GARRETT,ALLEN M. An Introduction to Research in Music.
Washington, D.C.: The Catholic University of America Press, 1958,
Chapter 9.
Understanding ReHARDYCK,
CURTIS,and LEWISF. PETRINOVICH.
search in the Social Sciences. Philadelphia: W. B. Saunders, 1975,
Chapter 2.
HILLWAY,
TYRUS.Introduction to Research, 2nd ed..Boston: Houghton
Mifflin, 1964, Chapters 9 and 10.
HOPKINS,CHARLES
D. Educational Research: A Structure for Inquiry.
Columbus, Ohio, Charles E. Merrill, 1976, Chapter 5.
KERLINGER,
FREDN. Foundations of Behavioral Research, 2nd ed.
New York: Holt, Rinehart and Winston, 1973, Chapter 2.
L A B O V I TSANFORD,
~,
and ROBERTHAGEDORN.
Introduction to Social
Research, 2nd ed. New York: McGraw-Hill, 1976, Chapter 2.
MASON,EMANUEL
J . , and WILLIAM
J. BRAMBLE.
Understanding und
Conducting Research: Applications in Education und the Behavioral
Sciences. New York: McGraw-Hill, 1978, Chapter 3.
MCGRATH,G. D., JAMESE. JELINEK,and RAYMOND
E. WOCHNER.
Educational Research Methods. New York: Ronald Press, 1963,
Chapters 5 and 7.
PHELPS,ROGERP. "The Doctoral Dissertation: Boon or Bane?" College Music Symposium, Fall 1978, 18,2:82-93.
RUMMEL,
J . FRANCIS.
An Introduction to Research Procedures in Education, 2nd ed. New York: Harper and Row, 1964, Chapter 3.
SAX,GILBERT. Empirical Foundations of Educational Research. Englewood Cliffs, N.J.: Prentice-Hall, 1968, Chapter 5.
89
TRAVERS,
ROBERTM. W. An Introduction to Educational Research, 4th
ed. New York: Macmillan, 1978, Chapter 4.
TucKMAN, BRUCEW. Conducting Educational Research, 2nd ed. New
York: Harcourt Brace Jovanovich, 1978, Chapter 2.
VAN DALEN,DEOBOLD
B. Understanding Educational Research: An
Introduction. New York: McGraw-Hill, 1979, Chapters 7 and 8.
WHITNEY,
FREDERICK
L. The Elements of Research, 3rd ed. Englewood
Cliffs, N.J.: Prentice-Hall 1950, Chapters 5 and 6 .
WISE, JOHN E., ROBERTB. NORDBERG,and DONALDJ. REITZ.
Methods of Research in Education. Boston: D. C. Heath, 1967,
Chapter 2.
91
4 . Obtaining Resource
Materials
Any research depends to a certain degree on the utilization of
bibliographic techniques. Some types of investigation require
more extensive source materials than others. For example, historical, philosophical or aesthetic inquiry or research will more
likely rely heavily on data to be found in libraries and archives
than will experimental or descriptive research. It is in the library
that researchers normally receive preliminary information that
corroborates the feasibility of pursuing the proposed topic. It is
here also that they procure much of the information they eventually use in their preliminary and final bibliographies. Yet it is
paradoxical that many graduate students, embarking on the initial
Stages of thesis or dissertation planning, are still unfamiliar with
some of the most fundamental techniques of efficient library use.
92
93
Figure 4
Library Catalog Card
22 Cm.
Reprint uf the 1948 e., lssue In serles: Teachers College, Columbia Uuiversity. Contriibutlons to diicatlon, no. 885. +
Orlginally presented a s the author's thesis, Coliirnbla.
Bibllography : p. 101403.
1. Choral music-nlted
States.
I. Tltle. 11. S e r i e : Columbla
Unlversity. Teachers College. Coutrlbutious to educatlw, UO. 885.
13
20
16
ML1511.N5C5 1972
784'.1
I S E N @-404-55@&2
Libraiy of Congress
73 Pi
21
14
75-176698r-15
M-4Rc-18
MN
94
95
+.
97
Social Sciences
Philology
Natural Sciences
Applied Sciences and Technology
Fine Arts and Recreation
Literature
History , Geography , Biography .
98
The Dewey classing scheme has been replaced in many libraries by the Library of Congress system, devised by Herbert
Putnam (1861-1955) and published in 1902. This is especially
true in libraries where a greater diversification is desirable because of large holdings. The system of classification devised by
Putnam for the Library of Congress, one of the world's largest
repositories of materials, is:
A General WorksM Music
Polygraphy
N Fine Arts
B Philosophy-Religion
0 Vacant, left for expansion
C History-Auxiliary
P Language and Literature
Sciences
Q Science
D History and Topography
R Medicine
(except America)
S Agriculture-Plant and
E-F Arnerica
Anima1 Industry
G GeographyT Technology
Anthropology
U Military Science
H Sociology
V Naval Science
1 Vacant, left for expansion
W, X, Y Vacant; left for
J Political Science
expansion
K Law
Z Bibliography and
L Education
Library Science.
Oscar G. T. Sonneck (1873-1928) did the original scheme for
music. Music entries are classified under three broad subheadings
of the M classification system of the Library of Congress, as
follows:
M
Music [i. e., scores]
ML Literature of Music
MT Musical Instruction and S t ~ d y . ~
Some large subdivisions within each of these areas are:
M Music
5-1459
Instrumental Music
1495-2199 Vocal Music
99
ML Literature of Music
159-3790 History and criticism
1100- 1354 Charnber and orchestral music,
band (military music)
3800-3920 Philosophy, physics, psychology,
esthetics, etc., of rnusic
MT Musical Instruction and Study
40-67
Cornposition; rhythm, melody,
harmony, counterpoint, etc .
170-810 Instrumental technics; for Organ,
piano, string, wind, and plectral
instruments
820-949 Singing and voice culture
855-883 Special technics; chanting, sight
singing , choral singing , etc .'
Each of these is further divided into small topics.
From the extensive number-identification system noted above
it is easy to See why there might be occasional discrepancies in
the classification of publications. The classification Systems, both
of Dewey and Putnam, are suggestive only. It is the prerogative
of the individual cataloger to assign a specific number to each
item according to the library's present holdings. Note that the
general classifications should fall within these basic patterns of
headings. It would be unlikely to find materials relating to music
instruction (MT classification) listed under ML (Music Literature). Some music libraries, moreover, use a scheme of classification for musical scores based on a decimal system devised by
George S. Dickinson (1888-1964) though often modified by individual libraries to accommodate local conditions. The
Dickinson-Columbia schedule includes these classifications for
musical scores:
00-09 Collections, general and instrumental
10-69 Instrumental music (by medium)
70-99 Vocal m u s i ~ . ~
100
101
102
103
104
105
Photocopying Materials
Obtaining Items from Other Libraries
Sometimes materials deemed important for a study are not
available locally. It is necessary then to procure them by other
means, either through interlibrary loan or by some photocopying
process.
Interlibrary loan is a relatively easy way to obtain materials
from another library. Individuals requesting items on interlibrary
loan must know where they may be obtained before they ask their
local librarian to procure them (though the librarian will advise on
finding locations). A nominal fee to Cover postal charges both
ways is normally the only charge. Materials obtained through
interlibrary loan often do not circulate and therefore must be used
106
107
108
109
110
11 1
112
113
114
115
116
117
118
1 19
Supplementary Readings
ALMACK,
JOHNV. Research und Thesis Writing. Boston: Houghton
Mifflin, 1930. Chapter 9.
ARY,DONALD,LUCYC. JACOBS,
and ASGHAR
RAZAZVIEH.
Introduction to Research in Education, 2nd ed. New York: Holt, Rinehan
and Winston, 1979, Chapter 3.
Educational Research und Evaluation Methods.
ASHER,J. WILLIAM.
Boston: Little, Brown, 1976, Chapter 10.
and HENRYF. GRAFF.The Modern Researcher,
BARZUN,JACQUES,
3rd ed. New York: Harcourt Brace Jovanovich, 1977, Chapters 4, 5,
6.
BEST,JOHNW. Research in Education, 3rd ed. Englewood Cliffs, N. J.:
Prentice-Hall, 1977, Chapter 3.
BRICKMAN,
WILLIAMW. Research in Educatiom/ Histon. Norwood,
Pa.: Folcroft Library Editions, 1975, Chapters 3 and 6.
BURKE.ARVIDJ., and MARYA. BURKE.Documentation in Education,
4th ed., rev. New York: Teachers College Press, 1967, Chapters 2, 3,
5, 10, and 15-22.
DUCKLES,
VINCENT.Music Reference und Research Materials: An Annotated Bibliography, 3rd ed. New York: The Free Press, 1974.
ENGELHART,
MAX D. Methods of Educatioml Research. Chicago:
Rand McNally, 1972, Chapter 4.
Fox, DAVIDJ. The Research Process in Education. New York: Holt,
Rinehart and Winston, 1969, Chapter 4.
GOOD, CARTERV. Essentials of Educational Research. New York:
Appleton-Century-Crofts, 1954, Chapter 3.
HOPKINS,CHARLES
D. Educational Research: A Structure for Inquiry.
Columbus, Ohio: Charles E. Merrill 1976, Chapter 12.
JONES,RALPHH., ed. Methods und Techniques of Educational Research. Danville, 111.: Interstate Printers and Publishers, 1973, pp.
35-48.
Manual of Music Librariamhip. Ann Arbor: Music Library Association, 1966, Chapters 5 and 10.
MOULY,GEORGE
J. The Science of Educational Research, 2nd ed. New
York: Van Nostrand Reinhold, 1970, Chapter 5.
120
SAX, GILBERT. Empirical Foundations of Educational Research. Englewood Cliffs, N.J. : Prentice-Hall, 1968, Chapter 4.
SHAFERROBERTJ., ed. A Guide to Historical Method. rev. ed.
Homewood 111.: Dorsey Press, 1977, Chapter 4.
SMITH,HENRYL. Educational Research, Principles und Practices,
Bloomington: Educational Publications, 1944, Chapter 4.
TRAVERS,
ROBERT
M. W. An lntroduction to Educational Research, 4th
ed. New York: Macmillan, 1978, Chapter 4.
TUCKMAN
,BRUCEW. Conducting Educational Research, 2nd ed. New
York: Harcourt Brace Jovanovich, 1978, Chapter 3.
VAN DALEN,DEOBOLD
B. Understanding Educational Research: An
lntroduction. New York: McGraw-Hill, 1979, Chapter 4.
WATANABE,
RUTH T. lntroduction to Music Research. Englewood
Cliffs, N.J.: Prentice-Hall, 1967, Chapters 1-7, 9- 12, 16-17.
WHITNEY,
FREDERICK
L. Thc Elements ofResearch, 3rd ed. Englewood
Cliffs, N .J .: Prentice-Hall, 1960, Chapter 4 and Appendix 3.
WIERSMA,
WILLIAM.
Research Methods in Educ-ation: An Introduction,
2nd ed. Itasca, 111.: F. E. Peacock, 1975, Chapter- 12.
5 . Historical Research: A
Chronicle of the Past
The collection of data pertaining to the past frequently is referred
to as history. Vincent notes that "history is a narrative of the
actions of human beings in comection with the topic of research,
whether it be in politics, law, religion, music, or mechanical
arts. ''I Nevins presents a different viewpoint: history is "actually
a bndge connecting the past with the presenf and pointing the
road to the future. ''=
When the data assembled are interpreted the process is known
as historiography, a procedure similar to the fourth of Dewey's
steps of reflective thinking (accumulation and codification of
data) discussed in Chapter 1 of this book. Researchers in music
education who use the historical method consequently are ex-
122
pected not only to obtain various kinds of data about the past
related to their topic, but also to interpret them according to
generally accepted techniques of historiography. Historical research, as is tme with all methods or procedures for obtaining
data, must employ the scientific method to solve problems in
history. Defining an approach that is predicated on the scientific
method, Fischer says that history is "a problem-solving discipline" and the historian is someone who "asks an open-ended
question about past events and answers it with selected facts
which are arranged in the form of an explanatory ~ a r a d i g m . " ~
Historical Research
123
124
Historical Research
125
Source Materials
Source materials used by the historiographer are normally of
two kinds, primary and secondary. A primary source of data, as
noted in Chapter 3, is "firsthand" information. When data are
not original to the one reporting them they become "secondhand" or secondary sources. It is also possible to obtain information from a "tertiary" or other source even further removed
from the original. Every effort should be made, though, to obtain
original data because the basis of historical research is the pn-
126
Historical Research
127
Selection of Topic
Although factors in the selection of a topic already have been
discussed at considerable length in Chapter 2, five that Brickman
considers to be significant before an investigator decides on a
historical-research topic are: (1) interest, (2) source materials
available, (3) the time factor, (4) relevance to course, and (5)
specialized knowledge . I 3 The reader will recognize immediately
that these steps differ only slightly in emphasis from those listed
in Chapter 2.
Researchers in music education should direct their energies
toward a topic in which they have an intense interest. A highschool choral director, for instance, might Want to write a history
of the high-school choral contest-festival movement in the United
States. Preliminary investigation may reveal that source materials
are so limited that it would be impractical to continue with the
original idea without expanding its scope. Such expansion would
obviously require additional time, a factor that might not be feasible in a Situation where a deadline becomes an extemal factor
imposed only by the duration of the instructional period.
One aspect has not yet been mentioned: Brickman states emphatically that the topic of a research report should bear relevance
to the objectives of the research class.14 While there may be
exceptions, it is only logical that researchers in music education
select a topic that they can develop in relation to music education.
One of the principal objectives of a music-education research
course is to give students experience in making practical application of the precepts they l e r n there. Taking Brickman's enjoinder more seriously could result in fewer unsuitable musiceducation research proposals.
In the realm of specialized knowledge, the researcher who
considers a study of the history of music education in Germany,
to cite a possibility, should obviously possess both a knowledge
of the history of music education in general and an adequate
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Oral History
The origins of Oral History date back to 1948, when Columbia
University professor Allan Nevins conducted an oral-history
interview with George McAney, a New York civic leader. The
Columbia University Oral History Collection now includes the
memoirs of over three thousand people and 375,000 pages of
transcript. Oral history is a procedure or method fpr obtaining and
preserving historical information in spoken form based on the
interview. Data gathered through oral-history interviews are
largely intended for future use by historians rather than for the
substantiation of hypotheses, as would be the case in experimental
or descriptive research. Cutler states that "knowledge about the
past passes by word of mouth from generation to generation, and
not only must the scholar capture it but he must also try somehow
to filter the significant from the inconsequential as well as the
truth from the exaggerated."15 The collection of data in oralhistory research is not by means of spontaneous or random interview~,but by the following steps:
(1) invitation by the researcher to individuals to
participate;
(2) preparation for the interview;
(3) preinterview visit;
(4) the interview session (tape recorded);
(5) preparation of verbatim transcript of the
interview;
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and those about which some question remains regarding authenticity. Newspapers and periodicals like the Journal of the American Musicological Socieo and the Musical Quarterly frequently
contain accounts of the discovery of lost items. Pauly, for example, reports on some newly discovered manuscripts of Michael
Haydn (1737- 1806), a Composer of sacred music and younger
brother of Franz Joseph Haydn (1732- 1809). Pauly indicates that
as the result of several months of research in libraries in Austria,
France, Germany, and Italy he located extensive holdings, previously unknown, of the younger Haydn's manuscripts in the
Bavarian State Library in Munich and in monasteries throughout
Au~tria.~O
The Amencan concert pianist Byron Janis identified a
hitherto-lost manuscript copy of Chopin's "Waltz in G Flat
Major, " Op. 70, No. 1. Found at the Chateau de Thoiry in
Yvelines, France, the manuscript was unearthed in a box marked
"old clothes" by the mansion's owner, B u n t Paul de La
Panouse, who showed the work to Janis. The connection between
Chopin and the Panouse family is that Chopin's friend, French
writer Eugene Sue, was in love with the second wife of one of
Count Paul's ancestors. Janis, recognizing the importance of the
manuscript, had it authenticated by Chopin expert Francois LeSure, of the Societe Francaise de M~sicologie.~'
Discovered at the
Same time and in the same place was the "E Flat Waltz," Op. 18,
the ''Grande Valse Brillante. "22
The discovery a few years ago of a Violin Concerto in C
Major, reputedly by Beethoven, is an example of a composition
the authenticity of which remains uncertain. Only further investigation will reveal whether this does belong in fact to Beethoven's
catalog of works.
