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IMPROVING WRITING AND READING COMPREHENSION THROUGH BLOGGING
ABOUT EXPERIENCES IN CLASS PIANO
By
NANCY A. ATKINSON
SUPERVISORY COMMITTEE:
Charles Hoffer, Chair
Silvio dos Santos, Member
A PROJECT IN LIEU OF THESIS PRESENTED TO THE COLLEGE OF FINE ARTS
OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE
REQUIREMENTS FOR THE
DEGREE OF MASTER OF MUSIC
UNIVERSITY OF FLORIDA
2009
2009 Nancy A. Atkinson
ACKNOWLEDGMENTS
I would like to thank my advisors Dr. Charles Hoffer and Dr. Silvio dos Santos for their
continuous support and encouragement in helping me to research and write this project. Their
honesty, expertise, and humor made this a more enjoyable endeavor. I would also like to thank
Dr. Timothy Brophy for creating the Summer Master's Degree in Music Education at the
University of Florida. This opportunity served many of us well by focusing the majority of our
studies into two six-week periods during two consecutive summers.
The administration and faculty of English teachers from West Port High School were
extremely resourceful and generous with their time and assistance assessing the students who
participated in this project. These include the following: Principal, Jayne Ellspermann; Assistant
Principal, Benjamin Whitehouse; Testing Coordinator, Brianne Harris; and English Teachers,
Laurie Reeder, Richard Hunte, Jessica Becher, Jarrod Hester, Harold Thomas, Ricardo Garcia-
Suarez, William Roughton and Milton Yiasemedes.
Finally, I would like to thank my husband, Blake Atkinson. His constant support and
encouragement to my activities at work as well as school over the past thirty-six years have made
it possible for me to become successful in my career as well as my education.
TABLE OF CONTENTS
A C K N O W L E D G M E N T S ......... .. ............................................................................................. 3
LIST OF TABLES .......... ........ .. .......... .......... ........ 5
AB STRACT ..................... ................... ........................... 6
CHAPTER
1 V A L U E A N D PU R PO SE .......................................................... ........................................ 8
Background of the Florida Comprehensive Assessment Test (FCAT) and No Child Left
B behind (N C L B ) .............. . ..... ....... .............. ......................... ....................... 8
The Effects of Standardized Testing on Arts Education........................................ 9
2 RELATED RESEARCH AND WRITINGS................................................................. 12
3 P R O C E D U R E S ........................................................................................................................... 16
4 R E S U L T S ............................................................................... .... ............... 19
English Teacher's Individual Scores between early September and mid-November.............23
Individual Score Comparisons between the September and November DBMA ....................24
Individual Score Comparisons between the September Pre-test and November Pre-test
o f S a m p le P S A T ...................................................................................................................... 2 4
5 C O N C L U SIO N ............... ........................................................................................................ 2 7
A PPE N D IX : T H E B L O G S ......... .. ............ ............................................................................... 29
BIBLIOGRAPHY ........................... ............................... 41
BIOGRAPHICAL SKETCH ........... ..... ....... ......................... ...... .................. 43
LIST OF TABLES
Table page
4-1 Experimental group subjects(English Teacher's Individual Scores)..............................23
4-2 Control group subjects(English Teacher's Individual Scores)................ .............. ....23
4-3 Experimental group(DBMA score comparisons)........................................................24
4-4 Control group(DBM A score com prisons) ................................... .................................... 24
4-5 Experimental group(sample PSAT score comparisons) ....... ........................................24
4-6 Control group(sample PSAT score comparisons).......................... ................24
4-7 Data, test scores and results for experimental group ............................................... 25
4-8 Data, test scores and results for control group .......... ........... .................... ............... 26
Summary of Project in Lieu of Thesis
Presented to the Graduate School of the University of Florida
in Partial Fulfillment of the Requirements for the
Degree of Master of Music
IMPROVING WRITING AND READING COMPREHENSION THROUGH BLOGGING
ABOUT EXPERIENCES IN CLASS PIANO
By
Nancy A. Atkinson
December 2009
Chair: Charles Hoffer
Major: Music
Standardized testing for students in public schools has become the most significant means
for assessing students and teachers during the past fifteen years across the United States. In
Florida, the Florida Comprehension Assessment Test (FCAT) is administered every year in
March to all students between third and tenth grades for reading and math. In fourth, eighth, and
tenth grades writing assessments are also administered. The No Child Left Behind (NCLB) law
monitor's each school's Adequate Yearly Progress (AYP). Improvement in each designated
group monitored by NCLB must reach a designated percentage according to requirements
determined by the Florida Department of Education.
This study compared two groups of students in a piano class at a public high school in
Florida. Each group consisted of eleven students between ninth and twelfth grade. Students
from each group were individually paired, according to similar musical backgrounds, FCAT test
scores, District Benchmark Assessment Reading Scores for ninth- and tenth-grade participants,
scores from a brief writing sample Preliminary Scholastic Assessment Test (PSAT) for eleventh-
and twelfth-grade students and a music theory test designed by the Florida Vocal Association for
all participants. A weblog was created for test group participants. Once a week, between
October 5 and November 17, these students were asked to submit comments on the blog
concerning material covered in class the previous week, ask questions of each other about
concepts or techniques, and offer suggestions to assist each other. Students from the control
group received the same class piano instruction, but did not contribute to the blog. The English
teachers of the students from both groups had no prior knowledge of who comprised each group
and were asked to assess each student's progress or level of writing, while participating in
English class. Their assessments are based on general writing assignments during class
throughout the duration of this project. The benchmark tests for September and November were
used as pre-test and post-test for the ninth- and tenth-grade students. Juniors and seniors were
required to take another brief sample PSAT as a post-test.
Any results based on improved writing or reading comprehension skills were inconclusive
because of the brief duration of this study. However, the blog is a strong vehicle for critical
thinking, problem solving, and cooperative learning among its participants. This study will
continue through March, when the FCAT will be administered to students in ninth and tenth
grades. In May, when test results are available, a diagnosis and comparison of previous and
present scores for reading and writing will be made between the two groups, both individually
and collectively. If significant differences indicate that the test subjects have made more
progress than the control subjects, a class blog will be used as part of the piano class curriculum
the next school year.
CHAPTER 1
VALUE AND PURPOSE
Background of the Florida Comprehensive Assessment Test (FCAT) and No Child Left
Behind (NCLB)
Standardized national testing for assessment has been researched and used for both
student assessment and teacher accountability in Florida, at least since 1971. In 1976, the
Florida legislature supported state assessment tests in grades three, five, eight, and eleven. That
year, it also passed the first graduation test. Since then the legislature has continuously supported
assessment in public schools throughout the state. The Florida Comprehensive Assessment Test
(FCAT) was first administered in 1998. Though changes have been made concerning which
assessments were administered to specific grades, all students between Grades 3 and 10 are
tested in reading, mathematics, and writing since 2000. Since March 2005, the FCAT Science
assessment has been administered to students in eleventh grade.
Approximately 1,760,000 public school students were administered the FCAT in 2008.
