Académique Documents
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EVALUATON OF TECHNIQUE
Music
by
January, 1983
The Thesis of Bonnie Jan Schwartzer is approved:
Eric Jones
ii
To My Father, Leon Schwartzer,
no greater teacher,
no greater loss
iii
ACKNOWLEDGEMENTS
Many people graciously gave their time, effort, energy and support in
Dr. Ronald Purcell. He not only planted the seed for my involvement in
this study, but gave me his support, guidance and help throughout the
for me.
for the time and patience she put forth in editing this study.
Robert Mayeur, Eric Jones, Bill Owen and Brad Benefield; to Professors
Scott Zeidel and David Grimes for their help in acquiring the sample
iv
I offer thanks to Julie Stroh who, having been my soundboard, must
v
TABLE OF CONTENTS
Abstract .......................................................... ix
Chapter
I. INTRODUCTION ............................................... . 1
Preliminary Procedures 55
Administration 57
Formal Observaitons 57
Field Constraints ...................................... 67
Recommendations for Applying the Scale 68
vi
VI. CONCLUSIONS AND IMPLICATIONS 153
Summary 153
Implications .................... 156
Table
vii
IV-6 Rates of Agreement Among Observers, by Student
Experience for Position of Left Arm and Hand 65
Figure
V-3 Outline 85
viii
ABSTRACT
EVALUATION OF TECHNIQUE
by
guitar repertoire.
provide the researcher with a valid and reliable measurement tool and
ix
University, Fullerton, during the Spring semester of 1982 provided the
population for the study. Based upon their college standing and length
descriptors set down within the scale. The findings of the test
tives for each musical example has been developed and incorporated.
X
CHAPTER I
INTRODUCTION
ical, cultural and artistic backgrounds for more than 400 years,l it
has only been during the past two decades that the classic guitar has
Dr. Ronald C. Purcell the guitar major was instituted at the Los
through the country. This phenomenon has taken many by surprise, not
risen to the occasion and have sought to upgrade and improve educa-
the last two decades,4 few attempts have been made to incorporate
concepts and principles that have been subjected to serious and orga-
nized testing. Hence, many educational materials for the guitar are
1
2
such as the piano, clarinet and trombone, have benefited from the
Forrest, Jr., 1974; Layne, Richard Dennis, 1974; Kidd, Robert Lee, III,
1975), the guitar, generally speaking, has not.S For example, there is
ential principles of guitar pedagogy are set forth.6 The validity and
however, as one must rely almost exclusively upon the reputed expertise
the guitar.
study to determine if, and in what ways, prior experience with non-
ent that the development and validation of a tool for the description,
During the last 20 years guitar educators have flooded the market
because criteria for judgment are unclear and the validity and relia-
bility of the criteria and their application are most often unknown.
4
Statement of Purpose
research.
After a guitar student has acquired the basic technical skills and
texture. Upon completion of these works, the student will not only be
able to play the guitar with greater proficiency, but should have a
Statement of Procedures
validity.
In the second section of this study, the first procedure used was
the formulation of the method for grading the repertoire. Music was
point), was set down. The objectives for each piece were then outlined.
The two problems under inquiry, as well as the background and pur-
pose of the study have been set forth in this chapter. In Chapter II
including the major assumptions made during its development, and the
procedures by which the scale was developed are described. The obser-
of the field work involved in testing the scale, the findings, the
and an outline of the text for grading repertoire. The final chapter
Footnotes
4During the past two decades methods, books, and articles about
playing the guitar that have been cited in the Music Index, not
including duplications, total 1,448.
6Listings in the Music Index for the last two decades total 414.
