The Appreciation of Electroacoustic Music

633 Pages·2013·6.19 MB·English

by  Motje Wolf

The Appreciation of
Electroacoustic Music –
An Empirical Study with
Inexperienced Listeners

Motje Mareike Wolf

Volume 1/3

Submitted in partial fulfilment of the requirements for the degree of

Doctor of Philosophy

at De Montfort University
Leicester

March 2013
Abstract....................................................................................................................................4

Acknowledgements
 and
 Thanks......................................................................................6

Introduction............................................................................................................................7

1
 Music
 Appreciation
 and
 Contextual
 Studies.............................................................9

1.1
 A
 metaphor................................................................................................................................9

1.2
 Music
 appreciation..............................................................................................................10

1.3
 Gaining
 understanding
 for
 electroacoustic
 music....................................................14

1.4
 Influencing
 musical
 preference
 with
 the
 help
 of
 information..............................17

1.5
 The
 response
 to
 electroacoustic
 music
 changes
 according
 to
 information
 given

–
 The
 Intention/Reception
 project........................................................................................18

1.6
 Tools
 for
 ‘deciphering’
 electroacoustic
 music............................................................19

1.7
 Arousal-­based
 music
 appreciation
 (Berlyne)
 and
 Prototypicality.....................20

1.8
 A
 Prototype
 for
 Electroacoustic
 Music..........................................................................22

2
 The
 Pedagogical
 ElectroAcoustic
 Resource
 Site
 project
 and
 related
 projects

and
 literature.......................................................................................................................26

2.1
 The
 Pedagogical
 ElectroAcoustic
 Resource
 Site........................................................26

2.1.1
 The
 ElectroAcoustic
 Resource
 Site
 (EARS).........................................................................27

2.1.2
 EARS
 II
 (P)
 Curriculum................................................................................................................28

2.1.3
 EARS
 II
 (P)
 Environment.............................................................................................................29

2.2
 EARS
 II
 (P)
 Musicological
 Framework...........................................................................31

2.2.1
 The
 EARS
 II
 (P)
 musicological
 framework..........................................................................32

2.2.2
 A)
 Classification
 of
 sounds..........................................................................................................32

2.2.3
 B)
 Listening
 Experience...............................................................................................................33

2.2.4
 C)
 Modes
 of
 Discourse,
 Analysis,
 and
 Representation....................................................36

2.3
 Pedagogical
 Projects
 for
 Children
 with
 Emphasis
 on
 Contemporary
 Music,

Electroacoustic
 Music
 or
 Listening........................................................................................39

2.3.1
 Projects
 based
 in
 schools............................................................................................................39

2.3.2
 Projects
 outside
 of
 schools
 run
 by
 networks
 and
 organisations...............................44

2.3.3
 Other
 Projects..................................................................................................................................46

2.4
 Music,
 Technology
 and
 Teaching....................................................................................48

2.4.1
 Introduction......................................................................................................................................48

2.4.2
 Advantages
 of
 using
 technology
 in
 the
 music
 classroom..............................................48

2.4.3
 Problems
 of
 using
 technology
 in
 the
 music
 classroom..................................................51

2.5
 Summary.................................................................................................................................55

3
 to
 5
 The
 EARS
 II
 Pedagogical
 Framework..............................................................56

Introduction..................................................................................................................................56

3
 Learning
 Theories
 and
 Approaches
 to
 Learning
 Design...................................58

3.1
 Bloom’s
 Taxonomy
 of
 Learning
 Objectives
 and
 Anderson
 and
 Krathwohl’s

Taxonomy
 for
 Learning,
 Teaching
 and
 Assessing............................................................58

3.2
 Learning
 Circle
 by
 Kolb......................................................................................................64

3.3
 Behaviourism.........................................................................................................................66

3.4
 Constructivism......................................................................................................................66

