With any assessment or test the reliability and validity of it is under scrutiny. Are the musical assessment tests that get used to determine musical talent reliable and valid? Max Schoen did an experiment where he tested the validity of Seashore’s musical assessment tests. In the experiment he asked a music teacher to pick some of his most talented students, least talented and a few in between students (Scheon, 1923). In this experiment, one student E.W (Initials used to protect the identity of the child) scored high on all the tests this indicating that he is something of a musical genius. The tests used were testing Musical sensitivity the parts of it are, Pitch discrimination, duration discrimination, intensity discrimination and consonance …show more content…
Drake (1933) did research on 20 different tests to assess the reliability and validity of musical assessment tests. Drake studied several groups of students from different schools, the groups were between group A and group C. Of the eight tests that were done there were only two of them that showed any significant correlation (7). The findings that Drake found on Validity is that only a few of the tests continually showed highly significant levels, the test that showed the highest was musical memory (Drake, 1933). In testing for reliability Drake used the odd-even or split-half method for all of the tests that were done (9). Drake concluded that the tests that had a highly significant level of reliability were, Musical memory, Pitch, Intensity, and Tonal memory the last three are all from Seashore’s assessment tests (Drake, 1933). Out of all of Drake’s research, he found one test that got a highly significant level on both reliability and validity and that was his test of Musical …show more content…
Fay and Middleton (1941) do an experiment on this question. The experiment is done at DePauw Laboratory. It consisted of questionnaires given to the participants (Fay & Middleton, 1941). In the end the results of Fay’s and Middleton’s experiment was that there is not much correlation between music preference and musical talent (Fay & Middleton, 1941). Kirnarskaya (2010) writes about naturally talented musicians in her book The Natural Musician. In this she has the interest on mind and music (1). “A prodigy is a child who, before the age of 10, performs at the level of a trained adult” (Heller, 2000). Pratt. C reviews an experiment done on Eriwin Nyiregyhazi who is considered a prodigy (1). Nyiregyhazi, and his “musical achievements were very similar in many aspects to those of the child Mozart” (Pratt, 1925). It is thought by many that musical talent stands less in relation to the general level of intellectual development than does creative capacity in other arts (Pratt, 1925). Persson (2000) states “It is too often the case that the traditional conservatory culture does not favor creative performances." (5). Prodigies can both be an example of gene’s causing musical talent but environmental as well. And musical preference affecting a person’s musical talent seems to be a little more farfetched of an
There are six sections in the response/summary forms (Jarosewich, Pfeiffer, & Morris, 2002). Section one is for identifying information of the student; while section two is where the assessor records the student’s raw scores. Section three plots the results of the GATES in a clear illustration to show the student’s performance against other gifted and talented students. Section four, five, and six all further detail the raw score of the student by converting the raw score into percentiles, etc. Once the scores are completed they can be assessed against the individual scales. Based on the student’s scores, a comparison is made against the ranging standard scale to estimate the likelihood of giftedness and talentedness of the student (Jarosewich, Pfeiffer, & Morris, 2002).
Analysis of Accuracy of MidYIS Tests Introduction This essay is an exploration into the relevance of MidYIS tests as a predictor for results at GCSE Music. A comparison will be made between two sets of skills: those assessed by the MidYIS test - taken by most children in England at the beginning of year 9 - and those which, according to exam boards and experienced music educators, are tested at GCSE. Certain fundamental skills required for success at GCSE Music cannot be tested in the MidYIS tests, and I would suggest that a combination of MidYIS-type testing, musical intelligence assessment and some measure of the amount and quality of musical experience gained before embarking on the GCSE course would serve as a much more relevant indicator of likely success, and a more appropriate baseline from which to measure value added. However, the term 'success' needs defining - many pupils who are excellent musicians even before they reach year 9 may not obtain the highest marks at GCSE, and this begs the question, what exactly does GCSE music test, the musicality of a pupil (which will be discussed with reference to Howard Gardner's theories of multiple intelligence) or a pupil's ability to 'jump through the hoops' required to do well in this type of exam? Schools continually have their statistics compared, and the practice of comparing 'value added' through the means of a baseline test, is undoubtedly fairer than simply comparing final results.