CONCEPTUAL FOUNDATIONS
AND DEVELOPMENT OF THE OBSERVATIONAL PROTOCOL
The need for guitar educators to develop insight into how social
and categories.
science methods will solve some of the problems which beset guitar
found from personal experience as a student and a teacher that they are
7
8
performer.
the lack of early emphasis upon technique. The observational scale and
defined, an instructor and/or student using the scale will have a basis
Value to Students
observational scale will be at least equal to and often greater for the
guitar. The researcher does not deny that this method is an invaluable
~ al, "We are all constantly observing and noticing what is going on
around us;" however, "just looking does not always yield true
avoid answering this question; when that was not acceptable, I relied
fic research techniques will provide data that has been obtained thru
Value in Research
a model for developing other such scales, but will save many
student.
11
1. Tuning
2. Sitting position
3. Position of guitar
ability to tune.
student, items for evaluation were developed and defined. Due to the
Item Development
included and the item pool was recast into an order that would facili-
1. First version:
2. Second version:
Footnotes
Content Validity
15
16
Scoring Procedures
follows:
FIGURE III-1
AN OBSERVATIONAL SCALE
FOR EVALUATING GUITAR TECHNIQUE
DIMENSION: TUNING*
INCORRECT CORRECT
4. Tuning the guitar. Cannot tune Can tune Can tune very
at all. moderately. well.
SCORE:
INCORRECT CORRECT
SCORE:
---
INCORRECT CORRECT
SCORE:
18
INCORRECT CORRECT
INCORRECT CORRECT
19. Vertical angle of Must not rest on sur- About 3 1/2 inches
the wrist. face of the guitar, from the surface of
or, protrude out too the guitar.
far.
SCORE:
INCORRECT CORRECT
INCORRECT CORRECT
28. Vertical position Hanging over the top In the middle of the
of the thumb. of the fingerboard. neck.
SCORE:
TOTAL SCORE:
20
DIMENSION: SITTING
POSITION
CORRECT
DIMENSION: SITTING
POSITION
CORRECT
DIMENSION: SITTING
POSITION
CORRECT
DIMENSION: SITTING
POSITION
CORRECT
DIMENSION: SITTING
POSITION
CORRECT
DIMENSION: SITTING
POSITION
CORRECT
DIMENSION: POSITION OF
GUITAR
CORRECT
DIMENSION: POSITION
OF GUITAR
CORRECT
DIMENSION: POSITION OF
GUITAR
CORRECT
~. ," rr , ,_l~
.~-,;f<.;t. ...
' .".
'"- - -~''"''"
DIMENSION: POSITION OF
RIGHT ARM
CORRECT
DIMENSION: POSITION OF
RIGHT HAND
CORRECT
DIMENSION: POSITION OF
RIGHT HAND
CORRECT
DIMENSION: POSITION OF
RIGHT HAND
CORRECT
DIMENSION: POSITION OF
RIGHT HAND
CORRECT
DIMENSION: POSITION OF
RIGHT HAND
CORRECT
DIMENSION: POSITION OF
RIGHT HAND
CORRECT
DIMENSION: POSITION OF
RIGHT HAND
CORRECT
DIMENSION: POSITION OF
LEFT ARM
CORRECT
., ..
~~~i ~
DIMENSION: POSITION OF
LEFT HAND
CORRECT
DIMENSION: POSITION OF
LEFT HAND
CORRECT
DIMENSION: POSITION OF
LEFT HAND
CORRECT
DIMENSION: POSITION OF
LEFT HAND
CORRECT
DIMENSION: POSITION OF
LEFT HAND
CORRECT
not less than 90 percent agreement among observers on both total per-
Prior to the trial run, each observer trainee was given a copy of
4. Before evaluating right arm and right hand skills, the parti-
instructed to stop.
5. Before evaluating left arm and left hand skills, the parti-
ending with the fourth, and to repeat this pattern until asked
to stop.