3.5
 Laurillard’s
 Conversational
 Framework
 and
 Phenomenographic
 Design.......68

3.6
 Teaching
 and
 Learning
 Theories
 for
 the
 EARS
 II
 (P)
 curriculum.........................71

3.6.1
 Anderson
 and
 Krathwohl’s
 revised
 Taxonomy.................................................................72

3.6.2
 Kolb’s
 Learning
 Cycle....................................................................................................................74

3.6.3
 Behaviourist
 Elements.................................................................................................................74

  1
3.6.4
 Constructivist
 Elements...............................................................................................................77

4
 Design
 of
 EARS
 II
 (P)
 Curriculum
 and
 Environment...........................................80

4.1
 EARS
 II
 (P)
 Curriculum.......................................................................................................80

4.1.1
 Aims
 and
 Objectives......................................................................................................................80

4.1.2
 Learning
 Outcomes........................................................................................................................82

4.1.3
 Introduction
 of
 Knowledge........................................................................................................86

4.1.4

 EARS
 II
 (P)
 and
 the
 National
 Curriculum........................................................................90

4.2
 The
 EARS
 II
 (P)
 Environment...........................................................................................93

4.2.1
 Three
 Headers
 –
 Music,
 Technology
 and
 Theory..............................................................93

4.2.2
 Learning
 Objects
 and
 Tutorials................................................................................................94

4.2.3
 Navigation..........................................................................................................................................95

4.2.4
 Design..................................................................................................................................................97

4.2.5
 Communication
 and
 Feedback..................................................................................................98

4.2.6
 Stages
 of
 Development.................................................................................................................99

5
 An
 Application
 of
 Bates’
 ACTIONS
 model..............................................................101

5.1
 Access:
 How
 to
 approach
 the
 learning
 content?......................................................102

5.2
 Teaching
 and
 learning......................................................................................................107

5.2.1
 Forming
 concepts........................................................................................................................108

5.2.2
 Advantage
 of
 concept-­‐based
 presentation.......................................................................112

5.2.3
 Media.................................................................................................................................................113

5.2.4
 The
 role
 of
 Composition
 in
 the
 curriculum......................................................................115

5.3
 Interactivity
 and
 Ease
 of
 Use..........................................................................................117

5.3.1
 Visions
 of
 the
 multi-­‐learner
 mode........................................................................................117

5.3.2
 Web
 2.0
 implications..................................................................................................................117

5.3.3
 User-­‐interaction...........................................................................................................................118

5.4
 Novelty...................................................................................................................................119

6
 Methodology...................................................................................................................120

6.1
 Introduction.........................................................................................................................120

6.2
 Preliminary
 Considerations
 of
 Appropriate
 Qualitative
 Methods....................121

6.3
 The
 EARS
 II
 (P)
 Methodology..........................................................................................122

6.3.1
 Three
 test
 phases.........................................................................................................................122

6.3.2
 Action
 Research
 (Methodology
 of
 Delivery)....................................................................123

6.3.3
 Teaching
 and
 Lesson
 plan
 design.........................................................................................124

6.3.4
 Data
 Collection..............................................................................................................................127

6.4
 The
 Tests...............................................................................................................................129

6.4.1
 The
 Questionnaires.....................................................................................................................129

6.4.2
 Listening
 Response
 Test...........................................................................................................134

6.4.3
 The
 Letter
 Test..............................................................................................................................135

6.5
 Methodology
 of
 Evaluation.............................................................................................136

7
 The
 three
 Test
 Phases.................................................................................................139

7.1
 EARS
 II
 (P)
 and
 user-­centred
 design:
 Test
 Phase
 1.................................................139

7.1.1
 Participants....................................................................................................................................140

7.1.2
 The
 Test
 –
 Aims,
 Methodology
 and
 Structure.................................................................140

7.1.3
 Results..............................................................................................................................................151

7.2
 Development
 of
 the
 Prototype
 Second
 Stage:
 Test
 Phase
 2.................................166

7.2.1
 Aim
 of
 the
 test...............................................................................................................................167