In addition to locating previously unknown works, another
source of personal satisfaction to a researcher is to uncover a
more complete or authentic copy of a musical composition or
other creative work. This writer, for example, while examining
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stacks of uncataloged instrumental music in the Moravian Archives in Winston-Salem, North Carolina, in 1949, located a
complete set of the Three Trios, Op. 3, of John Antes (174018 1 l), minus the last Page of the violoncello part. John Bland of
London published these undated trios, apparently about 1785,
because Antes was known to have been in England then. Prior to
this wnter's discovery the only known set in existence consisted
of a second violin and a violoncello part owned by the Sibley
Music Library of the Eastman School of Music in Rochester, New
York. A comparison of the Eastman and Winston-Salem copies
disclosed exact duplication. Thus, by using the Winston-Salem
first and second violin parts and the Eastman violoncello part it
was possible to present the first modern performance of Trio in D
Minor, Op. 3 , No. 2, the second of these charming Haydnesque
trios, at the University of lowa, Iowa City, on May 19, 1950, with
violinists Stella Hopper and Joame Dempsey and violoncellist
Charles Becker as performing artists.
Antes, whose surname is the Greek equivalent of von Blume,
was born at Frederick-trop, Montgomery County, Pemsylvania,
on March 24, 1740. In accord with prevailing educational philosophy of the Moravians at that time Antes intensively pursued
musical instruction in his youth in addition to his other studies. In
1769, after being ordained at Marienborn, Germany, he went to
Egypt as a missionary. While recuperating from physical afflictions Antes composed some quartets and other pieces before retuming to Europe in 1782. In Viema, according to Grider, Antes
met Haydn, who assisted other musicians in the performance of
some of his c o m p o s i t i ~ n sIt
. ~was
~ during this period of convalescence in Cairo that the trios were written, as indicated by the
inscription of the title page, which states in part "Composti a
Grand Cairo da1 Sigre Giovanni A-T-S. Dillettante Americano.
Op. 3" (Composed at Grand Cairo by Mr. John A-T-S. American Dilettante. Op. 3.). Quite in keeping with the custom of the
time, Antes perplexingly listed himself as A-T-S, a factor that
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counts, etc.) that such an item may have existed? and (7) 1s there
any reason to suspect that this item may be a hoax?
In the process of external criticisrn it often becomes necessary
to probe auxiliary areas of knowledge. Some of the fields musicians most frequently consult seem to be photography, paleography , sernantics, chronology , genealogy , and cartography .
Sometimes they may even find themselves trying to determine the
watermark of a document as well as the age and kind of paper
used .
For answers to the questions posed above through the principles of external criticism, consider an intriguing and beguiling
flute and piano composition by Sidney Lanier (1842- 188 1) entitled "Danse des Moucherons. " This writer has in his possession
a negative photostat of this short, rhapsodic, chromatic work. In
an attempt to locate the original manuscript he checked the holdings of the Lanier Room at Johns Hopkins University in Baltimore,
Oglethorpe University in Georgia, and other likely sources without
success. In addition, personal correspondence with Lanier's children, each of whom courteously replied, failed to shed any light
on rnanuscripts other than those at Johns Hopkins, which, as just
noted, does not possess the original to "Danse des Moucherons."
Henry W. Lanier, who indicated that his manuscripts had been
given to the Lanier collection at Johns Hopkins University, wrote
the following regarding his father, a self-taught flutist and poet:
"He once said to his wife what I believe to be literally true-that
the difficulty with him was not to write down music. The moment he had time and strength, there were songs ready to be
born.
Several brief sketches may be found in the Lanier Roorn
at Johns Hopkins, including his projected "Quartette," "Tuno
Religioso" (for two flutes or violas), "La Reve" (three flutes and
bass flute), and "Trio for flute, pianoforte and violoncello. "
External criticisrn can thus give but inconclusive answers to the
first two questions. As to the third, this writer was informed that
his copy was reproduced directly from the original manuscript.
140
The date 1873 appears after Lanier's name, yet the style of handwriting with regard to tempo and dynamics is inconsistent. The
tempo markings in particular appear to be in a more contemporary hand, especially on the last two pages of the six-page composition. In addition, the twelve-line manuscript paper on which
the composition was written bears this inscription: "Carl Fischer,
New York. Monarch Brand Warranted. " It is tme that Sidney
Lanier spent some time in New York from 1870 to 1872, the year
in which Carl Fischer arrived in the city. Fischer's first business
venture, however, was in musical instruments. It was not until considerably later that the publishing phase of the company began.
There are no autographs, holographs, or other identifications on
this writer's copy to suggest a negative answer to the fourth
question. The composer's name is written in a combination of
upper- and lower-case hand lettering. The tempo and dynamic
terms, as just noted, appear to be in two different hands, making
them difficult to compare with the holograph bf the composer's
name and identification of the composition. Starke, in his biographical and critical account of Lanier's life, includes a photostatic copy of the flute part of the second and concluding Page of
Lanier's "Gnat Symphony, " which consists of only three and
one-half l i n e ~ . ~The
' Page does contain Lanier's account, in a
very neat and unhurried handwriting, of the composition, which
the Composer describes as a "translation of the sound. " As already related, this writer's copy contains six pages, including the
piano part, but the last twelve measures of the flute part in the two
versions do not agree.
In response to the fifth question, a comparison was made of the
item just cited and another one by Lanier, his unaccompanied
flute solo "Wind Song, " which Starke states was performed in
October of 1874, but apparently was written e ~ l i e rThere
. ~ ~ is a
strong similarity in handwriting; both appear in a style that shows
a lighter, more delicate, and less hurried stroke than that in the
copy of "Danse des Moucherons" possessed by this writer.
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was to the effect that the work had not yet been presented. Furthermore, all attempts to communicate with the discoverer and the
transcriber of the work proved to be fmitless. These repeated
efforts continued for approximately two years, until the death of
the transcriber.
A review of a performance of the alleged Franklin quartet
appeared in a New York newspaper, but no additional information was provided to suggest that the work was genuine, except
that the version examined by this writer had been further edited
and corrected by yet another i n d i v i d ~ a l . ~ ~
Finally, no definite proof has been advanced to show that
Franklin actually knew enough about the technique of musical
composition to enable him to compose a quartet, or any other
musical work for that matter. True, he often is credited with the
invention of the armonica, or musical glasses, a distinction he
disclaimed. Franklin, however, admittedly did make many improvements on the instrument, whose sweet and pleasant tinkling
Sounds were produced by moistened fingers massaging rotating
tumblers of different frequencies. The armonica, or musical glasSes, so intrigued Mozart and Beethoven that they composed several pieces for the instrument.
In view of the rather consistent pattem of negative evidence, or
lack of evidence, it must be conceded that this work unquestionably is spurious. The Franklin quartet appears to be a musical joke,
the product of an anonymous jester. It always is possible, though,
that more positive data may be forthcoming in the future that
could result in a more exact evaluation.
144
extemal criticism may establish that a document, item, or statement is authentic, there may be inaccuracies or inconsistencies
within, as Nevins reports: "While it is sometimes troublesome to
establish the authenticity of a historical source, that is usually an
easy matter compared with making certain of the entire integrity
of a source. "49 The purpose of intemal criticism, according to
Gottschalk, is to establish whether data are "at all credible, and if
so, to what extent.
Experienced researchers frequently engage
in external and intemal criticism simultaneously, in which they
will use information from one to assist in the implementation of
the other.
Some historiographers divide intemal criticism into positive
and negative phases. Making a distinction between them,
Brickman states that positive criticism tries to ascertain the true
meaning of Statements, whereas negative criticism concems a
researcher's rationale for discrediting them as evidenced by the
partiality or inefficiency displayed by the ~ r i t C r . ~ l
The investigator in music education who is dealing with internal criticism must answer the questions: (1) Is the document
consistent stylistically with others by the writer? Are there
major inconsistencies? (2) Are there any indications that the
writer's reporting was inaccurate? (3) Does the writer actually
mean what he or she says? (4) Could this work have been written
by someone else in the style of the individual? and (5) 1s there any
evidence that the writer is biased or prejudiced?
lt generally is conceded that artists do change their manner of
expressing themselves stylistically due to the natural process of
artistic growth and development. For example, students of music
literature are regularly concemed with comparing various characteristics of a composer's stylistic periods. One of the most obvious examples is the three distinctive epochs in the creative life of
Ludwig van Beethoven (1 770- 1827); the first ending about 1802,
the second approximately in 1815, and the third in 1827.
Although Composers may show stylistic changes during their
lifetime, the musical idioms that they favor usually persist
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146
plines, is concemed with compositions that may have been written by an imposter in the style of another Person. Especially
suspect are "newly discovered " works by such well-known
composers as Haydn and Mozart. Reasons for this type of deception vary, but one of the most common is to enable someone who
is unheralded to capitalize on the name of an esteemed Composer.
On the other hand, there are numerous examples in which musicians, in good faith and with no attempt at deception, have completed works left unfinished by composers at the time of their
death. A represe ntative example is Mozart 's Requiem, which was
finished by his protege and intimate friend Franz X. Sussmayer.
Despite the best of intentions, it is difficult to be completely
unbiased or unprejudiced . Some writers, of Course, deliberately
present a unilateral point of view, as evinced by some early
textbooks on the history of music in the United States. The
treatise by Frederic L. Ritter, Music in America, for instance, is
generally regarded as strongly prejudiced in the'direction of German Romanticism.
In a general sense, the realm of aesthetic judgment is characterized by personal predilection and preference, just as is the
choice of an automobile. It likely would be more difficult for a
critic who prefers the piano music of Liszt to that of Chopin to
present an unbiased account when reviewing the works of both
composers than it would be for one who has no preference.
Likewise, two concert artists do not perfonn the Same composition in precisely the Same manner. Gottschalk, aware of these
differences in interpretation, comrnents " . . . perhaps it is desirable that they should. Musicians are, after a fashion, merely historians interpreting past achievements of a specialized nature. "53
Historical research can provide many challenging opportunities
for a music educator to make significant contributions to human
knowledge. However, it should be remembered that history is
more than reporting facts. Nevins succinctly avers that "a balance must be maintained between history as a body of facts, based
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147
5. What function does internal criticism serve in historical research? Differentiate between the negative and positive phases
of intemal criticism. What specific questions might be asked
by the music-education researcher engaged in applying the
principles of intemal criticism?
6. What is the purpose of oral history? What procedures should
be followed to complete an oral-history research project?
148
Supplernentary Readings
ALMACK,JOHNC. Research und Thesis Writing. Boston: Houghton
Mifflin, 1930, Chapter 7.
ARY,DONALD,
LUCYC. JACOBS,
and ASCHAR
RAZAVIEH.
Introduction
to Research in Education, 2nd ed. New York: Holt, Rinehart and
Winston, 1979, Chapter 11.
BARZUN,
JACQUES,
and HENRYF. GRAFF.The Modern Researcher, 3rd
ed. New York: Harcourt Brace Jovanovich, 1977, Chapters 5-10.
BEST,JOHNW. Research in Education, 3rd ed. Englewood Cliffs, N.J.:
Prentice-Hall 1977, Chapter 10.
BORG,WALTERR . , and MEREDITH
D. GALL.Educational Research:
An Introduction, 3rd ed. New York: Longman, 1979, Chapter I 1.
BRICKMAN,
WILLIAMW. Research in Edilcational History. Norwood,
Pa.: Folcroft Library Editions. 1975, Chapters 2, 4, and 5.
COHEN.MORRIS
R . , and ERNEST
NAGEL.An Introduction to Logic und
Scientific Method. New York: Harcourt Brace, 1934, Chapter 17.
R . , and N. KENNETHLAFLEUR.
A Guide to Educational
COOK,DAVID
Research, 2nd ed. Boston: Allyn and Bacon, 1975, Chapter 3.
FISCHER,
DAVIDH. Historian's Fallacies: Toward a Logic of Historical
Thought. New York: Harper and Row, 1970, Chapters 3, 5, 9-1 1.
Fox, DAVIDJ. The Research Process in Education. New York: Holt,
Rinehart and Winston, 1969, Chapter 14.
GARRETT,ALLEN M. An Introduction to Research in Music.
Washington, D.C.: The Catholic University of America Press, 1958,
Chapters 9 and 10.
G ~ D CARTER
,
V. Essentials of Educational Research. New York:
Appleton-Century -Crofts, 1966, Chapter 4.
GOTTSCHALK,
LOUIS. Understanding History, 2nd ed. New York:
Alfred A. Knopf, 1969, Chapters 3, 5-7.
HILLWAY,
TYRUS.Introditction toResearch, 2nd ed. Boston: Houghton
Mifflin, 1964, Chapter 11.
HOCKETT,
HOMERC. The Critical Method in Historical Research und
Writing. New York: Macmillan, 1955, pp. 13-70.
HOPKINS,
CHARLES
D. Educational Research: A Structure for Inquiry.
Columbus, Ohio: Charles E. Merrill 1976, Chapter 8.
Historical Research
149
JONES,RALPHH., ed. Methods und Techniques of Educational Research. Danville, 111.: Interstate Printers and Publishers, 1973, pp.
151-180.
MOULY,GEORGE
J. The Science of Educational Research, 2nd ed. New
York: Van Nostrand Reinhold, 1970, Chapter 8.
NEVINS,
ALLAN.The Gateway to History, rev. ed. Garden City, N.Y .:
Anchor Books, 1962.
PHELPS,ROGERP. "The Mendelssohn Quintet Club: A Milestone in
American Music Education," Journal of Research in Music Education, Spring 1960, 8,1:39-44.
SHAFER,ROBERTJ., ed. A Guide to Historical Method, rev. ed.
Homewood, 111.: Dorsey Press, 1977, Chapters 5 and 6.
SMITH,HENRYL. Educational Research, Principles und Practices.
Bloomington: Educational Publications, 1944, Chapter 7.
TRAVERS,
ROBERTM. W. An Introduction to Educational Research, 4th
ed. New York: Macmillan, 1978, Chapter 14.
B. Understanding Educational Research: An
VAN DALEN,DEOBOLD
Introduction. New York: McGraw-Hill 1979, Chapter 11.
VINCENT,JOHN M. Aids to Historical Research. New York:
Appleton-Century-Crofts, 1934, Chapters 2, 5, and 12.
WHITNEY,FREDERICK
L. The Elements of Research, 3rd ed. Englewood Cliffs, N.J .: Prentice-Hall, 1950, Chapter 8.
WILLIAMSON,
JOHNB., DAVIDA . KARP,and JOHNR. DALPHIN.The
Research Craft: An Introduction to Social Science Methods. Boston:
Little, Brown, 1977, Chapter 10.
WISE, JOHN E., ROBERTB. NORDBERG,and DONALDJ. REITZ.
Methods of Research in Education. Boston: D. C. Heath, 1967,
Chapter 4.
Experimental Research
6 . Experimental Research:
Purview of the Future
Experimental research usually is regarded as the most objective
of the five methods of obtaining data discussed in this book.
Because of the rigid controls exercised in experimental research it
is possible to duplicate this kind of study and receive virtually the
Same results, sornething that is not as easy to accomplish in historical and descriptive research or philosophical and aesthetic inquiry. Experimental laboratory, or empirical research is sometimes regarded as "a glimpse into the future" because it can
show what is possible under carefully controlled situations. Fox
suggests that this orientation to the future is possible because the
researcher is trying to evaluate something new.'
Another term associated with this type of investigation is "behavioral research. " Even though researchers often have an idea
151
152
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153
154
be attributed to the experimental factor or the independent variable. Some dissimilarities will result from errors due to conditions that cannot be regulated. Lindquist has labeled these kinds
of errors as Types S, G, and R.s Type S, or sampling, errors may
take place as a result of random sampling. Those under Type G
relate to extrinsic factors that may affect one group but not
another, hence are known as group errors. When an experiment is
repeated, Type R, or replication, errors may be expected because
of uncontrollable variations, such as changes in mood of the
groups being tested that are present in one administration of the
experiment but not in others. Investigators, aware that such errors
may occur, should take this into consideration and organize their
study to include procedures that measure these deviations statistically .
One of the criticisms of experimental research has been that it
often contains an element of artificiality, especjally if it is conducted in a laboratory Situation. However, a well-designed experiment that has rigid controls will minimize artificiality, according
~
or behavioral, research, like any
to W i e r ~ m a .Experimental
other type, needs to be designed to obtain answers to questions in
the easiest and most direct way possible.
