Table Of ContentThe Appreciation of
Electroacoustic Music –
An Empirical Study with
Inexperienced Listeners
Motje Mareike Wolf
Volume 1/3
Submitted in partial fulfilment of the requirements for the degree of
Doctor of Philosophy
at De Montfort University
Leicester
March 2013
Abstract....................................................................................................................................4
Acknowledgements
and
Thanks......................................................................................6
Introduction............................................................................................................................7
1
Music
Appreciation
and
Contextual
Studies.............................................................9
1.1
A
metaphor................................................................................................................................9
1.2
Music
appreciation..............................................................................................................10
1.3
Gaining
understanding
for
electroacoustic
music....................................................14
1.4
Influencing
musical
preference
with
the
help
of
information..............................17
1.5
The
response
to
electroacoustic
music
changes
according
to
information
given
–
The
Intention/Reception
project........................................................................................18
1.6
Tools
for
‘deciphering’
electroacoustic
music............................................................19
1.7
Arousal-based
music
appreciation
(Berlyne)
and
Prototypicality.....................20
1.8
A
Prototype
for
Electroacoustic
Music..........................................................................22
2
The
Pedagogical
ElectroAcoustic
Resource
Site
project
and
related
projects
and
literature.......................................................................................................................26
2.1
The
Pedagogical
ElectroAcoustic
Resource
Site........................................................26
2.1.1
The
ElectroAcoustic
Resource
Site
(EARS).........................................................................27
2.1.2
EARS
II
(P)
Curriculum................................................................................................................28
2.1.3
EARS
II
(P)
Environment.............................................................................................................29
2.2
EARS
II
(P)
Musicological
Framework...........................................................................31
2.2.1
The
EARS
II
(P)
musicological
framework..........................................................................32
2.2.2
A)
Classification
of
sounds..........................................................................................................32
2.2.3
B)
Listening
Experience...............................................................................................................33
2.2.4
C)
Modes
of
Discourse,
Analysis,
and
Representation....................................................36
2.3
Pedagogical
Projects
for
Children
with
Emphasis
on
Contemporary
Music,
Electroacoustic
Music
or
Listening........................................................................................39
2.3.1
Projects
based
in
schools............................................................................................................39
2.3.2
Projects
outside
of
schools
run
by
networks
and
organisations...............................44
2.3.3
Other
Projects..................................................................................................................................46
2.4
Music,
Technology
and
Teaching....................................................................................48
2.4.1
Introduction......................................................................................................................................48
2.4.2
Advantages
of
using
technology
in
the
music
classroom..............................................48
2.4.3
Problems
of
using
technology
in
the
music
classroom..................................................51
2.5
Summary.................................................................................................................................55
3
to
5
The
EARS
II
Pedagogical
Framework..............................................................56
Introduction..................................................................................................................................56
3
Learning
Theories
and
Approaches
to
Learning
Design...................................58
3.1
Bloom’s
Taxonomy
of
Learning
Objectives
and
Anderson
and
Krathwohl’s
Taxonomy
for
Learning,
Teaching
and
Assessing............................................................58
3.2
Learning
Circle
by
Kolb......................................................................................................64
3.3
Behaviourism.........................................................................................................................66
3.4
Constructivism......................................................................................................................66
3.5
Laurillard’s
Conversational
Framework
and
Phenomenographic
Design.......68
3.6
Teaching
and
Learning
Theories
for
the
EARS
II
(P)
curriculum.........................71
3.6.1
Anderson
and
Krathwohl’s
revised
Taxonomy.................................................................72
3.6.2
Kolb’s
Learning
Cycle....................................................................................................................74
3.6.3
Behaviourist
Elements.................................................................................................................74
1
3.6.4
Constructivist
Elements...............................................................................................................77
4
Design
of
EARS
II
(P)
Curriculum
and
Environment...........................................80
4.1
EARS
II
(P)
Curriculum.......................................................................................................80
4.1.1
Aims
and
Objectives......................................................................................................................80
4.1.2
Learning
Outcomes........................................................................................................................82
4.1.3
Introduction
of
Knowledge........................................................................................................86
4.1.4
EARS
II
(P)
and
the
National
Curriculum........................................................................90
4.2
The
EARS
II
(P)
Environment...........................................................................................93
4.2.1
Three
Headers
–
Music,
Technology
and
Theory..............................................................93
4.2.2
Learning
Objects
and
Tutorials................................................................................................94
4.2.3
Navigation..........................................................................................................................................95
4.2.4
Design..................................................................................................................................................97
4.2.5
Communication
and
Feedback..................................................................................................98
4.2.6
Stages
of
Development.................................................................................................................99
5
An
Application
of
Bates’
ACTIONS
model..............................................................101
5.1
Access:
How
to
approach
the
learning
content?......................................................102
5.2
Teaching
and
learning......................................................................................................107
5.2.1
Forming
concepts........................................................................................................................108
5.2.2
Advantage
of
concept-‐based
presentation.......................................................................112
5.2.3
Media.................................................................................................................................................113
5.2.4
The
role
of
Composition
in
the
curriculum......................................................................115
5.3
Interactivity
and
Ease
of
Use..........................................................................................117
5.3.1
Visions
of
the
multi-‐learner
mode........................................................................................117
5.3.2
Web
2.0
implications..................................................................................................................117
5.3.3
User-‐interaction...........................................................................................................................118
5.4
Novelty...................................................................................................................................119
6
Methodology...................................................................................................................120
6.1
Introduction.........................................................................................................................120
6.2
Preliminary
Considerations
of
Appropriate
Qualitative
Methods....................121
6.3
The
EARS
II
(P)
Methodology..........................................................................................122