This includes students who are English Language Learners (ELL) as well as students with
disabilities. All of these students are working toward receiving a regular diploma when they
graduate.
The writing portion of the FCAT is administered in February. Reading and math are
administered in March. Depending on the grade level, FCAT testing takes between four hours
(for younger grades) and eight hours (Grades eight through ten) over a nine-day period and
addresses a different part for each day.
In January 2002 the No Child Left Behind (NCLB) Act was signed by President George
W. Bush. This has been used to measure the Adequate Yearly Progress (AYP) of each school
nationwide based on reading and math scores of the standardized tests. NCLB monitors the
progress of subgroups within the schools, including various racial groups, students with
disabilities, English Language Learners, and economically disadvantaged children. The main
focus of the school curriculum is to prepare the students for standardized testing in order to raise
the standards of student comprehension, as well as to bridge the gaps among students of various
educational, racial, cultural, and socio-economic backgrounds.
These test scores are used as sole indicators on many levels. In third grade they may
determine whether a child will pass or be retained. In high school a student cannot graduate with
a standard diploma until the requirements are met, unless the student opts to substitute SAT or
ACT scores for FCAT scores, after failing to pass the FCAT after three re-tests. The teacher's
competency level is based on the overall scores of his or her students. The school's grade is
based on the overall average of these students' scores. The county is ranked statewide based on
these scores.
The A+ school accountability program gives incentives to schools that perform well with
raising test scores. This measures grades based on general improvement of FCAT scores within a
school, particularly among the lower academic twenty-five percent. However, if standards for a
school's AYP are not met within five years, even if the school's grade has improved, the
Department of Education will require the school to disassemble its faculty and administration
during the next year and basically "rebuild" the school. These disassembled faculties and
administrations are divided among other schools in the district.
The Effects of Standardized Testing on Arts Education
Since standardized testing has become the primary focus in determining the success or
failure of a particular school or school system, arts and special area teachers have also been
required to redesign their curricula in order to incorporate the same benchmarks and standards in
their lesson plans. Students unable to meet the criteria based on these standardized tests often
must eliminate electives such as music and art from their schedules and take remedial math or
reading classes instead. This will ideally raise their test scores when they are required to retake
them during fall or spring of the next school year.
Since 2002, secondary schools in Marion County reduced the number of classes a student
could take during the regular school day from seven periods to six. This saved money for the
county and allowed teachers to receive their much needed raises. However, this also reduced the
number of electives a student could take. This reduction, in addition to required remediation
classes for many students, greatly decreased enrollment in many elective courses, including
music and art.
There is documented evidence of a strong correlation between students enrolled in music
classes and scores on these standardized assessment tests. The literature indicates that the more
time students participate in these music classes throughout their time in school, the higher their
test scores. It is very difficult to prove that music performance influences reading or math
comprehension skills or that those students who test well in these areas are more inclined to
possess the discipline required to perform in a musical ensemble. However, when students are
given the opportunity to pursue these electives over three or more years, they score higher on
FCAT and other standardized tests (Hansen, Bernstorf, & Stuber 2004).
It is easy to observe learning and study habits of each individual student in a classroom of
keyboard students. The students who select this class vary in musical experience and academic
abilities. Students enroll in class keyboard or piano for several different reasons. At the high
school level, the class includes students who have no musical experience, who are only slightly
familiar with the piano from knowing other people who play it. Students need a performing arts
credit to graduate and this is a good way to receive that credit. The performance expectations of
this class are not nearly as high as they are for band or orchestra, in which students are expected
to participate in various district and statewide adjudications and numerous community concerts.
Several students are interested in pursuing music in college and presently play other instruments.
These students realize that their music comprehension for theory and composition become
enhanced from learning the piano because of its orchestral nature.
Academic diversity also prevails in a piano class. In general, these students have various
grade point averages, test scores and attitudes toward education. At the high school level, part of
the challenge for the teacher is to incorporate a sense of responsibility for self by developing the
concept of delayed gratification through practicing and studying skills that are unfamiliar.
Although many students have already discovered this principle through playing sports or other
activities, many have not persevered in active learning through academics. When students learn
that consistency in reviewing and practicing is necessary to master a skill, they may be able to
transfer this discipline to other academics. Even at the high school level, these habits may be
established through taking a music class, such as keyboard or piano.
At this time, many teachers of social studies, arts, and technology have become certified
in teaching reading or math to improve the standardized test scores of their students in all grades.
This has helped teachers of electives manage to keep many of their students out of regular
remediation and in their own programs, thus keeping their own class enrollment intact. Many
teachers of electives not certified in these reading or math courses who lose students to
remediation are then required to teach out-of-field academic classes to stay employed, by
meeting the required class enrollment standards. It is possible, however, to raise scores on
standardized tests by developing critical and creative thinking skills among students in all arts
and academic classes without rearranging lesson plans or curricula.
CHAPTER 2
RELATED RESEARCH AND WRITINGS
Very little research has been found to directly connect the effects of keyboard instruction
on reading comprehension or improved writing skills. The research described in this literature
review is based on the following: instrumental music education with young children;
psychological qualities as they correlate with cognitive and music abilities; music making and
spatial reasoning; teaching the structure of music by using literary symbols; and the most current
stories of neuroscience and its application to cognitive occurrences when studying music as a
passive participant through listening, and as an active participant through singing or playing an
instrument.
Much of the current research on the relationship between music education and literacy is
based on studies of young children who are learning to read in elementary schools. Using
methods by Kodaly, Suzuki, and Orff, an instructor approaches teaching music the way language
is taught. First, the students listen, followed by speaking (or singing or playing), then they read,
and finally, they write (or compose) (Liperte, 2006). The same principles may apply to high
school students. Just as children learn to connect sounds of words with language, adolescents
and adults can learn to associate music symbols with tones and then phrases and complete
musical ideas. Reading comprehension is often the most difficult concept to teach. Often,
limited vocabulary or minimal reading experience creates frustration with these students and
causes them to lose interest in reading.
In a study comparing cognitive ability with impulsive/reflective tendency, Schmidt and
Sinor found that students who demonstrated a low tolerance for delayed gratification also scored
lower on academic tests (Schmidt & Sinor, 1986). Learning an instrument requires a discipline
practice that may be transferred to other activities. Eventually, when a student is successful in
learning an enjoyable activity such as performing music, he or she may be more inclined to
become successful in areas where he or she previously lacked confidence.
An experimental study by Hetland related music instruction to spatial reasoning. He
found that several variables, including age, affected the enhancement of spatial reasoning
abilities among subjects of his test group (Hetland, 2000). After three years of study, the younger
children between the ages of three and seven showed the greatest improvement when compared
to a control group of children the same age. Between ages nine and twelve, after the second year
of piano instruction, the test group students showed greater improvement than the students of the
control group. However, after the third year of piano instruction, both groups tested at the same
level for spatial reasoning.