Research conducted by the experimental method essentially is
of two kinds: laboratory and field studies. Laboratory, also
known as basic, research is perhaps best exemplified in music
education by doctoral or postgraduate experimental projects that
are concerned directly with finding realistic solutions to basic
problems and only indirectly with financial benefits. In a doctoral
study Harris investigated the effect of an intonation training program upon the intonation achievement of junior and senior
high-school wind instrumentalists. Using his own Instrumental
Test of lntonational Skills (ITIS)as a pre- and posttest, he found
that the experimental-group students scored significantly higher
at the . O l level on the posttest than on the pretest.1 Colnot, also
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155
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Experimental Research
157
( I ) method of agreement
(2) method of differences,
(3) joint method of agreement and difference,
(4) method of residues, and
( 5 ) method of concomitant variations.Is
The first canon, the best known and simplest of the five, states
that if the factors relating to a certain event have one characteristic in common, that characteristic variable is the "cause" of the
effect. According to the second canon, when two or more sets of
circumstances are identical except for one factor and when a
given effect is noticed only when that factor is present, that factor
is the cause of the effect. Both the first and second canons are
methods of elimination. The methods of canons 1 and 2 are
combined in the procedure for the third canon. In this canon the
common factor first is isolated and then is withdrawn to determine if the effect is dependent upon the presence of the common
factor. A more complex canon, the fourth, is the method of residue, in which causes are determined by process of elimination.
When definite factors are known to cause certain parts of a given
effect, the other aspects of the total effect must be due to the
remaining factors. The final canon states that when two factors
change consistently or when they vary together, the variations in
one are caused by the other, or both are affected by the same
cause .19
In educational research, including music, solutions to some of
the most pressing problems do not lend themselves to the experimental method because of the rigid controls imposed by this type
of research. For instance, one of the most vexatious problems
confronting music teachers is that of scheduling adequate rehearsal time for performing groups. The descriptive method might be
selected to survey what policies regarding rehearsal schedules are
158
Experimental Research
159
(1) to find out the relations that exist under uncontaminated conditions, (2) to test predictions derived from this and other research, and (3) to develop new theories based on the refinement
of existing theories and h y p ~ t h e s e s . ~ ~
A good example of laboratory research conducted with only
one individual is the longitudinal, or extended, study by Revesz of
the Hungarian child prodigy Erwin Nyiregyhazi, which is discussed in Chapter 7. Also of interest to musicians should be the
ongoing experimentation related to improving musical instruments by highly specialized personnel in laboratories of the Conn
Corporation and other musical-instrument manufacturers.
Classroom, or group, research sometimes is referred to as field
experimentation or research. In field studies it is often difficult to
control all independent variables, and for this reason they sometimes are labeled as "quasi-experimental. " Campbell and Stanley comment:
There are many natural social settings in which the
research person can introduce something like experimental design into his scheduling of data collection
procedures (e.g., the whom and to whom of measurement), even though he lacks full control over the
scheduling of experimental stimuli (the when and to
whom of exposure and the ability to randomize exposures) which makes a true experiment p o ~ s i b l e . ~ ~
160
they have had little or no encouragement from school administrators or from their Peers. His reference to the lack of precision
pertains to the difficulty in accurately measuring the effect of the
independent on the dependent variables because extraneous variables, such as intenuptions and other noises, are present in
classroom and field situations even though every effort has been
made to control them. Classroom experimentation is useful where
evaluation is needed for a new teaching method, curriculum innovation, or teaching procedure.
Kerlinger points out that a compelling reason for conducting
field studies is that they offer the opportunity to observe a larger
number of subjects simultaneously in the classroom, a setting
more natural than the laboratory and involving less student distraction. The incidence of what is commonly called the "Hawthorne Effect " may therefore be less pronounced.
When subjects are aware that they are participating in an experiment or recognize that they are receiving special attention, some
of the improvement (or regression) may be attributed to the
Hawthorne Effect, which derives its name from studies by industrial psychologists in the late 1920s at the Chicago plant of the
Western Electric Corporation. Although difficult to do, the
Hawthorne Effect can be controlled by introducing a second control group that represents a "systematic intervention and interaction on the part of the experimenter with the subjects, " according
~ instance a new procedure is introduced that
to T ~ c k m a nIn. ~this
is not expected to have special effects related to treatment or
intervention variables being evaluated. Borg and Ga11 refer to this
intervention as the "John Henry Effect," from the legend of the
worker who pitted his strength and skill in driving spikes in
railroad ties against a machine. The John Henry Effect is particularly evident when teaching methods are being compared and the
investigator who is working with the control group feels
threatened and makes every effort to prove that the traditional
method of teaching is equivalent to or better than the experimental m e t h ~ d . ~ '
Experimental Research
161
Sometimes unreliable data are obtained because there is a confounding of variables. Variables are considered to be confounded
when additional factors at variance with the independent variables are introduced, or occur. For example, testing control and
experimental groups at different times of the day, or using different researchers at different times during the experiment, could
cause a confounding of variables. Random assignment of subjects
to groups will help to reduce the incidence of confounding of
variables.
Examples of experimental research conducted by music
educators using the classroom method follow. Zimmerman and
Sechrest, in a postdoctoral study, designed and administered a
series of five experiments to 679 elementary and junior highschool students over a two-year period to determine the relevance
of Piaget's concept of conservation to musical leaming. Musical
tasks consisted of stimulus Patterns and variations of these patterns. The authors concluded that an early acquaintance with
basic music structures and vocabulary is very important and that
perception must be kept clear of biasing aspects of music by using
musical v a r i a t i o n ~ .Dzik,
~ ~ in a doctoral study, compared two
methods of instruction to ascertain whether there would be any
change in attitudes toward opera of selected high-school
general-music students. Eight general-music classes (four experimental, four control) were taught Bizet's opera Carmen. Students in the experimental classes participated in creativedramatics activities; the control classes only were told the story as
they listened to the music. Results indicated that a positive attitude toward opera was developed with the experimental
clas~es.~~
162
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163
Testing Hypotheses
Hypotheses must not only be logical but testable. Keppel gives
one of the clearest Statements on hypothesis testing, indicating
that the process includes the following steps: (1) formulating the
164
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Selection of Subjects
Three procedures are normally used to select subjects for a
research study: randomization, matching, and ranking.
Randomization, which means that every person in a group has
an equal chance of being chosen, consists of two separate
functions: random sampling and random assignment. The first
relates to drawing a random sample from a population. A popula-
1' 1
'
165
166
Sampling
Since it usually is not possible to investigate the characteristics
of the entire population or universe relevant to a study , it is necessary to use a procedure known as sampling.The sample, however,
Experimental Research
167
168
Figure 5
Random-Numbers Table
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169
170
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171
actual study. Runkel and McGrath point out that a pilot study is
used to confirm one's guess about characteristics of a given situat i ~ n . 'A~ smaller number of Ss is used in a pilot study as compared to the actual research. For example, if it is proposed to use
four hundred Ss in the actual research, forty might be sufficient
for a pilot study. The Ss used in the pilot study must not be
included in the actual study, although both samples should come
from a comparable population.
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Experimental Research
173
174
wonder if another test should have been used if the results were
not what were expected.
Campbell and Stanley list four factors that could jeopardize
external validity: reactive effects of testing, interaction effects of
selection biases and the independent variable, reactive effects of
experimental arrangements, and multiple-treatment interference.
A pretest could alter the responsiveness of a subject to the
experiment so that results for Ss who have a pretest might be
different from those in the Same experiment who do not have a
pretest.
The second source of extemal invalidity is the interaction effects of selection biases und the independent variable. When Ss
are selected in a biased manner the results obtained from manipulation of the independent variable cannot be generalized with any
degree of confidence.
Reacrive arra ngements, the third factor, refcr to the artificiality
of the setting for much experimental research in education because students are aware that they are participating in an experiment .
Multiple-treatment interference, the fourth factor, occurs when
several treatments are given to the Same Ss and the effects of each
preceding treatment are not completely obliterated.
It is usually more difficult to control external than intemal
validity. Ideally, a research design should make provisions to
control both. Since this is not often possible, however, a design that
possesses strong controls for internal, but few for extemal validity ,
should not necessarily be regarded as weak.
The designs that follow use certain notational symbols:
X the independent variable
Experimental Research
175
176
Experimental Research
177
0 x- - -0-
- --
0 0
(1 1) Counterbalanced Design (sometimes called
Latin Square)
Group A XI 0
X, 0
XB0
X4 0
GroupB
X,O
X40
XiO
X30
Group C
X3 0
X, 0
X, 0
X, 0
Group D X, 0
XJ 0
X, 0
X, 0 .
R
X 0.
The parenthetical (X) is a treatment that is not relevant to the
experiment .
(13) Separate-Sample Pretest-Posttest Control
Group Design
R 0 (X)
178
XO,
----------_--
Class B,
Class B,
R
R
0 2
X
X
0 3
o4
o5X .
- - - - - - - - - _ - - _--_
Class C
Experimental Research
179
Figure 6
2 X 2 Factorial Design
Traditional
Factorial Designs
Factonal designs enable an investigator to measure the effect
of two or more independent variables simultaneously and to examine their interaction with one another. According to Gay, the
term "factorial" means :hat the design involves several factors.
Factorial designs can be simple or complex. For example, the
simplest, a 2 X 2 factonal design, involves four groups and could
Scores
Group C
Group D
180
Experimental Research
i; I/
$ 1
11
I
I
~i
*T '
.I
1
I
I
t
?
18 1
tained, one giving trumpet and the other clarinet data. Then these
findings can be compared effectively.
Once data have been collected they need to be analyzed to
determine possible relationships. Comparisons might be made
between individuals within each group or between the groups as a
whole. The interpretation of data is concerned with an attempt to
find out whether differences are due to the effects of the experimental treatment (the independent variable or X) or may be accounted for by chance alone.
Statistics are either descriptive
Kinds of Statistics
or inferential. Descriptive,
"parasometimes
called
metric," statistics describe or summarize discrete bits of information that comprise the results of an experiment or study. In
descriptive statistics the relationships among scores obtained
from comparison units of reasonably equal size may be Seen
graphically and objectively. Inferential, or "nonparametric,"
statistics refer to making valid inferences from samples to whole
populations. Descriptive statistics numerically "describe " a particular group or groups; inferential statistics "infer" what may be
assumed to be representative of a large group or population.
Inferential statistics also specify the degree of error that may be
anticipated when these inferences are made.
The most important types of descriptive statistics are measures
of central tendency, measures of variance or variability,
measures of relationship, and standard scores or measures of
relative position. Inferential statistics to be discussed are: standard error of the mean, tests of significance, degrees of freedom,
the t test, analysis of variance, analysis of covariance, and chi
Square.
The most frequently used and
most important measure of
Measures of Central
central tendency is the mean,
Tendency
or arithmetic average of Scores.
182
Experimental Research
Computed by adding all the scores and dividing the total by the
number of scores, the mean is identified by X or M. The formula
for finding the mean is
Cx
N
in which
"the sum
of "
X = each score or measurement in the array
N = number of measurements.
Assume that scores of 35, 37, 40, 43, and 45 are obtained on a
music-aptitude lest Then CX = 200, divided b y N = 5, resulting
in X = 40.
The median, designated by Md or Mdn, the second most useful
measure of central tendency, represents the middle point in a
distribution of scores. Half the scores in a distribution occur
above and half below the median. In the comparison of scores
just given for the mean, 40 is both the median and the mean; thus,
the distribution is symmetrical.
Mode, a third measure of central tendency, is indicated by the
symbol Mo. This term denotes the most prevalent interval in a
distribution of scores. For example, in a tally of the scores 4, 8, 4,
6, 4, 1, and 7, the mode is 4 because it appears more frequently
than any other number. A distribution containing two noncontiguous intervals where scores are concentrated is called bimodal,
asevidencedbythesefigures: 3 , 6 , 7 , 4 , 3 , 2 , 9 , 7 , 1 , 3 , 8 , 5 , and7.
In this instance 3 and 7 are the numbers that make this distribution bimodal. The mode usually is the least useful of the three
measures of central tendency just discussed because it may fluctuate from one Set of data to the next.
183
184
Figure 7
Normal Probability Curve
Experimental Research
185
186
Experimental Research
187
Greek letter p. Product-moment correlation, which shows deviation from 0 in a frequency distribution, may be computed by the
formula
in which r
Figure 9
Negatively Skewed Curve
188
Experimental Research
Figure 10
Rank-Order Correlation of Scores Obtained
on Music Tests
(Student
X,
X.
X,Rank
X,Rank
DZ
Standard Scores
in which Z
X
X
*Subjects F and J both attained a score of 41 on X therefore share
the mean of ranks 8 and 9. The Same is true for subjects B and E under X?.
189
Experimental Research
in which
<r
U =
190
A level of significance is a
predetermined level at which
the null hypothesis (H,) will be
rejected. In the null hypothesis no difference is expected between
two or more variables when measured statistically. If a null
hypothesis is rejected when it should have been accepted a Type I
error results. The probability of cornmitting a Type I error, called
a level of significance, is indicated by the lower-case Greek letter
alpha a. A null hypothesis that is accepted when it should be
rejected is known as a Type I1 error. Lower-case Greek letter beta
designates this level of significance for a possible Type I1 error.
Most research in education and music educati.on is based on the
5-percent (.05) level of significance. This means that in ninetyfive instances out of one hundred the differences are due to the
experimental treatment rather than to sampling error or chance. A
more precise level of significance is one percent (.01), signifying
that in only one chance in one hundred are the results due to
sampling error or chance.
Two-tailed and one-tailed tests of significance relate to the
direction of difference of the hypotheses. Tests of significance
are almost always two-tailed. The null hypothesis states that there
will be no difference between the groups (X = Y) being compared. The two-tailed test indicates that the difference may be in
either end of the tail. In other words, the mean of X may be higher
than that of Y, or the mean of Y may be higher than that of X. In a
one-tailed test the difference appears only in the end of one tail,
either in the direction of X or Y.
After determinig whether a test
Degrees of Freedom
will be two-tailed or one-tailed
and a test of significance has
Tests of Significance
Experimental Research
191
in which t
significance
mean
p = lower-case Greek letter mu, signifying population
mean
CT = standard deviation
N = size of sample.
= t test of
= sample
There are computer packages available now that contain the formula for the t test and other statistical formulas. The researcher
need not laboriously determine each value of t by hand, but can
feed the data into a computer and easily obtain the results.
The one-way analysis of
Analysis of Variance
variance (ANOVA)is used to
(ANOVA)
determine whether the differences in the means of two
192
Experimental Research
193
frequently are difficult to regulate accurately. Despite the subjective nature of much descriptive research, some problems still are
best resolved by descriptive-research techniques, the subject of
the next chapter.
194
Supplementary Readings
ALMACK,
JOHNC. Research und Thesis Writing. Boston: Houghton
Mifflin, 1930, Chapter 6.
and ASGHAR
RAZAVIEH.
Introduction
ARY,DONALD,
LUCYC. JACOBS,
to Research in Education, 2nd ed. New York: Holt, Rinehart and
Winston, 1979, Chapters 4, 5, 6, 9, and 10.
ASHER,J. WILLIAM.
Educational Research und Evaluation Methods.
Boston: Little, Brown, 1976, Chapters 2, 3, 5, and.7.
BERLYNE,D. E., ed. Studies in the New Experimental Aesthetics: Steps
Toward an Objective Psychology of Aesthetic Appreciation.
Washington, D.C.: Hemisphere Publishing, 1974, Chapters 1, 2, and
3.
BERNSTEIN,
ALLENL . A Handbook of Statistics Solutions for the Behavioral Sciences. New York: Hol4 Rinehart and Winston, 1964,
Chapters 2, 3, 6, and 7 .
BEST,JOHNW. Research in Education, 3rd ed. Englewood Cliffs, N.J.:
Prentice-Hall 1977, Chapters 4, 7, and 8.
BORG,WALTER
R . , and MEREDITH
D. GALL.Educational Research:
An Introduction, 3rd ed. New York: Longman, 1979, Chapters 2, 5,
6, 12, 15, and 16.
C. STANLEY.
Experimental und
CAMPBELL,
DONALD
T . , and JULIAN
Quasi-Experimental Designs for Research. Chicago: Rand McNally,
1966.
COHEN,JACOB.Statistical Power Analysis for the Behavioral Sciences,
rev. ed. New York: Academic Press, 1977.
LAFLEUR.
A Guide to Educational
COOK,DAVIDR., and N. KENNETH
Research, 2nd ed. Boston: Allyn and Bacon, 1975, Chapter 5.
Experimental Research
195
DIXON,WILFRID,
and FRANK
J. MASSEY,
JR. lntroduction to Statistical
Analysis, 3rd ed. New York: McGraw-Hill, 1969.
