T.T.S. group and

A F.."..CTOR-A.NllLYTIC STUDY OF NUSIC..\L ABILITIES OF EGYPTIAN STUDENTS TAKING ~1USIC AS

A SPECI/J, SUBJECT

Thesis Dubmitted for tho Decree of

Doctor of Philosophy

by

...'\mn.l .L\hreed Mokhtllr Sn.dck

Diploma in Music

Educ~tion

Univorsity of London Instituto of Educntion

321

Chapter V

The Ar'ults Eiffi0rlment

In this chapter the discussion will include the

follo\iln3

points:-1. The test batteries used in testing subjects from the

Teacher's Troining Schools (T.T.S.) and The Higher

Institute of Music and the No.tional Conservatory,

(H.I.M and N.C.). 2. Tho Somple

3.

Experimcnto.l Procedure

4.

Discussion of rosults.

1.

The Test Batteries

T"vo tost bo.tterios wore used in -t;his study, one with the

T.T.S. group and the other with tho H.I.groups (Higher Insti·l;uto~).

The two test batteries are neazLy identical but occo.sioMl

tests were omitted i f they wore

-(a) too easy for tho H.I.group;

or (b) too difficult for the T.T.S. groups.

Their suito.bility wn.s judged by the pilot study which

preceeded. the testing proper.

The bo.tterl(,s include

(0.)

music nptitude and achdevemerrt tests used by other investigators.

NCW' musico.l tests designed for the present study.

Intelligence end Spo.tiol Ability Tests. Quustionnn.:ire.

322

Tho following table shows the tests uaed in both batteries. Tab1eCbO)

TGsts Used by other Investigators

Author Sub-Tests

N.

Items Sub-Tests

1 Seashoro,C.E. Pitch

Oregon ~us1c Disc. 38

17 Rhythmic

I

Identification 16; Melody

I

Identification

(W)

19

Melody

. nldentification

(0)

20 --.rnt

erval,

XX Recognition

(W)

21 --lntorval

I

Recognition (0)

22, lntorval

I Estimation (U)

23 lntervnl Estimation

(0)

24

Fluency 2.

3.

4

5

Wing, H.

6.

7.

8. Hovncr,K.

Rhythm

Time Tonal Memory Chord Analysis Pitch Chnnge Tc.no.l Memory

50

30

50

30

20

30

30

25

Closure I

60

48

12

30

10

24

16

24

24

9.

Farnum,S.E,

101

C"ttell.

Farnum Alusic Notation 40

IPAT. Scale

3

SorieE

13

26

27

X Closure II Quest ioIUlD.ire 12

11.

12.

13.

14.

Saleh, Z.

15.

Likert & Quasho. Classification Matrict.S Conditions ""?1Ctorio.l Intelligence Revised Minnisota Paper-Form Board

XX

.

N.F.E.R.Spatial Test I ~4

13

10

60

~oo

28 Musico.l Knowledge

Frem the above to.blo, it is noticed that thore are three

different test batt erd es which use different o.pproaches to the

mea.surement of musical nbilities.

These are: (1) Tho Soo.shore tc.3.surcs. of l\rusical Talent;

(2) The \ling l·:usicol Intelligcnce. tests; and

(3)

The Oregon Music DiscriminD.tion tests.

1. From the Seashorc test bo.ttery four tests were chosen. Pitch

Discrimination, Rhythm, Tonol. Memory and. Time. These were

used in the children's experioent and have beon described abcve, 2. The Wing Standardized. Tests of Musical Intelligence.

The \/il18 tost ba.ttery in its rim! form is made up by

7 recorded. tests which, as he st at ea, started as "an attempt to

satisf'y both the musician nnd. the psychologists" (i{ing 1948

r.a.).

In his investigntions, the main aim was to device a reliable

battery based on music31 mnterials, which could be given within

n rea.somblc time. Four of the:m involve judgment of pairs of

musical phrases, but accor-df.ng to i7ing, the first three tests nre

"sntisf'actory in themsc1vc;;s without the ad.dition of the last

four - at lcnst ror a first grading" (Wing 1960 p.

3).

The three tests included in this test battery are from tho 1957

revision of which nre issued on tape,

1. The Chord Ana.lysis Test: This test consists of 20 chords in

which tho subject has to detect tho number of notes played. Thero

are, 2 one-note chords,

6

two-note chords,

7

three-note chords

~24

piano. Practice items are provided for this and thu other two \'/ing tests. Tho tranalnt ed instructions and the: answer sheets for the tests are included in Appendix I I r

2. Pitch Changa

Test:-The test consists of thirty items. Ea.ch item consists of two chords which are ploy-ad successively on the pinno. In some items, one noto is a.lt ered in the second chord by moving up or down. The subje;ct has to state i f the; two chords are the" same" or different, and.i f clifferent, to state the cliroction of' change.

Note that tho test involve 11sensitivity to pitch

relationships" (\-/ing 1948 P.22), ahd not pitch discrimination in

..

the sense of clisoriminating t~sholddifferences as in the Seashore Pitch test.

3. The A1emory

Test:-'1i~ considers SeashoreIS Tonnl Memory as one of' the

best of his tests, but he states tha.t some improvemEnts are possible. In his o....m memory test, Wing used. more musical. material, for tho following

rea.sons:-1. The test is ••••• "more close to tho ta.sk required in dealing with actu:l1 music" ••••• which may Lead to results· 'more likely to be indica.tive of' musical capacity".

:3

2.5

marked off from the non-musician; i f theso relntions nrc not

P'l:'OC,.:J11t.. iri allY grea.t degree, thQ rl11..\.~;.oi(lU hUI) 1 ass o!'portunity to

domonstrato his superiority'.

3.

"If",

as in this test, "little tunc;s nre used, "it is found th:lt the number of notes can be 00.5i1y incroa.sod to ten, and tha.t

thc;se m::ly be played for more quickly. This increase in tune length decreases tho chance score, and so improvc;s tho reliabUity; the incrooso in speed

ncens

th'\t the test vdll take less timo, and this is hulpful in building up en extended bnttery."

4.

"A melodic line is far more im..,rcsting to those of high music:ll co.pacity th:.m n haphnzo.rd colll..ction of tones, they thorefoJ co-op",rate b(;.tttlr with thv tE:isting because thoir musico.l intvrests

havo been aroused".

Thl;; Se:lshore and the

wi'ng

memury tests differ in another importtmt factor, that is, in

the

Wing test

tonal and.

'rhythmic clements arc combined in tho melodios

used,

",hile these two factors Aro separntcd in the SGO-shore bnttery.

Tho Wins mE;mor,y test includes

30

items.

In each item. a short molody

is

played t\"~ce. In the second plt¢ng one

note

is altered and

the subject has to sto.te the

numbc:r of

tho

chc.ngea

note.

