WorldCat Identities

Madsen, Clifford K.

Works: 56 works in 183 publications in 3 languages and 7,001 library holdings
Genres: Conference papers and proceedings  Music  Academic theses  Programmed instructional materials  Methods (Music)‡vGroup instruction 
Roles: Author, Editor, Other, Thesis advisor
Classifications: MT1, 371.102
Publication Timeline
Most widely held works by Clifford K Madsen
Applications of research in music behavior by Clifford K Madsen( )

11 editions published between 1986 and 1991 in English and held by 1,959 WorldCat member libraries worldwide

Teaching/discipline : a positive approach for educational development by Charles H Madsen( Book )

26 editions published between 1970 and 2016 in English and Undetermined and held by 1,196 WorldCat member libraries worldwide

Experimental research in music by Clifford K Madsen( Book )

27 editions published between 1969 and 2006 in 4 languages and held by 853 WorldCat member libraries worldwide

Competency-based music education by Clifford K Madsen( Book )

7 editions published between 1980 and 1985 in English and held by 639 WorldCat member libraries worldwide

Research in music behavior: modifying music behavior in the classroom by Clifford K Madsen( Book )

10 editions published between 1975 and 1989 in English and Undetermined and held by 605 WorldCat member libraries worldwide

Parents/children/discipline: a positive approach by Clifford K Madsen( Book )

6 editions published between 1970 and 1972 in English and held by 471 WorldCat member libraries worldwide

Teaching: discipline; behavioral principles toward a positive approach by Charles H Madsen( Book )

14 editions published between 1970 and 1981 in English and Undetermined and held by 417 WorldCat member libraries worldwide

Contemporary music education by Clifford K Madsen( Book )

7 editions published between 1978 and 1994 in English and Undetermined and held by 315 WorldCat member libraries worldwide

Vision 2020 : the Housewright Symposium on the Future of Music Education by Clifford K Madsen( Book )

7 editions published between 2000 and 2020 in English and held by 220 WorldCat member libraries worldwide

Why do humans value music? Why study music? How can the skills and knowledge called for in the National Standards best be taught? How can all people continue to be involved in meaningful music participation? How will societal and technological changes affect the teaching of music? What should be the realationship between schools and other sources of music learning? With explorations of these key questions, Vision 2020 also presents the Housewirght Declaration - MENC's most important vision statement since the Tanglewood Declaration - honoring the legacy of Wiley Housewright, past MENC president (1968-70). -- from back cover
Parents and children, love and discipline : a positive approach to behavior modification by Clifford K Madsen( Book )

5 editions published between 1972 and 1975 in English and held by 85 WorldCat member libraries worldwide

Music therapy : a behavioral guide for the mentally retarded by Clifford K Madsen( Book )

1 edition published in 1981 in English and held by 48 WorldCat member libraries worldwide

The effect of scale direction on pitch acuity in solo vocal performance by Clifford K Madsen( )

7 editions published between 1963 and 1966 in English and held by 17 WorldCat member libraries worldwide

Competency based approach to music education : observation & field manual by Cornelia Yarbrough( Book )

1 edition published in 1976 in English and held by 13 WorldCat member libraries worldwide

A survey of Florida high school instrumental music programs : rationale for the inclusion of jazz ensemble experience in music teacher training by Jonathan R Hinkle( )

3 editions published in 2011 in English and held by 5 WorldCat member libraries worldwide

