This study focused on the development and psychometric evaluation of the 16-item Critical Musicality Scale (CMS). The participants in the study comprised (N = 118) secondary students (mostly 13 to 14 years old) from Singapore. Four factors of critical musicality were hypothesised and empirically tested. The full sample was used to conduct an…

This qualitative research examines the influence of learning Javanese gamelan on aspects of musicianship, attitudes and approaches relating to the learning and performance of Western instruments experienced by a sample of UK university music students. In addition to benefits to musicianship, students delineated positive developments in attitudes…

In this article I discuss children's everyday uses of recorded music (such as CDs, Mp3-files) in the light of sociological notions of "children" and "childhood". The discussion provides perspectives on musical engagement and musicality that supplement perspectives within developmental psychology. The study is based on…

At the onset of the essay by Alerby and Perm, musicality is described as emotional or cognitive phenomena. In this response, Fung questions what role a psychomotor phenomenon plays in musicality. Alerby and Perm describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does this mean that "motor knowledge" or "maximum grip" in…

Presents study results on the cognitive-affective response to music as affected by three dimensions of preparatory set. Explores self-perception of musicality, attitude toward style concepts and valuing of music experiences, and beliefs and expectations of music listening. Concludes that perception of musicality, general attitude, style…

Recounts teaching experiences of a junior high school music teacher and his attempt to organize his experiences meaningfully. The discussion covers dimensions of student-teacher relationships, the importance of musicality, and the distinction between music training and music education. (AM)

Music education should be conceived as aesthetic education which is devoted to the systematic development of musicality. Music education curricula should incorporate contemporary psychological methods which encourage creativity while focusing on the nature of music meaning and expression and the development of the capacity for musical response.…

Young children are natural-born musicians and rhythm instruments provide a wonderful bridge between a toddler's innate need to make noise and a child's true musical awareness and expressiveness. Rhythm instrument activities are so easy. With most of them, the child is simply copying one motion at a time. There is nothing to remember. Another…

A test of musical achievement, the central criterion of which was musical sensitivity as evidenced by the ability to make aesthetic judgments, was empirically validated and field-tested upon elementary school children in the Manhattanville Music Curriculum Program as well as in the California Music Educators Statewide Music Testing Program. The…

The primary function of music education is the development of a responsiveness to the artistic qualities of sound. The constituent elements fundamental to musical response are rhythm, melody, harmony, form, expression, and style. With the goal of developing a responsiveness consisting of musicality and affective growth, this guide has been…

This report offers some general principles which are helpful for designing and constructing a test for measuring musical aptitude of persons from various age groups. A discussion attempts to clarify the concepts used within the psychology of music. The basic structuralist principles favored by Gestalt psychologists and structuralists are also…

"Zero to Three" is a single focus bulletin of the National Center for Infants, Toddlers, and Families providing insight from multiple disciplines on the development of infants, toddlers, and their families. Noting that knowledge of childrens musical experiences in context is central to understanding childrens lives, and that reciprocally,…