The melodios

includod nre of

vnried

ltmgth; consistinc

of

3

note

tunos,

Oregon Music Discrioinntion Test

Appreciation or n.osthotic judgm(ont is a fund.o.mental

qmlity of the musician, and is required both by listeners and

pert'oraera, In measuring musical taste, two epproaches have

been followed. In both two musical phrases are presented and

the subject has to stn.te which one he prefers. One of those phrases, according to the first approach, is an artistic work,

which is generally accepted while the second phrase is 0.

distorted version of the original. In the second approach,

both prhaaes are originals but their aesthetic value differ,

according to the judgment of expert musfcf ane,

The t est for Ilosthetic judament included in this test

battery follows the first approach nod VIas devised by K.Hovner.

It contoins 48 it ems. Each consists c£ Il pair of musical phraeos , in which one of them is original and the second is

changed in rE.i:spect to its rhythm, its harmony, or its melody.

The. subject has to indicate (1) which of the two phrases

he prere-rs, and (2) whcbher- tho difference between the two phrases is due to an alterntion in the rhythm, harmony, or

melody.

The test items are presented on the piano and given en a

phonograph record. A copy of this test, and it s mcmunl were

obtained from Glasgow University since they ar-e no longer

commercially availn.ble.

Ono test which has been used by other investigators and

327

which measures Leazned bo1ul.viour is thG F,'lnmm Music Notation test.

In

tbis test, auditory and visu.ll percept Ion are co-ordinated since tho subject haa to compare a musical phrase plnyed on the piano with the same phrase printud on tho answer sheet with some alterntion either in pitch, rhythm or time. The identific~tion tests designed for the present investigntion

are

quite similnr to this test but

differ.Ln the following respects.

1. In the melody Id~ntification test, phrases using qmrter tcnes are Lnc'Luded,

2. A separate test deals with Rhythmic identification, whereas in the Farnum test oither torul1 or rhythmical aspects are

involved.

3.

Both the Melody a.nd Rhytlunic Identifica.tion tests include some items where tho ansier is "same" L,o. no nlt oration occurs, while in the Farnum t~st all the items are altered.

Tht;; test consists of

40

short four-ba.r melodies, presunted on a

78

rpm record. The 40 phrases are prdrrted on th~ answer shelits but in each itt:m one print€;;d measure differs from the actual melody. Tho subject has to indicate where the difference cccurcd by crossing one of four small squares boside each item corresponding to the four measures of the musicc.l phrase. The subjects are not requirc;d to atat e to which aspect the o.ltEration is due •.

been able to profit from any typo of music instruction he ho.s had

up t.o the time the test is taken". (Test kianual

P.4.)

A copy of

:3

28

this test and its instructions is to be found in

below.

The Nmy Tests

1. The Identification Tests:-

.

Appendix

:uI

;·,'hcn devising the identification tests for chi1dron, a more

difficult form of tho melody and. rhythm tests was prepared for the t),dult battery. Both forms follow the some principles. In

thE,; Melody Identification, there ar-e two parts. Part one deals with melodies which could be described as "Western" since no

qun.rter-tcne intervals are included. Thero are

48

items in this section. They are graded from casy to difficult and the number of

notes in each item increases gradm.lly towards the end.

In pnrt two of tho test, melodies in which qu:lI't(..r-toncs are

included are used as the stimuli. HhE:;n d(;;vising this part it was

docided to include melodies I'(;prescntiI'l[; the principle tetra-chords

used in Egypt. Tho melodies and the tetrachords are as

follows:-ItE:m 1.

kf)

¢m!lli£

FJ ...

1===

~

\ ' ; 0 . . , . - '-'

~

The tetrachord used in this item is the"'Ti'Rast" which is

considered to be one of e~evc:n principle t ct ra-chords in .oriental

transposed

.-considered as in C major.

Item 2.

f~s:\±f#!m

. .

Bl ...

,,>!h'v"

E

The tctrachord used in i tt:m 2 in the !r::-:.7c..-Ather which is an

augmented tctrachord and for this reason a fifth note is alWo.ys added sineo without this o.ddition, an uncomplcteness or

suspension is felt by the listener. This tetra-chord is stressed

towo.rds the end

or

the bar. Tho answer for this iton is (Different)

since the first

EP

is printed

Ed.

It(;Ill ~. I

~

_{..,.. -}

C'J!f!=,l§P'J

_'J

II

In this itc.m two tetro.-chords have been used. The first is

0. IINo.'\m-Athe'I;" pnd the second is 0. "Hijaz" transposed by 0. perfect

fourth higher. The f'irst tetro-chord appear in tho f'irst bo.r in ascending' form while thu second appear-s in the second bor in 0.

desconding f'orm. The; answerf'or this item is IIDII becauae the

second qunver of the f'irst bent in bar 1 was printed as 'a Bd..

Item 4:

~~;';~'l~:':§'~'~~

.)

The "Hijaz" tetro.-chord is used in this item but

0. perfect fifth up, since

.Ln

its original it usunlly stnrts from D.

-Tho tetra-chord appea.rs twice in this itLm in two different fenns.

In the first bar it is in an ascending form and in bur two in 0.

.. ."

330

Item 5:

Tho "Rast" tetra-chord is used in this Lt en, Alteration

occured by printing tho E! as a na'tur'al, E, and tho a.nswer is "D".

Item

6:

The chord used in this itc-m is the "Nahawand"

tetra-chord. It is noticed that this tet ra-chcrd corresponds with the intervals used in the "Western" C minor soal,e, Here it is

trunspoaod a perfoct f'if'th up, L,c. to G minor. The answer for this item isllD" sd.nce tho last quaver

or

the first bar (Ep) is printed us (Ed).

The "Be.i'ilti" tetra-chord is used in this itun. ThE. answer

is "D" since tho

Ed

in bar one was printed as I:~.

Itom 8:

~;?~~--The "Kord" tetra-chord is used in this itc-m. The answer

is "D" sd.nce the f'irst

I!.1>

"vas printed ae

Ed

f'orming a "Ro.st"

Item

9:

A transposed "I-lijazll tetra-chord is used in this item•

.

Thi.- answer is "S" since no alteration occur-ad,

I t o m l 0 : ~

~

Two "Rast" tetrachords are used in this item.

.

In tho first

bar, an ascending transposed "Rast" tetro.chord is used; and in

the aecond bur a descending one. The answer, for this ite,m is "S"

because no alteration occured.

A transposed "Hijo.zll t ct ra-chord is used in this item. The answer is "D" because the

K'l

in thE:;; second bo.r is printed as

Eel

in the answer sheets.

It(;m 12:

$~~~~

The tetra-chord used in this itan is the "Bcba" tetra.-chord. This is a diminished tetra-chord and its genoro.l cho.ro.cter is

"very sed", The answer- for this item is"S".

The stimulus used for tho first part of this t ost is the

pt.ano while in tho second po.rt it is the Lute. Both ~)arts were

f"or writing down tho answer.

A copy of" tho whole test, answer- shed, and instructions

are included below. (See Appendices II and III) The Rhythmic Idontific~tion Test

This tost was espccinlly devised for adult subjects a.long

the same lines as that used in tho childrenIs experiment. It

consists of 60 items, ten-items in each signature; ~ 3 4 6 9

4, 4, 4,8, 8,

and 12

8.