7.2.2
 Participants....................................................................................................................................167

7.2.3
 Structure
 of
 the
 test....................................................................................................................167

7.3.4
 Results..............................................................................................................................................168

  2
7.2.5
 Conclusions....................................................................................................................................174

7.3
 Test
 Phase
 3..........................................................................................................................175

7.3.1
 Introduction...................................................................................................................................175

7.3.1.1
 Aim
 of
 the
 Study...................................................................................................................................175

7.3.1.2
 Structure
 of
 the
 Study........................................................................................................................175

7.3.1.3
 Participating
 Schools..........................................................................................................................177

7.3.1.4
 Teaching
 support.................................................................................................................................178

7.3.1.5
 Beta
 Study
 (CS01)................................................................................................................................179

7.3.1.6
 Changes....................................................................................................................................................184

7.3.1.7
 Teacher
 Interviews.............................................................................................................................185

7.3.2
 Evaluation
 of
 Case
 Studies
 02,
 03
 and
 04..........................................................................187

7.3.3
 Questionnaire
 1............................................................................................................................187

7.3.3.1
 Case
 Study
 2...........................................................................................................................................187

7.3.3.2
 Case
 Study
 3...........................................................................................................................................189

7.3.3.3
 Case
 Study
 4...........................................................................................................................................191

7.3.4
 Questionnaire
 2............................................................................................................................193

7.3.4.1
 Case
 Study
 2...........................................................................................................................................194

7.3.4.2
 Case
 Study
 3...........................................................................................................................................199

7.3.4.3
 Case
 Study
 4...........................................................................................................................................204

7.3.4.4
 Correlations............................................................................................................................................209

7.3.4.1
 Discussion...............................................................................................................................................220

7.3.5
 Listening
 Response
 Test...........................................................................................................222

7.3.5.1
 Description
 of
 data
 /
 Definition
 of
 analytical
 units...............................................................222

7.3.5.2
 Result
 of
 the
 first
 reduction
 of
 the
 material.............................................................................223

7.3.5.3
 Discussion
 of
 Codes
 emerging
 in
 the
 First
 Reduction..........................................................224

7.3.5.4
 Analysis
 of
 Codes.................................................................................................................................225

7.3.5.5
 Discussion...............................................................................................................................................237

7.3.6
 Letter
 Test.......................................................................................................................................238

7.3.6.1
 General
 observations.........................................................................................................................239

7.3.6.2
 Evaluation...............................................................................................................................................240

7.3.6.3
 Knowledge-­‐related
 codes.................................................................................................................249

7.3.6.4
 Preference-­‐related
 codes.................................................................................................................254

7.3.6.5
 Method-­‐related
 codes........................................................................................................................262

7.3.7
 Summary
 of
 Findings.................................................................................................................264

8
 Conclusions.....................................................................................................................266

8.1
 Summary...............................................................................................................................266

8.2
 Original
 Contribution
 of
 EARS
 II
 (P)
 Curriculum.....................................................267

8.2.1
 Electroacoustic
 Music
 Education..........................................................................................267

8.2.2
 Musicological
 Contribution.....................................................................................................270

8.2.3
 Music
 Pedagogical
 Contribution...........................................................................................271

8.3
 Discussion.............................................................................................................................272

8.4
 Further
 Research................................................................................................................274

8.4.1
 Research
 Projects........................................................................................................................275

8.4.2
 Practical
 Projects.........................................................................................................................277

8.5
 Final
 Conclusion..................................................................................................................278

Literature............................................................................................................................279

