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Effect of Choral Conductor Intensity on the Perception of Teacher Effectiveness
Title
The Effect of Choral Conductor Intensity on the Perception of Teacher Effectiveness.
Creator
Redding, Jeffery B., Madsen, Clifford, Jimenez, Alex, Darrow, Alice-Ann, Thomas, André, College of Music, Florida State University
Abstract/Description
This study is a replication and extension of Madsen's (1999) study, The Effect of Accurate/Inaccurate Teacher Instruction, High/Low Teacher Delivery, and On/Off-Task Student Behavior on Musicians' Evaluation of Teacher Effectiveness. The primary focus of this investigation was to determine the effect of accurate/inaccurate teacher instruction, high/low teacher delivery and on/off-task student behavior on perceptions of teaching effectiveness. Participants (N=210) were experienced classroom...
Show moreThis study is a replication and extension of Madsen's (1999) study, The Effect of Accurate/Inaccurate Teacher Instruction, High/Low Teacher Delivery, and On/Off-Task Student Behavior on Musicians' Evaluation of Teacher Effectiveness. The primary focus of this investigation was to determine the effect of accurate/inaccurate teacher instruction, high/low teacher delivery and on/off-task student behavior on perceptions of teaching effectiveness. Participants (N=210) were experienced classroom music teachers (n=30), experienced classroom non-music teachers (n=30), undergraduate music majors (n=30), and students in grades 9-12 currently involved in classroom music instruction (n=120; 30 per grade). The participants observed and rated a stimulus video that included eight teaching segments. The investigator created the video segments with approximately 50 high school choral students to simulate various choral rehearsal settings. Each segment was executed by the teacher and students according to one of eight original scripted music lessons. Every script included a different combination of the three independent variables: either accurate/ inaccurate instruction, high/low teacher delivery, and on/off-task student behavior. The data were collected using the Effective Teaching Response Form, which asked participants to rate each teaching segment for overall teaching effectiveness on a 10-point Likert scale and to provide three comments for each rating as to why the numerical value was assigned for each segment. Results indicated significant differences due to both teaching experience level and teaching segments. There was also a significant interaction among the seven groups across teaching segments. Further examination of the groups' overall mean ratings and evaluative comments indicated that: (1) teacher delivery affected the overall response ratings of the participants more so than the other variables; (2) the response ratings of the experienced music teachers were affected most by the accuracy of instruction; (3) on/off-task student behavior affected the evaluations of the younger high school students more than any other group; (4) the experienced non-music teachers were relatively unaware of the accuracy of instruction; and (5) the negative variables (inaccurate instruction, low delivery, and off-task student behavior) affected the evaluations of the college music majors and experienced music teachers more so than the positive variables (accurate instruction, high delivery, and on-task student behavior).
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Date Issued
2011
Identifier
FSU_migr_etd-1917
Format
Thesis
Sinfonia Sacre
Title
Sinfonia Sacre: An Original Work for High School Wind Ensemble with Instructional Designs for Developing Comprehensive Musicianship.
Creator
Martynuik, David G., Shellahamer, Bentley, Oberlin, Daniel, Madsen, Clifford, Jimenez, Alex, Gaber, Brian, College of Music, Florida State University
Abstract/Description
This dissertation contains an original composition for high school level wind ensemble with instructional designs for teaching comprehensive musicianship within a rehearsal setting. Instructional designs focus on elements of form and post-tonal harmony. A review of literature focusing on education in performance ensemble settings is also included.
Date Issued
2002
Identifier
FSU_migr_etd-2682
Format
Set of related objects
Desist for Orchestra
Title
Desist for Orchestra.
Creator
Barry, James, Kubik, Ladislav, Spencer, Peter, Wingate, Mark, Jimènez, Alex, College of Music, Florida State University
Abstract/Description
Desist is a ten minute work for orchestra. The instrumentation of the work is for a fairly standard orchestra: two flutes, two oboes, two Bb clarinets, two bassoons, contrabassoon, four horns, three C trumpets, two tenor trombones, bass trombone, tuba, timpani, three percussionists, harp, piano, and strings. The title of the work, Desist, means to cease doing something or to stop. This idea of closure is explored at the surface level of the definition and on a personal level. Though, this by...
Show moreDesist is a ten minute work for orchestra. The instrumentation of the work is for a fairly standard orchestra: two flutes, two oboes, two Bb clarinets, two bassoons, contrabassoon, four horns, three C trumpets, two tenor trombones, bass trombone, tuba, timpani, three percussionists, harp, piano, and strings. The title of the work, Desist, means to cease doing something or to stop. This idea of closure is explored at the surface level of the definition and on a personal level. Though, this by no means suggests a programmatic conception. The sound world of Desist consists of two unifying elements; a seven chord progression and the opening sonority of the work. Each of these elements are explored and developed to create new musical textures and melodic materials. The opening sonority (A, B, D#, E) is heard throughout the piece in different musical textures, transpositions, voicings, and scorings until it is finally resolved to its tendency tone at the end of the work. Formally the work is a single, through composed movement which can be broken down into six sections; fast, faster, very slow, slow, fast, fast. This arrangement of fast, slow, fast creates the effect of a three movement form. Related to this structure a dramatic curve can be paralleled. The opening fast sections are dissonant and tense, the slow music plaintive and fragile, the closing fast music uplifting and animated which changes to a solemn, reflective character similar to the opening music, to bookend the composition.
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Date Issued
2003
Identifier
FSU_migr_etd-1116
Format
Thesis