University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 4-8-2016 The Effects of Technical and Imagery-based Instruction on Aspiring Performing Artists’ Acquisition of Learning Newly Composed Pieces and Improvisation and on Listeners’ Perceived Expressivity José Valentino Ruiz-Resto University of South Florida, jvflute@yahoo.com Follow this and additional works at: http://scholarcommons.edu/etd Part of the Music Commons, Other Education Commons, and the Theatre and Performance Studies Commons Scholar Commons Citation Ruiz-Resto, José Valentino, "The Effects of Technical and Imagery-based Instruction on Aspiring Performing Artists’ Acquisition of Learning Newly Composed Pieces and Improvisation and on Listeners’ Perceived Expressivity" (2016). Graduate Theses and Dissertations.edu/etd/6373 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact scholarcommons@usf.
The Effects of Technical and Imagery-based Instruction on Aspiring Performing Artists’ Acquisition of Learning Newly Composed Pieces and Improvisation and on Listeners’ Perceived Expressivity by José Valentino Ruiz-Resto A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in Music with a concentration in Music Education School of Music College of The Arts University of South Florida Major Professor: C. Victor Fung, Ph. Jennifer Bugos, Ph. Robert Dedrick, Ph.
Matthew McCutchen, Ph. Date of Approval: March 11, 2016 Keywords: mental imagery, imagery instruction, expressivity, learning, quality of life Copyright © 2016, José Valentino Ruiz-Resto 0 DEDICATION This dissertation is dedicated to my abuelo and abuela, Dr. José Resto Velez and Alicia Diaz de Resto I further dedicate this study to my family, friends, fiancée, teachers, mentors, educators, scholars, lovers of music, and Jesus Christ. 1 ACKNOWLEDGMENTS In my effort to prepare this document, there are a handful of people I would like to recognize for their continual love, prayers, support, and guidance.
Their belief in me has given me the strength to complete this study. First and foremost, I am beyond grateful to my Committee Chair, C. Victor Fung for his tremendous wisdom and tireless support that made this dissertation the most exciting journey in my academic career. To the members of my research committee, David Williams, Jennifer Bugos, Matthew McCutchen, Robert Dedrick, and Kim McCormick, I thank you for your love and incredible efforts in refining me as a researcher, educator, and performer.
To Jack Heller, God bless you always. To my father and mother, words cannot express how much I love you. You both are my inspirations. To Abuela, te amo con todo mi corazón (I love you with all of my heart).
To my sister, Christina, I love you so much. To my aunts, uncles, and cousins, we did it! To Sarah-Anne, thank you for your guidance. To Jason Sivill…Cognitium. To Jason Bombaugh, thank you for coming through for me in the last minute.
To Samson Lu, thank you for your help and friendship. To my great buddies—Bruno, Jesse, Todd Jr., Gualo, Ricky, Gio, Sam, Elias, Adolfo, Hunter, Cienna, and Mina—this season has been incredible with you guys. To my fiancée and best friend, Cortney Meghan Wells, your belief in me has given me the strength to push through the finish line. I love you eternally my queen! And to my God—Jesus Christ—you are the greatest source of my inspiration.
2 TABLE OF CONTENTS LIST OF FIGURES. vii CHAPTER ONE: INTRODUCTION. 1 Higher Education for Aspiring Performing Artist. 2 Music in Transition.
3 Contributors of Artistic Development. 5 Pedagogy and Learning Styles. 6 Body Language in Applied Lessons. 8 Support Systems for Student Development.
9 Philosophically Constructing Identity. 10 Imagery for Expressivity and Learning. 12 Imagery for Improvisation. 14 Technology and Imagery for Learning.
15 Imagery in Master Classes. 16 The Performer’s Use of Imagery. 17 The Role of Imagery for Awareness. 20 Imagery for Meaningful Learning.
21 Technical and Imagery-Based Instruction. 30 CHAPTER TWO: LITERATURE REVIEW. 31 The Value of Imagery. 31 Historical Perspectives of Imagery.
32 Operational Definition of Imagery. 34 Addressing the Construct of the Review. 35 Theories of Imagery. 36 What It’s Used For? Practical Application of Imagery.
