The purpose of this experiment was to investigate the effect of magnitude of conductor behavior on performance, attentiveness, and attitude of students in mixed choruses. Four mixed choruses (one university and three high schools) were rehearsed under three conditions: (1) with regular conductor, (2) with high magnitude conductor, and (3) with low magnitude conductor. Magnitude was defined a priori by the experimenter and subsequently observed using the Music Conductor Observation Form developed for this study. In addition the effect of magnitude was measured by (1) judges' ratings of audiotaped musical performances, (2) behavioral observation of student attentiveness, and (3) self-report of student attitude. Although results indicated no significant differences in musical performance, attentiveness, or attitude ratings among baseline and the two experimental conditions, high and low magnitude, three of the groups received their lowest ratings under the low magnitude condition, off-task percentage was lower during the high magnitude condition, and data demonstrated student preference for the high magnitude conductor.

The purpose of this study was to examine extant research in effective teaching and to determine the extent to which results were being applied in music teaching. Rehearsals ( N = 79) were analyzed to determine time spent in and correct sequencing of presentation of task, student responses, and reinforcement. Results demonstrated that (a) time spent in presenting musical information and appropriate reinforcement was about one-fourth of total rehearsal time, (b) an almost equal amount of time was spent giving directions as compared to musical information, (c) almost half the rehearsal time was devoted to performance, and (d) experienced teachers were highly disapproving of student responses, whereas preparatory teachers were highly approving.

209The purpose of this study was to examine videotaped teacher and performer behavior during several high school ensemble rehearsals to determine the predictability of a dependent variable, frequency of off-task behavior, by thefollowing carrier variables: performance time; nonperformance time;frequency of social and academic approvals and disapprovals, stops, complete and incomplete teaching units, errors, and teacher eye contact. Subjects were six high school ensemble teachers and randomly selected studentsfrom two mixed choruses, three bands, and one orchestra. Videotapes, using two cameras and a special effects generatorfor a split-screen effect, were made for ex post facto analysis. The predictability of off-task behavior carrier variables was examined, using a multiple regression analysis. The variability of off-task behavior caused by individual teacher differences was accounted for in a repeated measures design. Results indicated a strong relationship between off-task behavior and individual teachers, nonperformance activity, and teacher eye contact. The carrier variables in this model accounted for 81.38% of the off-task variability.Effective teaching may be defined to the degree that an evaluation of the effect of observed teacher behavior on student behavior is possible. Previous studies have focused on teacher/conductor behavior (Forsythe

The purpose of this study was to determine the effect of vibrato on the pitch-matching accuracy of certain and uncertain singers. Subjects were in kindergarten through Grade 3 ( N = 200). They responded to three different models singing a descending minor third from G to E above middle C: (1) a child model with 100% pitch accuracy; (2) an adult female model singing with vibrato and 79.53% pitch accuracy; and (3) the same adult female model singing nonvibrato and with 100% pitch accuracy. Results demonstrated significant differences between percentages of correct responses by certain (M = 78.48%) and uncertain singers (M = 40.89%) and among correct responses to the three models. There were more correct responses to the nonvibrato model than to either the vibrato or child model Further analyses demonstrated that certain singers seemed to produce a high percentage of correct responses regardless of sex, grade level or model presented. In contrast, uncertain singers responded most correctly to the nonvibrato model and least correctly to the child model. In addition, responses to the child model presented first were less accurate than those to either the second or third presentations. Accurate responses to the vibrato model seemed to be greater in third position than in second and greater in second position than in first. Responses to the nonvibrato model were the most consistent across the three positions as well as more accurate than responses to the other two models.

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