Within each ten-item group the itons move f"rom easy to dif'ficult.

The subject is asked to compare a tiappcd rhythmic pattern

with a. printed one on his answer sheet and to decide if" they are similar or different. I f the latter, he has to circle the

pulse whore the alteration occured, A copy cf this tost and its

instructions are included below.

Tho Intervnl Recognition test:

The same test describod above in the children's experiment

was used in the T.T.S. group only.

The lnt erval Estimation t cst:

This

rom

of test was included in both the T.T.S. and the H.I. groups. It consists of 40 items which are divided into

3

parts. Fllrt one ( \2. Items) denls with ascending intervals, pDrl two (12 ite-ms) with descending intervals and part three

,

(16 items) involves oriental intervnls.

In this test the subject has to st at o which interval of

three nlt~rnativessoundod successively, is the nearest to an

originnJ. one which was p'Laycd once and followed by a pause of

5

seconds, On his answer shoet tho subject is presented with the

original interval only beside which 1, 2,

3

nre written and he has to mark thu number, which represents ~hc correct response.

G

To illustrate this, itt.;lI1 1 is shown bulow:

~t

(As presented on the answer sheet)

~

~-e-

'+~

0

2.-

~-~,

_

-n=~~:=a:::Q~

H

+

~

In this itun, number (2) is tho right answer, since a.

major third is tho ncar-oat interval to tho minor second used in

the origin..'\l intcrval., In each of' the three parts·.the items move grndllillly frcm <::n.S'!t!I to difficult by making the int ervals

closer to the 6rigin:l1.

The Closure

Tcsts:-These tests follow', to somo extent, thu principles used

by f;,hito, B.W.

(1954)

in his tests cf visun.l and o.uditory closure. There nrc tyro forms: Form cne was used in both the

T.T.S and H.I.Groups but form two was included only in the H.I.

battery.

In tho first test, there are 24 items. Thl; subject has to

identify whether 0. certain figure is or is not Lncf.uded within

a longer phrase. If this fiGuro is contained in the

melodies wer\,; played on tho piano nt 0.. c<.;rtoin defined speed

~

~

tx.~.-~1b~

As

••

••

Th0 second test is more or less similnr to the first. It

includ~s12 items. Each of these items is a musical sentence

which was chosen from piano compositions. These sentences are

either polyphonic or harmonic in structure. The subject is

334

presented with a motive which may exist in :my voice i. c. S., A.,

T or B. He is then simply asked to state whether tho motive

exists in thf.: melody or not. No practice items are; given

bct'ore the test, but three prnctice items are given for test one.

Like the: first test tho melodies ;"fer... played on the pinno at 0.

certain defined speed given by the compositions.

Both of the: closuro tests are considered as advnnced tests

of memory in which the subject has to idE;ntify a musico.l figure

when presented in a musica.1 Gestalt either in a simple or

in 0. complex form.

The Fluency Test:

This test 'W:lS included in both the o.dult batteries. Its

aim is to measure origi~ityin completing a musica.1 phrase.

In this test tho subject is presented with the folloYdng

ThE:; subjE:ct is asked to complete each phrase with several,

different responsive phraacs, Half an hour was allowed for till

responses. The. answers were givc;n to two jUdges to rate.

One point was al.Lowed for each reasonable response and tho nean

of tho three scorers (the two judges and the writer) was

taken. The subject was allowed to give as m:my as

8

different responses to each phrase.

The Musical Knowledge Test

:-This test was devised for tho adults in both groups.

It covered both general musicnl theory, history of music

both Western and Oriental music. Thl; itt;ms included (a)

completion itcms (b) matching items, (c) choice of response

items and (d) inventive-response items. In scoring this test,

the oricnto.l and west ern aspocts were aeparut ed,

The qucstiorm::drc: used in the childrents expurdraorrt was

335

also used in tho adult expcrdment to provide tho sane inf'onnation

Non-Musicnl Tests included in the Adults

bn.ttery:-1. Tho ~cnern1 int e11igcnce tests:

The C:ltte1l Culture-F:lir test scale

3

form A, was included in both tho :ldult bntteries. The test consists of

50

items

divided into

4

sub-tesbs, The following table shows these tests, nuabers of ,items and the time

:lllotted:-Tab1e(i'I)

Tests No.of Items Time Al10tt ed

1.

Series

13

3

mi.na,

2.

C1assific:ltions

₁₄

4

nms,

3.

Matrices

13

3

mins.

4.

Conditions

10

2"~- mins.

Total

50

12-~ mins.

I

I

No rurth£.;r descriptidn is needed since those ar-e identical

with those c£ scale 2 used with tho younger subjects.

AnothEJr test

or

"glt was included. This test is by Dr.

Saleh, and is standnrdizcd for Egyption populations. Its

author reported compnrativ~lyhigh reliabilities for this test;

using the split-half method they runge from.75 to .85.

The test consists of

60

items. Tho subject is asked to

ide:ntify one from fivo n1tcrnativc.s which is differC;lnt. It

includeo 6 proctico items, and tho time allowed is 10 mi.mrtea,

The Spl.ltio.l A'J;!ility Tests

In prevacus Lnvest.Lgat Lons cnrrh..d out in tho field of

music~ ability, the rCilation between musical n.uility and. certnin

other o.bilities wore studied. These investigations have been

discussed. above in Cha.pter III. In thCi present research two

spa.tial ability tests are included and are described below.

1. The Revised Minnesota Paper' Fonn Board.

The test consists of

64

multiple-choice items print~d in

a six poge fclder. Each item involves findi~ how certoin smnll shapes could be fitted together to make :l larger figure.

The time limit fer this test is 20 minutes, and o.dditiooo.l

time is given f'irst f'or eight practice items.

2. The N.F.E.R. Spatial Test I

;-The tvst consists of 6 sub-tests. Table

(g

z: ) presents the rome, number of items and the till1e limit for each sub-test.

To.b1e("I"l..)

Sub-Tests N.of Time N.Pro.ctice

Items Allotted Items

1. Fitting Sho.pcs

28

13 mins.

₄

2.

Form Recognition

15

8

mtne,

3

3.

Pa.ttern Recognition

18

9 mi.na,

₄

4.

Sho.pc Recognition 19

5

mins.

₄

5.

Compa.risons

8

3

mins.

₃

6.

Form Ref'lections

12

3

mns,

₃

Total

6

100

₄₁

been able to profit from any typo of music instruction he has had

up to the time the test is taken'", (Test kanual P.4.) A copy of

:3

28

this test and its instructions is to be found in

below.

The Nmv Tests

1. The Identification Tes.t~:':'

App

endix

:fIt

;','hen devising the identification tests for children, a more

difficult form of the melody and. rhythm tests was pr-epar-ed for

tho adult bo.ttery. Both forms follow the some principles. In

the Melody Identification, there are two parts. Part one deals

with melodies which could be described as "Western" since no

qun.rter-tc,ne Lnt erval,s are included. Thero are

48

items in this section. They are graded from easy to difficult and the number of

notes in each itun increases gradWllly towards the end.