The first observation was a trial test and involved only administering
that, two observational trials yielded reliability rates of .95 and .96
TABLE III-1
Observer
Observer A B c D E Total
TABLE III-2
Observer
Observer A B c D E Total
TABLE III-3
Trial
Dimesnions I II Average
TABLE III-4
TRIAL I
Observer
Observer A B c D E Total
TRIAL II
Observer
Observer A B c D E Total
TABLE III-5
TRIAL I
Observer
Observer A B c D E Total
TRIAL II
Observer
Observer A B c D E Total
TABLE III-6
TRIAL I
Observer
Observer A B c D E Total
A 1.00 1.00 1.00 1.00 1.00
TRIAL II
Observer
Observer A B c D E Total
TABLE III-7
TRIAL I
Observer
Observer A B c D E Total
TRIAL II
Observer
Observer A B c D E Total
TABLE III-8
TRIAL I
Observer
Observer A B c D E Total
TRIAL II
Observer
Observer A B c D E Total
Footnotes
FIELD EXPERIENCES
order to establish that the scale was both valid and reliable. Vali-
Preliminary Procedures
CSUF.
55
56
potential outcome of the effort were explained. These plans were met
that of the observers, in the final hour they provided both. Professor
Zeidel also secured a classroom on the CSUF campus, where the observa-
Administration
observers arrived twenty minutes late, which set back the schedule for
observation; this score was not included in the final analysis. Each
was spent on the tuning items. Midway through the session the
observers adjourned for a ten ~inute rest period, after which the
Formal Observations
Design
the observers were trained and the scale is valid vis-a-vis expert
taken.
Experience of Observers
upon the length of study of each participant coupled with the instruc-
between the most and least experienced players in what was basically a
Findings: Reliability
Conclusions: Reliability
Findings: Validity
The data set forth in Table IV-7 reflects the participants total
performance scores. The data indicates that all students scored above
22 points, which puts them in the upper third of the scale. Accord-
for the least experienced students is 23, for the moderately experi-
enced students 28 and for the most experienced students 31. Every
observer gave the highest scores to the most experienced students and
Conclusions: Validity
considered the scale valid, a very rigorous test demonstrated that the
60
TABLE IV-1
Experience of Observers
Average .97
Average .98
Average .97
61
TABLE IV-2
Experience of Observers
TABLE IV-3
Experience of Observers
TABLE IV-4
Experience of Observers
TABLE IV-5
Experience of Observers
TABLE IV-6
Experience of Observers
TABLE IV-7
Experience of Observers
Least 1 23 23 23 23 23 23
Least 2 23 23 24 23 23 23
Least 3 23 22 24 24 22 23
Moderate 1 26 25 27 27 27 26
Moderate 2 28 28 29 29 29 29
Moderate 3 28 29 29 29 29 29
Most 1 30 30 31 30 30 30
Most 2 30 31 31 31 31 31
Most 3 32 33 32 32 32 32
scale not only has a sound basis in theory, but, is able to distinguish
the least, the moderate and the most experienced among a group of
students and all very experienced students scored higher than moder-
been demonstrated.
Field Constraints
pate, (in fact, the second inexperienced teacher that did participate
was recruited only two days before the teachers were trained). Initi-
ally the study's design called for six observers; however, five minutes
study's design was altered to include only five observers. The initial
design called for twelve students. The night before the observations
were to take place, I was informed by Professor Zeidel at CSUF that only
many students were unfamiliar with the term "relative tuning". Conse-
many of the recommendations evolved when the scale was applied in 1980.
The recommendations that were formulated from that pilot study, when
whether or not there were any defects in either the scale itself, or
was asked to repeat a particular section. More often than not the
as possible.
69
does not always yield a picture that completely documents the live
observers.
evaluate the same item, unless they observe the student during the same
time span they may each see something different. For example, a parti-
ate the student's right hand technique, whereas observer "B" was
rating the left hand fingerings and observer "C" was listening for
all the pitches correctly and consistently alternated between the index
and middle fingers of the right hand, many left hand fingering errors
were made. In the two minutes that followed, the participant played
everything correctly and the observers, depending upon what they were
minute one was the only observer evaluating the participant's left
70
score is as follows:
A 3
B 2
c 3
Observer
Observer A B c Total
Because the observers were not viewing exactly the same situation at
exactly the same time, the total reliability rates were .88, which are
tion to this problem was to have someone announce the number of each
item and have all the observers rate the same item at the same time.
lated:
learned during the training session, minimize the span of time between
the day the observers are trained and the day of the formal observa-
tions.