  3
Abstract
The research contained within this PhD project forms part of the Pedagogical
ElectroAcoustic Resource Site project of the Music, Technology and Innovation
Research Centre of De Montfort University Leicester. This thesis contributes to
current research in music education and musicology related to electroacoustic
music.
The purpose of this research was to investigate the influence of teaching on the
change in inexperienced listeners’ appreciation of electroacoustic music.
A curriculum was developed to introduce electroacoustic music to 11 to 14 year
old students (Key Stage 3). The curriculum was based on concepts
distinguishing between electroacoustic music using (mainly) real-world sounds
and generated sounds. The curriculum is presented in an online learning
environment with an accompanying teacher’s handbook. The learning
environment represents the prototype for the pedagogical ElectroAcoustic
Resource Site offering online learning, blended learning and classroom-based
learning.
The website was developed following user-centred design; the curriculum was
tested in a large-scale study including four Key Stage 3 classes within three
schools in Leicester. In five lessons music using real-world sounds (soundscape
and musique concrète) was introduced, which included the delivery of a
listening training, independent research and creative tasks (composition or
devising a role-play). The teaching design followed the methods of active,
collaborative and self-regulated learning.
Data was collected by using questionnaires, direct responses to listening
experiences before and after the teaching, and summaries of the teaching
written by the participants.
Following a Qualitative Content Analysis, the results of the study show that the
participants’ appreciation of electroacoustic music changed during the course of
these lessons. Learning success could be established as well as a declining

  4
alienation towards electroacoustic music. The principal conclusion is that the
appreciation of electroacoustic music can be enhanced through the acquiring of
conceptual knowledge, especially through the enhancing of listening skills
following the structured listening training as well as the broadening of
vocabulary to describe the listening experience.

Motje Wolf, May 2012

  5
Acknowledgements and Thanks
I would like to thank Prof. Leigh Landy, Prof. Stephen Brown and Dr. Simon Atkinson
for the supervision of this research as well as Prof. Andrew Hugill and the Institute of
Creative Technology for financing this research.
Further I would like to thank:
My examiners Prof. Simon Emmerson (De Montfort University) and Prof. Pete Stollery
(University of Aberdeen) for great discussions during the viva.
Nils Müller for coding the final CMS and the productive discussions.
Dr. Simon Coupland for helping to set-up the Wiki for the second test phase.
Yingchun Tian for creating the first version of the EARS II prototype used in the third
test phase.
Chloé Cutler, Robin Fencott, Dr. Adrian Furse, Michael Gatt, Andrew Hill, Dr.
Christopher Johns, Sarah Mackenzie, Claire McGinn, Dr. Dylan Menzies, Dr. Lauren
Redhead and Martin Rhodes for language corrections.
Jeffrey Mettlewsky for transcribing interviews of the first test phase and Louise Rossiter
for transcribing the second teacher interview.
The participating schools: Judgemeadow Community College, Abington High School
and Leicester Grammar School.
The participants of all test phases and the music teachers of the participating classes.
Adam Chetty, Bobby Hawkins, Gez McCoy, Steve Morgan, Annelie Nederberg, Dr.
Sophy Smith and Brian Trinh for supporting the teaching during the study.
The composers Panos Amelides, Jared Blum, David Hindmarch, David Holland, Prof.
Andrew Hugill, Jeffrey Mettlewsky, Annelie Nederberg, Neal Spowage, Elisabeth
Szwarc, Dr. Rob Weale and Hildegard Westerkamp for providing material for the EARS
II prototype curriculum.
The Music, Technology and Innovation Research Centre for an amazing research
environment.

  6
Introduction
“We need more methodologically strong evidence-based research for the missing rooms and
suites of the ground and lower floors of the building representing sound-based music
studies. Studies of impact and appreciation - the likes of the I/R project - need to be
undertaken in this broad area” (Landy 2007a, 223).