Other variables observed in Hetland's study included different socio-economic
backgrounds, parental involvement, physical development, and motor skills ability. Students in
this study were considerably older than those in Hetland's study, although several variables are
similar, including different socio-economic backgrounds. Other psychological studies, including
the research conducted by Schmidt and Sinor, have been performed with older students. As
early as 1960, Cooley performed an experimental research project that included college
undergraduates using the following tests: The American Council on Education Psychological
Examination, College Level, 1949 edition; the Cooperative Reading Comprehension Tests; the
Bernreuter Personality Inventory and; the Seashore Measures of Musical Talents. The purpose
of these tests was to compare the relationship between certain mental and personality traits and
ratings of musical abilities. The data from these tests indicate a strong correlation between
academic intelligence, musicality, and sight reading. Other findings were not quite as consistent.
The personality of the music student was different from that of the non-music student. Music
students tended to be reflective and more introverted, yet often confidentcompared to non-music
students (Cooley, 1961).
Hetland says research in neuroscience indicates that connections with spatial reasoning
are directly related to rhythm perception and performance. In a recent study, Clegorne (2004)
selected 27 sixth grade students and compared each subject's FCAT score with his or her score
from the Clegorne Rhythmic Achievement Indicator Test (CRAIT). The test measured three
areas of rhythmic achievement: the subject's ability to establish and hold a steady beat; the
subject's ability to echo rhythm patterns; and the subject's ability to decipher between duple and
triple meter. Each section of the CRAIT was scored using a numerical value and correlated
(individually and as a combined score) with the participants' FCAT reading achievement scores.
The subtest analysis indicated a strong correlation between reading achievement and the ability
to establish a steady beat and a moderately positive correlation between reading achievement and
the echo and meter parts of the CRAIT.
Levine (2002) says that the benefits of studying a musical instrument include
strengthening small muscle coordination and psychomotor skills. He also states that in the
process of studying music, one must familiarize oneself with form and remembering themes
among other "literary" type exercises. He believes that music and art teachers are the most
observant in assessing visual and aural abilities among their students and that music and the arts
are very efficient in developing critical and creative thinking skills.
In speaking to a MENC conference in 1966, Fuller described a lecture he administered to
scientists, mathematicians and engineers at MIT(Fuller, 1966). He strongly emphasizes the
importance of music in the curriculum for its aesthetic value and also to develop critical and
creative thinking skills. As a graduate reading education instructor, Tanner describes a
demonstration of teaching the form of music, both instrumental and vocal, like works of
literature. Instrumentalists discuss how their individual parts "fit" with the rest of the orchestra.
When studying opera, the music is compared to the drama and the arias (Tanner, 1983).
Brown (2001) discovered that there is little evidence directly connecting the transfer of
artistic skills to academic ability. However, research shows that there has always been a strong
correlation between children who study instrumental music and academic scores, particularly
reading and math. Research in neuroscience also suggests the brain activity that occurs when
performing instrumental music is connected to language production. Sacks (2007) says activities
such as singing, performing instrumental music and listening to music produce organization
abilities in memory, cognitive thought processes and creativity.
These writings cover nearly fifty years of studies connecting musical activity to brain
development and academic achievement. There is certainly even more literature written on this
topic before and during the past fifty years. Most of these authors were not concerned with
establishing that music instruction is necessary. Several of the authors are, in fact, not music
educators or performers. However, as scholars, scientists, and music educators, all emphasize
the enhanced brain activity as well as the aesthetic value offered through music that cannot be
delivered by any other means.
CHAPTER 3
PROCEDURES
The participants in this study attended a magnet performing and visual arts high school in
Central Florida. These students were all enrolled in the same keyboard class. This class was
offered to all students. Some but not all were magnet students required to audition before
acceptance into the magnet program. Students in Grades nine through twelve were included in
this study.
The selection of the students for this experiment was based randomly on who responded to
the invitation to participate. All students who returned the signed parent release form within the
given time frame were selected. Within a few weeks, some showed poor attendance habits.
Others learned that they were required to replace their elective keyboard class with a remedial
class in reading or math. These students were removed from the study.
In an attempt to develop problem solving skills among students, a blog was created to
allow students to share their ideas, hesitancies, and challenges in learning the keyboard. Two
groups were selected to participate in this study. Each group consisted of eleven students. The
experimental group used the blog by communicating during class time for a total of fifteen
minutes per week. They were also permitted to share ideas outside of class, if they chose, but this
was not required. The control group participated as regular class members but did not blog. The
blogging took place using the computers inside the classroom or the library and the students had
set times in which to do this. The blog was read and reviewed by the instructor, and questions
were posted as necessary, concerning lessons covered for the week. The students were
encouraged to read each other's blogs and to discuss methods of learning challenging skills or
concepts.
The students from the experimental group were paired individually with students from
the control group based on previous keyboard or other instrumental experience, previous and
recent standardized test scores in reading, and writing and test scores for musicianship. District
Benchmark Assessments (DBMAs) and Focus Calendar Assessments (FCAs) were used to
assess ninth and tenth grade students and sample twenty-five minute verbal sections of the PSAT
were used for juniors and seniors. Although the scores were not an exact match for each of
these, they were close enough to discern growth or progress of individuals as well as each group
as a whole. Initially, the teacher of this class had either met with or actually taught less than a
third of the student participants. As the class progressed and the teacher and newer students
became better acquainted, it became evident that some of the matches had to be reconsidered in
order to appropriate closer similarities. Although the control and experimental groups were not
changed, some of the pairings were modified.
The students' writing skills were assessed by their English teachers. Writing samples and
grades in these students' English classes were used as data in this project. Since the English
teachers were not made aware of whether their students were in the experimental group or
control group, they were completely unbiased.
Pre-testing for this study began during the first few weeks of school between August 24
and September 11, 2009. Students were interviewed about previous musical experience and
given a musicianship test that is used by the Florida Vocal Association (FVA). Recent and
previous FCAT scores were provided by the Florida Department of Education. The students from
both groups in eleventh and twelfth grades were given a sample writing PSAT pre-test. The
English teachers were asked to assist in this study by sharing documented scores of students'
essays and reading assignments. The actual study, however, began October 8 and continued
until November 18 with each student from the experimental group submitting six blogs. During
the final week of the study, all writing samples and assessments by the English teachers were
documented. The results from the November DBMA given to students in ninth and tenth grades
were available for data and all participants in eleventh and twelfth grades were given a different
sample writing PSAT post-test. Comparisons were then made between students of each group
based on these results.
CHAPTER 4
RESULTS
Free/reduced lunch indicates socio-economic status. This was not considered for
selection of either test or control group. Neither were they considered for the pairing or grouping
of these students. The qualifications for free and reduced lunch are based on family income for
the year indicated. Eligibility was as follows: the experimental group had four students who
qualified for free lunch, two students who qualified for reduced lunch, and five students who
either did not apply or did not qualify for free or reduced lunch. The control group had seven
students who qualified for free lunch, one student who qualified for reduced lunch, and three
students who either did not apply or did not qualify for free or reduced lunch.
Race/ethnicity was also not considered for selection of either test or control group. The
individuals' races or ethnicity are listed as indicated by "No Child Left Behind." The test group
had one African-American student, two Hispanic students and eight White students. The control
group had one Asian/Pacific Islander, one Multi-Racial student, seven Hispanic students and
three White students.