In part two cf the test, melodies in which quarl(..r-toncs are

included arc used as the stimuli. \lhcn df;lvising this part it Was

decided to include melodies rt:prescntiI'lt; the principle tetra-chords

used in Egypt. The melodies and the tetrachords are as

follows:-ItE:m 1.

#

t:

r;g~

Ell

<>' •

~====-~

\

~"b

. , . . ..."

The tetrachord used in this iiem is the"'t'i'Rast" which is

considered to be one of eleven principle tetra-chords in .ori€;ntal

.-considered as in C mD.jor. Item 2.

f

_{~!;J~&t~ ~ ..-a.~J ~}

q

E

The tetrachord used in i tum 2 in the I1t.·..,c..-Athet which is

an

augmented totrachord end for this reason a fifth note is alwnys added since without this nddition,

en

uncomploteness or

suspension is felt by the listener. This tetra-chord is stressed towards the end cf tho bar. The answer for this itan 1s (Different)

since the firstE1:» is printed

Ed.

Item

3.

I

~

_...

=Jl,Gl¥£rJ.Ja

_.

_"

In this itc;m two tetra-chords have been used. The first is a "No.wa-Athe'I;" pnd the second is a IlHijaz" transposed by n perfect

fourth higher. The first tetra-chord appear- in tho first bo.r in ascending" form while tho second cppears in the second b:lr in a descending form. The; answer for this item is "D" because the second quaver of the first beo.t in bar 1 was printed as on Bel.

Item 4:

,;2

The "liijaz" tctrn-chord is used in this item but tr::msposod

II perfect fifth up, sinct:;.Ln its original it usually starts from D.

The tetra-chcrd appears twice in this itLm in two different ferms. In the first bar it is in an ascending form and il1 bar ~~ in II

:3

'30

Item 5:

Tho "ROost" tetm-chord is used in this item. AlterOotion

occur-ad by printing the Ed.as a naturnl, E, and the answer is "D". Item

6:

The tetro.-chord used in this it(;m is the "Nahawand" tetra-chord. It is noticed t.hat this t etra-chord corresponds with the intervals used in the "Western" C minor sco.1e. Here it is

t rnnspcscd a perfect fif'th up, L,e. to G minor. The answer for

this item is"D" since tho Last; quaver of the first bar (E),) is

printed us

(Ed).

Item

7:

~~:~--I§

The "BeJ."b.ti" tetra-chord is used in this itun. ThG answer is "D" since tho

Ed

in bar one was printed as E~.

Item 8:

~

- l

~

I

t

IE

;:'0

~t===

,

-

.

~

The "lCord" tetra-chord is used in this itun. Tho answer

Item

9:

A transposed "Hijaz" tetra-chord is used in this item.

Thi.- onswer is "S" since no alteration occur-ad,

Item 10:

~ . ,

i

"

:;;;;=

Two "Ra.st" tetrochords ,are used in this item. In tho first

bar, an ascending transposed "Hast" tetrachord is used; and in the second bar a descending one. The answer, for this ite,m is "S"

because no alteration occured.

A transposed "Hijaz" tctro.-chord is used in this item. The

answer is "D" because the

Rl:t

in tho second bur is printed as

Eet

in tho cnswer' sheets.

Itc.m 12:

~j~

The tetra-chord used in this item is the "Saba." tetra-chord.

This is a diminished tetra-chord and its gonora'l character is "very sad". The answer for this it(;m is"S".

The stimulus used for the first

part

of this test is the pi.ano while in tho second part it is the Lute. Both )arts were

for writing down tho answer.

A copy of the. whole test, nnswer shed, and instructions ore included below. (See Appendices II and III)

The Rhythmic Identifico.tion Test

This test was especially devised for adult subjects along

the SDJIlC lines as that used in the childrenIS exporiment. It

ccnsists of

60

items, ten-items in each signaturej ~

3 4 6 9

4, 4, 4,8,

8,

and. 12

8.

Within each ten-item group tho items move from easy to difficult.

The subject is asked to compare 0. tapped rhythmic pattern

with a printed one on his answer sheet and to decide if they

ore similar or different. I f thu latter, he has to circle the pulse where the nltern.tion occured, A copy

ct:

this test and its

instructicns are included belO'V.

Tho InteIVo.l Recognition test:

The same test described above in the children's experiment

was used in the T.T.S. group only. The Interval Estimation test:

This fom of test was included in both the T.T.S. and the

H.I. groups. It consists of 40 items which are divided into

3

parts. Part one ( \2. Items) deals with o.sccmding intervo.ls,

po.rt two (12 items) with descending intervals and part three

,

(16 items) involves oricnto.l mt erval,e,

In this test the subjc:.'Ct has to st at o which intexval of

three o.lte:rnatives sounded successtvcfy, is the nearest to an

original one which was plnyc..d once and followed by 0. pause of

5

seconds, On his answer- shoet tho subject is presented with the

original interval only beside which 1, 2,

3

ar-e written and he has to mark th,-: number, which ruprl;;sents tho correct response.

To illustrate this, itun 1 is shown below:

~U

(As presented on the ans"er Sheet)

~ ,- 2.-

3-~1

+

gr-=+==o=It=+~G;:=~t=..,.:;:::iocI§

In this ib..m, numbor (2) is tho right answer', since a

major third is tho nearest interval to tho minor second used in

the origin..'\l interval. In each of' the three parts·.the items

move grndlUl1ly from 0aS'!t!I to difficult by moking the intervals

closer to the oragd.nal.,

The Closuro

Tests:-These tests follov." to some extent, th,-: principles used

by ';lhite, B.W. (1954) in his tests of visuo.l and auditory closure. There nrc two forms: Form one was use-d in both the

T.T.S and H.I.Groups but form two was included only in the H.I.

b.:lttery.

In the first test, there are 24 items. Th(,;; subject has to

identify whether 0. certnin figure is or is not included within

334·

melodies wc.rl;. plnyed on tho pi.eno o.t 0. ccr-taan dc:f'ined speed

t

1

. 1..

~ #~ f~

As .tLL",(IIt}.

•

••

•

ThE: second test is more or less similar to the first. It

inelud~s12 items. E~ch of these items is a music~ sontence

which was chosen from piano compositions. Those sent ences are

either polyphonic or harmonic in structure. The subj ect is

present ed with a motivo which may exist in any voice L,e. S., A.,

T or B. He is then simply asked to sto.to whether tho motive

exists in thE:: melody or not. No practice items arc given

bct'ore the test, but three pra.ctice items nrc given for test one.

Like thu first test the melodies wer", played on the pd.ano at a

certain defined speed givon by the compositions.

Both of tho closuro t&sts o.re ccnsidered as advanced tests

of memory in which the subject has to iduntify a musical figuro

when presented in a musicnJ. Gestalt either in a simple or

in a complex form.