DREW,CLIFFORD
J . lntroduction to Designing Research und Evaluation. St. Louis: C. V. Mosby, 1976, Chapters 2, 3, 6, 7, 8, and 9.
EDWARDS,
ALLENL. Statistical Methods, 2nd ed. New York: Holt,
Rinehart and Winston, 1967.
ENGELHART,
MAX D. Methods of Educationul Research. Chicago:
Rand McNally, 1972, Chapters 8, 9, 12, and 13.
GEORGE
A. Statistical Methods for the Behavioral Sciences.
FERGUSON,
New York: Holt, Rinehart and Winston, 1954, Chapters 2-6, 8,
12-13, 15-16.
FOX,DAVIDJ . The Research Process in Education. New York: Holt,
Rinehart and Winston, 1969, Chapters 5, 6, 7, 8, 9, 10, 11, and 16.
GAGE,N. L., ed. Handbook of Research on Tesching. Chicago: Rand
McNally, 1963, Chapter 5.
GAY,L. R. Educational Research: Competencies for Analysis und Application. Columbus, Ohio: Charles E. Merrill, 1976, Chapters 2, 4,
and 7.
GOOD, CARTERV. Essentials of Educational Research. New York:
Appleton-Century-Crofts, 1966, Chapter 8.
GUILFORD,
J. P. Fundamental Statistics in Psychology und Education,
4th ed. New York: McGraw-Hill, 1965, Chapters 3-6, 10, and 14.
HARDYCK,
CURTIS,and LEWISF. PETRINOVICH.
Understanding Research in the Social Sciences. Philadelphia: W. B. Saunders, 1975,
Chapters 2, 3, 4, 7, 8, and 9.
HILLWAY,
TYRUS.Introduction to Research, 2nd ed. Boston: Houghton
Mifflin, 1964, Chapter 12.
HOPKINS,CHARLES
D. Educational Research: A Structure for Inquiry.
Columbus, Ohio: Charles E. Merrill, 1976, Chapters 4 and 10.
JONES,RALPHH., ed. Methods und Techniques of Educational Research. Danvill, I11.: Interstate Printers and Publishers, 1973, Parts 4
and 5.
Design und Analysis: A Researcher's Handbook.
KEPPEL,GEOFFREY.
Englewood Cliffs, N.J .: Prentice-Hall, 1973.
KERLINGER,
FREDN. Behavioral Research: A Conceptual Approach.
New York: Holt, Rinehart and Winston, 1979, Chapters 2-8.
196
Experimental Research
197
Descriptive Research
199
7 . Descriptive Research:
An Account of the Present
Descriptive research, sometimes called "status research. " essentially deals with that which exists at the present time. It goes
without saying that "the present" is here only for a fleeting
moment, and then it becomes the past. For practical purposes of
organizing descriptive research, however, the present will be construed in this book as an arbitrary time Span of short duration
(usually no more than a year) that is defined by an investigator to
circumscribe a study. In descriptive research emphasis is on the
present at the time of observation, whereas in historical research
emphasis is on the past. The term "descriptive research," according to Mason and Bramble, is used to "represent a broad
range of activities that have in common the purpose of descnbing
situations or phenomena. '"
200
Descriptive Research
music programs in various districts even though there is no attempt to make qualitative judgments of these programs. This
information can be especially useful when, for purposes of upgrading, the music program in one school district may be judged
quantitatively to be inferior to others in terms of the items contained in the survey. Qualitatively it should be apparent that a
descriptive survey cannot indicate whether musical-performance
Standards in one school are Superior to those in another. Descriptive survey procedures can be used to ascertain the presence or
absence of certain conditions or factors but cannot always
evaluate their effectiveness.
Returning to the example citing kinds of data collected by state
music supervisors, certain trends may become apparent as information is compared year after year. It may be found, for instance,
that music-theory classes are becoming more prevalent in high
schools, which suggests that more high-school graduates are entering college or university as music majors witf a better theoretical background. Unmet needs for equipment and materials also
may be apparent when the state music supervisor collates data
from the survey. These data can then be used to show school
administrators how their Systems compare with others of comparable size in regard to equipment and materials. Presumably the
school music directors already know, but they may be accused of
promoting their vested interests if they persistently try to convince their administrator of the Situation. Sometimes the state
supervisor can assist a teacher by providing comparative data on
music programs in school districts similar to those of the teacher.
20 1
202
Descriptive Research
"'
203
204
Descriptive Research
205
the few Systems where music teachers are being added) and for
equipment, such as pianos tubas, double basses and other items
normally not purchased by the individual student for school use.
The music director establishes anticipated needs on the basis of
proper balance in terms of emollment figures for each of the
instniments. Projected enrollments for required general music
courses can be established quite accurately for a designated year
by noting the number of students in each grade level who eventually will be enrolled. In addition, the number of families owning
homes and occupations of the parents are significant, not only in
terms of helping to establish a tax base for budgetary purposes,
but also in indicating to a considerable extent the socioeconomic
and cultural status of farnilies in a community. These kinds of
data frequently are examined by school boards when preparing
budgets to ascertain the validity of requests for additional music
personnel and capital items .
As an example of a survey, Tyler investigated professionalpreparation programs in music in eight colleges and universities
in the southwestern United States. Curricula of these institutions
were compared with the minimum standards recommended by the
National Association of Schools of Music.I2 Although all were
accredited by regional associations, none met the minimum standards Set by the National Association of Schools of Music. Tyler
offered recommendations to enable each of these institutions to
reach minimum National Association of Schools of Music standards.
Music educators do not often undertake community surveys.
Recommendations of a community survey, usually more general
than those for an educational survey, might include planning for a
community perforrning-arts Center. Many community-attitude
scales include items relating to music and the arts. One by Bosworth, for example, included a question to find out if citizens felt
that their community should Sponsor more music and lecture
programs. Bosworth used a five-point scale ranging from
206
Descriptive Research
207
208
Descriptive Research
209
210
short time period. The medical and behavioral sciences traditionally have made extensive use of the case-study technique,
and recently there has been an increasing interest in applying this
concept to the social sciences and humanities, as the purposes
listed above by Sax would seem to suggest.
Because it is desirable to leam about the total interaction of
persons, not only with others around them but also with Situations
they encounter daily, case-study research frequently is undertaken
by a team of qualified personnel, each a specialist in a certain area
or discipline. For example, the investigator who is a musician
might enlist the assistance of a physician, a psychologist, and a
sociologist to study cooperatively how the last-chair player in the
third clarinet section of a high-school band reacts to the other
members seated ahead in the section. This team might individually andlor collectively, through interviews, observation, testing,
and the examination of personal written reports, such as dianes,
letters, and anecdotal records, render a comprehensive account,
offering recommendations for and remedial action to assist the
subject in making whatever adjustments are necessary. In most
school Systems the personnel in the counseling (or guidance)
department are the key persons in organizing and implementing
studies involving the cooperation of subject-matter specialists in
various fields. Music teachers may find themselves included on
such teams, especially if the subject of the investigation seems to
do better in music than in other subjects. Case studies of this type,
especially if they involve the cooperative effort of several competent people, are less likely to come under criticism as frequently
as those in the past, which, according to Mouly, often lacked an
empirical b a ~ i s . ~ ~
Case studies may be conducted by a team or by an individual.
Revesz's continuation, or longitudinal, study, of child prodigy
Erwin Nyiregyhazi, a protege of Ernst von Dohnanyi (18771960), is one of the most extensive case studies dealing with a
musician. A Hungarian music psychologist, Revesz, in 1961, published the results of his eight-year intensive longitudinal study of
Descriptive Research
2 11
212
er.^^
In a fairly recent relationship study Hurn sought to determine
music-education majors' responses to the F Scale and to the
MTAI (Minnesota Teacher Attitude Inventory). One of Hurn's
objectives was to establish norms for the MTAI for musiceducation majors. Another objective was to ascertain intercorrelations between authoritarianism and the variables of Sex, age,
career goals, influence of teachers, or other models. Hurn tested
472 music-education majors frorn Ohio colleges. He concluded
that both the F Scale and the MTAI can provide information about
individuals and groups and that music-education students are
more authoritarian than other s t ~ d e n t s . ~ ~
Development, or progression,
Development Studies
studies are concerned with
changes or developments over
a period of time. Mason and Bramble list four purposes of developrnent research: (1) to seek origins of behavior, (2) to find
interrelationships among factors affecting growth, (3) to deter-
Descriptive Research
213
mine what influences affect growtb and (4) to use trends of the
past to predict the future.)' Two kinds of development studies are
normally found in music research: growth and trend. Growth
studies are usually classified as either longitudinal or crosssectional. Longitudinal studies are time-consuming and expensive but constitute the best way to study human development.
Studies of this kind attempt to measure changes or developments
in the Same individual at different age levels. Some of the best
examples in music involve measurement of musical achievement
over a period of years. Petzold's five-year study on auditory
perception of elementary-school children, discussed in the previous chapter, is an example of a longitudinal study, although it is'
basically an experimental rather than a descriptive study.12
Stanton conducted a ten-year study of musical talent at the
Eastman School of Music in which she followed the students
through their undergraduate training. She also compared each
entering freshman class. Her investigation is an example of both
longitudinal and cross-sectional use in what might be termed a
quasi-experimental p r o ~ e s s . ~ ~
Obata's developrnental study, completed for a doctoral degree,
was concerned with the history and growth of the band movement
in Japan from 1945 to 1970. He used personal interviews and
correspondence with musicians in Japan and in the United States
to show American influences upon the growth and development
of band music in J a ~ a n . ) ~
Cross-sectional studies are more widely used than longitudinal,
undoubtedly because they are not as expensive or timeconsuming. They compare different individuals at the sarne age
or level of development; for example, the musical achievement of
all fifth-grade students in a school System each year. Crosssectional studies frequently involve a greater number of individuals than longitudinal and also employs fewer variables. The objective of Trammell's doctoral research was to determine the
effectiveness of repetition and guided listening in developing en-
214
Ethnographic Research
Ethnographic research is a procedure that, although developed
by anthropologists, has received considerable attention from edu-
Descriptive Research
2 15
cational researchers. The main characteristic of ethnographic investigation is that some special process is used to perrnit the
researcher to maintain continuous observation of a Situation so
that all things related to the study can be recorded. The researcher
may use participant observation, nonparticipant observation, or
both. Borg and Ga11 point out that in participant observation the
researcher uses some type of audio or video device, or both, and
then analyzes the data later. In the nonparticipant process the
researcher takes extensive handwritten notations of continuous
activities and i n t e r a ~ t i o n sIn
. ~ethnographic
~
research hypotheses
usually are generated after the study is completed. However,
these hypotheses may be tested in subsequent research that may
involve the experimental method. Any hypotheses formulated are
based on the researcher's observation, either participant or nonparticipant .
216
Descriptive Research
enthusiastic
sympathetic
2 17
impartial
tolerant
antagonistic
218
Descriptive Research
2 19
220
Figure 11
Omnibus Request for Information
Descriptive Research
221
222
Descriptive Research
Strongly
Agree
Agree
Agree with
Reservations
Disagree
Strongly
Disagree
223
Descriptive Research
224
casual manner characteristic of this type of interviewing infrequently elicits responses that might not be possible through
any other means. However, comparison of data from various
subjects is more difficult.
For best results the interview technique should not be used by a
person who is inexperienced in such procedures. Training and
experience in counseling provide good background for the musician who wishes to solicit extensive information by the interview
method. According to Rummel, the researcher employing interview procedures should develop proficiency in "(1) creating a
friendly atmosphere, (2) asking questions, and (3) obtaining responses. ' 141
Interviewers who prefer to use a tape recorder to preserve the
comments on magnetic tape should first obtain permission to do
so from the interviewee. They should not resort to subterfuge
through the use of hidden microphones or camouflaged listening
devices. An interview preserved on magnetic tape has the advantage of being readily accessible should the investigator wish to
recheck direct verbatim statements, something not always possible when remarks are paraphrased or recorded on Paper.
A rating scale, according to Tuckrnan,
Rating Scale
is used to record judgments on behaviors that are ~ b s e r v e dAlthough
.~~
there are several forms of rating scales, many researchers prefer
the form developed by Rensis Likert. In the Likert-type scale all
intervals are assumed to be equal. In recording an attitude or belief, a Likert-type scale would make use of the following levels
of agreement or disagreement (see figure 12).
Student-recommendation forms that instructors fill out for
placement bureaus or that supervisors complete in conjunction
witb student-teaching evaluation frequently involve qualitative
judgments that are recorded on rating scales. A Likert-type scale,
for example, might be used to rate a Person's skill in teaching,
with 1 representing superior and 5, inferior achievement. In this
225
Figure 12
Likert-Type Scale
I
Strongly
Agree
Agree
Agree with
Disagree Strongly
Reservations
Disagree
226
Descriptive Research
227
228
Descriptive Research
229
230
5. Discuss the types of development studies listed in this chapter and make an application of each one to music education.
Descnptive Research
23 1
Supplementary Readings
ARY,DONALD,
L,UCY C. JACOBS,
and ASGHAR
RAZAVIEH.
Introduction to Research in Education, 2nd ed. New York: Holt, Rinehart and
Winston, 1979, Chapters 10 and 11.
ASHER,J. WILLIAM.Educational Research und Evaluation Methods.
Boston: Little, Brown, 1976, Chapter 6 .
BEST,JOHN W. Research in Education, 3rd ed. Englewood Cliffs, N.J.:
Prentice-Hall, 1977, Chapters 5 and 6.
BORG,WALTER
R., and MEREDITH
D. GAI-L.Educational Research:
An lntroduction, 3rd ed. New York: Longman, 1979, Chapters 3, 8,
9, 10, 13. 14. 17, 18, and 19.
BUROS,OSCARK. ed. The Eighth Mental Measurements Yearhook,
Vol. I. Highland Park, N.J.: Gryphon Press, 1978, pp. 173-184.
COOK,DAVIDR., and N. KENNETH
LAFLEUR.
A Guide to Educational
Research, 2nd ed. Boston: Allyn and Bacon, 1975, Chapter 4.
ENGELHART,
MAX D. Methods of Educational Research. Chicago:
Rand McNally, 1972, Chapters 5, 6, 7, and 10.
Fox, DAVIDJ. The Research Process in Education. New York: Holt,
Rinehart and Winston, 1969, Chapters 15, 17, 18, and 19.
GAGE,N. L., ed. Handbook ofResearch on Teaching. Chicago: Rand
McNally, 1936, Chapters 6 and 7.
GAY,L. R. Educational Research: Competencies for Analysis und Application. Columbus, Ohio: Charles E. Merrill, 1976, Chapter 6.
GOOD,CARTER
V. Essentials of Educational Research. New York:
Appleton-Century-Crofts, 1966, Chapter 7.
HARDYCK,
CURTIS,and LEWISF . PETRINOVICH.
Understanding Research in the Social Sciences. Philadelphia: W. B . Saunders, 1975,
Chapters 5 and 6.
HILLWAY,
TYRUS.
lntroduction to Research, 2nd ed. Boston: Houghton
Mifflin, 1964, Chapter 7.
HOPKINS,
CHARLES
D. Educational Research: A Structure for I n q u i ~ .
Columbus, Ohio: Charles E. Memll, 1976, Chapters 6, 7, and 9.
JONES,RALPHH., ed. Methods und Techniques of Educational Research. Danville, 111,: lnterstate Printers and Publishers, 1973, Part 2.
KAPLAN,
MAX.Foundations und Frontiers of Music Education. New
York: Holt Rinehart and Winston, 1966, Chapter 5.
Descriptive Research
232
KERLINGER,
FREDN. Foundations of Behavioral Research, 2nd ed.
New York: Holt, Rinehart and Winston, 1973, Chapters 22. 24, and
25-34.
LEHMAN,PAUL R. Tests und Measurements in Music. Englewood
Cliffs, N. J.: Prentice-Hall, 1968, Chapter 3.
MASON,EMANUEL
J., and WILLIAM
J. BRAMBLE.
Understanding und
Conducting Research: Applications in Education und the Behavioral
Sciences. New York: McGraw-Hill, 1978, Chapters 10 and 11.
MEHRENS,
WILLIAM
A . , and IRVINJ. LEHMANN.
Standardized Tests in
Education, 2nd ed. New York: Holt, Rinehart and Winston, 1975,
Chapters 2 and 3.
MILLER,DELBERT
C. Handbook of Research Design und Social Measurement. 2nd ed. New York: David McKay, 1970, Parts 2 and 4.
MOULY,GEORGE
J. The Science of Educational Research, 2nd ed. New
York: Van Nostrand 1970, Chapters 9 and 10.