Previous musical experience was considered when selecting the groups. This was
combined with test scores, music theory knowledge and PSAT sample test scores. They are all
very approximate. Previous musical experience varied greatly among students in both groups.
The first level students were noted as "elementary school class." These students had only
training within their music classes from four or more years before taking this class. Because
these students had not performed in music classes in middle or high school and had never had
private instruction on any musical instrument, they were obviously the least experienced and
were assessed accordingly. The musical aptitude of these students was comparable to many of
the more experienced students.
The second level in experience included a student who studied an instrument in band
during middle school, two years earlier, which enhanced her comprehension of notation for bass
clef since she played baritone, but limited some of her technical experience. This level also
included a student who studied piano for a year or so in elementary school. These students were
re-learning much of what they knew at one time and had since forgotten.
The third level included those who had studied class guitar for two years, before this year.
These students were less experienced in music theory concepts, but understood relationships
between chords and other functions of how music is arranged.
The fourth level included those students who studied class piano the previous year. These
students had extensive training in music theory, scales, sight reading, and beginning literature.
Most of the material they learned at this time was review for them.
The fifth and most advanced level included a student who had played percussion in band
for six years. From performing complex rhythms and meters as well as having several years of
experience playing pitched percussion instruments, such as the xylophone, this student had
extensive experience in both theory and sight reading. This level also included students who had
private lessons within three years before taking this class. Their comprehension of theory was
limited. However, their ability to sight read was better than the rest of the students in this study.
Technically, they were more proficient than the percussionist.
English teacher scores on class assignments indicated scores on written assignments
between early September and mid-November. The ninth- and tenth-grade teachers based their
scores of FCA's (Focus Calendar Assessment) given in preparation for the writing portions of
the FCAT. These were given once a month. The eleventh- and twelfth-grade teachers graded
their student's writing assignments using a very similar rubric, so the results are comparable.
Between the earliest and most recent assessments, the total scoring of all eleven test group
students improved by eight points, whereas the total scoring of all eleven control group students
improved by 1 point. See Table 4.land 4.2 on page 23 for individual rates of progress among
subjects of the experimental group and the control group
During English classes, the ninth- and tenth-grade students in the test group performed
considerably better than the students in the control group, averaging greater than one point
higher per student, on a six-point scale, whereas the eleventh- and twelfth-grade students from
the control group performed slightly better than the students in the experimental group averaging
one-hundredth of a point higher.
Music Theory test score was based on the averages taken from assessing a musicianship
exam designed by the Florida Vocal Association. This test is administered as part of the initial
audition of all high school students interested in placement in one of the All State choruses that
perform at the Florida Music Educators Association conference in January. It consists of fifty
questions assessing the following: ear-training experience with intervals and chord tonalities;
concepts with notation and meter; and musical terms and symbols. To be considered for the
auditions that follow, the chorus student must score 70% or higher. After administering this test
to all of the keyboard students, the average score was 47%. Considering that this was new
material and a new form of assessment to all these students, this score was viable in determining
what needed to be emphasized in teaching music theory to these students throughout the school
year. It was also excellent in helping to pair or group these students. The totals of the scores
from each group were similar with the experimental group's combined scores totaling 526. The
control group's combined scores total was 528.
Individual piano class progress refers to the rate of progress made by each student. This
progress was based on a rubric between 1 and 5. Students with the most experience definitely
moved more rapidly. Previous experience was taken into consideration, also. This assessment
was more subjective than the others. Attitude, homework assignments, attendance and
performance were all considered when making this evaluation. The average score for the test
group was 4.1. The average score for the control group was 4.2.
Previous and most recent FCAT Scores are based on the scores taken in either eighth
and ninth grades, ninth and tenth grades, or, when required, tenth and eleventh grades. Students
are required to score 300 (a low 3 or high 2, depending on the year) in reading to pass the FCAT
in 10th grade. The scores range between 100 and 500 for reading and are ranked between 1 and 5.
Students who earn a 2 or lower are required to retake the FCAT the following year. The average
score between 1 and 5 for the experimental group's most recent test was 3.1 The average score
between 1 and 5 for the control group most recent test was 3.2
Previous FCAT writing scores include scores from the most recent years these students
had taken these tests; eighth and eleventh grades. This test is scored between 1 and 6 and
assesses three kinds of writing: narrative, persuasive, and expository. A student must receive a
combined score of 3.5 or higher to pass. Control group student number nine is the only student
of nine to score lower than required to pass with a 3.
District Benchmark Assessments used for ninth- and tenth-grade students are the most
current and accurate assessments of reading comprehension. All of the students should have
scored 20 % higher by the November assessment. (Tables 4.3 and 4.4)
Pre-test PSAT sample test scores are taken from section five of a sample test in the 2010
Kaplan PSAT/NMSQT Premier Edition study guide. Eleventh- and twelfth-grade students from
both groups participated. This sample test assesses the ability of the student to identify sentence
errors, improve sentences and improve paragraphs. There are thirty-nine questions in this
sample. There was no prior or remedial preparation for this test in class. Of thirty-nine
questions, the average correct number of answers between the two groups was 18.1. The first test
was taken between October 1 and 2, 2009.
Post-test PSAT sample test is also taken from section five of a different sample test in the
same Kaplan text. This test was taken November 18, 2009.The average score of correct answers
out of thirty-nine questions between the two groups was 20.5.The average score of the eleventh-
and twelfth-grade students in the test group was 20. The average score of the students in the
control group was 21. (4.5 and 4.6 on page 25 for calculated results between the two tests.
English Teacher's Individual Scores Between early September and mid-November
Table 4-1. Experimental group subjects(English Teacher's Individual Scores)
9th grade: 10th grade: 11thgrade: 12th grade:
#1:+0 #4:+10 none #3:+.5
#2:+.5 #7:+10 #5:+.5
#6:+3.0 #8:+.5
#9: +.5
#10: +.5
#11:+0.0
Table 4-2 Control group subjects(English Teacher's Individual Scores)
9th grade: 10th grade: 11th grade: 12th grade:
#1:-2.5 #2:+0 #7:+0 #3:+.5
#4: +0 #9:+0 #5:+1.5
#6: +0 #11:+0 #8:+0
#10:+.5
Individual Score Comparisons between the September and November DBMA
Table 4-3: Experimental group(DBMA score comparisons)
Subject # 1 2 4 6 7
Points +/- +13 +6 +36 +14 +17
% +/- +19% +7% +163% +23% +25%
The median average was 47.4% improvement for test group participants between September and
November Tests.
Table 4-4: Control group(DBMA score comparisons)
Subject # 1 2 4 6 8*
Points +/- +16 +30 -2 -10 +44
% +/- +20% +54% -3% -12% +200%
The median average is 21.2 percent improvement for the control group participants between
September and November Tests
Individual Score Comparisons between the September pre-test and November Pre-test of
Sample PSAT
Table 4-5: Experimental group(sample PSAT score comparisons)
Subject # #3 #5 #8 #9 #10 #11
Points +/- +3 +8 -2 +4 +0 +0
% +/- +'7% +44% -12% +26% 0% 0%
The median percentage improvement for experimental group participants between pre-test and
post test is 12.5% improvement.
