Full download Statistics : learning from data Second Edition. Edition Thomas H. Short file pdf all chapter on 2024

Statistics : learning from data Second
Edition. Edition Thomas H. Short

Visit to download the full and correct content document:
https://ebookmass.com/product/statistics-learning-from-data-second-edition-edition-th
omas-h-short/
More products digital (pdf, epub, mobi) instant
download maybe you interests ...
Statistics: The Art and Science of Learning from Data

5th Edition Alan Agresti
https://ebookmass.com/product/statistics-the-art-and-science-of-
learning-from-data-5th-edition-alan-agresti/
Applied Statistics: From Bivariate Through Multivariate

Techniques Second
https://ebookmass.com/product/applied-statistics-from-bivariate-
through-multivariate-techniques-second/
Applied Statistics: From Bivariate Through Multivariate

Techniques Second Edition – Ebook PDF Version
https://ebookmass.com/product/applied-statistics-from-bivariate-
through-multivariate-techniques-second-edition-ebook-pdf-version/
Statistical Learning for Big Dependent Data (Wiley

Series in Probability and Statistics) 1st Edition
Daniel Peña
https://ebookmass.com/product/statistical-learning-for-big-
dependent-data-wiley-series-in-probability-and-statistics-1st-
edition-daniel-pena/
the HEALTH CARE DATA GUIDE : learning from data for
improvement. 2nd Edition Lloyd P Murray Sandra Provost
https://ebookmass.com/product/the-health-care-data-guide-
learning-from-data-for-improvement-2nd-edition-lloyd-p-murray-
sandra-provost/
Probability and Statistics (4th Edition) Morris H.

Degroot
https://ebookmass.com/product/probability-and-statistics-4th-
edition-morris-h-degroot/
Machine Learning for Signal Processing: Data Science,

Algorithms, and Computational Statistics Max A. Little
https://ebookmass.com/product/machine-learning-for-signal-
processing-data-science-algorithms-and-computational-statistics-
max-a-little/
Viruses: A Very Short Introduction 3rd Edition Dorothy

H. Crawford
https://ebookmass.com/product/viruses-a-very-short-
introduction-3rd-edition-dorothy-h-crawford/
Breakheart Hill Thomas H. Cook
https://ebookmass.com/product/breakheart-hill-thomas-h-cook/
Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. WCN 02-200-202
STATISTICS:
EDITION
2 LEARNING
FROM DATA
Roxy Peck
California Polytechnic State University, San Luis Obispo
Tom Short
West Chester University of Pennsylvania
Australia ● Brazil ● Mexico ● Singapore ● United Kingdom ● United States
Copyright 2019 Cengage Learning. All Rights Reserved. May not be copied, scanned, or duplicated, in whole or in part. Due to electronic rights, some third party content may be suppressed from the eBook and/or eChapter(s).
Editorial review has deemed that any suppressed content does not materially affect the overall learning experience. Cengage Learning reserves the right to remove additional content at any time if subsequent rights restrictions require it.
This is an electronic version of the print textbook. Due to electronic rights restrictions,
some third party content may be suppressed. Editorial review has deemed that any suppressed
content does not materially affect the overall learning experience. The publisher reserves the right
to remove content from this title at any time if subsequent rights restrictions require it. For
valuable information on pricing, previous editions, changes to current editions, and alternate
formats, please visit www.cengage.com/highered to search by ISBN#, author, title, or keyword for
materials in your areas of interest.
Important Notice: Media content referenced within the product description or the product
text may not be available in the eBook version.
Statistics: Learning from Data, © 2019, 2015, 2014 Cengage Learning, Inc.
Second Edition
Roxy Peck, Tom Short
Unless otherwise noted, all content is © Cengage
Product Director: Mark Santee ALL RIGHTS RESERVED. No part of this work covered by the copyright herein
may be reproduced or distributed in any form or by any means, except as
Product Manager: Cassie Van Der Laan permitted by U.S. copyright law, without the prior written permission of the
copyright owner.
Content Developer: Gabriela Carrascal
Product Assistant: Abby DeVeuve

