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Aural Skills Pedagogy Symposium, 7 April 2017
Can we measure aural skills? Development and evidence from the Musical Ear Training Assessment (META)
Anna Wolf ([email protected])
Prospectus 2017
Starting point of our research
Musikalität ist…
Musik machen(Instrument spielen, singen, dirigieren,…)
• “The cultivation of the Ear is of the greatest importance.” (Robert Schumann, 1848/2002, Advices to Young Musicians)
• Aims: • Measuring, not teaching • Providing a freely available test instrument • Better understanding of the musician’s ear
(and its relevance for music making)
How do we measure the musical ear?
Musikalität ist…
Musik machen(Instrument spielen, singen, dirigieren,…)
(Entrance) Exams/15
„I have been taking ear training classes for three years.“
Musicality tests (e.g., AMMA)
Test development• Latent construct: Analytical Hearing • Defined as a competence: “one’s
developed repertoire of skills, especially as it is applied to a task or set of tasks” (Van den Bos, 2015, APA dictionary of psychology)
• Performance assessment with objective items
• Led by a strong psychological test theory addressing questions of test validity, i.e. content, criterion-related and construct validity (Gregory, 2015)
• Here: Rasch model (1PL) within Item Response Theory
Musikalität ist…
Musik machen(Instrument spielen, singen, dirigieren,…)
Analytical Hearing
Analytical Hearing
Melodics
Harmonics
Rhythmics
Item
Item
…
…
Items developed by music theorists (content validity)
Model of Analytical HearingTopic areas
Level Melodics Harmonics Rhythmics
high … … rhythm patterns
medium highest scale tone … …
low … triads …
Diffic
ulty
Example itemsMelodics Harmonics Rhythmics
… … rhythm patterns
highest scale tone … …
… triads …
You will hear a short melody composed of notes from either the major or the harmonic-minor scale. Identify the scale degree of the highest pitch in the melody, using the numbers 1 to 7. You will hear the tonic before the melody starts. You will hear the melody only once.
Continuation of Table S1
Item Rep. Tempo Score
P1G4I3 2 ca. ˇ “=60
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P1G5 You will hear a short melody composed of notes from either the major or the harmonic-minor scale. Identify the scale degree
of the highest pitch in the melody, using the numbers 1 to 7. You will hear the tonic before the melody starts. You will hear
the melody only once.
P1G5I6 1 ˇ “=10044&bbb w œ œ œ œ œ œn œ œ œ Œ Ó
P1G5I8 1 ˇ “=10044
?bbbbb
w
œ œ œœ œ œ œ Œ
P1G6 You will hear a short melody composed of notes from either the major or the harmonic-minor scale. Identify the scale degree
of the final pitch, using the numbers 1 to 7. You will hear the tonic before the melody starts. You will hear the melody only once.
2
You will hear a rhythm consisting of four out of eight possible rhythmical patterns. Identify the four patterns (A to H) of the rhythm in the order in which they are played.
You will hear the rhythm twice, each time with four eighth notes (quavers) in advance.
Continuation of Table S3
Item Rep. Tempo Score
P3G4I2 3 ˇ “=80 {&?
˙̇̇ ˙̇b˙b ˙
P3G4I3 3 ˇ “=80 {&?
˙̇̇b ˙̇̇b˙ ˙
P3G4I4 3 ˇ “=80 {&?
˙̇̇ ˙̇̇˙# ˙
P3G4I5 3 ˇ “=80 {&?
˙̇b ˙̇bb˙̇ ˙̇bb
P3G7 You will hear a rhythm consisting of four out of eight possible rhythmical
patterns. Identify the four patterns (A to H) of the rhythm in the order
in which they are played. You will hear the rhythm twice, each time
with four eighth notes (quavers) in advance.
P3G7I3 2 ˇ “( =10044/œ œ ™ œ œ œ œ œ œ ™
P3G7I5 2 ˇ “( =10044/œ œ œ œ œ œ œ œ ™ œ œ œ œ
P3G7I7 2 ˇ “( =10044/œ œ œ ™ œ œ œ œ œ œ œ
P3G7I8 2 ˇ “( =10044/œ ™ œ œ œ œ œ œ œ œ œ œ œ
10
Continuation of Table S3
Item Rep. Tempo Score
P3G4I2 3 ˇ “=80 {&?
