The purpose of this study was to compare the reliability of a common school choral festival adjudication form with that of a second form that is a more descriptive extension of the first. Specific research questions compare the interrater reliabilities of each form, the differences in mean scores of all dimensions between the forms, and the concurrent validity of the forms. Analysis of correlations between all possible pairs of four judges determined that the interrater reliability of the second form was stronger than that of the traditional form. Moderate correlations between the two forms further support the notion that the two forms measured the dimensions in somewhat different ways, suggesting the second form offered more specific direction in the evaluation of the choral performances. The authors suggest continued development of language and descriptors within a rubric that might result in increased levels of interrater reliability and validity in each dimension.

The purpose of this study was to examine sight-singing requirements at junior and senior high school large-group ratings-based choral festivals throughout the United States. Responses to the following questions were sought from each state: (1) Are there ratings-based large-group choral festivals? (2) Is sight-singing a requirement? (3) Are there specific levels or classes of difficulty ? (4) Is musical content specified for each level or class ? (5) Is there an overall rating that includes both the performance and sight-singing ratings? Data revealed that less than half of all states require sight-singing at large-group festivals at both the junior high and high school levels. Fewer states delineate levels of difficulty, outline musical content to be assessed, and use the sight-singing rating in an overall final rating. Frequency of “yes” responses to all questions was consistently lower at the junior high level. The author suggested further analysis of the most evolved state sight-singing assessment systems to develop a more uniform, sequential system of content, materials, and assessment.

This article explores realistic ways with which ensemble conductors can facilitate the conceptual acquisition of their students via creative activities. Creativity, as included in the National Standards, is presented through the “eyes” of comprehensive musicianship.

The purpose of this investigation was to acquire data regarding the validity of reproduction tonal memory tests by examining the relationships between performances on an existing reproduction tonal memory test and performances on several recognition tonal memory tests. Analysis of 210 fifth- through twelfth-grade students' scores on one reproduction test and four recognition tests of tonal memory revealed moderate relationships (r = .47 to .66) between the two types of tests. Stepwise multiple regression revealed a moderately strong predictive relationship between a combination of three recognition measures and the reproduction test (R = .73, R2 = .53). Little change was noted in the relationship between the two types of tests with regard to singing experience. Although the reproduction tonal memory test was tentatively deemed a valid measure, the following additional research and analysis was suggested: (a) continued consideration of gender, ability, and total musical experience as they affect overall validity, and (b) the creation of a more reliable recognition test alternative.

Recent research studies examined musical perception differences between adults and children. Holohan, Saunders, and Goldberg (2000) revealed that collegiate musicians discerned similarities and differences between pairs of tonal patterns significantly more accurately than college nonmusicians. The differences, however, in scores between the same nonmusician group and a group of first graders were found to be statistically insignificant, although the speed with which the nonmusicians responded was significantly faster than that of the first graders.Schellenberg, Purdy, Adachi, and McKinnon (2002) examined and compared melodic expectancy in children and adults in two settings. First, subjects were asked to rate continuations of four tonal melodies on a 7-point scale ranging from "extremely poor" continuation to "extremely good" continuation. The researchers found that accuracy of ratings increased with age and exposure 473612U PDate31210.117 7/8755123312473612UpdateNorris AbstractThis study investigated children's tonal awareness by measuring their abilities to detect dissonance in major tonality using the author-created Tonal Dissonance Detection Test. A two-way analysis of variance of 312 elementary school subjects' Tonal Dissonance Detection Test scores revealed that first-and second-graders' dissonance detection abilities were significantly weaker than those of their third-to sixth-grade counterparts. Subsequent analysis revealed neither a significant gender effect nor interaction between grade level and gender. Findings are consistent with related study of the perception of tonality and tonal expectancies in children and adults. Given the homogeneity of the sample, the longevity of the music instructor, the school's sequential Kodály-based curriculum, and conclusions of prior research, discussion considered the impact of musical instruction and musical development on the ability to perceive tonality. The author suggested the two aforementioned constructs might be studied by comparing the same perceptual skills of children from both Western and non-Western cultures.