6.3.1
Three
test
phases.........................................................................................................................122
6.3.2
Action
Research
(Methodology
of
Delivery)....................................................................123
6.3.3
Teaching
and
Lesson
plan
design.........................................................................................124
6.3.4
Data
Collection..............................................................................................................................127
6.4
The
Tests...............................................................................................................................129
6.4.1
The
Questionnaires.....................................................................................................................129
6.4.2
Listening
Response
Test...........................................................................................................134
6.4.3
The
Letter
Test..............................................................................................................................135
6.5
Methodology
of
Evaluation.............................................................................................136
7
The
three
Test
Phases.................................................................................................139
7.1
EARS
II
(P)
and
user-centred
design:
Test
Phase
1.................................................139
7.1.1
Participants....................................................................................................................................140
7.1.2
The
Test
–
Aims,
Methodology
and
Structure.................................................................140
7.1.3
Results..............................................................................................................................................151
7.2
Development
of
the
Prototype
Second
Stage:
Test
Phase
2.................................166
7.2.1
Aim
of
the
test...............................................................................................................................167
7.2.2
Participants....................................................................................................................................167
7.2.3
Structure
of
the
test....................................................................................................................167
7.3.4
Results..............................................................................................................................................168
2
7.2.5
Conclusions....................................................................................................................................174
7.3
Test
Phase
3..........................................................................................................................175
7.3.1
Introduction...................................................................................................................................175
7.3.1.1
Aim
of
the
Study...................................................................................................................................175
7.3.1.2
Structure
of
the
Study........................................................................................................................175
7.3.1.3
Participating
Schools..........................................................................................................................177
7.3.1.4
Teaching
support.................................................................................................................................178
7.3.1.5
Beta
Study
(CS01)................................................................................................................................179
7.3.1.6
Changes....................................................................................................................................................184
7.3.1.7
Teacher
Interviews.............................................................................................................................185
7.3.2
Evaluation
of
Case
Studies
02,
03
and
04..........................................................................187
7.3.3
Questionnaire
1............................................................................................................................187
7.3.3.1
Case
Study
2...........................................................................................................................................187
7.3.3.2
Case
Study
3...........................................................................................................................................189
7.3.3.3
Case
Study
4...........................................................................................................................................191
7.3.4
Questionnaire
2............................................................................................................................193
7.3.4.1
Case
Study
2...........................................................................................................................................194
7.3.4.2
Case
Study
3...........................................................................................................................................199
7.3.4.3
Case
Study
4...........................................................................................................................................204
7.3.4.4
Correlations............................................................................................................................................209
7.3.4.1
Discussion...............................................................................................................................................220
7.3.5
Listening
Response
Test...........................................................................................................222
7.3.5.1
Description
of
data
/
Definition
of
analytical
units...............................................................222
7.3.5.2
Result
of
the
first
reduction
of
the
material.............................................................................223
7.3.5.3
Discussion
of
Codes
emerging
in
the
First
Reduction..........................................................224
7.3.5.4
Analysis
of
Codes.................................................................................................................................225
7.3.5.5
Discussion...............................................................................................................................................237
7.3.6
Letter
Test.......................................................................................................................................238
7.3.6.1
General
observations.........................................................................................................................239
7.3.6.2
Evaluation...............................................................................................................................................240
7.3.6.3
Knowledge-‐related
codes.................................................................................................................249
7.3.6.4
Preference-‐related
codes.................................................................................................................254
7.3.6.5
Method-‐related
codes........................................................................................................................262
7.3.7
Summary
of
Findings.................................................................................................................264
8
Conclusions.....................................................................................................................266
8.1
Summary...............................................................................................................................266
8.2
Original
Contribution
of
EARS
II
(P)
Curriculum.....................................................267
8.2.1
Electroacoustic
Music
Education..........................................................................................267
8.2.2
Musicological
Contribution.....................................................................................................270
8.2.3
Music
Pedagogical
Contribution...........................................................................................271
8.3
Discussion.............................................................................................................................272
8.4
Further
Research................................................................................................................274
8.4.1
Research
Projects........................................................................................................................275
8.4.2
Practical
Projects.........................................................................................................................277
8.5
Final
Conclusion..................................................................................................................278
Literature............................................................................................................................279
3
Abstract
The research contained within this PhD project forms part of the Pedagogical
ElectroAcoustic Resource Site project of the Music, Technology and Innovation
Research Centre of De Montfort University Leicester. This thesis contributes to
current research in music education and musicology related to electroacoustic
music.
