Existing tests of musical ability, with the exception of the Seashore battery (1919), have made extensive use of musical material. Since the musical experience of individuals may differ in extent and type, some experiential bias may result. In the present study, a new series of tests of musical aptitude is described which makes no use of formal musical material, but which involves non‐musical or quasi‐musical forms. Analysis of results obtained with the tests suggests that such an approach is feasible, and that the battery operates in a meaningful and consistent manner.
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John B. Davies (1971) studied this question.