For product information and technology assistance, contact us at
Marketing Manager: Mike Saver
Cengage Customer & Sales Support, 1-800-354-9706.
Senior Content Project Manager: Andrea Wagner
For permission to use material from this text or product,
Manufacturing Planner: Doug Bertke submit all requests online at www.cengage.com/permissions.
Further permissions questions can be emailed to
IP Analyst: Reba Frederics permissionrequest@cengage.com.
IP Project Manager: Nick Barrows
Production Service: MPS Limited

Library of Congress Control Number: 2017945324
Compositor: MPS Limited
Student Edition:
Art Director: Vernon Boes
ISBN: 978-133-755808-2
Text Designer: Diane Beasley
Loose-leaf Edition:
Cover Designer: Irene Morris ISBN: 978-133-755885-3
Cover Image: Color of the Rails by

Nicholas Rougeaux
Cengage
20 Channel Center Street
Boston, MA 02210
USA
Cengage is a leading provider of customized learning solutions with

employees residing in nearly 40 different countries and sales in more than
125 countries around the world. Find your local representative
at www.cengage.com.
Cengage products are represented in Canada by Nelson Education, Ltd.
To learn more about Cengage platforms and services, visit www.cengage.com.
To register or access your online learning solution or purchase materials for

your course, visit www.cengagebrain.com.
Printed in the United States of America

Print Number: 01 Print Year: 2017
To my friends and colleagues
in the Cal Poly Statistics Department
Roxy Peck
To Jerry Moreno and Jerry Senturia for inspiring

me to become a statistician
Tom Short
About the Cover

Artist Nicholas Rougeux used data extracted from the maps of metro systems from around the world to create a graphic
image that grouped the colors used to represent the different transit lines into a single image. The sizes of the rectangles
that make up the image are based on the number of stations on each transit line. For more information and for an interactive
version of this image, see www.c82.net/work/?id=355.
Author Bios
ROXY PECK is a professor emerita of statistics at California

Polytechnic State University, San Luis Obispo. She was a faculty
member in the Statistics Department for thirty years, serving for
six years as Chair of the Statistics Department and thirteen years
as Associate Dean of the College of Science and Mathematics.
Nationally known in the area of statistics education, Roxy was made
a Fellow of the American Statistical Association in 1998, and in 2003
she received the American Statistical Association’s Founders Award
in recognition of her contributions to K-12 and undergraduate statistics education. In
2009, she received the USCOTS Lifetime Achievement Award in Statistics Education.
In addition to coauthoring the textbooks Statistics: Learning from Data, Introduction to
Statistics and Data Analysis, and Statistics: The Exploration and Analysis of Data, she
is also editor of Statistics: A Guide to the Unknown, a collection of expository papers
that showcases applications of statistical methods. Roxy served from 1999 to 2003 as the
Chief Faculty Consultant for the Advanced Placement Statistics exam, and she is a past
chair of the joint ASA/NCTM Committee on Curriculum in Statistics and Probability
for Grades K-12 and of the ASA Section on Statistics Education. Outside the classroom,
Roxy enjoys travel and has visited all seven continents. She collects Navajo rugs and
heads to Arizona and New Mexico whenever she can find the time.
TOM SHORT is an Associate Professor in the Statistics Program

within the Department of Mathematics at West Chester University
of Pennsylvania. He previously held faculty positions at Villanova
University, Indiana University of Pennsylvania, and John Carroll
University. He is a Fellow of the American Statistical Association and
received the 2005 Mu Sigma Rho Statistics Education Award. Tom is
part of the leadership team for readings of the Advanced Placement
(AP) Statistics Exam, and was a member of the AP Statistics
Development Committee. He has also served on the Board of Directors of the American
Statistical Association. Tom treasures the time he shares with his four children and the
many adventures experienced with his wife, Darlene.
iv
Brief Contents
Preface xi
SECTION I COLLECTING DATA

CHAPTER 1 Collecting Data in Reasonable Ways 2
SECTION II DESCRIBING DATA DISTRIBUTIONS