The purpose of this research was to investigate the influence of teaching on the
change in inexperienced listeners’ appreciation of electroacoustic music.
A curriculum was developed to introduce electroacoustic music to 11 to 14 year
old students (Key Stage 3). The curriculum was based on concepts
distinguishing between electroacoustic music using (mainly) real-world sounds
and generated sounds. The curriculum is presented in an online learning
environment with an accompanying teacher’s handbook. The learning
environment represents the prototype for the pedagogical ElectroAcoustic
Resource Site offering online learning, blended learning and classroom-based
learning.
The website was developed following user-centred design; the curriculum was
tested in a large-scale study including four Key Stage 3 classes within three
schools in Leicester. In five lessons music using real-world sounds (soundscape
and musique concrète) was introduced, which included the delivery of a
listening training, independent research and creative tasks (composition or
devising a role-play). The teaching design followed the methods of active,
collaborative and self-regulated learning.
Data was collected by using questionnaires, direct responses to listening
experiences before and after the teaching, and summaries of the teaching
written by the participants.
Following a Qualitative Content Analysis, the results of the study show that the
participants’ appreciation of electroacoustic music changed during the course of
these lessons. Learning success could be established as well as a declining
4
alienation towards electroacoustic music. The principal conclusion is that the
appreciation of electroacoustic music can be enhanced through the acquiring of
conceptual knowledge, especially through the enhancing of listening skills
following the structured listening training as well as the broadening of
vocabulary to describe the listening experience.
Motje Wolf, May 2012
5
Acknowledgements and Thanks
I would like to thank Prof. Leigh Landy, Prof. Stephen Brown and Dr. Simon Atkinson
for the supervision of this research as well as Prof. Andrew Hugill and the Institute of
Creative Technology for financing this research.
Further I would like to thank:
My examiners Prof. Simon Emmerson (De Montfort University) and Prof. Pete Stollery
(University of Aberdeen) for great discussions during the viva.
Nils Müller for coding the final CMS and the productive discussions.
Dr. Simon Coupland for helping to set-up the Wiki for the second test phase.
Yingchun Tian for creating the first version of the EARS II prototype used in the third
test phase.
Chloé Cutler, Robin Fencott, Dr. Adrian Furse, Michael Gatt, Andrew Hill, Dr.
Christopher Johns, Sarah Mackenzie, Claire McGinn, Dr. Dylan Menzies, Dr. Lauren
Redhead and Martin Rhodes for language corrections.
Jeffrey Mettlewsky for transcribing interviews of the first test phase and Louise Rossiter
for transcribing the second teacher interview.
The participating schools: Judgemeadow Community College, Abington High School
and Leicester Grammar School.
The participants of all test phases and the music teachers of the participating classes.
Adam Chetty, Bobby Hawkins, Gez McCoy, Steve Morgan, Annelie Nederberg, Dr.
Sophy Smith and Brian Trinh for supporting the teaching during the study.
The composers Panos Amelides, Jared Blum, David Hindmarch, David Holland, Prof.
Andrew Hugill, Jeffrey Mettlewsky, Annelie Nederberg, Neal Spowage, Elisabeth
Szwarc, Dr. Rob Weale and Hildegard Westerkamp for providing material for the EARS
II prototype curriculum.
The Music, Technology and Innovation Research Centre for an amazing research
environment.