During the past 60 years, jazz music has slowly become recognized as a genre worthy of study in high school music programs throughout the United States. Only a few researchers have analyzed large samples of jazz-related instruction in instrumental music programs, and of these studies no data were collected to investigate the inclusion of jazz in Florida high school instrumental programs or the background in jazz of directors in these programs. Therefore, the purpose of this study was to gather data on high school-level instrumental music programs in Florida and the band directors associated with these programs in an attempt to answer the following research questions: (1) What is the current status of instrumental jazz course offerings in Florida high schools? (2) Is there a relationship between the status of jazz course offerings in Florida high schools and demographic data of the programs or the directors who teach in these programs? (3) Is there a relationship between the status of jazz course offerings in Florida high schools and the band directors' experience with and training in jazz? Florida high school band directors (N = 239), representing a response rate of 46.5%, replied to an online survey instrument containing 21 comprehensive questions. Demographic data of participants and the programs they were directing, as well as questions associated with their training, experience, opinions, and attitudes toward jazz-related instruction were cross-analyzed quantitatively. The findings of this study revealed that many Florida high school music programs (38.5%) do not offer students opportunities in jazz music and that these programs parallel deficiencies found in schools in other states. The data gathered from Florida high school directors and programs suggest that a teacher's actual or perceived level of training in jazz genres, most notably through performance experience, is the greatest factor in the presence of jazz-related courses in high school music programs. Additionally, teachers' degree of jazz performance experience or training may have a considerable influence on their level of anxiety and comfort with jazz genres. Directors' lack of background in jazz inhibits the potential for jazz-related courses to be included in high school programs; thus, limiting the musical experiences of the students they teach. Data also suggest that teachers may be more willing to initiate courses in jazz if they were required to or were offered the opportunity to participate in jazz ensembles during their teacher preparation. To facilitate such participation, a college-level jazz ensemble that is specifically designed for the experience and pedagogical needs of future music teachers, in a non-intimidating and positive atmosphere where appropriate literature is performed at a high level, may be helpful to music education majors. Additionally, jazz may be more widely understood and appreciated if current and future school instrumental music teachers strive to provide opportunities in jazz instruction and performance to as many students as possible. Such an endeavor can be accomplished by incorporating an appropriate balance of ensembles and courses in their program
The effect of performance medium on the emotional response of the listener as measured by the Continuous Response Digital Interface by David Scot Plack( )

1 edition published in 2006 in English and held by 3 WorldCat member libraries worldwide

The primary purpose of this study was to determine whether participants from varied performance-media backgrounds experience a felt emotional response through performance media different from their own. Specifically, how does this emotional response compare to the emotional response shown through their own performance medium? Secondarily, the study examined whether the response patterns over time of the Continuous Response Digital Interface (CRDI) dial show a relationship between listening groups and/or performance media. Volunteer participants (N = 143) consisted of graduate and undergraduate music majors, non-music majors, and non-musicians at a large comprehensive university. Recordings were presented using the following performance media: (1) voice, (2) wind ensemble (non-marching), (3) marching band (non-music major), (4) piano, and (5) popular dance music (non-musicians). Based on primary performance area, participants were assigned to one of the five groups: voice (n = 31), wind ensemble (n = 25), marching band (n = 27), piano (n = 33), and non-musicians (n = 27). Participants in each group were asked to manipulate the CRDI dial corresponding to their felt emotional response to the music. All participants listened and responded to five performance media renditions of Giacomo Puccini's Nessun Dorma from the opera, Turandot. Means and standard deviation were determined and graphically displayed. Graphs include separate composite means and ongoing standard deviation response graphs for each excerpt and one composite response graph detailing overall mean and overall mean standard deviation by group for each excerpt. Visual inspections of the composite graphs demonstrate both large as well as subtle differences among and between groups and that participant responses differentiated across the musical stimuli. Ongoing changing responses of participants within participant groups provide the most important description of responses. Further analysis of the composite response graphs demonstrates a strong relationship between responses of the music major groups (voice, piano, and wind ensemble) and their respective corresponding excerpts. There was also a strong relationship between the responses of the non-music major groups and their respective corresponding excerpts (DCI/marching band and popular dance music)
First remembrances of creative musical activity by Gregory Alan Woodward( )

1 edition published in 2006 in English and held by 3 WorldCat member libraries worldwide

The purpose of this study was to examine creative musical development through a multidisciplinary review of literature and college student metanarratives, which focused on first remembrances of music creativity and developmental events that led to and followed first remembrances. Initial information was gathered through surveys. An interview format was used in order to obtain more in-depth information. The interviewee sample included 20 students at a large university in a southeastern state. This group of interviewees included 15 music majors and 5 non-music majors. The music majors were further divided into the following categories: (a) music education, (b) music business, (c) music composition, and (d) Bachelor of Arts in music. All of the interviewees had participated in creative musical activity, and they provided a wide range of ages for their first remembrances of creative musical activity. The age of a first remembrance was partially determined by the student's willingness to label a particular activity with a creative term such as improvisation or composition. This researcher examined creative development through four categories of influence: (a) what are interpretive frameworks for creative development, (b) where and with whom does creativity occur, (c) how does creativity occur, and (d) why does creativity occur. The interviewees' perceptions of past experiences and inner motivation appeared to determine their willingness to create. All of the interviewees appeared to be willing to create music during childhood even though their social contexts often did not promote such activity. During adolescence, some of the interviewees successfully engaged in creative musical activity independently or in a comfortable social setting. Upon reaching adulthood, students who had successfully participated in creative musical activities at the adolescent level continued to do so, but a desire to create appeared to override the absence of past creative experiences. Thus, music creativity appeared to be accessible even for adult students with minimal formal music training, particularly in the form of creative thinking. These students may be willing to think creatively with music or about music if they are shown the importance of music in their identities
Putting research into practice : Creative activities for college-level group piano by Charise Amber Lindsay( )