PHELPS,ROGERP. "The Psychology of Music and Its Literature, "
College Music Symposium, Spring 1975, 15: 114-125.
-.
Review of Australian Test for Advanced MGsic Studies and of
Farnum Music Test, in Buros, Oscar K. The Eighth Mental Measurements Yearbook. Highland Park, N.J.: Gryphon Press, 1978, pp.
174, 176-178.
REvEsz, GEZA. The Psychology of a Musical Prodigy. Westport,
Conn.: Greenwood Press, 1970.
RUMMEL,
J . FRANCIS.
An Introduction to Research Procedures in Education. 2nd ed. New York: Harper and Row, 1964, Chapters 4-9.
SAX,GILBERT.Empirical Foundations of Educational Research. Englewood Cliffs, N. J.: Prentice-Hall, 1968, Chapters 8, 9, and 11.
SIMON,JULIANL . Basic Research Methods in Social Science: The Art
of Empirical Investigation. New York: Random House, 1969, Chapter 16.
TRAVERS,
ROBERTM. W. An Introduction to Educational Research, 4th
ed. New York: McGraw-Hill, 1978, Chapters 5-8, 12, and 13.
-,
ed. Second Handbook of Research on Tesching. Chicago:
Rand McNally, 1973, Chapters 5 and 15.
TUCKMAN,
BRUCEW. Conducting Educational Research, 2nd ed. New
York: Harcourt Brace Jovanovich, 1978, Chapters 8 and 9.
233
DALEN,DEOBOLD
B. Understanrling Educational Research: An
Introduction, 4th ed. New York: McGraw-Hill, 1979, Chapter 10.
WHITNEY,FREDERICK
L. The Elements of Research, 3rd ed. Englewood Cliffs, N. J.: Prentice-Hall, 1950, Chapter 7.
WHYBREW,
WILLIAM
E. Measurement und Evaluation in Music, 2nd
ed. Dubuque, Iowa: William C. Brown, 197 1.
WIERSMA,
WILLIAM.
Research Methods in Education: An Introduction,
2nd ed. Itasca, 111.: F. E. Peacock, 1975, Chapters 5-7.
WILLIAMSON,
JOHNB., DAVIDA. KARP,and JOHNR. DALPHIN.The
Research Craft: An Introduction to Social Science Methods. Boston:
Little, Brown, 1977, Chapters 6-8 and 11.
WISE, JOHN E . , ROBERTB. NORDBERG,and DONALDJ. REITZ.
Methods of Research in Education. Boston: D. C. Heatk 1967,
Chapters 5 and 6.
VAN
Philosophical Inquiry
8. Philosophical Znguiry:
Rational Quest for Truth
Philosophical inquiry (or research) is concemed with disceming
tniths or principles upon which knowledge in any field is based.
Unlike experimental research which is predicated on observing
rigid controls to obtain data, the philosophical method fundamentally is based on reflective or critical thinking by which the researcher compares ideas through analysis and synthesis. This
writer has already referred to his article on the importance of
critical and reflective thinking.'
Rationalism, the concept upon which the philosophical method
is based, employs a priori logic, wherein knowledge and truth are
derived solely through reasoning rather than through the a posteriori or empirical method of educational research, for at least
two reasons: (1) a priori procedures permeate all types of re-
235
236
Metaphysics
Metaphysics, a term used in philosophy, is derived from the
writings of the Greek philosopher Aristotle. The metaphysician is
concemed with the tmth that characterizes and underlies all
things, what accounts for their being, or the way one thinks about
reality. In Book 11 of Metaphysics Aristotle notes that the search
for tmth is both difficult and easy. No one is' able to obtain
complete truth but every person adds a little, and when all bits of
truth from every person are added together, much tmth is revealed.' Hospers states that metaphysics is closely allied to epistemology, which relates to the nature of knowledge. He says:
"Metaphysical problems have to do with what is, whereas epistemological problems have to do with our knowledge of what is;
but in the discussjon of the one the other is bound to enter."8
One of the concems of metaphysics is the nature of problems
that might be called theoretical. The metaphysics of the Greek
philosophers lost some of its stature with the rise of science in the
sixteenth and seventeenth centuries. Problems that had been
solved through a priori processes in the Renaissance began to be
resolved with a posteriori procedures because scientists wanted
more objective proof than was usually possible through reflective
thinking alone. The recent trend in music education to seek answers to problems through the empirical process to the exclusion
of other means has been mentioned elsewhere in this book. There
Philosophical Inquiry
237
238
Figure 13
Plato's "Divided Line" Process
FIRST PRINCIPLES
X 4
3
3 E?
V-
PERCEPTION OF
SHADOWS
Philosophical Inquiry
239
240
Philosophical Inquiry
24 1
retained, abandoned, or modified. The curriculum is in a constant state of flux, with innovations instituted periodically to keep
Pace with a rapidly changing world. This is apparent in the
seemingly endless testing and e,valuation of new concepts and
procedures in the classroom. Music education fortunately has
been involved in some of these innovative practices. Recall that
about seventy years ago the revolutionary English concept of
instrumental teaching was brought to the attention of music
educators in the United States. One of them, Albert G. Mitchell,
was so intrigued with its possibilities that he obtained a leave of
absence from his position as supervisor of music in the Boston
Public Schools to travel to England to study firsthand this System
of teaching violin in classes, commonly referred to as the
Maidstone Movement. From this concept of violin class teaching
has come the phenomenal development that has resulted in teaching all kinds of instruments to unprecedented numbers of students
in classes in the United States. This idea has been adapted also to
piano, voice, and Organ instruction. The original Maidstone
philosophical concept of class teaching has been implemented in
the form of specific skills and techniques peculiar to each performing medium, with the result that many individuals have made contributions to this idea since then.
Although the value of class teaching in the development of
sound music-education programs rarely is challenged today, there
still are many diverse ideas relating to specific and effective ways
to implement this philosophical concept. The Suzuki , Kodaly ,
Orff, and Manhattanville approaches have been in the forefront
recently, and although there are similarities each one has a different philosophical approach to methodology. These concepts
eventually may result in the changing of certain practices in the
teaching of music. This will not come, however, until it has been
demonstrated that appropriation of the specific techniques under
consideration will result in more effective and meaningful learning by students. It is too early yet to determine whether the
272
Aesthetic Inquiry
273
analysis is not very practical for use with music other than that
written in the eighteenth and nineteenth centuries.) Urlinie represents the background of all melody, or a melodic unity. All
motivic and thematic viewpoints are subordinated to the concept
of urlinie. Schicht refers to the structural level (foreground, middle ground, background) . Schenker regards melody as subordinate to harmony, but at the Same time restricts harmonic structure
to the triad. Seventh and ninth chords are split up into their triadic
c o m p o n e n t ~ .(For
~ ~ information on Schenkerian analysis, See
works by YestonS3and N a r m o ~ r . ~ ~ )
LaRue has formulated a more recent approach to musical
a n a l y s i ~LaRue's
.~~
basis for analysis consists of five components
and three levels for investigation. The five musical components
are: sound, harmony, melody, rhythm, and growth, frequently
shortened to SHMRG. LaRue also adds another factor that is present in vocal compositions, text influence.
Sound encompasses timbre, tessitura, texture, and dynamics;
harmony includes Stages of tonality, movement relationships,
chord vocabulary, and polyphony. Range, motion, patterns, and
dimensions (peaks and lows) are important in melody. Rhythm
consists of frequency and duration of rhythmic patterns, meter,
patterns of change or Stress, and rhythmic fabnc. Balance and
relationship among tempi, textures, dynamics, and meters are included in growth, as are homogeneity or heterogeneity and
sources of shape, such as anticipation, overlap, and elision. When
text is involved textual injluences become an added factor, and
exploitation of words for mood and texture becomes important
from melodic and rhythrnic standpoints.
LaRue's three levels of investigation are large dimension, middle dimension, and small dimension. Large dimensions are associated with movement, work, and groups of works. LaRue says
that large dimensions "concern musical wholes: entire
movements, or even successions of movements of a large unity
can be discerned."" Sentences, paragraphs, sections, and parts
274
Aesthetic Inquiry
275
276
Supplementary Readings
ALTICK,RICHARDD. The Art of Literary Research. New York: W. W.
Norton, 1963, Chapters 2-4.
BEARDSLEY,
MONROEC. Aesthetics: Problems in the Philosophy of
Criticism. New York: Harcourt Brace Jovanovich, 1 958, Chapters
1-3, 6, 8, 18, and 19.
P,
and HERBERT
M. SCHUELLER.
Aesthetic Inquiry: Essays on Art
Criticism und the Philosophy of Art. Belmont, Calif.: Dickenson,
1967, Chapters 1, 6, 10, 19, and 23.
BEITTEL,KENNETHR. Alternatives for Art Education Research.
Dubuque, Iowa: William C. Brown, 1973.
BERLYNE,
D. E., ed. Studies in the New Experimental Aesthetics: Steps
Toward an Objective Psychology of Aesthetic Appreciation.
Washingtob D .C. : Hemisphere, 1974, Chapters 1-3.
DIPERT,RANDALL
R., A N D R. M. WHELDEN.
"Set-Theoretical Music
Analysis, " The Journal of Aesthetics und Art Criticism, Fall 1976,
35,1:15-22.
ECKER,DAVIDW., THOMAS
J. JOHNSON,
A N D EUGENE
F. KAELIN.
"Aesthetic Inquiry," Review of Educational Research, December
1969, 39,5:577-592.
ECKER,
DAVIDW., and EUGENE
F. KAELIN."The Limits of Aesthetic
Inquiry: A Guide to Educational Research, " in Seventy-First Yearbook of the National Society for the Study of Education. Chicago:
University of Chicago Press, 1972, Part I, pp. 258-286.
EDMAN,
IRWIN. Arts und the Man. rev. ed. New York: W. W. Norton
1939.
Aesthetic Inquiry
277
GHISELIN,
BREWSTER,
ed. The Creative Process. New 'i'ork: Mentor
Books, 1952, pp. 44-53.
HILLER,LEJAREN
A. Experimental Music. New York: McGraw-Hill,
1959.
HOFSTADTER,
ALBERT.Agony und Epitaph: Man, His Art, und His
Poetry. New York: George Braziller, 1970, Chapters 4 and 5.
KAINZ,FRIEDRICH.
Aesthetics the Science, trans. and intro. by Herbert
M. Schueller. Detroit: Wayne State University Press, 1962, Chapters
1, 3, and 4.
KATZ,ADELE.Challenge to Musical Tradition. New York: Alfred A.
Knopf, 1946.
LANGER,
SUSANNE
K. Feeling und Form: A Theory of Art. New York:
Charles Scribners' Sons, 1953.
.
Philosophy in a New Key, 3rd ed. Cambridge: Harvard University Press, 1969.
LARUE,JAN.Guidelinesfor Style Analysis. New York: W. W. Norton,
1970.
LINCOLN,
HARRY
B., ed. The Computer und Music. Ithaca, N.Y.: Cornell University Press, 1970.
MADEJA,STANLEY
S., ed. Arts und Aesthetics: An Agenda for the
1977.
Future. St. Louis: CEMREL,
,
and SHEILAONUSKA.Through rhe Arts to Aesthetics. St.
Louis: CEMREL,
1977, Chapters 1, 3, 4, and 5.
MADSEN,CLIFFORD
K., R. DOUGLAS
GREER,and CHARLES
H. MADSEN,JR., eds. Research in Music Behavior: Modihing Music Behavior in the Classroom. New York: Teachers College Press, 1975.
MANN,MICHAEL."Schenker's Contribution to Music Theory," The
Music Review, Febniary 1949, 10,1:3-26.
MATHEWS,
MAXV., with the collaboration of JOANE. MILLER,F. R.
MOORE,J. R. PIERCE,and J. C. RISSET.The Technology of Computer Music. Cambridge: M. I. T. Press, 1969.
MEAD,HUNTER.An Introduction to Aesthetics. New York: Ronald
Press, 1952, Chapters 2, 6, 7, and 15.
MEYER,LEONARD
B. Emotion und Meaning in Music. Chicago: University of Chicago Press, 1956.
MUNRO,THOMAS.
Scientific Method in Aesthetics. New York: W. W.
Norton, 1928.
278
280
students who continue to put together large amounts of incongruous material. A research report without direction and purpose is
as useless as an interstate highway without properly marked exits.
It is in the research report that investigators are able not only to
display their scholarship but also to demonstrate their understanding of sound principles of reflective thinking.
Format
A graduate research report is composed of three complementary Parts, which for purposes of discussion will be called preface,
the main body, and epilogue. The prefatory section contains the
title page, acknowledgments, table of contents, list of tables, and
list of figures. Most institutions require the inclusion of an approval sheet or Page with signatures of the candidate's sponsoring
committee. This page, or signature sheet, when required, immediately follows the title page. Because of minor differences
from one institution to another students should follow the style
manual adopted for their own institution before beginning work
on the final report. Likewise, in reporting subsidized research
projects, they should consult the appropriate manual for such
studies. In general, however, organizational procedures will be
quite similar. This introductory section includes the organization
of the research report without concern for data presentation and
interpretation. If this part were detached from the study the only
inconvenience to readers would be their lack of knowledge regarding what to expect in the study and where to find it.
The title Page for a graduate project usuPreface
ally contains: title of the research, investigator, degree that the candidate is seeking,
institution where the work is being completed, and date. In addition, at some institutions the members of a candidate's sponsoring
committee also are indicated. Often this is the policy when indi-
28 1
vidual members do not sign an approval sheet included in the document. In other instances the members of the candidate's sponsoring
committee (dissertation committee) are listed even though an approval sheet has been signed. When members are listed their names
appear at the top of the title page, as shown in Figure 15.
Although it is optional, many investigators like to include an
Acknowledgment page, where the researcher, simply and directly,
expresses gratitude to those who have given assistance in the
project.
Figure 15
Dissertation Title Page
Sponsoring Cornmittee: Professor Roger Phelps, Chairman
Professor Jerrold Ross
Professor Agnes Burger
KENNETH E. BRUSCIA
282
li
283
310
already has taken place, past tense should be used for most of the
writing. On occasion, however, present or future tense may be
required.
Cliches, colloquialisms, and hackneyed terms are best avoided
in formal writing except as they may be needed to illustrate a
point. Repeatedly used phrases or words become trite and detract
from the study. The liberal interspersing of Synonyms can help
maintain variety and interest. A thesaurus, such as Roget's, will
be an excellent reference for assistance in this regard.
The third Person normally is used for formal writing except
when first- or second-person pronouns appear in direct quotations. When researchers find it necessary to refer to themselves
they may modestly use "this investigator," "this researcher," or
similar phraseology. It is in poor taste to use such wording as "I
found. "
Correct grammatical construction obviously is a necessity in
research reporting. Presurnably, students who undertake to write
a thesis or dissertation have already developed competency in
expressing themselves consistently and clearly. If they have not, a
refresher Course in written English skills rnight be helpful. An
exarnple of inconsistent usage: although the practice is quite
common in formal writing, it is generally considered in poor taste
to begin a sentence with conjunctions, such as "and" or "but."
Conjunctions connect phrases or clauses; they do not begin sentences.
Spelling should be orthodox and consistent throughout the
document. To Substitute "thm" for "through" or "nite" for
"night" is inexcusable except when these simplifications appear
in direct quotations. If such words as. "catalogue" or "aesthetic"
are used in the first chapter of a report they should not be replaced
with "catalog" or "esthetic" in other sections of the study without justification.
There is a tendency for inexperienced researchers to use terms
that are absolute. Investigators who rnake such statements as,
31 1
"No study of this kind exists," or, "Nothing has been written
about this subject" place themselves in an extremely vulnerable
position. It is very difficult to cornpile a bibliography that is
exhaustive and completely accurate because the frontiers of
knowledge are continually expanding. To report, "To this
writer's knowledge no study of this kind exists," or, "This writer
has been unable to locate anything written about this subject" is
in much better taste. Such words as "never, " "ever, " and "always," should be used rarely, if at all.
Appropriate introductory statements should precede direct quotations. Merely to present quotations without some type of introduction results in a disjunct and incoherent narrative style.
Readers must not receive the impression that direct quotations are
separate from the narrative. They should, rather, be complementary to a smooth narrative flow.
Sometimes there is undue concern about the number of pages
needed to make a research study acceptable. The criterion for
acceptability ought not be the number of pages assembled but
what is contained in them. Normally, a concise and well-prepared
report of fifty pages is more acceptable than a verbose, incoherent, and redundant one of two hundred pages. Investigators
should say what they intend in clear and terse language.