CHAPTER 2 Graphical Methods for Describing Data Distributions 44
CHAPTER 3 Numerical Methods for Describing Data Distributions 118
CHAPTER 4 Describing Bivariate Numerical Data 174
SECTION III A FOUNDATION FOR INFERENCE: REASONING ABOUT PROBABILITY

CHAPTER 5 Probability 240
CHAPTER 6 Random Variables and Probability Distributions 310
SECTION IV LEARNING FROM SAMPLE DATA

CHAPTER 7 An Overview of Statistical Inference—Learning from Data 380
CHAPTER 8 Sampling Variability and Sampling Distributions 400
CHAPTER 9 Estimating a Population Proportion 424
CHAPTER 10 Asking and Answering Questions About a Population Proportion 472
CHAPTER 11 Asking and Answering Questions About the Difference Between Two
Proportions 522
CHAPTER 12 Asking and Answering Questions About a Population Mean 566
CHAPTER 13 Asking and Answering Questions About the Difference Between
Two Means 622
SECTION V ADDITIONAL OPPORTUNITIES TO LEARN FROM DATA

CHAPTER 14 Learning from Categorical Data 696
CHAPTER 15 Understanding Relationships—Numerical Data 736
CHAPTER 16 Asking and Answering Questions About More Than Two Means 782
Contents
SECTION I COLLECTING DATA

CHAPTER 1 Collecting Data in Reasonable Ways 2
Preview 2
Chapter Learning Objectives 3
1.1 Statistics—It’s All About Variability 4
1.2 Statistical Studies: Observation and Experimentation 5
1.3 Collecting Data: Planning an Observational Study 9
1.4 Collecting Data—Planning an Experiment 19
1.5 The Importance of Random Selection and Random Assignment: What Types of
Conclusions Are Reasonable? 30
1.6 Avoid These Common Mistakes 35
Chapter Activities 35
Explorations in Statistical Thinking 37
Are You Ready to Move On? Chapter 1 Review Exercises 38
S E C T I O N II DESCRIBING DATA DISTRIBUTIONS

CHAPTER 2 Graphical Methods for Describing Data
Distributions 44
Preview 44
2.1 Selecting an Appropriate Graphical Display 46
2.2 Displaying Categorical Data: Bar Charts and Comparative Bar Charts 50
2.3 Displaying Numerical Data: Dotplots, Stem-and-Leaf Displays, and Histograms 58
2.4 Displaying Bivariate Numerical Data: Scatterplots and Time Series Plots 85
2.5 Graphical Displays in the Media 92
Technology Notes 110
CHAPTER 3 Numerical Methods for Describing Data

Distributions 118
Preview 118
3.1 Selecting Appropriate Numerical Summaries 120
3.2 Describing Center and Variability for Data Distributions That Are Approximately
Symmetric 123
3.3 Describing Center and Variability for Data Distributions That Are Skewed or Have
Outliers 133
3.4 Summarizing a Data Set: Boxplots 142
3.5 Measures of Relative Standing: z-scores and Percentiles 154
vi
Contents vii

CHAPTER 4 Describing Bivariate Numerical

Data 174
Preview 174
4.1 Correlation 176
4.2 Linear Regression: Fitting a Line to Bivariate Data 193
4.3 Assessing the Fit of a Line 207
4.4 Describing Linear Relationships and Making Predictions—Putting It
All Together 227
Want to Know More? See Chapter 4 Online Materials for coverage of Logistic
Regression.
S E C T I O N III
A FOUNDATION FOR INFERENCE: REASONING
ABOUT PROBABILITY
CHAPTER 5 Probability 240

Preview 240
5.1 Interpreting Probabilities 242
5.2 Calculating Probabilities 247
5.3 Probabilities of More Complex Events: Unions, Intersections, and
Complements 253
5.4 Conditional Probability 266
5.5 Calculating Probabilities—A More Formal Approach (Optional) 280
5.6 Probability as a Basis for Making Decisions 292
5.7 Estimating Probabilities Empirically and Using Simulation (Optional) 295
CHAPTER 6 Random Variables and Probability