41 i Imagery for Meaningful Learning. 42 Imagery in Sports and Music. 46 Imagery in Martial Arts and Music. 51 Imagery in Dance and Music.
53 Imagery in Acting and Music. 54 Imagery in Music. 56 Imagery in Music Teaching. 56 Imagery for Young Musicians.
57 Imagery for Musical Expressivity. 59 Implications from the Literature. 62 Suggestions for Future Research. 64 CHAPTER THREE: METHODS.
66 Aspiring Performing Artists. 66 Newly Composed Pieces. 69 Play-along Tracks for Improvisation. 71 Itinerary for Aspiring Performing Artists.
73 Itinerary for Margaret. 74 Itinerary for James. 75 Itinerary for Greg. 75 Itinerary for Dylan.
79 Perceived Expressivity Questionnaire. 83 CHAPTER FOUR: RESULTS. 86 Background of Students. 89 Analysis of Qualitative Statements.
93 Fostered Emotional Connection. 93 ii Provided Frame of Reference. 97 Provided a Non-Threatening Environment. 101 Enhanced Intrinsic Motivation.
103 Strengthened Self-Efficacy. 119 Fostered Enjoyment for Learning. 124 Improved Technical Facility for Performance. 126 Improved Cognition for Improvisation.
127 Modern Music Technology. 130 Quality of Life. 132 Increased Life Satisfaction. 132 Multi-Faceted Musicianship.
134 Redefining Performing Artist. 136 Summary of Themes. 140 Quality of Life. 146 Preference for Improvisation-Learning Aspiring Performing Artists.
146 Variability for Instruction. 149 Additional Support for T-I Instruction. 152 Unacceptable Internal Consistency. 156 Listeners’ Explanations for Their Ratings.
157 Contrasting Explanations for Listeners’ Ratings of Perceived Expressivity. 158 Themes from Brief Essay Response. 162 Contrast of Musical Components. 162 Knowledge of Significances.
166 Themes from Brief Essay Response Not Present in Listeners’ Stimuli. 167 Answers to Phase Two Research Questions. 168 Conclusions of the Study’s Results. 169 CHAPTER FIVE: DISCUSSION.
171 Why Was This Study Needed?. 171 Answers to Phase-One Research Questions. 174 iii Frame of Reference. 174 Non-Threatening Environment.
176 Enjoyment for Learning. 177 Cognition for Improvisation. 177 Modern Music Technology. 178 Quality of Life.
178 Multi-Faceted Musicianship. 179 Redefining Performing Artist. 180 Preference for Improvisation-learning Aspiring Performing Artists. 180 Variability for Instruction.
181 Additional Support for T-I Instruction. 182 Answers To Phase-Two Research Questions. 182 Low Internal Consistency of Listeners’ Ratings. 183 Research Question II.
186 Research Question II. 186 Research Question II. 187 Research Question II. 187 Research Question II.
187 Gains From The Study. 188 Induces Benefits in Learning. 189 Enriches Quality of Life. 190 Strengthens Improvisation Skills.
190 Improves Cognitive Skills. 192 Improves Performances of Newly Composed Pieces. 193 Implications for Performers & Music Educators. 194 Implications for Phase-One Findings.
195 Implications for Phase-Two Findings. 202 Transferability of the Study. 226 Appendix A: Perceived Expressivity Questionnaire. 226 Appendix B: Post-Lesson Reflection Journal.
236 Appendix C: Student Weekly Reflection Journal. 238 iv Appendix D: Bi-Weekly Interview Questions for Aspiring Performing Artists. 239 Appendix E: Pre-Lesson Questionnaire for Aspiring Performing Artists. 240 Appendix F: IRB Expedited Approval for Initial Review.
242 Appendix G: IRB Expedited Approval for Amendment. 244 Appendix H: IRB Expedited Approval for Continuing Review. 248 v LIST OF FIGURES Figure 3.1 Design of Phase One Model .1: T-I Instruction’s Influence on Aspiring Performing Artists’ Acquisition of Learning Newly Composed Pieces or Improvisation .2: T-I Aspiring Performing Artists’ Feelings of T-I Instruction versus Technical Instruction in Applied Lessons .3: T-I Listeners’ Reasons for Their Ratings of Perceived Expressivity.4: Themes from The PEQ’s Brief Essay Response. 162 vi ABSTRACT The purpose of this study was to explore the union of technical and imagery- based instruction (hereinafter, T-I instruction) in two phases.