The Fluency Test:

This test was included' in both the o.dult bo.tteries. Its

aim is to measur-e origino.lity in ccmpleting a musical phrase.

In this test the subject is pr-escnt cd with the folloYdng

The subj<:;ct is asked to complete each phrase with several.

different responsive phrases. Half' an hour was allowed for o.ll

responses. The answers wer(; [;iven to two judges to rate.

One point was allowed for each reasonable response and the mean

of' the three scorers (the two judges and the writer) was

taken. The subject was allowed to give as many as

8

different responses to each phrase.

The Musical Knowledge Test

:-This test was devised for the adults in both groups.

It covered both general musical theory, history of music

both llestern and Oriental music. Th<.: items included (a)

completion items (b) matching items, (c) choice of response

items and (d) inventive-response items. In scoring this test,

tho oricntnl and west ern aepccts were soparnted,

The questionnaire: used in the childrenIS experimont was

335

o1so used in th<: adult experdment to provido tho seme infonnation

Non-Musico.1 Tests included in the Adults

batter:y:-1. Tho I1cnerC\l intelligence tests:

The Co.tte1l Culture-Fo.ir test scale

3

form A. vms included in beth tho o.dult bo.ttcries. The test consists of

50

items

divided into

4

sub-tests. The following tuble shows these tests,

numbers of' ,items o.nd the time

allotted:-Table(,l'\)

Tests No.ef' Items Time Allott ed

1.

Series 13

3

mins.

2. Classifications 14 4 mins.

3. Uatrics s 13

3

mtne,

4. Conditions 10 ~} mi.na,

Total

50

12-~ mins.

I

I

No furlhE,;r descriptit'n is needed since those arc idcntico.l

vrith those of: scale 2 used with the youngor subjects.

Another test of' "g" wae included. This test is by Dr.

Saleh, and is stando.rdized for Egyptio.n popul.atLona, Its

author report cd compo.ro.t i VCi:ly high rclia.bilities for thi s test;

using the split-ho.lf method they runge from.75 to .85.

ThE: test consists of 60 items. Tho subject is asked to

identify one from fivo nltcrmtivc,s which is differont. It

Lnc.Ludeu

6

pro.ctico items, and tho time allowed is 10 minutos.

The Spl1tio.l AQili ty Tests

In prcvd.ous investig:ltions carriE..d out in the field of

musical o.bility, the ralntion betweGn musical ability cnd curtnin

other o.bilitics wore st udi.od, These investigo.ticns have been

discussed above in Cha.pter III. In the present rcseo.rch two

spatial ability tests are included end are described below.

1. Tho Revised Minnesota Paper Form Board.

Tho test consists of

64

multiple-choice items printed in a six poge folder. Each itQm Lnvo'lves findit1B how certain smnll

ahapes could be fitted together to nake a larger figure.

The time limit fer this test is 20 minutos, and additionD.1

time is given first for eight practa.ce items. 2. TheN.F.E.R. SpatinlTest I :

-The tE:st consists of

6

sub-tests. Table

(g z: )

presents the name, munber of items and the:, ti1l1o limit for each sub-test.

Table ("I'L)

Sub-Tests N.of Time N.Pr:lctice

Items Allottod Itorns

1.

Fitting Shapes

28

13

mins.

4-2. Form Reccgnition

₁₅

8

mi.na,

₃

3.

Pattern Recognition

18

9 mi.ns,

4-4.

Shape Recognition

₁₉

₅

mi.ns;

₄

5.

o

ompari sons

8

3

mins.

₃

6.

Form Reflections

12

3

mins.

₃

Total

6

₁₀₀

₄₁

338

Includinc; prn.ctice ituffis, the: whole procedure is estima.ted to

t~kc one hour. Since thv tl..st had to be reproduced in Ambic, the

instructions and specimen items appear' in tho later discussion of results. 2. The Sample

A:-T.T.~i.Gr0up.

As stated above, the first selection for music educa.tion in

EGYPt occurs at the D.gC of

9+

for ..tho N.C. and 12+ for thf.P.S.

A second selection occurs at the ago of 15+ for those who 'will

be accepted in Teacher Tro.1ning Schools.

5-

i oar s of TrainiI'lc1

arc rc.:quired to become a primary school t enchcr, Before

1955,

all music

t

cachers wer-e supposed to be grnduat ee fron tho Higher

Institute of Vusic, but since thore ....ras a. gre.:l.t shortage in the number of music teachers, musical sbctions wore added to certain

Teacher Troining Schools.

To be accept ed in those musical sections, the. at udorrt has

to pass tests which are used for the purpose in all these

centres. Tho tests used in this selection are as

fcllows:-1. To state t he number of notes played, once, successively by the

cxami.ncr', There are 8 itoms in this test and the number

or

notes vard es from one to six notes.

2. To sto.te whether the second of two notes is higher or lower

than the first ~12) items.

3.

To state by number tho note changed in a second playing of

a musical phrase. The range of notes in each phrase varLes

Another po.rt c£ the tests is oroJ. where the subject has to

perform the following.

1. To siIJ6 any par't of 0. song chosen by himself or herself.

2. To rc.,;peut or whistle a tunc;: played once by the exemtnerv This

test consi st s of 10 items ranging from 2 to 7 notes,

3.

The subject has to walk according to different paces of a piece cf music played by the exaadricr,

4.

ThCl subject has to cla.p 0. rhythmic pattcrn after the examiner

has clapped it once. The -rest corrbzd.ned 10 patterns ranging from very simple to moderately difficult in ~ ~ or~ one bar po.ttern.

The subject is o.cceptcd if' his scoro is not less than ,5(f,~ on

the whole bo.ttery•.

The subjects :Cor the present investigation weru chosen :Crom

:Cour dif'ferent Teacher Tr::tininz Schools, twc in Coiro, one in

Upper Egypt !ocni-5iw:i.Ei1JP}, and thfJ fourth in Midc1le Eeypt

(Al-Mansoura).The following tc..bles gives gl"n~ro.l details about the

339

subjects.

Table (ez~

)

Teo.chers Training Schools

I

School 1 I School 2 School

3

School

4

·S·ex· Age Sex ~e Sex

I

Age Sex

,

~'. Age

Female

(.15+

to 21 Females 15 to 21+ Femo.lcs t~ 19+ _{Males! 16+}

!

_{to 21}

Grade 1 23

23

-

1

Grado 2 11

-

-

₅

. Grade :; _3.1 1

10

₂

I

-. Grano

4-

₇

_L

₁₅

₄₈

₁₅

340

It is noticed tho.t the number c£ beys is very sma.ll as compared

with thn.t of girls. This is because there nrc no other musical

centres for boys, and soccndly becauae subjects who did not complete

the whole test battery were excluded from the calculo.tions.

All the subjects in this group play the Accordion as a first

instrument andchooso one of the following stringed instrument as

n second instrument.

(1) Lute, (2) Violin or

(3)

~anun.