˙̇̇ ˙̇b˙b ˙
P3G4I3 3 ˇ “=80 {&?
˙̇̇b ˙̇̇b˙ ˙
P3G4I4 3 ˇ “=80 {&?
˙̇̇ ˙̇̇˙# ˙
P3G4I5 3 ˇ “=80 {&?
˙̇b ˙̇bb˙̇ ˙̇bb
P3G7 You will hear a rhythm consisting of four out of eight possible rhythmical
patterns. Identify the four patterns (A to H) of the rhythm in the order
in which they are played. You will hear the rhythm twice, each time
with four eighth notes (quavers) in advance.
P3G7I3 2 ˇ “( =10044/œ œ ™ œ œ œ œ œ œ ™
P3G7I5 2 ˇ “( =10044/œ œ œ œ œ œ œ œ ™ œ œ œ œ
P3G7I7 2 ˇ “( =10044/œ œ œ ™ œ œ œ œ œ œ œ
P3G7I8 2 ˇ “( =10044/œ ™ œ œ œ œ œ œ œ œ œ œ œ
10
Is this model accurate?
Melodics
Harmonics
Rhythmics
Item
Item
…
…?Analytical Hearing
Melodics
Harmonics
Rhythmics
Item
Item
…
…
Analytical Hearing
Construct validityData collection
Data analysislocal independence, unidimensional construct, specific objectivity/measurement invariance,
parallel and strictly increasing item characteristic curves ➝ sufficient raw sums
Parametrical tests Quasi-exact tests
53 items (16 mel, 33 har, 4 rhy) M = 40.1% (SD = 17.6%)
81 pre-tested items, online study in German, English, Spanish
n = 393 participants
eRm: Extended Rasch Modeling
012345
−4−2
02
4Ite
msc
hwie
rigke
it (L
ogit)
Häufigkeit
Model dimensionality
Level Dimension: Ear training achievement ("A person recognizes…")
high … chords of resolution and rhythmic patterns… pitches salient within a melody … chords given one pitch… seventh chords and quality of triads
low … simple musical elements: e.g., triads
Item
diffi
culty
(Log
its)
Number of items
diffi
cult
easy
Variable Effect
Absolute Pitch t(20.8) = -1.24, p = .23, d = 0.30 (9 pp)
Sex (men > women) t(279.7) = -2.27, p = .02, d = 0.23 (8 pp)
Genre (JRP > Classical) t(365.7) = -1.94, p = .05, d = 0.20 (6 pp)
Solmization t(204.6) = 1.00, p = .32, d = 0.11
Main instrument (harm > mel/rhy) t(335.7) = 1.01, p = .31, d = 0.10
Age t(391) = 0.64, p = .53, d = 0.06
Further effectsRe
levan
ce
Developmental study– Two semesters ear training classes, ∑ = 25 hours – n = 33 (20 male, 13 female), Age: M = 20.2, SD = 1.7
Improvement over 2 semesters t(32) = 2.06, p = .05, d = 0.4 (5 pp)
Extracurricular practice r = -.03, p = .86
1st Test: Nov. ‘13 2nd Test: June ‘14
Sex (men > women) t(23.8) = 2.0, p = .05, d = 0.7 t(20.1) = 1.6, p = .12, d = 0.6
Harmonic vs. melodic instrument t(27.8) = 2.7, p = .01, d = 0.9 t(29.9) = 1.4, p = .17, d = 0.5
Open questions• How do people learn analytical hearing? • How is analytical hearing connected to music
making? • Influence of absolute pitch (only d = 0.3?) • Cause of the confusing gender effect
(0.2 < d < 0.7) • Improved usability with test versions with 10 and
25 items (META-10 and META-25) – Online testing instrument currently under development
Current study (summer ’17)
• Connection between sound imagery and analytical hearing
Sound imagery
Analytical hearing
In addition:Absolute pitch Working memory Musical WM Mental rotation
Musical sophisti-cation (GoldMSI)
Melodic memory
Music theory: Theme & variation
Background questionnare
?
Aural Skills Pedagogy Symposium, 7 April 2017
Can we measure aural skills? Development and evidence from the Musical Ear Training Assessment (META)
Anna Wolf ([email protected])
Prospectus 2017