This thesis aims to contribute to the body of knowledge in music education
related to electroacoustic music. Under the frame of the pedagogical
ElectroAcoustic Resource Site (EARS II) project it will investigate the ways in
which teaching inexperienced listeners1 concepts of electroacoustic music can
enhance the appreciation of it.
The thesis approaches its intention through the development of a curriculum
which addresses inexperienced listeners. It starts with an outline of contextual
studies relating to musical appreciation (chapter 1), an introduction to the EARS
project and an overview of current pedagogical approaches towards
electroacoustic music including a literature review focusing on 'teaching music
technology' (chapter 2). This is followed by the introduction of relevant learning
theories (chapter 3). Following this, how these theories have been applied to
the curriculum will be shown (chapter 4). Further pedagogical details of the
curriculum are introduced in chapter 5. Following the methodology of Action
Research, parts of the curriculum were taken into schools, where it was
investigated how the content as well as the teaching methodology would relate
to the target group. Chapter 6 introduces the methodology for these tests: their
results can be found in chapter 7. Finally, in chapter 8 the conclusions from this
research are drawn.
The prime focus of the curriculum was working with and listening to sounds. In
this connection the music classroom was seen in the same way as Burnard
outlines:

1 In this thesis ‘inexperienced listener’ is understood as inexperienced in listening to
electroacoustic music.

  7
“The music classroom is where innovation and adaption occurs; a creative space where
communication and interaction can take both real-world and virtual forms, in some cases
with face-to-face interaction and side-by-side interaction whilst in other cases the
interactions can be synchronous or asynchronous where learning is facilitated, influenced,
shared, shaped and responded to by key stakeholders both inside and outside of the
classroom and of class time” (Burnard 2007, 43-44).
This project is based within the EARS II project, which will be introduced in
chapter 2. The EARS II project aims to create a web-based learning
environment, introducing inexperienced learners between 11 and 14 years old
to electroacoustic music. This PhD research contributes to the pedagogical
foundation of this project. It further presents the development of a prototype of
the EARS II curriculum, which will feed as proof of concept into the final
development stages of the EARS II project.
Project partners have been in alphabetical order John Anderson, who designed
the first Content Management System as well as the prototype of the program
‘sound organiser’; Pete Batchelor, who designed Java Applets that enable the
user to do live sound manipulation; Nils Müller, who developed the current
system of the online environment of the EARS II prototype; Yingchuan Tian,
who developed the website used for the tests in the third test phase, and Rob
Weale, who developed a prototype of the listening room as part of the listening
section on the current EARS II prototype.

  8
1 Music Appreciation and Contextual Studies
1.1 A metaphor
Imagine you have stepped into a new world. Houses do not look like houses
anymore, streets not like streets. There are probably signposts, but the
language on those signs is unreadable. You would have two options to react:
option one is to panic and to run out of this world as soon as possible, the other,
to learn the language and to try to get hold of a map in order to orientate
yourself.
This is quite possibly the same situation for someone attending an acousmatic
music concert for the first time. The listener is expecting a typical concert
scenario, but there are no musicians on stage and the ‘music’ does not sound
like anything that has been heard before. The only parallel that can be drawn
between a ‘typical concert situation’ and an acousmatic concert is that the
context in which the performance is presented is similar (sitting in a concert hall,
looking onto a stage, etc.). So when people respond negatively to acousmatic
music, does that mean that they do not like the music? Or are they
overwhelmed by the situation? Are they maybe just confused, because they
cannot distinguish between music and situation? What would happen if we gave
these listeners a ‘map’ and a ‘language course’ for the electroacoustic music
sound world before a concert?
These questions summarise the intentions of this project well as it is assumed
that the appreciation of electroacoustic music can be enhanced for
inexperienced listeners by explaining the key concepts of electroacoustic music.
To prove this hypothesis a curriculum for electroacoustic music, from now on
the EARS II (P)2 curriculum, was developed and tested on inexperienced
listeners aged between 11 and 14. This curriculum shall function as a ‘map’ and
a ‘language course’ for inexperienced listeners in the new world of
electroacoustic music.

2 = Prototype of the curriculum for the pedagogical ElectroAcoustic Resource Site project.

  9