When under pressure to meet a deadline, one is apt to becorne
careless and overlook minor details. It is the responsibility of
investigators to See that their finished product represents the best
work of which they are capable. The world of scholarship can
hardly condone slipshod work any rnore than does NASA, where
perfection is the hallmark of space technology. The investigator,
the adviser, and others should carefully check all detailsconsistency in style of writing, footnotes, pagination, spellings,
use of Special terminology, and other items-to ensure that the
final report is a credit not only to the investigator and the institution she or he represents, but also to the entire profession of music
education .
3 12
Writing a research report can be a very gratifying and stimulating experience. Sharing the results of research is both a privilege
and a responsibility. The initial reaction of researchers to reporting their research findings may be negative. When they reflectively consider the information to be transmitted, however, their
responsibility for disseminating their findings can become impelling .
The subsidization of studies in music and music education is
not as extensive as it was ten or fifteen years ago. Agencies still
supporting research emphasize investigation in the related arts
rather than in specialized areas, such as music. Procedures for
making application to some of the agencies that still Support arts
research are discussed in the next chapter.
6. What stylistic considerations are important in the proper preparation of a research report?
313
Supplementary Readings
+.
:f
i
314
i :.
ti
When the first edition of this book appeared in 1969 there was
considerable money available from foundations and govemment
agencies during the era of "The Great Society" for the Support of
individual and group research projects in music and music education.' The research subsidization picture in 1979, although not
entirely bleak, is not as encouraging for musicians as it is for
practitioners in the genre of "arts." Although music is included,
the emphasis is on a broader approach to problems under the
rubric of the "arts. "
A review of federal announcements for research grants available for 1979-80 will reveal an emphasis on bilingual teaching
316
317
3 18
3 19
320
321
a limited number of visiting research appointments. The researcher interested in any of these possibilities should get in touch
with the appropriate agency.
One of the most important sources for information on funding
is the Washington International Arts Letter (WIAL), Box 9005,
Washington, DC 20003. Founded in 1962, this newsletter focuses
on grants and other forms of assistance in the arts and humanities.
Available from WIAL at the time of this writing were: Millions
for the Arts: Federal und Stute Cultural Programs (1972); National Directory of Grants und Aid to Individuals in the Arts,
International, Danie1 Millsaps, ed. (1976); The National Directory of Arts Support by Private Foundations, Daniel Millsaps, ed.
(Vol. 3, 1977); and National Directory of Arts Support by Business Corporations, 1st ed. (1977).
322
323
receives no more than a subsidy for expenses incurred in conducting the study. Projects of this type are usually undertaken at the
request of the association rather than upon the researcher's initiative.
The third chapter of this book laid great stress on the importance of a carefully designed research proposal to the ultimate
success of a project. With subsidized research this skill becomes
even more significant. Presumably, by the time an individual
prepares a proposal for research support he or she will at least
have had the experience of organizing and implementing a
graduate research study. Lack of such firsthand knowledge, however, should not be a deterrent to the formulation of an acceptable
proposal. On the other hand, as already obsewed, the organization of a proposal that is justifiable and excellent in all respects is
no guarantee that even the most experienced researcher will be
successful in o b t a i ~ n gsupport. Research funds are not as plentiful as one would like them to be. The ratio of proposals rejected
to those accepted appears to be a deterrent to some researchers;
but this fact does not seem to prevent others from making application for funding.
324
325
concisely. This includes educational background, research experience, and other information to indicate that the investigator
and his or her associates are qualified to undertake the research.
If the proposal is to be submitted to other agencies, this needs
to be spelled out along with the name and addresses of these
groups. A proposal will not be rejected necessarily because an
investigator is involved with an ongoing project. However, if a
project in Progress appears to be overly time consuming this may
suggest to the reviewers that the proposed research should be
deferred until the investigator has completed the study already
under way.
If any of the personnel are involved with other research activities, this needs to be indicated because, as just noted, an overcommitment on the part of anyone involved could jeopardize the
success of the proposed study. The degree of involvement of all
personnel who have agreed to assist with the research must be
indicated. Also to be mentioned are potential consultants who
could contribute to the study, even though they may not have
been formally invited.
The budget section of a proposal should be prepared preferably
with the advice and assistance of some person responsible for
administering research projects at the institution or agency that
transmits the proposal. The delineation of costs should be reasonable and yet evidence an understanding of fiscal responsibility.
The researcher lists, in tabular form, requested federal and local
contributions, where applicable, for each item in the budget.
Local contributions relate to office space, utilities, etc. The
budget includes four categories of costs: direct, indirect, total
costs, and cost sharing, if applicable.
Direct costs include projected expenditures for personnel, employee benefits, travel equipment, and other direct costs. Personnel expenditure estimates include those for the project director,
research assistants, secretarial help, consultants, and others. To be
recorded here for each person involved in the project are percent-
326
B
?
327
mits the proposal should assist with this portion of budget preparation.
Direct and indirect costs are then totaled in the third part of the
budget. The fourth item, cost sharing, indicates the percentage
distribution of proposed federal and local contributions. This section is not applicable in most instances, but when it does apply the
amount and kind of contributions by the sponsoring agency
should be specified.
The manner of disseminating research findings, which has been
stressed throughout this book, is an important Part of a research
proposal submitted for federal funding. Proposers should indicate
what they believe the educational contributions of their research
will be and how the results will be disseminated. Researchers
should ask themselves whether they will use some professional
Organ or other media to disseminate the results. One logical
source would be Resources in Education; others would be over
and above RIE.
The final section of a research proposal, entitled "Appended
Items," includes statements required by u s o ~or NIE and any
other statements or items necessary for the completion of the
project .
After a research proposal has been approved, the contractual
arrangements between the sponsoring agency and u s o ~
or NIE are
completed. During the Course of the investigation the researcher
may be required to make interim Progress reports. Instructions for
preparing them will be included with materials forwarded to the
investigator after the proposal has been approved for funding.
Accompanying the final report (at the completion of the research)
should be a specified number of copies of the ERIC abstract to
contain no more than three hundred words. These abstracts facilitate the dissemination of the research through M E and other
sources.
A formal research proposal for federal funding, therefore,
should make provision for the three significant aspects of suc-
328
NIE?
Supplementary Readings
ASHER,J. WILLIAM.
Educational Research und Evaluation Methods.
Boston: Little, Brown, 1976, Chapter 12.
BEST,JOHNW. Research in Education, 3rd ed. Englewood Cliffs, N. J .:
Prentice-Hall, 1977, Appendix H.
BORG,WALTER
R., and MEREDITH
D. GALL. Educational Research:
An Introduction, 3rd ed. New York: Longman, 1979, Chapter 21.
CULBERTSON,
JACKA., and STEPHEN
P. HENCLEY,
eds. Educational
Research: New Perspectives, Danville, 111.: Interstate Printers and
Publishers, 1963, Chapters 17 and 18.
HOWARD,
and KATHRYN
NATALE.The Art of Winnitzg GovHILLMAN,
ernment Grants. New York: Vanguard, 1977.
329
LAUFFERARMAND.
Grantsmanship. Beverly Hills, Calif.: Sage, 1977.
MARGOLIN,
JUDITHB. About Foundations: How to Find the Facts You
Need to Ger a Grant, rev. ed. New York: Foundation Center, 1977.
MCASHAN,HILDRETHH. Elements of Educational Research. New
York: McGraw-Hill, 1963, Chapter 9.
MOULY,GEORGE
J. The Science of Educational Research, 2nd ed. New
York: Van Nostrand, 1970, Chapter 13.
ORLICH,DONALD
C. The Art of Writing Successful R & D Proposals.
Pleasantville, N.Y. : Redgrave, 1977.
TRAVERS,
ROBERT
M. W. An Itztroduction to Educational Research, 4th
ed. New York: McGraw-Hill, 1978, Chapter 1.
WHITE,VIRGINIA
P. Grants: How to Find Out About Them and What to
Do Next. New York: Plenum 1976.
33 1
Postdoctoral Research
332
Campbell and Heller state that in most of the studies the listener is
asked to discern whether successive iterations of a phrase are
similar or different when a phrase has been repeated in the context of a performance. Research on the convergence procedure is
still largely unknown to many musicians, although the concept is
not new. The development of models for listening strategies,
according to Campbell and Heller, could lead to diagnostic and
corrective pedagogical techniques for individuals who are unable
to perform these tasks satisfactorily.
In the study on judgment of interpretation in string performance, the focus was on a musician's interpretation while listening to music. A laboratory analog was designed to determine
indirectly the correct task by assessing a listener's ability to perform a related overt task: the identification of similar interpretations of musical phrases. Two graduate music students, a violist
and a cellist, recorded short musical phrases on tape using different bowings, dynamics, articulation, and finierings. Thirteen
college music majors, listening to the tapes, were able to discriminate accurately among the interpretations of the violist and
violoncellist.
Edwin Gordon, of the State University of New York at Buffalo,
has been in the forefront of music testing for many years. His
Music Aptitude Profile was published in 1965: and the Iowa
Tests of Music Literacy appeared in 1970.5His most recent test is
Primary Measures of Music A ~ d i a t i o n .The
~ Musical Aptitude
Profile (MAP) is a group test for Grades 4 through 12 that may be
used to determine students' musical aptitude. It consists of tests
in three areas, with subtests as follows: Tonal Imagery-Melody
and Harmony; Rhythrn Imagery-Tempo and Meter; and Musical
Sensitivity-Phrasing, Balance, and Style.'
The Iowa Tests of Music Literacy (ITML) is a six-level battery
of tests to measure musical achievement. The battery is designed
for Grades 4 through 12, but not every level is appropriate for all
grades. Each of the six levels increases in complexity and is
333
334
335
new ideas for teachers. Results obtained on the ARK showed that
the "typical" music educator has little knowledge of research.
On the other hand, replies on the ATMER indicated the attitude of
music educators toward the research process was inclined to be
more positive than negative.
In another study, "Listening Skills in Secondary Students, "
Hedden Set out to determine the extent to which students are
acquiring listening skills.I3 Research Ss were 262 secondaryschool students attending a summer music camp at the University
of Iowa. Using listening tests developed by Woodford Zimmerman at Ohio State University and by Hedden and Marvin Thostenson of the University of Iowa, Hedden found that Ss scored
well. The relationship between listening skill and background
music was less positive. There was, however, some relationship
between listening skill and the ability to identify intervals and
knowledge of music fundarnentals.
Mary L. Serafine, of the University of Texas at Austin, in "A
Measure of Meter Conservation in Music, Based on Piaget's
Theory," had two purposes: (1) to develop a task to measure
conservation of meter in children ages four to nine, and (2) to test
the validity of the measure in terms of Piaget's concept of conservation.14 A pretest on the conservation-of-meter task and on
Piagetian tasks of conservation of space, number, substance, continuous quantity, weight, and discontinuous quantity was administered to 103 children from four to nine years of age. Following
the pretest nonconservers of meter were divided into two groups:
an experimental group who received training in conservation of
meter, and a control group who received no training. At the end
of training the Same measures were used as a posttest. From the
results obtained Serafine concluded that Piaget's principle of conservation may be applied to the development of the concept of
meter in music. "Piagetian Research in Music" and "Musical
Timbre Imagery in Young Children" had just been completed by
Serafine at the time of this writing, but no data were available for
336
337
338
339
340
341
2. What are the signs on the horizon that could influence musiceducation research?
Supplementary Readings
BORG,WALTER
R., and MEREDITH
D. GALL.Educational Research:
An Introduction. 3rd ed. New York: Longman 1979, Chapter 19.
342
BOWLES,EDMUNDA., ed. Computers in Humanistic Research. Englewood Cliffs, N. J .: Prentice-Hall, 1967, Section 5.
ENGELHART,
MAX D. Methods of Educational Research. Chicago:
Rand McNally, 1972, Chapter 17.
Fox, DAVIDJ. The Research Process in Education. New York: Holf
Rinehart and Winston, 1969, Chapter 23.
GAY,L. R. Educational Research: Competencies for Analysis und Application. Colurnbus, Ohio: Charles E. Merrill, 1976, Chapter 7.
HOWE, HUBERT S., JR. Electronic Music Synthesis, Concepts,
Facilities, Techniques. New York: W. W. Norton, 1975.
KERLINGER
FREDN. Behavioral Research: A Conceptual Approach.
New York: Holf Rinehart and Winston, 1979, Chapter 14.
.
Foundations of Behavioral Research, 2nd ed. New York: Holf
Rinehart and Winston, 1973, Appendix C.
KOSTKA,STEFANM. A Bibliography of Computer Applications in
Music. Hackensack, N. J .: Joseph Boonin, 1974.
LEFKOFF,
GERALD,ed. West Virginia Universiiy Conference on Computer Applications in Music. Morgantown: West Virginia University
Library, 1967.
LINCOLN,HARRYB., ed. The Computer und Music. Ithaca, N.Y.:
Comell University Press, 1970.
MASON,EMANUEL
J.. and WILLIAM
J. BRAMBLE.
Understanding und
Conducting Research: Applications in Education und the Behavioral
Sciences. New York: McGraw-Hill, 1978, Chapter 13.
MATHEWS.
MAXV., with the collaboration of JOANE. MILLER,F. R.
MOORE,J. R. PIERCE,A N D J. C. RISSER.The Technology of Computer Music. Carnbridge: M.I.T. Press, 1969.
RUMMEL,
J. FRANCIS.
An Introduction to Research Procedures in Education, 2nd ed. New York: Harper and Row, 1964, Chapter 10.
Scientific American, Vol. 21 5, September 1966.
TRAVERS,
ROBERT
M. W. An Introduction to Educational Research, 4th
ed. New York: Macrnillan 1978, Chapter 15.
TUCKMAN,
BRUCEW. Conducting Educational Research, 2nd ed. New
York: Harcourt Brace Jovanovich, 1978, Chapter 11.
VAN DALEN,DEOBOLD
B. Understanding Educational Research: An
Introduction, 4th ed. New York: McGraw-Hill, 1979, Chapter 12.
Chapter 1
1 Trurnan Lee Kelley , Scientific Method. New York: Macmillan, 1932,
P. 1.
2 Charles D. Hopkins, Educational Research: A Structure for Inquiry.
Columbus, Ohio: Charles E. Merrill, 1976, p. 14.
3 Clifford J . Drew, Introduction to Designing Research und Evaluation.
St. Louis: C. V. Mosby, 1976, p. 6.
4 Max D. Engelhart, Methods of Educational Research. Chicago: Rand
McNally, 1972, p. 1.
5 Clifford K. Madsen and Charles H. Madsen, Jr., Experimental Research in Music. Raleigh, N.C.: Conternporary, 1977, P. 4.
6 Jacques Barzun and Henry Graff, The Modern Researcher, 3rd ed.
New York: Harcourt Brace Jovanovich, 1977, p. 83.
7 For an informative account of the nontraditional doctorate, See Kenneth H. Ashwortk "The Non-Traditional Doctorate: Time for Sine
Cera? " Phi Delta Kappan, November 1978, 60,l: 173- 175.
8 Paul E. Koefod The Writing Requirements for Graduate Degrees.
Englewood Cliffs, N.J.: Prentice-Hall, 1964, p. 1I .
9 Kelley, p. 3.
10 Walter R. Borg and Meredith D. Gall, Educational Research: An
Introduction, 3rd ed. New York: Longman, 1979, p. 3.
11 Roger P. Phelps, "Research in Music and Music Education," Music
Educatars Journal, June-July 1960, 45, 6:5 1-53.
12 Judith Murphy and Lonna Jones, Research in Arts Education.
Washington, D .C. : U. S. Department of Healtk Education, and Welfare,
1978.
13 Roger P. Phelps, "Critical Thinking: A Prerequisite for All Sound
Research," The New York Stute School Music News. March 1978,
41,7:3 1-32.
14 Hopkins, p. 4.
15 Robert M. W. Travers. An lntroduction to Educational Research,
4th ed. New York: Macmillan, 1978, pp. 256-257.
16 John C. Almack, Research und Thesis Writing. Boston: Houghton
Mifflin, 1930, p. 57.
17 Joseph G. Brennan, The Meaning of Philosophy, 2nd ed. New York:
Harper and Row, 1967.
18 Fred N. Kerlinger, Foundations of Behavioral Research, 2nd ed.
New York: Holt, Rinehart and Winston, 1973, p. 11.
19 Morris R. Cohen and Ernest Nagel, An fntroduction to Logic und the
Scientific Method, New York: Harcourt Brace Jovanovich, 1934, p.
195.