Table 4-6: Control group(samplePSAT score comparisons)
Subject # #3 #5 #7 #8* #9 #10 #11
Points +/- +2 +2 +4 +9 +1 +0 +4
%=/- +10% +9.5% +21% +112.5% +6.3% 0% +18%
The median percentage improvement for the control group participants between pre-test and post
test was 25.3 % improvement.
*8, a senior was required to take the DBMA tests as well as the pre-test and post-test sample
PSAT
Table 4-7: Data, test scores and results for experimental group
Test Subject 1 2 3 4 5 6 7 8 9 10 11
Grade 9 9 12 10 12 9 10 12 12 12 12
Free/Reduced
Frd Free Free n/a Free Free n/a Reduced n/a n/a Reduced n/a
Lunch
Race/ Hispanic White African/
H W W W W W W W W
Ethnicity (H) (W) American
Previous 2 years 4 years Class Band Band Elem. 2 yrs. Elem. Elem. 1 year 2 yr.
Musical private private Guitar 3 years 6 years School Private School School private class
Experience piano piano 2 yrs. Baritone Percussion class piano Class Class piano guitar
English Teacher to 4
Scores on Class 5 to 5 4 to 4.5 2 to 3 4 to 4.5 2 to 5 3 to 4 3.5 to 4 3.5 to 4 4 to 4
Assignments
Mus. Theory Test
Score 40 54 52 34 68 56 58 32 40 38 54
Med. 47
Ind. Piano Class
nd.Piano5 5 4 3 5 4 5 2 3 4 5
Progress(1-5)
Previous and most
recent FCAT 4 to 5 3 to 3 2 to 3 3 to 2 3 to 2 3 to 3 3 to 5 1 to 2 2 to 3 2 to 2 4 to 4
Read. Score (1-5)
Previous FCAT
Writ. Score 5 4 n/a n/a n/a 4 n/a n/a n/a n/a n/a
Highest -6
Grades 9-10 Sept.
Grades 9-10 Sept. 69 78 n/a 22 n/a 62 67 n/a n/a n/a n/a
09 Benchmark
Grades 9-10 Nov.
Grad. 82 84 n/a 58 n/a 76 84 n/a n/a n/a n/a
09 Benchmark
Grades 11-12:
Pre-TestPSAT n/a n/a 17 n/a 18 n/a n/a 16 15 19 22
Score Med. -18)
Post-Test
Pst n/a n/a 20 n/a 26 n/a n/a 14 19 19 22
PSAT Score
Table 4-8: Data, test scores and results for control group
Control Subject 1 2 3 4 5 6 7 8 9 10 11
Grade 9 10 12 9 12 9 11 12 11 12 11
Free/Reduced
Fd Free Red. Free Free Free Free n/a Free n/a Free n/a
Lunch
Race/ Hisp. Multi-
Race/ Asian Hisp. W H H H H ulti- H H W
Ethnicity racial
Previous lyr. 1 yr. class Elem. Elem.
.Pvious Elem. Elem. 4 yrs. yr. class Elem Elem. Elem.
Musical class piano o School School
School s School viola Spiano School school School
Experience piano
English Teacher Scores 5.5 to
4 to 2.5 4 to 4 5 to 5.5 4 to 4 4 to 5.5 5.5 to 5.5 4 to 4 3 to 3 5 to 5.5 4 to 4
on Class Assignments 5.5
Mus. Theory Test Score
Mus Theory Test core 26 54 60 50 78 58 48 32 40 44 54
Med. 47
Ind. Piano Class
nd ano3 5 5 5 5 5 5 2 3 4 5
Progress(I-5)
Previous and most
recent FCAT Read. 4 to 3 3 to 4 2 to 2 5 to 4 3 to 4 3 to 4 5 to 5 1 to 1 2 to 2 2 to 4 3 to 3
Score (1-5)
Previous FCAT Writ.
Score 4 n/a n/a 4 n/a 5 4 n/a 3 n/a 4
Highest -6
Grades 9-10 Sept. 09
S1 64 56 n/a 72 n/a 84 n/a 22 n/a n/a n/a
Benchmark
Grades 9-10 Nov. 09
Gra9 80 86 n/a 70 n/a 74 n/a 68 n/a n/a n/a
Benchmark
Grades 11-12:
Pre-Test PSAT Score n/a n/a 20 n/a 21 n/a 19 8 16 19 22
Med. -18)
Post-Test
T Soe n/a n/a 22 n/a 23 n/a 23 17 17 19 26
PSAT Score
CHAPTER 5
CONCLUSION
State and federal government demands concerning standardized testing have become
increasingly strident each year since 1998 when the FCAT was first administered. Every teacher
is held accountable for improved scores, especially in reading comprehension and writing.
According to the literature, theorists, music educators, scientists, and psychologists find a strong
connection between literacy and music education. This project, although brief, took a different
approach to pursuing this connection. The blog created for experimental group students was to
help develop and improve the writing skills of these students. Although the blog writing may not
be considered of high quality, the thinking process was still evident in what was written, even
when the students were not correct in their answers.
The importance of this experiment is reflected by its methods, intricate documentation and
precise correlation procedures. The main purpose of this project was to demonstrate that
instrumental music education, even for a short duration of six weeks, can enhance cognitive
ability among high school students in writing and reading comprehension, through developing
critical thinking skills as expressed in the blog. Although this may provide evidence of other
academic qualities acquired from instrumental music education, its purpose is not to make music
education valid on behalf of this study. The study of music provides much more than specific
learning skills. The brain development that occurs as a result of studying music and the
intellectual and creative connections made are not provided by any other means of learning.
Results of the pre-test and post tests for the above-mentioned assessments varied. Among
the students in ninth- and tenth-grades, those in the experimental group showed significantly
stronger growth in writing and reading comprehension skills than the students of the same grades
in the control group. This evaluation was based on grades they received by their English teachers
and their results of the FCAs and District Benchmark Assessments. However, according to the
PSAT sample pre-test and post-test, the eleventh- and twelfth-grade students from the control
group performed significantly higher than the eleventh- and twelfth- grade students from the
experimental group. The students were asked to remark on their improved scores. Several stated
that they worked hard on their writing in English class. Two stated that they never really cared
one way or the other until just recently, and then scored remarkably higher on their post-tests
than their pre-tests. So much emphasis is placed on these scores and yet so much depends on
how the student may feel that particular day, physically or emotionally.
The duration of this action research project was very short. It was interesting to study the
way these students think by reading their blogs and to observe significant improvement of
learned piano skills and comprehension of music theory in the experimental group, perhaps as a
result of the blogging. Between now and February, when FCAT testing begins, the ninth- and
tenth-grade students from the test group will be asked to continue writing a blog on a weekly
basis as homework for their keyboard class. Results of the FCAT will not be made available
until May. At that time, further study will be made to observe any correlations between these
students and the students in piano class who do not blog. If there is a strong connection, a blog
will be created for all music classes and used not only for the purposes of improved standardized
test scores, but for developing higher-order thinking skills within the music class.