B: The Higher Institute Group.

These subjects are going to be oither music t cechcr-s or

perroraers, Selection is made from students who have pasacd the

sccondary-schcok level. The teachc.r's group was selected

from students in their first ycn.r at the Higher Institute of

Music, Cairo. Tho second sub-group, the pcrf'onners, was chosen

from those in the first year or the third yer::,.r of secondary school

level of' tho No.ticml Conservatory (Higher Section).

The subjects for both groups arc selected on more or less

thl;l aame ecole as mentioned above, but arc required to perfom

certain musico.l pi eces on an instrument of their choice. The

pieces are chnnged each ye~r and arc anncunced before the

beginning of the ycar by the institutes.

The following table Givos more details about tho two

:3

41

Tablf{6f1)

Higher Institute of Music N:ltion:l1 Conservatory

No.of SUbjects Sex Age Runge No. ofSUbjects Sex Age Range

18 18

Total

=

36

Femeles 18+ to 20+ Males 18+ to 20+

12

12

N=' 24

Females Males

17+

to

21+

17+

to

20+

All tho subj ects spocialize in one instrument as their first

subj cct, and have to choose oithor sineing or a.nother instrumQnt as

a second subject, besid(..s followinc tho usuaf cuxriculum.

3. The Experimental Proco:lure

A: T.T.S.group: Tho experiment was carried out in spring

1967.

Testing had to bo conducted so as to suit tho convenience of the

four schools. For thc two schools in Cairo, tho tests were divided

into four groups. Each group was conducted in one day. But for the

tyro schools outsido Coiro, to which the writer had to travol, a

letter was sent to each head-maat er- explnining the purpose of the

work, together with anct her- letter from the Ministry of' Educa.tion for support. They wcr" asked i f any three successive <hys could be

fixed for this purpose. On the first day, us in the Cairo schools,

the preliminar,y work was carried out and both the Quostionnaire and

the musical knowledge tests were ccepl.ot cd,

For each of the Cairo schools a visit had been pnid to carry

342

8 it ems in each as follows:-1. Pitch

discriminaticn:-In this test, both the Seo.shore, and tho ':;'iing techni.ques wore used, since the aim of this pilot testing was merely to introduce

what would be required in the actual, battery. The test was as

follows:-2.- 3-

4 .

~

Q

~

_~

I

is

a

_"#4

0

a

¢

£'-one:-

~aoE~~~

Pnrt

Part

In both po.rts the pinna was used as the stimulUS. In the

first part the subjects ho.ve to state whethor the second note is

higher or lower tho.n the first. In the second Pll.rt the SUbjects ho.ve

to state whether the ch-mge occuring in the scccnd chord is due to one noto moving up or down, In both po.rts, tho subjects wore told tha.t there is always a change and no 11soma" nnswers, therefore ,are

expected. In all sbhools, the first po.rt of tho test proved to be

very easy, and. the errors occurcd only in part two where the

stimuli nre more complex.

2. Tonal

Memory:-Short melodies, including from

3

to

6

notes, were plnyed twice and the subjects had to state by number tho note altured in the

follows:-second playing.

The subjcct s in the four T.T.S. perf'ormed woll in this test and for nll the schools the mean scores were higher thon ~~ of

the totnl.

3.

The Chord Analysis

test:-To analyse a chord and to sta.te the number of notes played in a chord is net taught oven a.t this fltage of music education in Egypt. Hence it W:lS necessary to include it in the pilot tests.

The test below' is th"" one used for this

purposo:-1._ 3_ Lt. S - ~_ 1-

B-~1t¥¥I

!

~

:

I.i

[~§

i==ij

9

-4-~

i ;

:

The subject has to sta.te th~ number of notes played in the chord. Before this test was given, many pr:lctice items were explained and illustrated to tho subjects by plo.ying tho notes of

a certoin chord successivly, than

t

ogethor-, The results obtained from the pilot test indicatod th:lt tho \"iing Chord Aoolysis test may be one of the difficult tests in the battery since the aeon scores

obtained were all below 50~ of the total.

:3

44

proper was ca.l.Ti.ed out in the two Cairo schoo'l.s, The whole test battery took

4

sittings one on each d.;:;.y spaced ever a week. But for the schools outside Coiro, the t(;sting cook only two daya, end the four sittiI1l3"1C:re spaced so as to have two sittings in each my

with a gap of one hour. The tests were so o.rrD.I\3ed

that:-1. The; timo limit should not exceed 90 minutes 0.5 fa.r as possible.

2. Several long tests should not be included in one session 'without

a breok to avoid boredom and fatigue.

The four sets were as f'ollows:-Table

($)')

Set 1 Set 2

I

_{Set 3} Set

4

I

,

I

5.

Interval Estimation.

: 6.

Co.ttoll, I.P.A.T. Scale

3.

~

4.

Int orval

Recognition

I

,

i 1. Farnum Music

!

Notation Test. 2. R",vised 2. Melody

}.!innG;;ota Pa.per; Identification Form-Board. :

\ 3.

Rhythmic

Identificatio 1. Oregon !:usic

Disc.Test.

i

3.Fluency i

I

I

2 II Memory

~,[ing,Chord

AnalYSiS! Pitch Ohange • Seashore Pitch 1.

Rhythm'

Time

!

i

I

Toml Memory

f.

Snlch,Pitcorial

I

Intel.Test.

2. N.F.E.R.Spatial

Scale 2.

13.

S",Jc.k..,Closure I

I

1.

J_~

_

During ,tho testing session, a break of five minutes was

345

The instructicns W"~ro rOE'.d clc..arly by the e~er, and a period of tine was o.llcri(oti for tht' I"uhj Poets to read them from their

answer sheet s and for answering o.ny questions rrd sed, After illustrating what was rUi,uired by giving either the author's

examples or examples prepared by the examiner it was mo.de clear

th<lt no questions we.re allowed once the test had started.

During the tcsting pcrd od; each student sat a.t 0. desk

corrt::spending to the serio.l number he had been given.

All tho answer sheets were put on the dcska in o;:dor and

collected at tho end of the session. From each school, two

proctors cc-opcrat ed with the school t eacher and tho writer. Tho appo.ratus used:

Tho Seashore, V/ing, Oregon Music discrimino.tion test and

Farnum Music Notation tests wore presented on tape, The Seashore and Farnuo tests which are published on records were

te,.ped before hand to avcd.d any accidents such as breakage of the

record. In taping theso tests, n1l tho English instructions were

,

omitted, and where examples are included, an Arabic explano.tion

replaced the English one.

All the new tests were played en the piano, or lute, or

:3

46

B: The Higher Institute r,rc,ups:

The experimental procedure f'or these two institutes was dif'ficult

to arrange, since cv£;,ry student has his own time table f'or the pmctical subjects. So it was impossiblo to carry out the testing

with more than 6-8 subjects at a sitting. However', each snal.L group finished each set of tests in one sitting. Except th~t a longer

time was needed to complute the whole bat

t ery,

the same procedure wo.s used as in tho T.T.S. No pilot runs appeared to be r-equi.red for this

group. Other alterations were that the N.F.E.R. spatia.l test was

not included in the testing and the Co.ttell IP~\1' rt.placed it o.t the

first sitting. However it had to be abandoned owing to the shortage of time.