71
observation. Without this the observers' memory loss might bias the
final analysis.
cipant does not bring one to the observations,3 and it also can be
available will prove useful if the participant does not bring a suita-
ble foot support. From this study, it was found that if the partici-
pant had no object with which to raise his left leg, he would utilize
his right foot. This, in turn, affected other skills being evaluated
realize that they are to sit in this chair,4 and the observers will
~ al, "a satiated coder may glance at rather than read the item to be
coded," and "a tired observer may not be able to keep recording the
Footnotes
6rbid., p. 232.
CHAPTER V
reading musical notation, a guitar student must put into practice what
repertoire.
dent must also develop skills that will enable him to interpret music
pedagogue Zolt'n Kodaly stated, "Agile fingers do not suffice; the music
73
74
required to interpret music has been left until they are, from a
areas has not had a parallel progression will find himself unprepared
student who has not learned in his early training that within a homo-
phonic texture there are two parts (a melody and accompaniment), and
musical forms (i.e., prelude, fugue and minuet) can be initiated. The
student will begin to acquire and put into practice basic analytical
mance.
mental to both interpretation and musical analysis and that from the
determined (see page 81); and 3) the basic objectives within each area
through 84). Based upon these considerations, music from the various
was reviewed and analyzed. Exemplary pieces for each musical texture
76
were selected and then graded according to the objectives set down
tions of those set forth within the Harvard Dictionary of Music2 and
subject.
third section, Figure V-3: "Outline." Not only are the objectives for
the entire method set forth in this outline, but specific goals are
stated for every graded example. This outline may be used as a pedago-
The graded examples are presented in the fourth and final section.
employed. The right hand employs the thumb with the index and middle
m
fingers (i). Both examples IB-1 and IB-2 are in the key of A minor
a
and as such use many of the same notes with similar fingering patterns.
However, there are vertical thirds in Study #4, and the index and
cal and conceptual elements become more intricate (see pages 92-105).
divided into two parts: the first presents the melody in the soprano
with various accompaniments, and the second presents the melody in the
(IIB-1 and IIB-2) the melody is interpolated with the arpeggio accom-
only utilizes thirds but also vertical fourths, fifths, sixths and
IB-6. Two new elements introduced in this example are the ostinato
bass and the rest stroke with i and m. Example IIB-4--Poco Allegretto
for both right and left hand become more complex. Furthermore, in
notes and fingerings in the second position and the rest stroke is
example IIB-5, with slurs being the added element (see pages 106-123).
tives are grouped left hand fingerings or a half bar, damping of thumb
and contraction and expansion of the space between the thumb or the
/
fingers. Example IIC-2--Etudes Simples #III by Leo Brouwer (b. 1939)--
thumb. New technical objectives are tonal balance between thumb and
12
fingers, dynamic control, and a grouping of three notes in a 8 meter.
notes in the accompaniment are now seen as vertical thirds, fourths and
fifths, and the tonal balance is now between the thumb and the simul-
taneous use of index and middle fingers. The new elements in this
cal objectives are the half bar on the first fret and the left hand
acquired right and left hand skills. The first four examples--Study #5
by Aguado, Etude by Sor, Etude by Aguado and Study No. 4, op. 51 no. 1,
cal standpoint the four are very similar; however, with each successive
stroke and free stroke in i m, half bar and five string bar on the
first fret, left hand finger stretching, and the left hand fingering
shifts between open, second and third positions. The new objective in
the second position, and in example IV-B4 triplets are employed for the
Figure V-1
Classification of Terms
for Musical Texture
FIGURE V-2
Musical Conceptualization
Texture Techni ue of Fin erboard
Musical Conceptualization
Texture Technique of Fingerboard
Musical Conceptualization
Texture Techni ue of Fingerboard
mfl:r mi
I I . J/1. to " I.
1. Maintaining legato
effect (see pages
145-151). p
2. Five string bar on
the first fret (see
page 145).