Throughout history, child prodigies have been celebrated as objects of envy and adulation. Rarely, however, have they been understood. Often taunted by peers, hounded by the press, prodded by demanding parents and haunted by outsize expectations of greatness, they are treated as wondrous curiosities. But their stories are often a sad and captivating one, marked by early achievement and the promise of something greater. The letters exchanged between Mozart and his family reflect a wider story of how complications arise during a prodigy's transition into adulthood with evidence of immense pressure from his father, immaturity, and the eventual need to lead a normal life.
talents in music and sports; although, we have been taught the impact of individuals like
In his Creating Minds, Howard Gardner states the purpose of his book as an examination of the "...often peculiar intellectual capacities, personality configurations, social arrangements, and creative agendas, struggles, and accomplishments" (6). In this paper I will examine the life and creativity of John Jerome Garcia from the framework and theories provided by Gardner, from the perspective of aptness in the musical intelligence.
..., D. (1993). Music and the Mind. MENC, Retrieved August 25, 2003 from MENC, Academic Achievement and Music database.
“The type of music you prefer relates to your personality.” Professor Adrian North of Heriot-Watt University, Edinburgh, UK, has attempted the biggest study so far of musical tastes and identity sort. He is a specialist on music brain science and has done far reaching research on the social and connected brain science of music, specifically the relationship between popular music society and uncommon conduct in puberty, music and customer conduct, and the part of musical inclination in ordinary life (Collingwood, 2008). He found out that there are different personalities linked with different genres of music, including rock music, on his research.
Students enrolled in music classes and lessons have higher test scores than the students who are not enrolled in these classes. Music education has a strong impact on the success of a student in the classroom. "Music majors have the highest SAT scores in all areas" (Mickela “Music and Student Development”). Th...
The correlation between music and individuals is a very heavily researched topic. This literature review will critically evaluate the claim made by Don Campbell (1997, p.24) that ‘playing Mozart makes babies smarter’. This review will look at the history of the Mozart effect and also look at a range of sources that support and also go against the claim that the Mozart effect makes babies smarter. These claims will be analysed through the three main measurements in relation the Mozart effect these are spatial reasoning, arousal and also mood.
middle of paper ... ... Music was not taught in the high school I was in. To satisfy my interest in learning about music and how to play musical instruments, I had to find a source of education other than school; a great depiction in agreement with Graff’s claim that students are being limited by not considering their interests when creating curricula (Graff 197). In conclusion, education is broader than just falling into what the contemporary school system has to offer. Both Gatto and Graff proved this by explaining how conforming students to certain perspectives of education limits their potential in other educational branches that interest the students.
Chamorro-Premuzic, Tomas, and Adrian Furnham. "Personality And Music: Can Traits Explain How People Use Music In Everyday Life?." British Journal Of Psychology (London,
http://www.musicianbrain.com/papers/Schlaug_Music_Child_Brain_NYAS2005.pdf>. " Scientific American Digital: Digital Archive of All Issues from 1993 to Present." Scientific American Digital: Digital Archive of All Issues from 1993 to the Present. N.p., Nov. 2004.
The position that is being argued is that music should stay in schools. This author is making the claim that music makes children excel in their education. This author uses many different sources. The author relies mainly on studies to back up his argument. The article is recent.
Livosky, Marilyn et al. Psychology Journal. “Personality and Music Preferences in College Students and Young Children.” Mar2012, Vol. 9 Issue 1, p13-25. 13p
ID 135 can also be seen as an outlier as they scored a percentile of 60 whilst listening to non-preferred music while the other 7 participants scored between 20-40. Whilst participants consistently received high percentile scores, participants 496 scored the lowest percentile in each environment (20) which may have skewed the mean. A sample size is a small group that represents the population, twenty four participants took part in this investigation. This is not a large enough sample size to determine conclusive results because it is too small to make inferences about the population. Another factor concerning the sample of this experiment is that the investigation was tested by students aged from 16-18 which is not a large enough variety. To ensure a representative sample the experimenter would need to consider how all of the participants are of the same socioeconomic status and that, the chosen songs representing each music genre may have affected whether or not they liked the