APPENDIX
THE BLOGS
Thursday, October 8, 2009:
Mrs. A. asked:
Summary of what you have now learned
What have you performed for the first video?
What did you already know before taking this class? How long have you studied music or piano
prior to taking this class? What is the most challenging aspect of what you have learned in this
class?
Comments:
Test Subject 5 (TS5) said:
I haven't performed for the first video yet. I plan on performing Jericho. I knew all the major
scales and major key signatures. I have studied for six years now. (Student plays percussion in
band and is in 12th grade)
The most challenging aspect of this class so far is the minor scales and key signatures.
TS3 said:
For the video I am planning to perform two different scales, attempting to play it singly with
both hands simultaneously. I have no previous experience or knowledge with piano. So far what
has challenged me is note plotting on the staff, identifying notes by ear, and remembering the
names of scales.
TS 1 said:
I have not performed for the first video yet, however I will perform a song called Cinnamon
Popcorn. I knew how to read notes, and how to play music, I knew about time signatures, and I
knew major scales. I have been playing for two years. The most challenging aspect of this class
at the moment is learning key signatures and intervals.
TS 6 said:
I have not yet performed in front of the video. But when I do I am planning to perform 'Brother
John'. I did not know anything before taking this class.For me the most challenging thing to
learn is when all of the notes are and how to read the music on the staff paper.
TS 7 said:
I will be performing a song entitled "The Stranger" for the first video. Before taking this class I
knew the basics about piano playing like reading sheet music and a little of sight reading. I also
knew a little about key signatures. I started taking piano lessons when I was ten, but I hated
them. My fingers were way too small for the keys. I stick it out for about a year, then my mom
finally gave in and let me quit. However, about four years later I started playing again, and now
I love it.One of the most challenging aspects of this class so far is the ear training. (Trying to
distinguish between majors, minors, etc.) I've noticed I have improved a lot since we've started
doing this though.
TS 2 said:
I have not performed the first video yet but I plan on performing a song from the class book or
one of the sheet music songs that she recently gave us to play. I've been playing piano for about
eight years. I play a variety of jazz and classical music. I used to take lessons about 4-5 years
ago and I participated in Jazz Band last year. The most challenging thing for me in this class so
far is learning and memorizing the harmonic, minor, and melodic scales. Also telling the
difference between augmented and diminished chords...but not as challenging as the scales.
Intervals can sometimes be challenging.
October 9, 2009
TS 9 said:
I am going to be performing something that sounds a heck of a lot like "Mary had a little
lamb...little lamb... mary had a little..." Anyways, it sounds like that only the name is different.
I knew quite a bit when I came into this because I had already been taking piano since December
of last year. The most challenging aspect of this class would have to be Major and Minor cords.
I know the difference on the keyboard itself but, if I listen to it, it's hard to tell sometimes.
TS 8 said:
I plan on playing Mexican hat Dance. That's all I can play at the moment. I didn't know
anything before I took this class. I just decided to play the piano for all the lady's(and also learn
something from playing it). The most challenging aspect that I have learned in this class is
moving my fingers at the speed they need to be, most of the terms, remembering where the notes
are, and knowing what I am capable of knowing about the piano. I'm sort of slow when it comes
to learning how to play an instrument.
TS 4 said:
I Have Not Yet Performed For The Video. I Might Do a Scale, I'm Not Really Sure Yet. But I
Still Have 10 Minutes Before We Start. I Was Doing Key Board When I Was Younger But I
went Into Band When I Got Into Middle School. I Played The Baratone. After My First Year I
Was Placed In Synthonic Band, which Was The Highest Class For Band Members. I Really
Don't Know Whsat To Write, Because I'm not Good At This Type Of Thing. But What I Really
Don't Understand Is Tetricords. I Even Think I Spelled It Right. But From My prier Years I
Know How To Read Music. I Get Really Nervous When I Perform In Front Of People By
Myself.
TS 11 said:
Havn't performed yet, I guess just randomly hacking. I didn't know much, just what I can make
sound good by ear, I've been playing music forever.
Tetrachords are the hardest right now
TS 10 said:
I haven't performed anything yet, and I'm still not sure what I'm going to play, I already know
half the songs in the book so it'll be easy. I wouldn't say I know a lot but I geuss the basics and
what not. When I was about 10 or 11 I took lessons from a family friend but stopped after like a
year or so. Then 9th grade me and my sister both started taking lessons from our family friend
again, we used the same book we're using now. We kept that up for aboud year and a /2 and
then we dabbled on our own.I find reading the notes hard and figuring where my fingers should
go. Also the eartraining thing is hard for me too.
October 15, 2009
(The students were required to ask questions and assist each other with suggestions)
TS 7 said:
Dear TS 10:
I totally understand what you mean about ear training. However, the more you do it, the better
you'll get at it. Also, a easy way to remember note names is to make up little phrases. For
example, to remember the notes on the lines of the treble clef you could use "Every Good Boy
Does Fine". (the first letter of each word represents the notes from the bottom to the top.)
TS 1 said:
TS3
I am also having trouble with ear training.
TS 6 said:
As I am reading other people's blogs, I am noticing that most people are new to piano. I really
like that most people are really descriptive when they say how they have started learning the
basics, and stuff like that.
TS 2 said:
Last time I said I would play sheet music or a song from her book but instead I played this song
that I'm learning from my book called Piano Sonata that Ijust started learning.
Tetra chords are also hard for me and it seems like a few other people are having that problem,
too.
October 16, 2009
TS 11 said:
OK, don't I feel like an idiot, well I found out what a tetrachord is, it's just the first and last four
notes in a scale. Well now that that is settled: D, what should I do to improve my coordination?
Hope that helps numero dos.
TS 8 said:
Yeah so I still am confused about playing the darn keyboard. I get lost all the time. I guess I
have to eat me cheerios before I come to class. The only thing I get is the major and minor
chords. That's the only thing. I am trying to understand it all. Just don't have the mental
capacity at this age to remember everything.
TS 4 said:
In A Tetracord, using A Scale, it's The First Four Notes, And The Last Four Notes. So Like,
C,D,E,F. Then G, A, B, C
TS 9 said:
TS 8,What helped me when I first started playing was actually writing the letters on the keys.
Bring a dry-erase marker to class and write the letters on there. I know it sounds silly, but it
really does help a lot more than you would think.
TS 8 said:
TS 9,I will just have to do that. Writing down the notes does help me learn. Well it did when I
played trombone in middle school. Thanks.
October 20, 2009
TS 9 said:
TS 8, You are very welcome.:] If you are still having trouble, let me know and IWILL SEE IF I
CAN help.
October 22, 2009
TS 5 said:
I have realized that I have a problem sight reading. I can read the notes clearly for both hands
but when it comes to actually playing the music, I can't play it. I can learn and play the parts for
each hand separately, but when it comes to playing simultaneously, I can't. I plan on improving
this.