In the following pages, the English instructions for the

different tests arc given together with the f'rC4uuncy distribution

tables for each tost and histogro.ms showing the row score

distribution for all T.T.S. SUbjects combined and for H.I.M. and

N.C. subjects combined.

The Ambic translation and the answer shcet s used in each

347

1. The Seashore Tests:

The instructions for the four tests have been stated above and need

110t be repeat~d. The Bn_{.t1e sample items devised by the w-iter were}

used. Tables

(g,

to 90) present the frequency distributions of raw scores in Pitch, Rhythm, Time and Tonal Memory respectively. The mean, S.D., minimum and maximum scores are also included in these tables.

Table (~G)

The Seashore Pitch Test

Sc.

T. T. S.

H.

I.

Interval Sch.1 Sch.2 Sch.3 Sch.4 H.I.M. N.C.

Girls Girls Girls Boys Girls Boys Girls Boys

46-50 2 ₃ 4

41-45 2 4 1

₃

2

₅

3

36-40 10 3 1 6 ₇ 1 1

31-35 2 _{5 3} 1

₃

2 2 1

26-30 6 10 7 4 ₅ 2 3

21-25 14 9 13 9 1 1

16-20 12 8 13 5 1 1 1

11-15 11 2 6 3 1

6-10 5 1

...

_

..

-N :: 52 48 48 23 18 18 12 12

Mean 119.88 28.58 24.19 22.17 33.50 36.89 35.33 36.75 S.D. 7.82 8.65 8.94 5.04 6.53 8.12 7.90 12.26 Min.Max. _{6-43 12-45}

11-48 14-37 25-45 20-50 2c-44 8-49

---

r.

~

._

34 7 ( 0. )

1="1~...e.t...\1)

S~':)\...O-U--()\'\-do..

,Q...

~

'·,.~ .Gt'"c "'~

N,

17I.

-•

I

fC ;If

It; _{rs: 20 ;"1 30}

/ { ~D

-r

_r

(

348

Table

('6,)

!he Seashore Rhythm Test

15-29

~lin.Max~

\10-28

20-30

13-28

16-27

Se.

,

:

I

T. T. S.

H'. I

Interval

I

sch.l

Sch.2

Sch.3

Sch.4

H. I. M.

N.C.

Girls

Girls

Girls

Boys

Girls

Boys

Girls

Boys

29-30

6

8

9

1 1

27-28

9

14

16

4

5

5

7

6

25-26

12

15

13

3

2

3

3

23-24

9

7

7

5

1

1

2

1

21-22

5

3

6

3

2

1

19-20

5

3

3

4

17-18

7

1

3

15-16

2

1

1

13-14

1

2

1

11-12

1

~9-:10

1

N=

I

₅₂

48

48

23

18

18

12

12

Nean

1

22 . 35

25.71'

2~.35 22.~9

27,28

27.78

25.58

25.83

I

4.42

2.60

2.65

I

3.74

S.D.

3.39

3.33

1.99

4.23

-,-.J"-y'... \~.1

34E

. I _

. 1. .).1\1 = • •

."

-'

,

- -

,

- - 1

I

I

~

l

I

16

12.. l~

Ic j

,

.

I

6D

J

~

i

1_

::1

-':>1

. - .

I ~....

I

I

:

l

lSi

I

k _I

I

~I

I

I

j

I

-

,

c IL ₆ ··I~ _{2~ .Q.}

_.

_'.

_2{

2.2 ~..:

-349

Table

(st)

The Seashore Time Test

T. T. S. H~.

I.

Sch.1

Sch.2

Sch.3

Sch.4

H.I.N.

I

N.C.

Interval

t

Girls

Girls

Girls

Boys

Girls

Boys

I

Girls

Boys

-46-50

2

1

1

1

41-45

7

15

17

5

2

1

3

36-40

17

21

11

4

₇

9

3

2

31-35

17

10

12

6

₅

4

4

4

26-30

5

2

5

6

1

1

2

1

21-25

3

5

1

1

16-20

.

2

1

1

11-15

2

6-10

1

.

N

=

52

48

48

23

18

18

12

12

Mean

35.10

37.85

36.52

29.74

37.72

36.61

32.17

35~o8

S.D.

6.34

4.18

7.38

6.17

4.71

6.

~O

7.17

7.27

Min.Max.

_10...46

27-45

12-47

16-39

28-45

19-46 \18-41

24-48

Sc.

i

In this test, all the sub-groups obtained comparatively high mean

scores, and the

diff~rences

are not great except for a low score among the

boys (Sch.4).

The

histogram~

in figure

(19) show~at

in both groups

J 49~~

--:

--

S

-. ' . . ' , : , . I I

r - -,

I

I

I

I

I

I

I

I

I

_I

I

I

I

I

I I

I

I I I

I

I

I

I

I

I

I

I

I

_I

I

I

I

I---l

I

I.,

fJ

.

~.

N

=

~c

'S

I

I

I

!

I

I

i I j

350

Table

(g~p

Seashore Tonal Memury Test

I

H. I.

T. T.

S. I

Interva

SCh.l

Sch.2

Sch.3

Sch.if

H.I.M.

N.C.

Girls

Girls

Girls

Boys

Girls

Boys

Girls

Boys

28-30

2

4

1

₃

6

4

8

25-27

1

₇

₅

₃

₅

1

22-24

7

10

10

2

2

2

4

19-21

9

15

12

₅

₅

4

1

1

16-18

16

7

6

₅

4

2

2

13-15

13

4

10

7

1

1

10-12

4

1

.

2

1

7-9

2

1

1

1

4-6

1

N

=

52

48

48

23

18

18

12

12

Mean

:\7

.12

20.31

20.33

16.65

21.89

24.72

23.83 24.92

S.D.

4.04

4.91

4.93

4.56

4.52

3.98

4.39

6.87

Min.Max.

_8-26

6-30

8-30

9-28

15-29

15-30

16-28 10-30

Se.

In this test all the mean scores were higher than

50%

of the

possible total.

Those obtained by the H.I. groups are distinctly

higher than those obtained by the T.T.S. groups.

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Table (9«'),

Seashore Total Score T.T.S.

Scri:4

.__ ._I!.I.

-Interval Sch.l Sch.2 Sch.3 H.I.M. N.C.

Girls Girls Girls Boys Girls Boys Girls Boys

150-159 1

140-149 1 2 2 4

130-139 3 2 7 2

₅

2

120-129 2 10 5 2 8 1 2

110-119

.5

11 11 1 4 ₃ 1

100-109

9

16 15

₅

5 2 4 1

90-99 20

6

₅

₅

2

80-89 13 1

₇

10

70-79 2 2 1. 1.

60-69

50-59 1.

