In this study, the researcher compared the ratings assigned to audio and videotaped vibrato performances of inexperienced and experienced violinists and violists. Thirty-three inexperienced players and 28 experienced players were videotaped white performing vibrato. A panel of experts rated the videotaped performances and then 6 months later rated the audio-only portion of the performances on five vibrato factors: width, speed, evenness, pitch stability, and overall sound. Experienced players' vibrato was rated higher for all factors, regardless of mode of presentation. In addition, results revealed significantly higher audiovisual ratings for pitch stability, evenness, and overall sound for inexperienced players, and for pitch stability for experienced players. Results suggest that string teachers need to occasionally listen to their students' vibrato without watching them since visual cues may inadvertently influence their evaluation of student achievement.
Get full access to this article
View all access options for this article.
References
1.
Abeles, H. (1973). Development and validation of a clarinet performance adjudication scale. Journal of Research in Music Education, 21, 246–255.
2.
Alegant, M., Flowers, P., Jasinskas, L., & Wapnick, J. (1993). Consistency in piano performance evaluation. Journal of Research in Music Education, 41, 282–292.
3.
Aleman-Centena, J. F. (1982). Foreign language instruction for listening comprehension using computer directed audio-visual media (Doctoral dissertation, University of Iowa). Dissertation Abstracts International, 43, 1067–A. (University Microfilms No. DA8222213)
4.
Angeles, D., Kempter, D., & Witt, A. (1991). Teaching stringed instruments: A course of study.Reston, VA: Music Educators National Conference.
5.
Burnsed, V., Hinkle, D., & King, S. (1985). Performance evaluation reliability at selected concert festivals. Journal of Band Research, 21, 22–29.
6.
Butler, D., & Handler, L. (1985). Visual and aural perception of emotional level in music performance. Paper presented at the Southern Chapter of The College Music Society, Tallahassee, FL.
7.
Cheslock, L. (1931). An introductory study of the violin vibrato. Vol. 1. Research Studies in Musk.Baltimore, MD: Peabody Conservatory.
8.
Colwell, R., & Goolsby, T (1992). The teaching of instrumental music.Englewood Cliffs, NJ: Prentice Hall.
9.
Crittenden, J. B. (1986). Communication as a factor in the performance of hearing-impaired children on a standardized receptive vocabulary test. American Annals of the Deaf, 131, 356–360.
10.
Fiske, H. E. (1975). Judge-group differences in the rating of secondary school trumpet performances. Journal of Research in Music Education, 23, 186–196.
11.
Fiske, H. E. (1977). Relationship of selected factors in trumpet performance adjudication reliability. Journal of Research in Music Education, 25, 256–263.
12.
Geringer J., & Witt, A. (1985). An investigation of tuning performance and perception of string instrumentalists. Bulletin of the Council for Research in Music Education, no. 85, 90–101.
13.
Gillespie, R. A. (1993). Factors for evaluating upper string instrument vibrato and a comparison of two instructional approaches. Dialogue in Instrumental Education, 17, 37–51.
14.
Green, S. (1986). An investigation of tuning performance and perception of string instrumentalists. Bulletin of the Council for Research in Music Education, no. 85,90–101.
15.
Griffing, J. (1994). Audition procedures and advice from concertmasters of American orchestras. (DMA Document, Ohio State University, Columbus, 1994).
16.
Hollinshead, M. (1932). A study of the vibrato in artistic violin playing. University of Iowa Studies in the Psychology of Music, 1, 245–249.
17.
Jackson, G. L. (1979). The effects of video vs. audio tape interviews on listening comprehension in third-quarter, beginning college French (Doctoral dissertation, Ohio State University, 1979). Dissertation Abstracts International, 40, 3841–A. (University Microfilms No. 8121628)
18.
Kantorski, V. J. (1986). The effects of differential accompaniment on string instrumentalists' international performance in extreme registers, Journal of Research in Music Education, 34, 200–210.
19.
Kelly, H. D. (1981). Simultaneous computer delivered audiovisual word cueing: same vs. different target-related cues with two levels of cloze redundancy (Doctoral dissertation, University of San Francisco, 1979). Dissertation Abstracts International, 42, 1448–A. (University Microfilms No. 8121628)
20.
Meredith, R. A., & Parry, T S. (1984). Videotape vs. audio tape for listening comprehension tests: An experiment. Ohio Modern Language Teachers Association, 47–53.
21.
National Association of Schools of Music. (1993). Revised standards. Reston, VANational Association of Schools of Music.
22.
Olstead, A. (1979). Vibrato for middle school string players: an analysis of teaching techniques and the development of a curriculum (Master's thesis, Pacific Lutheran University, 1979). Masters Abstracts International, 18, 17.
23.
Papich, G., & Rainbow, E. (1974). A pilot study of performance practices of twentieth-century musicians, Journal of Research in Music Education, 22, 24–34.
24.
Rees, F. (1986). A Plato-based videodisc self-instructional program for directing the development of string vibrato technique, Journal of Educational Technology Systems, 14, 283–296.
25.
Reger, S. (1932). The string instrument vibrato. University of Iowa Studies in the Psychology of Music, 1, 305–338.
26.
Sang, R. (1987). A study of the relationship between instrumental music teachers' modeling skills and pupil performance behaviors. Bulletin of the Council for Research in Music Education, no. 91, 155–159.
27.
Seashore, C. (1932). An objective analysis of artistic singing. University of Iowa Studies in the Psychology of Music, 3, 12–157.
28.
Sogin, D. W. (1989). An analysis of string instrumentalists' performed intonational adjustment within an ascending and descending pitch set. Journal of Research in Music Education, 37, 104–111.
29.
Stallings, W. M. (1972). A comparison of television and audio presentations of the MLA French Listening Examination, Journal of Educational Research, 65, 472–474.
30.
Wagner, M. J. (1991). The effect of adjudicating three videotaped popular music performances on a “composite critique” rating and an “overall” rating. Missouri Journal of Research in Music Education, 213, 53–70.
