The purpose of this research was to study the effect of knowledge of directional mistunings on the tuning accuracy of beginning and intermediate wind players. Subjects (N = 197) were instrumental wind players who tuned to either an F or a B-flat with both their own instrument-a performance task-and the tuning knob of a variablepitch keyboard-a perception task. The subjects were randomly assigned to one of three treatment groups: Group 1 knew that their instruments and the tuning knob were mistuned in the sharp direction; Group 2 knew that their instruments and the tuning knob were mistuned in the flat direction; and Group 3 had no information regarding direction of mistunings. Data demonstrated that only years of instruction significantly affected subjects' tuning accuracy. There were no significant differences due to treatment, instrument type, or tuning pitch. There were only 6 in-tune performance responses and 12 in-tutne perception responses. Approaching the target pitch from above resulted in more sharp responses; approaching it from below resulted in more flat responses; and having no knowledge of direction of mistuning resulted in an equal number of sharp and flat responses. There were a greater number offlat responses in the first year of instruction and a greater number of sharp responses in thefourth year Finally, there was consistent improvement from the first to the fourth year in both perception and performance tuning tasks. Players Intonation, or ability to perform in tune, is consistently one of the primary considerations in the musical evaluation of both ensemble and solo performances. Consequently, music educators place a high Cornelia Yarbrough is a professor of music education in the School of Music, Louisiana State University, Baton Rouge, LA 70803-2504. Brant Karrick is director of bands at the Unversity of Toledo, Toledo, OH 43606. Steven J. Morrison is a Lecturer

This study is an examination of intonation trends of expeienced wind instrumentalists with regard to harmonic intervals. Factors of interest were tuning system, location, interval type, direction of deviation from equal temperament, and group. Subjects (N =16) were experienced wind instrumentalists (8 professionals, 8 advanced students). Subjects recorded a duet, first playing the melody with a synthesized harmony line, and then vice versa. Target intervals were analyzed, converted to cent distance, and compared. Results indicated that deviation was greatest when compared to just tuning and least when compared to equal tempered tuning. For cent deviation from equal temperament, thirds and sixths were performed slightly less in-tune than fourths, fifths, unisons, and octaves. Location affected direction of deviation as subjects played sharp and less in tune when performing below the stimulus. The student group performed less sharp than the professional group when performing below the stimulus and less in tune when performing above.Intonation, or the ability to perform in tune, is among the primary factors that affect the quality of a musical performance. Intonation is a term that can be used to describe, qualitatively, the result of tuning or the degree to which musicians achieve in-tuneness. Intonation can also be used to describe a system of tuning, that is, the mathematically derived ratios of pitch relationships that produce intervals. When a musician or ensemble consistently performs with accurate tuning, good intonation is the result, although the degree of tuning required to achieve good intonation is subjective. One can follow Western musical Brant Karrick is an assistant professor of music in the

A young student's inability to match a pitch, sing back an interval, or imitate a musical phrase is an area of concern for virtually every music teacher. Numerous methods and techniques have been offered, and research continues into effective strategies to help the inaccurate singer. One such line of research has focused on the musical model the singer is asked to match. The present study is the fifth in a series examining the effects of differing model characteristics, such as timbre, vibrato, gender, and octave, on the pitch-matching accuracy of uncertain singers. The purpose of this study was to replicate and extend previous research by Price, Yarbrough, Jones, and Moore (1993) so as to determine the effect of male falsetto models on the pitch-matching accuracy of boys in grades K-8.

No abstract