Distributions 310
Preview 310
6.1 Random Variables 312
6.2 Probability Distributions for Discrete Random Variables 315
6.3 Probability Distributions for Continuous Random Variables 321
6.4 Mean and Standard Deviation of a Random Variable 329
6.5 Normal Distributions 336
6.6 Checking for Normality 353
6.7 Binomial and Geometric Distributions (Optional) 358
6.8 Using the Normal Distribution to Approximate a Discrete Distribution (Optional) 368
viii Contents

Want to know more? See Chapter 6 Online Materials for coverage of Counting Rules
and the Poisson Distribution
S E C T I O N IV LEARNING FROM SAMPLE DATA

CHAPTER 7 An Overview of Statistical Inference—Learning
from Data 380
Preview 380
7.1 Statistical Inference—What You Can Learn from Data 382
7.2 Selecting an Appropriate Method—Four Key Questions 388
7.3 A Five-Step Process for Statistical Inference 395
CHAPTER 8 Sampling Variability and Sampling

Distributions 400
Preview 400
8.1 Statistics and Sampling Variability 403
8.2 The Sampling Distribution of a Sample Proportion 409
8.3 How Sampling Distributions Support Learning from Data 415
CHAPTER 9 Estimating a Population Proportion 424

Preview 424
9.1 Selecting an Estimator 426
9.2 Estimating a Population Proportion—Margin of Error 431
9.3 A Large-Sample Confidence Interval for a Population Proportion 438
9.4 Choosing a Sample Size to Achieve a Desired Margin of Error 453
9.5 Bootstrap Confidence Intervals for a Population Proportion (Optional) 455
CHAPTER 10 Asking and Answering Questions About

a Population Proportion 472
Preview 472
10.1 Hypotheses and Possible Conclusions 474
10.2 Potential Errors in Hypothesis Testing 480
10.3 The Logic of Hypothesis Testing—An Informal Example 486
10.4 A Procedure for Carrying Out a Hypothesis Test 490
10.5 Large-Sample Hypothesis Test for a Population Proportion 494
Contents ix
10.6 Randomization Tests and Exact Binomial Tests for One Proportion
(Optional) 507
CHAPTER 11 Asking and Answering Questions About the

Difference Between Two Proportions 522
Preview 522
11.1 Estimating the Difference Between Two Population Proportions 524
11.2 Testing Hypotheses About the Difference Between Two Population
Proportions 532
11.3 Inference for Two Proportions Using Data from an Experiment 541
11.4 Simulation-Based Inference for Two Proportions (Optional) 550
CHAPTER 12 Asking and Answering Questions About

a Population Mean 566
Preview 566
12.1 The Sampling Distribution of the Sample Mean 568
12.2 A Confidence Interval for a Population Mean 578
12.3 Testing Hypotheses About a Population Mean 592
12.4 Simulation-Based Inference for One Mean (Optional) 606
CHAPTER 13 Asking and Answering Questions About the

Difference Between Two Means 622
Preview 622
13.1 Two Samples: Paired versus Independent Samples 624
13.2 Learning About a Difference in Population Means Using Paired
Samples 628
13.3 Learning About a Difference in Population Means Using Independent
Samples 643
13.4 Inference for Two Means Using Data from an Experiment 661
13.5 Simulation-Based Inference for Two Means (Optional) 673
x Contents
SECTION V ADDITIONAL OPPORTUNITIES TO LEARN FROM DATA

CHAPTER 14 Learning from Categorical Data 696
Preview 696
14.1 Chi-Square Tests for Univariate Categorical Data 698
14.2 Tests for Homogeneity and Independence in a Two-Way Table 712
CHAPTER 15 Understanding Relationships—Numerical

Data 736
Preview 736
15.1 The Simple Linear Regression Model 738
15.2 Inferences Concerning the Slope of the Population Regression Line 750
15.3 Checking Model Adequacy 762
CHAPTER 16 Asking and Answering Questions About More

Than Two Means 782
Preview 782
16.1 The Analysis of Variance—Single-Factor ANOVA and the F Test 784
16.2 Multiple Comparisons 798
ANOVA Computations (Optional) 806
Appendix A Statistical Tables 811