3. Playing in open,
second, third and
fourth positions
(see pages 145-151).
85
FIGURE V-3
OUTLINE
I. MONO PHONY
A. Objectives:
B. Graded examples:
a. Arpeggio.
b. Free stroke: p i m i.
a. Thirds.
a. Chords.
m
b. Free stroke: i.
p
4. Andantino--Anton Diabelli (1781-1858)
II. HOMOPHONY
A. Objectives:
c. Rest stroke: i m.
c. Right hand: p a p p m p p i p.
b. Arpeggio: p m i m or p a m a and a m i m.
d. Damping of p.
c. Dynamic control.
e. Grouping of 3 notes ( m) in a
12
8
meter.
~ ,
3. Etudes Simples #I--Leo Brouwer
d. Syncopation.
III. POLYPHONY
A. Objectives:
B. Graded examples:
2. Etude--Fernando Sor
d. Damping of P.
3. Etude--Dionysio Aguado
b. Arpeggios: p m a m i m, p m i p i m, p m p a p i.
IV. COUNTERPOINT
A. Objectives:
B. Graded examples:
1. Allegretto--Mauro Giuliani
d. Third position.
/
4. Etudes Simples #VIII--L~o Brouwer
b. Triplets.
92 I '
Example IB-1
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94
Example IB-2
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96
Example IB-3
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J
rr rr r ra
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98
Example IB-4
Andantino--Anton Diabelli
ANDANTINO
\.0
\.0
.,
100
Example IB-5
Walzer--Ferdinand Carulli
WALZER
Ferdinand Carulli
Allegretto (1770-1841)
=I
f I = lJ J 1/ J J 1~. ~ J I ~ ~ J J 1/ J J 14 ~ J I~ ~~I
Jr--"t'-""1.
'h J~.~~ 1/
pp
J J 1J. ~
J I~ ~ J 1/J J I/ J J 1J. ~ J I! ij =I
D. C. al Fine
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102
Example IB-6
c.
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104
Example IB-7
~
4 ~ ~ -~ ~- ~ ~
$e~r' !r\ ~'Jf'!; ftirr' r1!r fJ;rf,y ~rrm
m
a
m m a a
i.i
p .,... 2
. 13
d tm.
1-'
0
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106
Example IIB-1
cu-
I~
II -
~
.
0
z <U
>- IL
0
::J
t--
r.n
I~
IlL
108
Example IIB-2
Example IIB-3
Allegretto
~
v
i Fine
rt
D. C. al Fine
1-'
1-'
1-'
..,
112
Example IIB-4
.,
fP Fine
.,
1-'
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w
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114
Example IIB-5
Espanoleta--Gaspar Sanz
115
N,-..
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116
Example IIB-6
p
mf'P
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m
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1-'
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118
Example liB-7
~ l'
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". m
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m i m .I m 3
1-'
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120
Example IIB-8
-
r -
pr -~~========= mp
tJ Jwf i
v;
1 i m
jj 2
N ~~J
r......... .1 1 1 ~.....-~-w-v-4 1 n ~] ~
Ir !P ~ ~I f ~ f :J~r ;~ ~ I ; I
m
mi l
1 2 4 1 2 1
r r f
r r
f-'
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f-'
122
Example IIB-9
v
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frJ F J r.a t
m . It. I u
tV 1 :~ ! lift;= w a r. ! ~ 1
J: f r r mi ~~========
Fine
2
D.C. a/ Fine
f-'
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w
124
Example IIC-1
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Example IIC-2
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Etudes Simples #III--Leo Brouwer
Used by Permission
127
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Example IIC-3
Used by Permission
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ETUDES SIMPLES
(ESTUDI OS SEN C ILLOS)
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~8 rued~ Rome. Parts (S~) ~.E. 7997 .;:T O'A.RRAM(iEMEJrtTS litESR\IES POUR TOUS PAt::.
130
Example IIC-4
STUDY No. 14
Anton Diabelli
Tempo di minuetto M.M. =108 ~ 11:1--,--.,..., (17811858)
m
m , m~a, m
m~ll
. I !.* ~.