20 Thomas Munro, Scientific Method in Aesthetics. New York: W. W.
Norton, 1928, p. 23.
21 Deobold B. Van Dalen, Understanding Educational Research: An
Introduction, 4th ed. New York: McGraw-Hill, 1979, p. 18.
22 Carter V. Good, Essentials of Educational Research. New York:
Appleton-Century-Crofts, 1966, p. 19.
23 Phelps, "Critical Thinking, " p. 3 1.
Chapter 2
1 Roger P. Phelps, "The Doctoral Dissertation: Boon or Bane?" College Music Symposium, Fall 1978, 18,2:82-93.
2 Walter R. Borg and Meredith D. Gall, Educational Research: An
lntroduction, 3rd ed. New York: Longman, 1979, p. 46.
3 American Council of Learned Societies, 345 East 46th Street, New
York, NY 10017.
4 "Graduate Study in Music Education, " Journal of Research in Music
Education, Fall 1954, 2,2: 168.
5 Deobold B. Van Dalen, Understanding Educational Research: An
Introduction, 4th ed. New York: McGraw-Hill, 1979, p. 169.
6 Jacques Barzun and Henry F. Graff, The Modern Researcher, 3rd ed.
New York: Harcourt Brace Jovanovich, 1977, p. 18.
7 M. M. Chambers, "Selection, Definition, and Delimitation of a Doctoral Research Problem," Phi Delta Kappan. November 1960, 42,
2:7 1-73.
8 Chambers, p. 73.
9 Paul E. Koefod, The Writing Requirements for Graduate Degrees.
Englewood Cliffs, N.J.: Prentice-Hall, 1964, p. 74.
10 Carter V. Good and Douglas E. Scates, Methods of Research. New
York: Appleton-Century-Crofts, 1954, p. 5 1.
11 J. Francis Rummel, An lntroduction to Research Procedures in
Education, 2nd ed. New York: Harper and Row, 1964, p. 29.
Chapter 3
1 Daniel E. Griffiths, Research in Educational Adtninistration: An Appraisal und a Plan. New York: Bureau of Publications, Teachers College, Columbia University, 1959, p. 2.
2 Roger P . Phelps, "The Doctoral Dissertation: Bo6n or Bane?" College Music Symposium. Fall 1978, 18,2:83.
3 A committee, usually nurnbering three faculty members, selected by
the candidate and approved by the administrator of graduate programs at
a college or university, for the purpose of advising and guiding a student
in the organization and irnplementation of the research plan.
4 John W. Best, Research in Education, 3rd ed. Englewood Cliffs,
N.J.: Prentice-Hall, 1977, p. 25.
5 Donald T . Campbell and Julian C. Stanley, Experimental und
Quasi-Experimental Designs for Research. Chicago: Rand McNally,
1966, PP. 13-24.
6 J. William Asher, Educational Research und Evaluation Methods.
Boston: Little, Brown, 1976, p. 2.
7 The term "research design" will be used in subsequent references to
thesis proposal, thesis outline, research agendum, or dissertation proposal, not only for consistency but also because it distinctly expresses
the nature and functions of the prospectus.
8 Frederick W. Whitney, The Elements of Research, 3rd ed. Englewood
Cliffs, N. J.: Prentice-Hall, 1950, p. 123.
Chapter 4
1 Donna Pucciani, "Olga Samaroff Stokowski: American Musician
and Educator, " dissertation for the Ph.D ., New York University ,
1979.
2 Marguerite V. Quattlebaum, ed., Subject Headings, 7th ed.
Washington, D.C.: Library of Congress, 1966. Music entries, listed
between pages 862 and 869 of this edition, contain topics related to
various phases of music. Additional notations rnay be found under more
specialized topics, such as pianists. pages 982-986.
3 Barbara M. Westby, Sears List of Subject Headings, 10th ed. New
York: H. W . Wilson, 1972.
4 Books in Print: An Author-Title Series Index to the Publisher's Trade
List Annual. New York: R. R. Bowker, 194%.
5 Dewey Decimal Classification und Relative Index, 18th ed. Vol. 2.
Lake Placid, N.Y.: Forest Press, 1971, pp. 1421-1457.
Notes
348
6 For example, the first edition of this book, Roger P. Phelps, A Guide
to Research in Music Education (Dubuque, Iowa: Wm. C. Brown,
1969), was classified as MT1 .P5 in the Library of Congress System.
7 John P. Immroth, A Guide to the Library of Congress Classifcations,
2nd ed. Littleton, Colo.: Libraries Unlimited 1971, p. 179.
8 Mary M. Ausman, "Classification of Music," mimeographed pamphlet, Queens College of the City University of New York, 1967, p. 1.
9 For additional suggestions on record cataloging, see William Shank
and Lloyd C. Engelbrecht, "Records and Tapes," in Manual of Music
Librarianship. Ann Arbor: Music Library Association, 1966, pp. 65-75.
10 Shank and Engelbrecht, p. 71.
11 For ready reference, this writer has made it a practice to carry in his
pocket (or bnef case) a 4" x 6" note pad to which are attached one or
two paper clips. Detached pages are then inserted between the backing
and last page of the pad and clipped to it until they can be filed in a
manila envelope. Sometimes it may be advisable instead to carry several
3" X 5" or 4" X 6" file cards that are held together by a mbber band.
12 Henry L. Smith, Educational Research: Princibles und Practices.
Bloomington: Educational Publications, 1944, p. 74.
13 M. Dale Baughman, "The Research Report: Introduction, " in Ralph
H. Jones, ed., Methodrs und Techniques of Educational Research. Danville, 111.: Interstate Publishers and Printers, 1973, p. 365.
14 George J. Mouly, The Science of Educational Research, 2nd ed.
New York: Van Nostrand Reinhold, 1970, p. 128.
15 Arvid J. Burke and Mary A. Burke, Documentation in Education,
4th ed., rev. New York: Teachers College Press, 1967, p. 60.
16 See Microlist, Rochester, N.Y.: Sibley Music Library Microprint
Service.
17 Vincent Duckles, Music Reference und Research Materials: An Annotated Bibliography, 3rd ed. New York: The Free Press, 1974.
18 Complete bibliographic information on these items is omitted here.
Refer to your library card catalog for complete information.
19 Included no author indexing and no book reviews between 1961 and
1969.
20 Emest Heman, "Dental Considerations in the Playing of Musical
Instmments, " Journal of the American Dental Association, September
1974, 891611-619.
Notes
349
Chapter 5
1 John M. Vincent, Aids to Historical Research. New York:
Appleton-Century-Crofts, 1934, p. 139.
2 Allan Nevins, The Gateway to History, rev. ed. Garden City, N.Y.:
Anchor Books, 1962, p. 14.
3 David H. Fischer, Historian's Fallacies: Toward a Logic of Historical
Thought. New York: Harper and Row, 1970, p. xv.
4 Allen M. Garrett, An Introduction to Research in Music. Washington,
D.C.: The Catholic University of America Press, 1958, pp. 2-3.
5 Homer C. Hockett, The Critical Method in Historical Research und
Writing. New York: Macmillan, 1955, pp. 4-5.
6 Hockett, p. 9.
7 Louis Gottschalk Understanding History, 2nd ed. New York: Alfred
A. Knopf, 1969, p. 207.
8 Jacques Barzun and Henry F. Graff, The Modern Researcher, 3rd ed.
New York: Harcourt Brace Jovanovich, 1977, p. 17.
38 Fischer, p. 40.
39 Shafer, p. 123.
40 Henry W. Lanier, New York, N.Y. Personal letter to researcher,
March 17, 1949.
41 Aubrey H. Starke, Sidney Lanier. Chapel Hill: University of North
Carolina Press, 1933, opposite p. 174.
42 Starke, p. 184.
43 Starke, p. 462.
44 Philip Graham, ed., Centennial Edition of the Works und Letters of
Sidney Lanier, Vol. VI. Baltimore: Johns Hopkins Press, 1945, p. 389.
45 Hocketi, p. 8.
46 New York Herald Tribune, November 10, 1946.
47 E. Lebeau, Paris. Personal letter to researcher, April 7, 1949.
48 Harold C. Schonberg, "Music: American Oddities," New York
Times, September 24, 1968, p. 54.
49 Nevins, p. 159.
50 Gottschalk, p. 138.
51 Brickman, p. 95.
52 Barzun and Graff, p. 95.
53 Gottschalk, pp. 219-220.
54 Nevins, p. 300.
Chapter 6
1 David J. Fox, The Research Process in Education. New York: Holt,
Rinehart and Winston, 1969, p. 454.
2 Roger P. Phelps, "Critical Thinking: A Prerequisite for All Sound
Research," The New York Stute School Music News, March 1978,
41,7:31.
3 W. I. B. Beveridge, The Art of Scientific Investigation, 3rd ed. New
York: Vintage Books, 1957, p. 28.
4 Geoffrey Keppel, Design und Analysis: a Researcher's Handbook.
Englewood Cliffs, N. J .: Prentice-Hall, 1973, p. 4.
5 L. R. Gay, Educational Research: Competencies for Analysis und
Application. Columbus, Ohio: Charles E. Merrill, 1976, p. 161.
Notes
354
19 Madsen and Moore have developed a programmed workbook, Chapter 2 of which is entitled "A Programmed Guide to Mill's Canons. " See
Clifford K. Madsen and Randall S. Moore, eds., Experimental Research in Music: Workbook on Design und Statistical Tests, rev. ed.
Raleigh N.C.: Contemporary Publishing, 1978.
20 Philip J. Runkel and Joseph E. McGrath, Research in Human Behavior. New York: Holt, Rinehart and Winston, 1972, p. 104.
21 Fred N. Kerlinger, Foundations of Behavioral Research, 2nd ed.
New York: Holt, Rinehart and Winston, 1973, p. 399.
22 Kerlinger, pp. 400-40 1.
23 Campbell and Stanley, p. 34.
24 Kerlinger, pp. 404-405.
25 Kerlinger, p. 402.
26 Bmce W. Tuckman, Conducting Educational Research, 2nd ed.
New York: Harcourt Brace Jovanovich, 1978, p. 153.
27 Borg and Gall, p. 163.
28 Marilyn P. Zimmerman and Lee Sechrest, How Children Conceptually Organize Musical Sounds, U. S. Office of Education Cooperative
Research Project 5-0256, 1968, ED 028 200.
29 Jonathan F. Dzik, "An Experiment Comparing Two Methods of
Instruction to Determine Changes in Attitudes of Selected High School
General Music Students Toward Opera," dissertation for the Ed.D.,
New York University, 1976.
30 Robert M. W. Travers, An Introduction to Educational Research,
4th ed. New York: Macmillan, 1978, pp. 76-78.
31 Keppel, pp. 10-12.
32 Borg and Gall, pp. 182-188.
33 Edwin Gordon, Iowa Tests of Music Literacy. Iowa City: University
of Iowa, 1971.
34 Runkel and McGrath, p. 59.
35 Campbell and Stanley, designs used by permission of Rand McNally
and Co.
36 Campbell and Stanley, p. 5.
37 Campbell and Stanley, pp. 5-6.
38 Raleigh M. Drake, Drake Musical Aptitude Test, 2nd ed. Chicago:
Science Research Associates, 1957.
Notes
355
I
1
I
Chapter 7
1 Emanuel J. Mason and William J. Bramble. Understanding und Conducting Research: Applications in Education und the Behavioral Sciences. New York: McGraw-Hill, 1978, p. 3 1.
2 Deobold B. Van Dalen, Understanding Educational Research: An
Introduction, 4th ed. New York: McGraw-Hill, 1979, P. 284.
3 William Wiersma, Research Methods in Education, 2nd ed. Itasca,
111.: F. E. Peacock, 1975, P. 127.
4 Robert G. Petzold, "Directions for Research in Music Education,"
Music Educators Journal, January 1964, 50,5:39.
Notes
356
Notes
357
1L
.d
V
?,
$*
Y
II9
3
5
gi
Notes
360
Chapter 9
1 David W. Ecker, Thomas J. Johnson, and Eugene F. Kaelin, "Aesthetic Inquiry," Review of Educational Research, December 1969,
39,5577.
+a
4
S8
idl
Notes
364
Chapter 10
1 See Demar Irvine, Writing About Music: A Style Book for Reports und
Theses, und Doctoral Dissertations. New York: Simon and Schuster,
Press, 1968, Chapter 1 1 .
2 William G. Campbell and Stephen V. Ballou, Form und Style: Theses, Reports, Term Papers. 5th ed. Boston: Houghton Mifflin, 1978.
3 Janice L. Gorn, Style Guide for Writers of Term Papers, Masters'
Theses, und Doctoral Dissertations. New York: Sirhon and Schuster,
1973.
4 MLA Handbook for Writers of Research Papers, Theses, und Dissert a t i o n ~ ,New York: Modem Language Association, 1977.
5 Kate L. Turabian, A Manual for Writers of Term Papers, Theses, und
Dissertations. 4th ed . Chicago: University of Chicago Press, 1973.
6 Publication Manual of rhe American Psychological Association, 2nd
ed. Washington, D.C. : American Psychological Association, 1974.
Notes
365
4 Robert G . Petzold, "Auditory Perception of Musical Sounds by Children in the First Six Grades," U.S. Office of Education Cooperative
Research Project 1051, 1966, ED 010 297.
5 Thomas C. Collins, "A Survey of Music Education Materials and the
Compilation of an Annotated Bibliography, " U.S. Office of Education
Cooperative Research Project 5-1 3341, 1967, Ed 020 194.
6 Ronald B. Thomas, "A Study of New Concepts, Procedures, and
Achievements in Music Learning as Developed in Selected Music Education Programs, " U. S. Office of Education Cooperative Research
Project 5-0204, 1966, ED 010 300.
7 E m i n H. Schneider and Henry L. Cady, "Evaluation and Synthesis of
Research Studies Relating to Music Education," U.S. Office of Education Cooperative Research Project E-106, 1965, ED 0 10 298.
8 Roger P. Phelps, "Seminar in State Music Supervision, " U.S. Office
of Education Cooperative Research Project 7-8 124, 1967, ED 023 352.
9 Robert M. W. Travers, An Introduction to Educational Research, 4th
ed. New York: Macmillan, 1979, p. 19.
10 For a listing of these laboratones, write to Council for Educational
Development and Research, 15 18 K Street, Washington, DC 20005.
11 Travers, p. 20. See also Catalog of Selected Educational Development und Research Programs, Projects, und Products. Washington,
D .C .: Council for Educational Development and Research, 1974.
12 Walter R. Borg and Meredith D. Gall, Educational Research: An
Introduction, 3rd ed. New York: Longman, 1979, p. 691.
13 Marianna 0. Lewis, ed., The Foundation Directory, 5th ed. New
York: Foundation Center, 1975.
Chapter 11
Chapter 12
1 See Judith Murphy and Lonna Jones, Research in Arts Education,
Washington, D.C.: U.S. Department of Health, Education, and Welfare,
1978.
2 Murphy and Jones, pp. 80-84.
3 Robert G. Petzold, "The Perception of Music Symbols in Music
Reading by Normal Children and Children Gifted Musically," U.S.
Office of Education Cooperative Research Project 554, 1959, ED 002
899.
3 Warren C. Campbell and James J. Heller, "Judgments of Interpretation in String Performance. " Paper Presented at Research Symposium
on the Psychology and Acoustics of Music, Lawrence, Kansas, February
1979.
4 Edwin Gordon, Musical Aptitude Profile. Boston: Houghton Mifflin,
1965.
5 Edwin Gordon, Iowa Tests of Music Literacy. Iowa City: University
of Iowa Bureau of Educational Research and Service, 1970.
6 Edwin Gordon, Prima? Measures of Music Audiation. Chicago:
G.I. A. Publications, 1978.
7 For a more complete analysis of the Musical Aptitude Profile, see
Oscar K. Buros, ed., The Eighth Mental Measurernents Yearbook, Vol.
I. Highland Park, N.J.: Gryphon Press, 1978, P. 184.
8 For a more complete review of the Iowa Tests of Music Literacy, see
Buros, 1978, pp. 182-183.
9 Edwin Gordon, Tonal und Rhythrn Patterns: An Objective Analysis.
Albany: State University of New York Press, 1976.
10 Edwin Gordon, Learning Sequence und Patterns'in Music, rev. ed.
Chicago: G.I.A. Publications, 1978.
11 Edwin Gordon, Pattern Sequence und Learning in Music. Chicago:
G.I.A. Publications, 1979.
12 Steven K. Hedden, "Meaning of the Concept of Music Teacher to
High School Musicians, " Journal of Research in Music Education,
Winter 1973, 21,4:366-371.