TS 7 said:
Class is going okay. Yesterday we started learning key signatures, however I remember most of
them from last year. So it's mostly a review for me.
Dear TS 8:
Don't worry, it will get better. It just takes time. It's normal to get frustrated.
TS 6 said:
In piano class, I have found that I am having a little bit of a problem. My problem is reciting
what I see on the sheet music immediately. I think it may be because I am new in the music
department, but still I am still having trouble with the basics. Maybe I am being too hard on
myself about this but I just want to learn and understand it what the music is telling me to do. I
guess I am not a very patient person. BYE!!:)
TS 2 said:
Ok...last time I said I didn't understand tetra chords. Maybe Ijust went blank or
something...but I think I mixed it up with tritones... because I think tetra chords are pretty easy.
Ya, Ijust confused myself...so there are the intervals that we have been doing. I'm pretty good
at those. There are still some that I mix up, but I'm getting better. Mrs. A. has explained to me
what a triton is like 10 times already but I still don't get it! Why is it called TRItone if it's only
two notes in the interval. And she said it was a diminished 5th or augmented 4th...right? Which
those are the same thing right? But they aren't chords? Ya so I just really don't understand that
one. Sigh
TS 3 said:
TS 11,
A basic technique you can do to improve coordination is take a scale [preferably a double 8ve
scale due to its length] then just play it at a slow speed and just split the scale into parts till you
have to tuck under.[3-4-3-5]. So after playing it slowly just speed it up a bit but keep a steady
beat and at times look away from the keyboard.
Hope this helps you [or anyone that might read this] and doesn't extremely confuse someone or
I'm gonna feel like a fail typing this out. Now for me, still working on playing different things
with both hands and identifying notes on the staff. Also trying to quit the habit of playing
something to the rhythm we know and play it as its played out, like Brother John.
TS 1 said:
I have begun working on the german song lightly row, I am working on it. I'm trying to improve
on playing both hands at the same time.
October 23, 2009
TS 9 said:
Well, I have not learned much new things but, I am sure that next week will be something new!
Anyone have any questions?!
TS 4 said:
Im Trying To Memerize The Blues, YAY! So For I'm Doing Pretty Good, But I Just need To Put
It Together. When I Get That Done, I'll Bee able To Rub It In My Friends Face, And Be Like,
HA! Well JK, But I Still Might. So This Is Prett Much My Main Goal, And My Most
Challenging Aspect For The Time Being.
TS 11 said:
New notes for fingers are getting to me, but I'm sure I'll get there with practice and time. My
goal for now is to get as far as I can without help, but I will appreciate the help if you're willing
to give it. As for a question, anyone know where I can find some good sheet music to play at
home?
TS 8 said:
My brain is fried and I'm getting frustrated with the piano. It may have to do with the fact that I
can't focus in the class for some reason.
October 29, 2009
Mrs. A said:
Hello,
Please review chord construction for major, minor, diminished and augmented triads. Write the
formulas for major and minor thirds.
Visualize a keyboard in your head and each person will perform the following according to the
number that you are.
No. 1- spell major, minor, diminished and augmented chords for 'A"
No. 2- for "D"
No. 3- for "G"
No. 4-for "E"
No. 5-for "B"
No. 6-for "F"
No. 7-for "Bb"
No. 8-for "Eb"
No. 9-for "Ab"
No. 10-for "Db"
No. 11-for "Gb"
Have fun
16 comments:
November 2, 2009
No. 3 said:
Major=G BD
Minor=G Bb D
Diminished=G Bb Db
Augmented= G B D#
No. 1 said:
Major= ACE
Minor= A Cb E
Diminished = A Cb Eb
Augmented = A C E#
No. 2 said:
M: D F# A
M:DFA
Dim: D F Ab
Aug; D F# A#
Major third: 4 half steps
minor third: 3 half steps
No. 7 said:
Major: Bb D F
Minor: Bb Db F
Augmented: Bb Db Fb
Diminished; Bb D F#
No. 5 said:
Formula:
Major= Minor/maj or
Minor= Maj or/Minor
Dim= Minor/minor
Aug= Maj or/Maj or
No. 5
Major= B D# F#
Minor = B D F#
Dim = B DF
Augmented = B D# F##
No. 9 said:
Straight up... I have no idea. I can show you on the piano but, I can't explain it:/
No. 11 said:
maj or Gb Bb Db
minor= Gb a Db
dim =m Gb A C
aug. = Gb Bb D
No. 8 said:
Major: Eb G A
Minor: Eb G# A
Diminished: Eb G# Ab
Augmented: Eb G# A#
No. 10 said:
maj: Db, F, A
min: Db, E, Bbb
dim. Db, E, G
Aug: Db, F, A
I don't even know if these are right. I count the steps but I think I M doing them wrong, and do
you count 2 half steps for a whole step?
Mrs. A said:
Okay.
No. 1, check your chords on the piano and get back to me.
No. 2, you are correct.
No. 3, you are also correct.
No. 4, I don't see your answer,here
No. 5, your formula seems backwards to me,however, your answers are correct. I guess the first
interval you said was between the third and the fifth and the second interval was between the
root and the third.
No. 6, I don't see yours on here.
No. 7, you are correct.
No. 8, try again, next time
No. 9 see if someone can help you count the half steps between minor and major thirds, and then
try it in your head.
No. 10, see if you can fix this, next time.
No.1 1, very good. However, spelling needs help. See if you can come up with other names for
"A" and "C".
November 5, 2009
No. 7 said:
Dear No. 10,
For a major 3rd you should count 4 half steps, and for a minor 3rd you should count 3 half steps.
Also, for each chord, whether major, minor, augmented or diminished, you should have the same
notes.
November 6, 2009
No. 11 said:
major= Gb Bb Db
Minor=Gb Bbb Db
Dim= Gb Bbb Dbb
Aug= Gb Bb D
No. 9 said:
Major = Ab C Eb
Minor= Ab B Eb
Diminished = Ab B D
Augmented = Ab C E
No. 4 said:
Major: "E" "Gb" "B"
Minor: "E" "G" "B"
Diminished: "E" "G" "B#"
Augmented: "E" "Gb" "B"
I Really Don't Think I got This Right, Because I Don't Know How To Spell Them Right. But I
Can Find The Placements.
No. 8 said:
Major: Eb G C
Minor: Eb G# C
Diminished: Eb Gbb Cb
Augmented: Eb G natural C#
Going to be honest. I got lost, but I did my best on it.
No. 10 said:
Now that I kind of got the hang of the major and minor chords we now have a new thing to learn,
the intervals. It's kind of easy but confusing, do you count the steps or something?
It's also a lot harder to imagine a piano to figure out chords, with a piano atlest we have a hint of
what it sounds like.
No. 11 said:
major= Gb Bb Db
Minor=Gb Bbb Db
Dim= Gb Bbb Dbb
Aug= Gb Bb D
No. 9 said:
Major = Ab C Eb
Minor= Ab B Eb
Diminished = Ab B D
Augmented = Ab C E
No. 4 said:
Major: "E" "Gb" "B"
Minor: "E" "G" "B"
Diminished: "E" "G" "B#"
Augmented: "E" "Gb" "B"
I Really Don't Think I got This Right, Because I Don't Know How To Spell Them Right. But I
Can Find The Placements.