-1-1
0~
,3
<a
,2 p'
p
..-. ItI r
a
m
.
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0;;
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'l!
~
~
,2
3#
2 ...,.
f ffa x
-
1
m
II
-m
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tl
m
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a
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:n
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3~
mfln~-------===================~
3# 0 #
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132
Example IIIB-1
~- ~
..... ~ --9I d
= I;.
2I
uJ 4g r n I;
~
m
P P P
.I
t I~- r.
1
mp
F
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ht '$=f n~ f~ Flq
m i i m
:J=1 -J r. r r.
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m m
al n
. m
11 ?.I
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~r
~
i r vr.
r rr ======~r
t
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w
w
134
Example IIIB-2
Etude--Fernando Sor
ETUDE
Fernando Sor
(1778-1839)
~I i_;1 ~
:}=:1__
~E_===o--=q-----==-~-%%1
'I
1 "1" 1
?J" ? ~? 1.T
3
rit.
D
3 It 12 ~====--
1-'
w
\J1
136
Example IIIB-3
Etude--Dionysio Aguado
ETUDE
Dionisio Aguado
(1784-1849)
Moderato
~~~~
i" r = 7 ~ I m:J
3
~ _ 11mi~
i
~ i n: I ~7 : I ~~ qra
~i
2 ,J I
mf r~rrr r mp
$~ ;
p
i. : J If J
p
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mf
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i I
m
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138
Example IIIB-4
_ ... j :~=.J~~
~'~ r Tr rfdifrr r ?f.r r :r=td
m i m . i m I
mp P
'=?e--rr
1 p
v
II
v J V
a
Ill
La
II
m
IV.
a
11
'---===== p "ff ,. r ~
u u Piv.
Ill Ill
sr
~f
r sr ift ---
I-'
w
1.0
140
Example IIIB-5
.....
ru 3
ar u 2
11
1-"
~
1-"
142
Example IIIB-6
~ ~ 'b
I ' J ~ I hJ' -c
~ ~
2
r-u~r
- - === = --=
r-ur r-u.r r-u~===-= = === or ft-r:- ~ 3
10
~
I; ~I _ ~ _ ~ ~ ~ _t_~_
0
fJ _ I I 2 h _ _ L _ - .h r-"1
f=~ il i Ji . il
1~: I~ t I Jl
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w
144
Example IVB-1
Allegretto--Mauro Giuliani
145
ALLEGRETTO
MAURO GIULIANI
@i 2M
I
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J
:2 I$.1!~ 2~
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t
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)
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Footnotes
4rbid., p. 173.
CHAPTER VI
Summary
procedure.
print, only one educator, Dr. Roy Petschauer, had attempted to test
correct performance for many of the skills have been included. The
ciency with a systematic method will yield conclusions more quickly and
of social science methods will solve some of the problems which beset
153
154
arm and hand, and position of left arm and hand) were established. The
were formulated and later incorporated into the final version of the
scale for final review by the panel. Content validity was demonstrated
of the scale. Prior to testing the scale's accuracy the five educators
performance score.
lower than the most experienced students) and reliable (teachers with
participant does not bring his own; 2) a chair with a straight back
5) all the observers should evaluate the same item at exactly the
same time.
in Chapter V.
In the fourth section the graded examples are set forth. Music from
been included.
Implications
When applied as a monitoring device, the scale will obviate many errors
will not only increase the professionalism of the situation, but will
more, the student at an early age will have begun the process that
Clark, Frances and Louise Goss. The Music Tree. Illinois: Summy-
Birchard, 1973. 4 vols.
Cochran, W.G. Sampling Techniques. 2nd ed.; New York: Wiley, 1963.
158
159
Green, Douglas. Form in Tonal Music. New York: Holt, Rinehart and
Winston, (1965).
Noad, Frederick M. Solo Guitar Playing. 2nd ed.; New York: Schirmer
Books, 1976.
161