6
Introduction
“We need more methodologically strong evidence-based research for the missing rooms and
suites of the ground and lower floors of the building representing sound-based music
studies. Studies of impact and appreciation - the likes of the I/R project - need to be
undertaken in this broad area” (Landy 2007a, 223).
This thesis aims to contribute to the body of knowledge in music education
related to electroacoustic music. Under the frame of the pedagogical
ElectroAcoustic Resource Site (EARS II) project it will investigate the ways in
which teaching inexperienced listeners1 concepts of electroacoustic music can
enhance the appreciation of it.
The thesis approaches its intention through the development of a curriculum
which addresses inexperienced listeners. It starts with an outline of contextual
studies relating to musical appreciation (chapter 1), an introduction to the EARS
project and an overview of current pedagogical approaches towards
electroacoustic music including a literature review focusing on 'teaching music
technology' (chapter 2). This is followed by the introduction of relevant learning
theories (chapter 3). Following this, how these theories have been applied to
the curriculum will be shown (chapter 4). Further pedagogical details of the
curriculum are introduced in chapter 5. Following the methodology of Action
Research, parts of the curriculum were taken into schools, where it was
investigated how the content as well as the teaching methodology would relate
to the target group. Chapter 6 introduces the methodology for these tests: their
results can be found in chapter 7. Finally, in chapter 8 the conclusions from this
research are drawn.
The prime focus of the curriculum was working with and listening to sounds. In
this connection the music classroom was seen in the same way as Burnard
outlines:
1 In this thesis ‘inexperienced listener’ is understood as inexperienced in listening to
electroacoustic music.
7
“The music classroom is where innovation and adaption occurs; a creative space where
communication and interaction can take both real-world and virtual forms, in some cases
with face-to-face interaction and side-by-side interaction whilst in other cases the
interactions can be synchronous or asynchronous where learning is facilitated, influenced,
shared, shaped and responded to by key stakeholders both inside and outside of the
classroom and of class time” (Burnard 2007, 43-44).
This project is based within the EARS II project, which will be introduced in
chapter 2. The EARS II project aims to create a web-based learning
environment, introducing inexperienced learners between 11 and 14 years old
to electroacoustic music. This PhD research contributes to the pedagogical
foundation of this project. It further presents the development of a prototype of
the EARS II curriculum, which will feed as proof of concept into the final
development stages of the EARS II project.
Project partners have been in alphabetical order John Anderson, who designed
the first Content Management System as well as the prototype of the program
‘sound organiser’; Pete Batchelor, who designed Java Applets that enable the
user to do live sound manipulation; Nils Müller, who developed the current
system of the online environment of the EARS II prototype; Yingchuan Tian,
who developed the website used for the tests in the third test phase, and Rob
Weale, who developed a prototype of the listening room as part of the listening
section on the current EARS II prototype.
8
1 Music Appreciation and Contextual Studies
1.1 A metaphor
Imagine you have stepped into a new world. Houses do not look like houses
anymore, streets not like streets. There are probably signposts, but the
language on those signs is unreadable. You would have two options to react:
option one is to panic and to run out of this world as soon as possible, the other,
to learn the language and to try to get hold of a map in order to orientate
yourself.
This is quite possibly the same situation for someone attending an acousmatic
music concert for the first time. The listener is expecting a typical concert
scenario, but there are no musicians on stage and the ‘music’ does not sound
like anything that has been heard before. The only parallel that can be drawn
between a ‘typical concert situation’ and an acousmatic concert is that the
context in which the performance is presented is similar (sitting in a concert hall,
looking onto a stage, etc.). So when people respond negatively to acousmatic
music, does that mean that they do not like the music? Or are they
overwhelmed by the situation? Are they maybe just confused, because they
cannot distinguish between music and situation? What would happen if we gave
these listeners a ‘map’ and a ‘language course’ for the electroacoustic music
sound world before a concert?
These questions summarise the intentions of this project well as it is assumed
that the appreciation of electroacoustic music can be enhanced for
inexperienced listeners by explaining the key concepts of electroacoustic music.
To prove this hypothesis a curriculum for electroacoustic music, from now on
the EARS II (P)2 curriculum, was developed and tested on inexperienced
listeners aged between 11 and 14. This curriculum shall function as a ‘map’ and
a ‘language course’ for inexperienced listeners in the new world of
electroacoustic music.
2 = Prototype of the curriculum for the pedagogical ElectroAcoustic Resource Site project.
9
Description:The Appreciation of. Electroacoustic Music –. An Empirical Study with.
Inexperienced Listeners. Motje Mareike Wolf. Volume 1/3. Submitted in partial
fulfilment of
