The purpose of the study was to investigate the world of the high school music classroom. Motivation to join music ensembles and to remain, perception of the musical groups by their members and by the school community as a whole, the meaning and value that music ensembles engender for their participants, and the social climate of the music classroom were explored. Structured interviews were conducted with 60 students—20 each from band, choir, and orchestra. Students joined ensembles for musical, social, academic, and family reasons. Insider views highlighted the importance of labels and identifiers and changing perceptions throughout one's school career, whereas outsider views included the opinion that musicians are talented, intelligent, and underappreciated. Ensemble participation yielded musical, academic, psychological, and social benefits. The social climate emerged as a pervasive element in the study as students noted the importance of relationships for their well-being and growth.

JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.. University of California Press is collaborating with JSTOR to digitize, preserve and extend access to Music Perception: An Interdisciplinary Journal.Many psychologists have accepted a dual memory system with separate short-and long-term storage components. More recently, the concept of working memory, where short-term memory is composed of both storage and processing segments, has been considered. Baddeley (1990) proposes a model for working memory that includes a central executive controller along with two slave systems: the phonological loop and the visuospatial sketch pad. The model allows for both storage and manipulation of information. However, this model does not seem to account adequately for musical memory (Clarke, 1993). Through a review of relevant literature, a new model is proposed in which an additional slave system is added to the Baddeley model to account for musical information. Consideration of this kind of cognitive processing is important in understanding the significant demands placed on working memory in such activities as taking music dictation, where there would be a tradeoff between storage and processing functions. music psychologists have accepted a dual memory system similar to the model of Atkinson and Shiffrin (1968), in which there are separate short-and long-term storage components of information. Recently, many psychologists have addressed the concern that shortterm memory (STM) may be in itself made up of more than one element; STM may consist of both storage and processing components -the composite unit labeled working memory.Baddeley (1990) proposed a widely supported and important model for working memory that includes a central executive controller along with two slave systems: the phonological loop and the visuospatial sketch pad. This model allows for both storage and manipulation of information. The phonological loop is made up of two parts: a phonological store and an articulatory control process based on inner speech. This subsystem is responsible for the coding of speech, and presumably other sound information, whereas the visuospatial sketch pad centers around visual information.The primary question to be addressed in formulating this new model, Requests for reprints may be sent to William L.

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This study describes a methodology for documenting listeners' conceptions of musical structure. The method uses digital technologies that allows precise identification of musical structure, together with a word-processing feature that allows the researcher to capture listeners' interpretations of the piece. In the study, inexperienced listeners (N = 19) and experienced listeners (N = 13) were asked to identify structural events when listening to an intact musical example (last movement, Symphony No. 34 in C major, K. 338 by Mozart). The data collected using this method showed that inexperienced listeners were significantly poorer than the experienced listeners at recognising formal structural events. Most experienced listeners used perceptual attributes or musical labels to describe the structural units that they had identified; many of the inexperienced listeners did not. Eight inexperienced listeners reported psychoacoustic labels, two reported affective labels, four reported sporadic imagery and five reported sustained action involving imagined characters. Thus, this method demonstrated its ability to capture data at each of Umemoto's (1990) four dimensions for analysing compositions.

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