1 edition published in 2006 in English and held by 3 WorldCat member libraries worldwide

The purpose of this project was to provide a supplemental resource for college-level group piano teachers. The Review of Literature explored past and current information regarding effectiveness in a music education setting. Studies involving general music classrooms, band and orchestra rehearsals, choral rehearsals, and private music lessons were cited to determine what skills may also be present in effective piano instruction. Three major categories of skills were found. These categories are Non-verbal Communication Skills, Student Performance and Activity, and Complete Teaching Patterns. Much emphasis was given to the discussion of complete teaching patterns, including the use of teacher feedback to the students. In the supplemental resource portion of the project, a brief summary of teaching effectiveness in college-level group piano was provided, as well as a checklist of effective teaching skills. Seventy-six creative activities were created and adapted for application in college group-piano classrooms. The activities underwent formative evaluation. Stage 1 of the formative evaluation included presenting ten sample activities to the Advising Professor and directive committee members for the project. Stage 2 involved presenting each activity to the Advising Professor for approval. During Stage 3 of the formative evaluation, graduate teaching assistants of group piano used some of the activities in their individual classes. Written feedback from the participating graduate teaching assistants was provided for the activities selected. Changes to those particular activities were made accordingly. A small summative evaluation was conducted by surveying the graduate teaching assistants who participated in the project. These teaching assistants were given a short survey that addressed the activities' usability, how interesting the activities were, and the likelihood that the teaching assistants would use the activities in the future or recommend them to others. The teaching assistants were too few to conduct statistical tests. However, the responses by the graduate teaching assistants were generally positive
Music events among four-year-old children in naturalistic contexts, within selected New Zealand kindergartens by Julie J Jackson-Gough( )

1 edition published in 2003 in English and held by 3 WorldCat member libraries worldwide

The purpose of this study was to examine the current practices and ability of preschool children of New Zealand in musical events. Data was obtained on static, unmanned video cameras set up inside and outside the kindergarten building, along with observational notes by the researcher during the data collection. Video was analyzed for quantitative events under the areas of sung speech, pitched phonation without words, sung chants, use of upper register (head voice), rhythmic speech, timbre play, and measure of highest note phonated during any minute of observation. As a result of the quantitative video analysis it became apparent that there were episodes of rich qualitative data that had been captured, and these were selected and described, taking one event from each kindergarten. Subjects were children enrolled and attending the eight kindergartens (n = 331). They were all aged four years, from 4 years 3 months to one day before a fifth birthday
Happiness is music : contemporary issues for elementary teachers by Clifford K Madsen( Book )

2 editions published in 1974 in English and held by 3 WorldCat member libraries worldwide

The effect of purposeful distractors placed in an excerpt of Puccini's La Bohème to ascertain their influence on the listening experience by John K Southall( )

1 edition published in 2003 in English and held by 3 WorldCat member libraries worldwide

The purpose of this study was to determine if superimposed audio distractors would have an effect on the aesthetic experience of undergraduate and graduate music majors listening to an excerpt of Puccini's La Bohème. Subjects (N = 96) were randomly assigned to three groups: one control and two experimental. The Control Group listened to an uninterrupted ten minute and thirty second excerpt of the stimulus. The two experimental groups listened to the identical excerpt with purposeful distractions. In Distraction Group I, a telephone busy signal and a telephone ringing sound were placed at strategic points within two arias as distractions. In Distraction Group II, pink noise distractors were placed at strategic locations within two arias. Subjects participated in the listening activity while manipulating the Continuous Response Digital Interface. A posttest questionnaire was given following the listening activity. Mean ratings of individual and group CRDI data were charted graphically. Results of this study indicated that while all subjects were distracted, almost all subjects evidenced a quick recovery and continued to have an aesthetic experience following the periods of distraction. Results from the questionnaire indicated that subjects in the distraction groups were indeed distracted, that all subjects had what they considered to be an aesthetic experience, and that almost all of the subjects indicated that the movement of the CRDI dial roughly corresponded with variations of their aesthetic experience
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Applications of research in music behavior
Experimental research in musicContemporary music educationVision 2020 : the Housewright Symposium on the Future of Music Education
Alternative Names
Kimball Madsen, Clifford 1937-

Madsen, Clifford Kimball 1937-

マドセン, クリフォード K