No. 8 said:
Major: Eb G C
Minor: Eb G# C
Diminished: Eb Gbb Cb
Augmented: Eb G natural C#
Going to be honest. I got lost, but I did my best on it.
No. 10 said:
Now that I kind of got the hang of the major and minor chords we now have a new thing to learn,
the intervals. It's kind of easy but confusing, do you count the steps or something?
It's also a lot harder to imagine a piano to figure out chords, with a piano atlest we have a hint of
what it sounds like.
No. 2 said:
Ok. I got it right because I know that scale. I had D which was an easy one. So far I have my
C, D, F, G and A scales completely memorized. Working on E and B.
So I saw all those other crazy keys and I was wondering how to do that. I felt bad for the people
who had the crazy ones.
IL was thinking you would have to have the scale memorized...but I totally forgot about that
easy interval thing. I feel so stupid. I can figure out the keys of songs by using those intervals. I
wish I would have known that like 5 years ago.
No. 1 said:
You said A C E for Major but that is minor. In the key signature of A there is a C#...but you
could have figured it out by starting from A and going up 4 half steps to get a major interval.
***Do you think it's because you didn't have the piano in front of you that you got it wrong?
Lots of people could have gotten confused without a piano in front of them...
No. 2 said:
Also, im really getting confused with some of the numbers and names... so like for the ones that
have names and not numbers could you please tell us your numbers so we know who mrs a is
talking about?lol
No. 6 said:
I do not know how to do the chords. I still need to work on where the notes are and how to read
the music. I am sure that I can probably identify the chords if I listen to them, but I do not know
How they are created.
November 7, 2009
No. 6 said:
NO. 1-minor over major is MAJOR
-maj or over minor is MINOR
-minor over minor is DIMINISHED
-major over major is AUGMENTED
Sadly that is all I know about the chords. I am just good at identifying if the chords that are
played are min., maj., dim., or aug.
November 9, 2009
No. 5 said:
Yes I noticed my formula was backwards. I did that because it was written out like a
fraction in class which helped me remember them. If you write it out the first interval between
3rd and 5th is the numerator and the second interval between the lst and 3rd is the denominator, yet
I understand the intervals for each chord.
No. 1 said:
Major: A, C#, E
Minor: A, C, E
Augmented: A, C#, E#
Diminished: A, C, Eb
Thank you number two, I think it is because I didn't have the keyboard in front of me that I got
confused.
No. 3 said:
Starting to read sheet music somewhat better! Finally. Knocking out a G scale? But I still
have some problems with playing songs that I have never heard before, maybe if I look them up I
can better understand how to play it.
November 12, 2009
Dear Students,
Please describe the effect seventh chords have on playing or listening.
Thank you.
Mrs. A.
No. 1 said:
The effect that seventh chords have on listening and playing is that they sound like a
situation left unresolved, and you need another chord to finish it, to wrap it up.
No. 7 said:
When a seventh chord is played in a way it leaves you wanting more. It's like a question
that needs to be answered. To replace this feeling of abandonment you should play a chord that
is five steps above the starting chord. It is easier to figure this out with a piano than without one.
No. 5 said:
When a seventh chord is played it sounds like another chord can be used after it to finish the
piece. A seventh chord will most likely be played on the last beat of the second to last measure.
No.6 said:
I do not believe that I have played the seventh chord, but I have certainly listened to it. I
have concluded that when I listen the the seventh chords the first part of it sounds like someone
is asking an unsolvable question. Then when the second part of the seventh chords is played, it
sounds like someone has answered the question that was asked before and the answer is pure
bliss. That is the effect I get when I heard the seventh chords.
No. 3 said:
The effect of a seventh chord that I have when listening to it is quite vague, or unsettled. I
believe that if a chord off of the seventh that was played except five steps higher finishes it up
thus ending that vague questionable effect.
No. 2 said:
I think that the effect of the seventh added to the chord makes it seem like it has something
added to it that makes it sound unresolved. It almost makes it sound like a question and then
when you go back to the original it sounds like the answer.
For example, when you start from C, you go a perfect 5t up from that, or 3 whole steps
down, and use that chord which would be G. Then you add the seventh to it which makes it G7 (
G, B, D, F). Starting with G7,, it doesn't sound complete. But when you end with C it answers
the "question".
I think if it wasn't for the seventh on the G, it wouldn't sound is incomplete. But then
just G without the 7th might not quite go with the key or melody of the song.
The G7 that is used most when coming from C would be B, F, G with the fingers 5,2,1 in
the left hand. Something I've noticed is that with every progression (at least most that I've seen
so far) like the one from C to G7, you use the fingering with the left hand from 5,3,1 to 5,2,1-
gringing the 5th finger down a half step lower.
For ex: From D chord to A7 chord is like going from C to G7. You start with D, F#,A,
and the perfect 5th from that is A, add the 7th and make it A7. Another inversion for A7 would be
C#, G, A, which happens to have the same fingering and formula as C to G7 which is 5, 2, 1,
with finger 5 going down a half step.
I think it's cool so I thought I'd share it. I don't know if it's just coincidence or just for
major chords. I don't know about sharp, flat, and minor chords...but so far I think that mostly
goes for the major chords.
November 13, 2009
No. 11 said:
The significance of the 7th chords are the fact that they give the song a little bit of a plot for
the listener to enjoy, the way that the song played with 7th chords are giving you notice that there
is more to come, just like the plot of a story.
November 15, 2009
No. 10 said:
I've heard a 7th chord played but never actually played it. A 7th chord makes you want to
hear, like it's a beginning to a song, or somewhere in the middle, but never the end. It sounds
like it needs to be resolved. Like when you hear it being played you expect more notes to
follow.
No. 4 said:
The Significance ofa 7th. Cord, is to Add Liveliness, or Definition, to a piece of music.
November 16, 2009
No. 9 said:
I've never actually played a seventh cord but from what I can gather it makes you want
more. In a way it leaves you hanging. Wondering what note will be played next. To the listener
it sounds like it needs to be resolved.
November 17, 2009
No. 8 said:
It leaves you wanting more. It makes you wonder what is going to happen next.
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BIOGRAPHICAL SKETCH
Nancy A. Atkinson graduated from Florida International University in 1976 with a
Bachelor of Fine Arts in music. She has taught in Florida and Indiana. Her teaching experience
includes elementary, middle and high school music. Mrs. Atkinson has taught in Marion County
since 1986. In 1992, she was recognized as Marion County's Teacher of the Year while teaching
at an elementary school. Her responsibilities have included teaching strings, general music,
musical theater and chorus at the elementary and high school levels. She has also taught class
keyboard and AP Music Theory at the high school level. In 2007, Mrs. Atkinson became
certified as a National Board Teacher. She currently teaches keyboard, strings, chorus, AP Music
Theory, and musical theater at West Port High School in Ocala. Mrs. Atkinson received her
Master of Music Degree from the University of Florida in 2009.
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