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The purpose of this study was to measure the effect of concurrent visual feedback on pitch matching skill development in third grade students. Participants played a computer game, Singing Coach, which scored the accuracy of their singing of the song “America.” They followed the contour of the melody on the screen and could adjust their singing, in real time, to improve their score. Music teachers (n = 30) tested their students (N = 2,021) in the fall and spring semesters and reported their scores via email. A correlated-samples t-test showed a significant difference in students’ post-test scores, with a mean increase of more than 10 percentage points. A five-way between groups univariate Analysis of Variance (ANOVA) examined effects and interactions on the change in score by gender, key, visual format of feedback, amount of practice between tests, and time between pre- and post-tests. Significant differences were found in the visual format of the feedback, and the amount of practice between tests. There was an interaction between visual format and key and between visual format and amount of practice. Computer programs that offer immediate, concurrent singing feedback may help young students experience musical growth over a relatively short period even, perhaps, when formal musical instruction time is limited.


Kenneth Moore, Dexter (MI) High School Bolsheviks, Rebellion, and Big Brother: A History of the MMEA-MSBOA Relationship


This study chronicles the major events that have defined the relationship between the Michigan Music Educators Association and the Michigan School Band and Orchestra Association and provides insight into how this often-strained relationship has affected music education in Michigan, one of a minority of states without a truly unified voice representing the entire profession. Implications for music education are included.


Roundtable Discussions


Wendy K. Matthews & Janet L. Wright-McCaskill, Wayne State University Collegiate Marching Bands: Characteristics of a Community of Practice


Marching bands are a unique fusion of musical, physical and visual ensemble techniques. This educational endeavor creates many challenges and obstacles for students as they develop a variety of personal skills while collaborating with other musicians. Here a community of practice (CoP), defined by Lave & Wenger (2002) as groups of individuals who create shared identity through engaging and contributing to an activity, can emerge. These developing CoPs may contain unifying features including shared goals, practices, values and exposure to common problems. The purpose of this ongoing study is to explore the role of CoPs as student musicians develop their musical and leadership skills.


Musicians in ensembles may create a CoP as an ensemble or a number of smaller CoPs within the ensembles, depending on the coherence of their experiences, their goals, and the sense that they make of their membership in these communities. To our knowledge, there is very little research regarding CoPs in musical ensembles. However, this construct has been studied in group psychology, sports, and school settings. CoPs may serve as frameworks for engaging in


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