13 Steven K. Hedden, "Listening Skills in Secondary School Students," Iowa Journal of Research in Music Education, Summer 1976,
1:lO-17.
14 Mary K. Serafine, "A Measure of Meter Conservation in Music,
Based on Piaget's Theory," Genetic Psychology Monographs, May
1979 (in press).
15 See Alexis Greene, "The Coming Impact of Technology in the
Arts-Computer Violins and the Electronic Palette, " New York Tirnes,
February 26, 1978, D, pp. 1,22.
16 Available from the International RILM Center, City University of
New York, 33 West 42nd Street, New York, NY 10036.
Y
1
2f
Index
>
,I
5
t
'I
5
1
i
Index
Index
368
Baker's Biographical Dictionary
of Musicians, 107
Ballou, Stephen V., 295-304,
307
Baltimore, Md., 91, 139
band, 16, 23, 45, 213, 216. 228,
243
Band Encyclopedia, 108
Barlow, Harold, 108
Baroque. 126, 163, 245
Barzun, Jacques, 5. 43. 51, 124,
131, 145
bassoon, 19, I3 5, 305
Baughman, M. Dale, 102
Baumgarten, Gottlieb, 256
Beardsley. Monroe C., 257, 260,
263
beauty, 10, 255'
Becker, Charles, 133
Beethoven, 132, 143, 144, 172,
260, 264. 265
behavioral, 9, 18, 150, 154, 155,
158, 179, 208, 210, 211, 215.
227, 270
Beittel, Kenneth R., 270, 271
bell-shaped curve, 74, 184
Berger, Kenneth W., 108
Berk, Ellyn, 262
Berlioz, 5 1, 131, 145
Berlyne, D. E., 257
Bethlehem, Pa., 116, 134, 135
Beveridge. W. I. B., 151
bias, Selection, 171
Biber, Heinrich, 142
bibliography, 64, 78, 80-82, 84,
86, 87, 90, 95. 110, 117, 220,
282, 285, 286. 337, 339
369
Index
370
Index
concerto, 126, 132, 135
Concerto Grosso in G Minor, 306
conclusions, 21, 22, 74, 282-284
confounding , 161, 173
Conn Corporation, 159
Connchord, 109
content analysis, 206-208
Contributions to Music Education, 109
control group, 152, 153, 160,
161, 165, 166, 335
Cook, David R., 79, 202
Cooper, Lee B., 130
Cooperative Research Act of
1954, 317
comet, 145
Coron, Ruth, 82
correlation, 201 :203, 209
counterbalanced design, 177
creative, 6, 12, 18, 39, 69, 255
Creative Process, 259
credibility, 79, 143- 149
criticism, 269, 270
criticism, extemal, 124, 136, 138,
139
criticism, internal, 124, 138. 143,
144
Crocker, Richard L., 131
cross-sectional, 213
Crozier, J. B . , 256
Current Index to Journals in Education (CIJE), 1 15
Current Musicology, 109
Cutler, William W. 111, 128
Cyclopedic Survey of Chamber
Music, 108
-s,
?o
371
Index
Engelhart, Max, 4. 106
England, 15, 113, 133. 136. 137.
24 1
Englebrecht, Lloyd C . , 100
English hom, 265
epilogue, research. 280. 284. 285
epistemology 244-247
equivalent forms, 166. 172, 229
equivalent materials, 176
Early Music Book Series, 106
equivalent time-samples, 176
Eastman School of Music, I 15,
Eroica Syrnphony, 265
133, 213. 336
errors, group, 154
Ecker, David, 255, 269
errors, replication. 154
Ed. D., 6, 14, 80-82, 84, 85
errors, sampling, 154
Ed. D. Alternative, 80-82, 287, ethnography. 214. 21 5
300, 301
Ethnornusicology, 109
EDP, 112
Evanston, Ill., 337
Education Index, 108
existentialism, '243. 247, 248
Educational Music Magazine, 1 10 experimental. 2, 9, 1 1, 15, 47,
Educational Resources Informa54, 73, 76, 79. 90, 147. 150tion Center (ERIC), 106. 327.
197, 201, 234,235, 239,240.
240
252, 256, 283, 335
experimental aesthetics, 256. 257
Educational Technology, 1 10
experimental group, 152, 153,
Eells, Walter, 137
Eighth Mental Merisuretnents
160, 165, 166
Yecirbook, 228
Electronic Music Review, 110
F Ratio, 192
Elementary and Secondary Educa- F Scale, 21 2
tion Act of 1965 (ESEA), 3 17 facsimile, 49
Elmer, Minnie. 112
factorial design, 178, 179
Famsworth, Charles H., 122
embouchure, 20
empirical, 20, 150, 151, 235, 257 Fechner, Gustav, 256
Ferrara, Lawrence, 247
encyclopedia, 9 1 , 136
Encyclopaedia Britannica, 108
Fktis, Francois, 107
Encyclopedia of Educational Re- Field, John, 65-68, 71-73, 75
field study, 154, 158-160
search, 108
Encyclopedia of the Violin, 108
Fischer, Carl, 190
double bass, 205
Downes, Olin, 262
Drake Musical Aptitude Test. 172
Dreher, Robert E., 156
Drew, Clifford J., 4
Duckles, Vincent , 107, 1 12
Dudd, John E . , 214
Dzik, Jonathan, 161
1"i
373
Galileo. 22
Gall, Meredith D., 8. 31, 153,
160. 185, 207, 215, 318
Garrett, Allen M.. 123
Gaussian curve, 74, 184
Gay, L. R . , 151, 178
gebrauchsrnusik, 68
Georgetown University , 137
Georgia, 130. 139, 140
German, 113, 128, 146, 258
Germany. 127, 132, 133
gestalt. 23, 66, 67, 283
Ghiselin, Brewster, 259
Good, Carter V., 20, 46, 136,
204. 221
Goodman, Kenneth. 1 15
Index
374
Index
idealism, 243-245
Illinois, 162
lndex to Early Music in Selected
Anthologies, 108
induction. 22, 23
inquiry, 25 1
instrument, research, 78, 83
instrument, string, 23, 47, 162,
249, 331, 332
instrumental, 16, 48, 53, 126,
154, 227, 241
Instrumentalist, 33, 109
instrumentation, 17 1, 172
instmments, brass, 6, 22
interaction analysis, 226
interlibrary loan, 104, 105
International Association of Music
Libraries, 339
Internutionul Cyclopedia of Music
und Musicians, 107
lnternutional Folk Council Yearbook, 111
lnternational lndex of Dissertcrtions und Musical Works in
Progress. 1 13
International Musicological Society. 339
International Repertory of Music
Literature (RILM), 108,
117
International Society for Music
Education, 11 1 . 334, 338
International Standard Book
Number, 95
lnternational Trornbone Association Journul, 109
375
Index 376
Kerlinger, Fred N., 18, 158-1 60,
179, 180
key punching, 79
Kierkegaard, Sren, 247
King Lear Overture, 5 1
Kinkle, Roger D., 108
Kneller, George F., 244,247, 248
knowledge, 18, 19, 54
Kodaly , Zoltan, 24 1
Koefod, Paul E., 45, 57
Kovach. Francis J., 267. 268
Kwalwasser, Jacob, 156. 212
laboratory. 150, 151, 154. 156,
158- 160
laboratory , regional, 3 18
LaFleur, N. Kenneth, 79, 202
La Mer, 263
Lang, Paul H., 262
Langer, Susanne. 23 5, 261
Lanier, Henry, 139
Lanier, Sidney, 91, 136, 139141. 143
Larson, Williarn S., 1 13
LaRue, Jan, 112, 273
Latin Square, 177
Leurning Sequetice and Patterns
in Music, 333
Lebeau, E., 141
Lehman, Paul, 228
Lehmann, Irvin J., 229
Lenz, Sharon M., 211
Leonhard, Charles, 23 5
Lesure, Francois, 132
letter, personal, 91, 287, 302, 303
library. 32. 35, 44, 47, 90, 91.
96, 100, 106
Index
Library of Congress, 92, 95, 96,
98-100, 112, 338
Likert Scale, 224, 225
limitations, 70
Lincoln, Abraham. 137
Lincoln, Harry, 274
Lincoln Center for the Performing
Arts, 91
Lindquist Everet, 154
list of figures, 280, 282
list of tables, 280, 282
Liston, Frank, 206
Liszt, Franz, 146
literature. 46, 64, 76-78, 82,
84-87, 282, 283
Lititz, Pa., 134
Logernarm, George, 1 12
London, 133
longitudinal, 159, 213, 336
Lowrie, Mattie, 137
Lukas and Ludwith Mood Scale,
155
Lynchburg, Va., 141
Lyric Music Series, 207
377
Microfilm Abstracts, 1 14
microforms, 105
Midwest Library Center. 117
Mill, J . S.. 157
Milliorzs for the Arts, 32 1
Millsaps, Daniel, 32 1
Minnesota National Luboratory
N e ~ !Bulletin,
s
110
Mitinesota Teacher Attitude Invetirory, 212
Missouri Jourtial of Research iri
Music Education, 109
Mitchell, Albert G.. 241
rnode, 182, 185
Modern Lnrlguage Association
Hutidbook (MLA), 295-299.
301 -304
Monticello, Va.. 36
Moravian, 116, 123. 133, 134
Morgenstern, Samuel, 108
mortality , experimental, 17 1, 172
Mouly , George J., 103, 203.
206
Mozart. W. A.. 143, 146. 259
multiple time-series, 177
multiple-treatment interference ,
174
Munro, Thomas. 18. 262
Murphy. Judith, 1 11
Mus. D., 6, 14. 82
museum, 32. 35. 44- 47
Music Ariulysis, 1 15
Music Article Guide, 108
Music Education Source Book,
111
Music Educators Journal, 33,
109, 116
Index 379
Music Educators National Conference, 35. 37. 111, 130. 170,
287. 301, 302, 305
Mirsic Index, 108
Music Journal, 109
Music Library Association, 100
Music Psychology Index, 108
Music Reference und Research
Materials, 107
Music Researchers Exchange
Newsletter, 109
Music Teachers National Association, 35, 11 1
Music. the Arts und Ideas, 262
Music Therapy Index, 108
Musical Analysis, 109
Musical Aptitude Profile, 332
Musical Quarterly, 109, 132
Musik in Geschichte und Gegenwart (MGG), 107
tiachstuck, 69
NAC WPI Bulletin, 109
Nagel, Ernest, 18
Narmour, Eugene, 273
NASM. 205
Nassau County, N.Y., 206
Natiotial Directory of Grants und
Awards. 321
National Education Association
(NEA), 204
National Endowment for Arts and
Humanities, 320
National Institute of Education
(NIE), 317-320,323-327.339
National Leaders Speak for
Music, 242
Index
380
plan, formalized, 1. 4
Plato, 237, 238, 244, 245, 269
PMEA Bulletin of Research in
Music Education. 109
Popular Music Periodical Index,
108
population, 164-169, 171, 181,
189
postdoctoral, 8. 34
posttest, 63. 154, 166, 172, 173
Practical Applications of Music,
110
pragmatism, 243, 246, 247
Pratt, Waldo S., 107
preface, 280-282
premise. major, 21, 22
premise, minor, 21. 22
pretest, 63, 154, 166, 172-174,
335
pretest-posttest control group,
175, 176
Primury Measures of Music Audiafion. 333
probability, 125
problem, 20, 21, 24, 25, 30-32,
65-67, 79, 81, 84, 86, 129,
282
Proceedings of National Association cf Music Therapists, 11 1
project. 12, 32-34, 37
proposal, 21. 57, 61, 62. 80. 81
propotition, 21, 248
prospectus, research. 61
Psychological Review, 1 10
psychology, 77, 156, 338
psychology of music, 96, 285,
295, 296
Index
psychotherapy, 155
publishers, music, 49
Pucciani, Donna. 9, 262. 263
Puerto Rico. 287, 299
punctuation. 304-306
Putnam, Herbert, 98, 99
qualifications, personal, 64, 70,
81, 82
qualitative, 15-1 7, 200
quantitative, 15- 17, 199. 252
quartet, 141- 143, 264
quartile deviation, 183
quasi-experimental, 159. 176,
180, 201
questionnaire, 16, 17>47, 54, 79,
81, 208, 211,.215-219, 221223, 288
quotations, 12, 90, 102, 291
random numbers table, 168, 1 69
random selection, 63, 179
randomization, 152, 158. 159,
164. 174, 175
range, 183
ranking, 166
rating scale. 152, 215, 224, 226
rationale, theoretical, 16, 3 1
rationalism. 53, 234, 252
Rau, Albert G., 134
Razavieh Asghar, 23
reactive effects, 174
Real Lexikon. 108
realism, 243, 245, 246
reasoning, 17. 20
recital, 5
recommendations, 282-284
381
Index
382
Index
383
Subjecr Headings, 92
subjects, research, 158, 164-167,
171-173
subproblem, 21. 64, 65, 67, 68,
78, 79, 8 1, 83-85. 282
subsidy, research, 8, 32, 33, 330
Sue, Eugene, 132
Sullivan, Sir Arthur, 2
Swner is icumen, 137
Summary, 282-284
superscripts, 290, 293, 294
survey, 83, 157, 199. 203-205,
207, 208
Sussmayer, Franz X., 146
Suzuki, Shinichi, 241
syllogism, 21, 22
symphony, 48, 336
synthesis, 234, 242
synthetic proposition, 248, 249
Szeryng, Hemyk, 135
textbooks, 32
texture, 87
Themaric Caralog of Man~rscript
Collections, 112
theoretical, 20
theory, 14, 269. 270
theory, music, 2, 41, 45
thermofax, 105
Thesaurus of ERIC Descriptors,
115
thesis, 5, 32, 33, 41, 56
thinking, critical, 20. 25, 30, 31,
77, 80, 234, 258, 260
thinking, reflective. 7 , 2 0 , 2 1 , 2 4 ,
25, 30, 31, 34, 45, 46, 121,
151, 234, 236, 258-262, 269,
283
Thomas, Ronald, 3 1 8
Thompson, Oscar, 107
Thomson, Virgil, 262
Thostenson, Marvin, 335
Three Trios. 133, 134
Thucydides, 123
timbre. 19, 155
Time, 116
time series , 1 76
title, 62-67
title page, 280, 281
Tonal und Rhyrhm Patterns, 333
tone, musical, 11, 20
topic, 7, 46
Torrance, E. Paul, 69
Torrance Test of Crearive Thinking, 69
Trammell, Peggy T., 213, 214
Travers, Robert M . W.. 15, 162,
163
Index
Index 384
validity, 78, 228
validity, extemal. 17 1, 174-176
validity internal, 171 - 175
Vallis, Richard, 126
Van Dalen, Deobold B., 19, 40,
199
van Gogh. Vincent. 248
variability , 181, 182
variable, dependent, 151 - 153,
158, 164, 170, 178, 192
variable, independent, 15 1 - 154,
158, 159, 161, 164. 170, 173,
174, 176, 178, 181
Ugarit, 131
variable, single, 47, 153
ultramicrofiche, 105, 106
variante, 18 1, 182, 189
UNESCO, 11 1
Venable, T . C . , 208
Union Catalog, 95
veridical. 264
United States, 53, 123, 202, 204, verifax, 105
205, 213,241
Verklrte Nacht, 145
University Microfilms, 114, 289, videotape, 82
339
Vienna, 133
University of California (Berke- Villarini, Awilda, 287, 299, 300
ley), 112, 131
Villemain, Francis T . , 250, 251
University of Connecticut, 33 1
Vincent. John M., 121
University of Iowa, 133, 334, 335 viola, 139, 332
UniversiQ of lolvo Studies in Psy- violin, 36, 62, 63, 132, 135, 142,
chology of Music, 111
305, 306
University of Maryland, 117, 340 violoncello, 133, 142, 332
University of Michigan, 214, 338 visit, personal, 47
University of North Carolina
voice research. 338
(Greensboro), 337
University of Texas (Austin), 335
Wagner, Richard, 265
Urbana, 111.. 115
U.S. Department of Health, Edu- Walpole, Horace, 1
Washington, George, 136
cation, and Welfare. 9
Washington. D.C., 115. 340
USOE, 11 1, 317-320, 323-327
trend, 214
trombone, 22, 163, 260
trumpet, 38, 45, 180, 181. 21 1,
265, 331
Tschaikowsky, Peter, 215
tuba, 205
T. U.B.A . Newsletter, 109
Tuckman, Bruce W., 160, 189,
224
Turabian, Kate. 295-297
Tyler, Tyrone W., 205
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