This study had two primary purposes: (1) to investigate the effect of register, direction, and magnitude on musicians’ evaluation of chamber ensemble intonation, and (2) determine whether a novel nonparametric technique, ordinal pattern analysis (OPA), was a viable alternative to repeated-measures analysis of variance (rANOVA). I digitally mastered a recording of a string quartet performing a phrase from Capriol Suite by altering the intonation of the violin or cello voice ±20 and 30 cents sharp and flat. Participants (N = 72) completed a discrimination task and an evaluation task with the recordings, with task order, and within-task item order presented in a random order. Analysis using rANOVA revealed significant differences due to register, direction, and magnitude: Excerpts with cello errors were rated as more in tune than excerpts with violin errors; excerpts with flat errors were rated as more in tune than excerpts with sharp errors, and excerpts with 20-cent magnitude errors were rated as more in tune than excerpts with 30-cent magnitude errors. OPA results were consistent with rANOVA results. Substantive implications for music teaching and learning are discussed alongside methodological considerations and implications for music education research using repeated-measures designs.

本研究有两个主要目的：(1) 研究音域、方向和幅度对音乐家对室内合奏音准评价的影响，以及 (2) 确定一种新的非参数技术，序型模式分析 (OPA)，重复测量方差分析 (rANOVA) 的可行替代方案。我通过改变小提琴或大提琴声音的声调 ±20 和 30 美分的尖锐和平坦，以数字方式掌握了一个弦乐四重奏的录音，该录音演奏了 Capriol Suite 中的一个乐句。参与者 ( N= 72) 完成了一项辨别任务和一项评估任务，其中记录、任务顺序和任务内项目顺序以随机顺序呈现。使用 rANOVA 的分析揭示了由于音域、方向和幅度的显着差异：有大提琴错误的片段比有小提琴错误的片段被评为更合拍；具有平坦错误的片段被评为比具有尖锐错误的片段更合拍，而具有 20 美分幅度错误的片段被评为比具有 30 美分幅度错误的片段更合拍。OPA 结果与 rANOVA 结果一致。使用重复测量设计，讨论了对音乐教学和学习的实质性影响以及方法论考虑和对音乐教育研究的影响。