40-49 30-39

20-29 1

N = 52 48 48 ~.

23

18

18 12 12

Mean 94.48 112.17 105.40 95.74 120.94 125.50 116.00 121.75

S.D.

13.35 12.97 15.62 _• 21.46 ' 12.43 13.36 19.99 24.53 Min.Haxi~

li41I'

88-l1~.:t :.:;a~ _{76-110 1Q3-139}103-154 74-139 71-148}

The mean scorea_{. ....}o~tained by the different sub-groups vary: con-_. siderably. The g~e~test differences can be noticed between the'twv

..

"

main groups since the lowest mean score (116.00) obtained by the girls in the N.C. group is still higher than the highest mean score (112.17) obtained by the girls in school (2) from the T.T.S. group.

Both distributions, as presented in the histogrammes found in figure (~\) are approximately normal.

2. The Wing Standardized Tests of Musical Intelligence.

A. The Chord Analysis Test: (Detecting the ~umber of notes played in a single chord). Ihstructions:

"Either a single note or a chord' (group of notes stuck together). will be played. Mark with an X the number of notes that is played ... Use

I '

the numbers rrovide~ below for your answers. The number of the question will be announced by the loud speaker.

If in doubt about your answer in any of the tests, do not! leave bla'nk, but gueas ,"

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(

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Tsble

UN)

Wing Chord Analysis

T. T.

s.

H.I.

Interval Sch.l Sch.2 Sch·3 _Sc~~'!... H.I.M. N.C.

_{, .}

-G;i.r1s___Qj.rJ..~

..

_Gir~ B0Y.l,'L. ,.=.l1irls__.~QY~__Girls Boys

-

-16-17 1 1

14-15 1 2

12-13 3 2

10-11 3 1

.8-9 1 8

8

3 3 5 3 3

6-7 11 12 12 ₅ 10

8

2

4-5 18 19 20 6 4 4 1

2-3 20 7 5

8

1 1

0-1 2 2 3 1 1

N ::: 52 48 48 23 18 18 12 12

Mean 4.02 5.13 5.15 4.74 6.17 7.06 10.83 10.08

S.D. 1.81 1.93 2.01 2.36 1.47 2.10 3.27 4.17

Min.Max.

_0-8

_{1-9 1-9 0-9}

3-9 3-9 5-16 1-16

Sc.

--It .is noticed from the above table that th~ mean scores obtained by the whole group are compar~tively low except for the N.C.subjects who obtained a mean score over 50% uf the possible total. From the

histograms in figure (2~), the distributions are skewed positively for both groups. None of the subjects in the T.T.S. or Higner Institute

vi

Music group scored more than 9 out of 20.

Generally, the test proved difficult, even with highly selected subjects.

B: Pitch Change Test: (Detecting an alteration of a single note in a repeated chord) Instructions:

"Two chords are played,sometimes one note, not more, is altered in the second chord. If the two chords are the

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results are given in Table

(q~)

Table

(92-)

Wing Pitch Change

:3

53

I

T. T.

s,

H. I.

Interval

Sch.l

Sch.2

Sch.~

Sch.4

R.

I. M.

N. C.

Girls

Girls

Girls

Boys

Girls

Boys

Girls

Buys

28.29

1

26-27

24-25

1

2

22-23

3

4

20-21

2

6

1

18-1..9

1

2

2

3

1

16-17

3

9

5

2

₇

4

1

1

14-15

13

5

7

3

5

3

1

12-13

16

12

₇

₃

1

4

1

10-11

4

11

19

7

1

2

8-9

9

4

₇

₃

1

6-7

3

2

₅

4-5

1

1

2-3

2

0-1

2

5

-

---N =

52

48

48

23

18

18

12

12

Mean

11.48

10.90

11.33

10.74

15.83

15.72 19.58 20.50

S.D.

3.62

4.83

2.82

3.25

2.53

3.89

2.64

5.53

Min.Max

_0-18

_0-17

_5-17

_6-17

_10-20

_l~

14-24

8-28

Se.

0 ..z.1

The T.T.S. mean scores are lower than those vbtained by the

H.I. groups, and a1se fall below

5~~

of the possible total.

354

The Memory Test: Detecting an alteration of a note in a short me1ouy). Instructions:

1111 tune is played twice. On the seconJ playing one note, not more,

may be altered. The first four tunes are of 3 notes, the next four tunes have 4 notes, and so ~n, getting longer towards the end.

The number of notes is shown by the number of dots in the answer places. See whether you can say which note is altered.

Table (23) Wing: Memory

T.

T.

S.

H.I.

Interval gch.1 Sch.2 Sch.' Sch.4 H.I.M. N.C.

Girls Girls Girls Boys Girls Boys Girls Bavs

27-29 1 1 1

24-26 1 1 1

,

3

21-23 2 2 2

5

3 2 2

18-20 5 13 10 1 4 ₅ 4 1

15-17 10 13 14 4 6 5 1 2

12-14 13

9

12 4

₃

9-11 14 3 6 4 ₃ 1 1

6-8 6 1 3 6 1

3-5 2 2

0-2 2 6

+-N

=

52

48

48 23 18 18 12 12

Mean 11.88 14.13 14.96 11.65 17.67 18~56 21.00 18.17

S.D. 4.54 6.48 3.93 5.26 3.99 4.05 4.75 8.19

Min.Max .Sc. 0-20 0-25 6-25 4-22 10-23 14-28 11-28 2-29 The altered note may be shown by vnarkirg through the dot which is writt, for the note in the enswer place. Suppose for example that the secon, note of No.5 is altered it would be shown 1iketius No.5 0 ~ a 0 ~

if it were the fourth note, like this No.

5

0 0 0 ~. If the

two tunes are the same write S; if they appear different but you do not know which one is altered, Jo not leave a blank but guess."

The Institute groups did better in this test as can be seen from Table (~3). Their mean scores are all above 5~~ of the total, while those obtained by the T.T.S. group are all below

50%.

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55

Table

(IlLtl

Wing Total

T. T. S.

H. I.

Interval.

Sch.1

Sch.2

Sch.~

Sch.4

H.I.M.

s.c.

Girls

Girls

Girls

Bovs

Girls

Bovs

Gir1-s

Boy§..

66-70

1

61-65

1 1

56-60

2

4

₃

51-55

1

2

1

46-50

2

2

41-45

1 3

4

l.

.5

6

₃

1

36-40

5

11

9

2

8

₃

2

31-35

12

17

12

4

₃

₅

1

26-30

15

9

15

6

1

1

21-25

10

2

6

₇

1

16-20

7

1

2

11-15

1

1

1

6-10

1

1

1..5

5

N

=

52

48

48

23

18

18

12

12

Mean

27.74

29.73

31.23

27.13

39.11 40.78

50.58

48.75

S.D.

6.77

10.91

6.73

6.70

5.13

8.32

8.79

14.50

l1in.Ma.x.

_6-41

1-45

12-45

15 ..41

31-49 29-58

40-64

25-68

sc.

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