Phase one: The researcher (1) explored T-I instruction’s influences on aspiring performing artists’ acquisition of learning and performing newly composed pieces and improvisation, and; (2) observed aspiring performing artists’ feelings of learning with T-I instruction versus technical instruction. Phase two: The researcher investigated (1) listeners’ perceived expressivity of aspiring performing artists’ performances that were either influenced by T-I instruction or technical instruction; (2) listeners’ perceived expressivity of aspiring performing artists’ performances of newly composed pieces versus improvisations; (3) whether there was a statistical significant difference of T-I instructions’ influence on the progressive differences in the means of listeners’ perceived expressivity between the aspiring performing artists across the time frame of the study; (4) the explanations for their ratings, and; (5) information that helps listeners perceive music as expressive using the Perceived Expressivity Questionnaire (PEQ). Results for Phase one: 60 sub-themes and 13 themes emerged from the data relating to two meta-themes: Learning and Quality of Life. Results for Phase two: Cronbach’s alpha statistical procedure revealed an unacceptably low internal consistency for listeners’ perceived expressivity of aspiring performing artists’ performances (α =.
Hence, no further statistical analysis was implemented to answer research questions one through three. Explanations for their ratings dealt primarily with aspiring performing vii artists’ use of 11 musical components. The Brief Essay Responses from the Perceived Expressivity Questionnaire (PEQ) provided possible explanations for the low internal consistency and insight on what kind of information help listeners’ perceive music as expressive. Further discussion on the finding and implications for performing artists and educators’ use of T-I instruction are offered in this document.
viii CHAPTER ONE INTRODUCTION The power that the arts have on humanity is one that has been clearly evident, highly respected, and treasured for as long as civilizations have existed. In modern times, the occupation of performing artists can serve many purposes: to portray beauties and realities of the human condition (Portanova, 1975); to remind humanity of historical events that have wrought our existence (Watson, 1991); to bring forth honor and glory to the deity of a religion (Best, 2003); to comfort and uplift the spirits of those who need hope and direction (Wooten, 2008); and to bring forth new, inspiring, and innovative ideas for propelling humanity beyond comprehension (Shand, 1996). Artists’ mediums of expression have been utilized to project meaningful messages to people of all ages, backgrounds, cultures, and belief systems throughout history (Britan, 1908; Sacks, 2006). The desire to become a performing artist is admirable and should be encouraged and nurtured with delicate consideration.
Many adolescents have aspirations for developing their skills and talents professionally to obtain a satisfying performance career (Kenneson, 1998). These aspirations may have spawned from personal experiences: listening to a compelling performance, meaningful involvements in an organized or vernacular musical setting, meeting an iconic performer, evocative moments while viewing a stellar performance, and so forth. 1 Aspirations may also have spawned from personal desires: to connect with audiences emotionally and psychologically, to explore artistic boundaries within the art form, and to project beliefs and messages through performance (Park, Guptill, & Sumsien, 2007). Within the field of music performance many students enroll in private instruction and academia in hopes of receiving wisdom and guidance for blossoming in their crafts.
However, a great concern among many educators is that students who graduate with a performance degree enter the music industry without having developed artistry in a multi-faceted, well-rounded fashion suitable for success (Burnett, 1996). Higher Education for Aspiring Performing Artists Musical institutions around the world foster students’ artistic development. Higher education models aim to cultivate students’ musicianship and artistry by providing a comprehensive curriculum aimed at preparing students for professional work in their field (Clark, 1986; Mark, 1982). For instance, theoretical and historical classes provide knowledge and understanding for music’s functions in various genres and its chronological development.
Large ensemble courses aim to educate students’ values of selected literature, collaboration, sectional blending, unity in the midst of diversity, and one’s function in a larger entity (Hanson, 2005).