In this study, the authors examined whether a conductor's use of high-expressivity or lowexpressivity techniques affected evaluations of ensemble performances that were identical across conducting conditions. Two conductors each conducted two 1-minute parallel excerpts from Percy Grainger's Walking Tune. Each directed one excerpt using high-and one using low-expressivity techniques. After watching a video of the four conducting segments set to a single audio performance of the selection by a university wind ensemble, participants (N = 118) evaluated ensemble expressivity using a 10-point Likert-type scale. Half of the participants also rated the expressivity of the conductor using a second identical scale. Ensemble expressivity was rated significantly higher for the high-expressivity conductors; effect size was strong (partial η 2 = .57). Among participants evaluating both conductor and ensemble, there was a significant moderate correlation between ratings (r = .56).

THE PURPOSE OF THIS STUDY WAS TO TEST THEcross-cultural musical understanding of trained and untrained listeners from two distinct musical cultures by exploring the influence of enculturation on musical memory performance. Trained and untrained participants (N = 150) from the United States and Turkey listened to a series of novel musical excerpts from both familiar and unfamiliar cultures and then completed a recognition memory task for each set of examples. All participants were significantly better at remembering novel music from their native culture and there were no performance differences based on musical expertise. In addition, Turkish participants were better at remembering Western music, a familiar but nonnative musical culture, than Chinese music. The results suggest that our cognitive schemata for musical information are culturally derived and that enculturation influences musical memory at a structural level.

The popular view of music as a "universal" language ignores the privileged position of the cultural insider in comprehending musical information unique to their own tradition. The purpose of this study was to test the hypothesis that listeners would demonstrate different neural activity in response to culturally familiar and unfamiliar music and that those differences may be affected by the extent of subjects' formal musical training. Just as familiar languages have been shown to use distinct brain processes, we hypothesized that an analogous difference might be found in music and that it may depend in part on subjects' formal musical knowledge. Using fMRI we compared the activation patterns of professional musicians and untrained controls reared in the United States as they listened to music from their culture (Western) and from an unfamiliar culture (Chinese). No overall differences in activation were observed for either subject group in response to the two musical styles, although there were differences in recall performance based on style and there were activation differences based on training. Trained listeners demonstrated additional activation in the right STG for both musics and in the right and left midfrontal regions for Western music and Chinese music, respectively. Our findings indicate that listening to culturally different musics may activate similar neural resources but with dissimilar results in recall performance.

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

In the first of two experiments, subjects ( N = 137) were band students with 1, 2, 3, or 4 years of formal instrumental performance experience. Subjects tuned to a single prerecorded tuning pitch and subsequently played along with a prerecorded four-measure melody. Direction and magnitude of pitch deviation were analyzed for the single tuning pitch and four selected target pitches within the melody. Responses to the tuning pitch were more accurate than for the melodic pitches. There was a high positive correlation among the four melodic pitches, but a low positive correlation between the melodic pitches and tuning pitch. In a second experiment, high school musicians ( N = 167) played along with the same prerecorded melody after either (a) tuning their instrument to a single pitch, (b) receiving verbal instructions to perform “in tune,” or (c) receiving no information. No differences were observed among the three conditions. Students who first tuned to a single pitch were more accurate at this task than at melodic performance. A high correlation was observed among melodic pitches but not between melodic and tuning pitches. Across both experiments, subjects erred most often in the sharp direction; a stronger tendency toward sharp errors was noted among more experienced students. Performance accuracy was observed to improve with experience.