Table 1 Random Numbers 812
Table 2 Standard Normal Probabilities (Cumulative z Curve Areas) 814
Table 3 t Critical Values 816
Table 4 Tail Areas for t Curves 817
Table 5 Upper-Tail Areas for Chi-Square Distributions 820
Table 6 Binomial Probabilities 822
Table 7 Values That Capture Speciﬁed Upper-Tail F Curve Areas 825
Table 8 Critical Values of q for the Studentized Range Distribution 831
Answers 833
Index 883
Preface
S tatistics is about learning from data and the role that variability plays in drawing
conclusions from data. To be successful, it is not enough for students to master the com-
putational aspects of descriptive and inferential statistics—they must also develop an
understanding of the data analysis process at a conceptual level. The second edition of
Statistics: Learning from Data is informed by careful and intentional thought about how
the conceptual and the mechanical should be integrated in order to promote three key types
of learning objectives for students:
● conceptual understanding
● mastery of the mechanics
● the ability to demonstrate conceptual understanding and mastery of the mechanics by
“putting it into practice”
A Unique Approach
A number of innovative features distinguish this text from other introductory statistics books:
● A New Approach to Probability
There is now quite a bit of research on how students develop an understanding of
probability and chance. Using natural frequencies to reason about probability, espe-
cially conditional probability, is much easier for students to understand. The treatment
of probability in this text is complete, including conditional probability and Bayes’
Rule type probability calculations, but is done in a way that eliminates the need for
the symbolism and formulas that are a roadblock for so many students. For those who
also want to provide students with a more traditional coverage, there is an optional
new section that introduces probability rules.
● Chapter on Overview of Statistical Inference (Chapter 7)
This short chapter focuses on the things students need to think about in order to select
an appropriate method of analysis. In most texts, this is “hidden” in the discussion that
occurs when a new method is introduced. Considering this up front in the form of four
key questions that need to be answered before choosing an inference method allows
students to develop a general framework for inference and makes it easier for students
to make correct choices.
● An Organization That Reflects the Data Analysis Process
Students are introduced early to the idea that data analysis is a process that begins with
careful planning, followed by data collection, data description using graphical and
numerical summaries, data analysis, and finally interpretation of results. The ordering
of topics in the text book mirrors this process: data collection, then data description,
then statistical inference.
● Inference for Proportions Before Inference for Means
Inference for proportions is covered before inference for means for the following
reasons:
● This makes it possible to develop the concept of a sampling distribution via simula-
tion, an approach that is more accessible to students than a more formal, theoretical
approach. Simulation is simpler in the context of proportions, where it is easy to
construct a hypothetical population from which to sample (it is more complicated
xi
xii Preface
to create a hypothetical population in the context of means because this requires

making assumptions about shape and spread).
● Large-sample inferential procedures for proportions are based on the normal dis-
tribution and don’t require the introduction of a new distribution (the t distribution).
Students can focus on the new concepts of estimation and hypothesis testing
without having to grapple at the same time with the introduction of a new probabil-
ity distribution.
● Parallel Treatments of Inference Based on Sample Data and Inference Based on
Experiment Data
Many statistical studies involve collecting data from a statistical experiment. The
same inference procedures used to estimate or test hypotheses about population
parameters also are used to estimate or test hypotheses about treatment effects.
However, the necessary assumptions are slightly different (for example, random
assignment replaces the assumption of random selection), and the wording of hypoth-
eses and conclusions is also different. Trying to treat both cases together tends to
confuse students. This text makes the distinction clear.
New in This Edition

● New Sections on Randomization-Based Inference Methods
Research indicates that randomization-based instruction in statistical inference may
help learners to better understand the concepts of confidence and significance. The
second edition includes new optional sections on randomization-based inference
methods. These methods provide alternative analyses that can be used when the
conditions required for normal distribution-based inference are not met. Each of the
inference chapters (Chapters 9 through 13) now contains a new optional section on
randomization-based inference that includes bootstrap methods for simulation-based
confidence intervals and randomization tests of hypotheses. These new sections are
accompanied by online Shiny apps, which can be used to construct bootstrap confi-
dence intervals and to carry out randomization tests. The App collection that accom-
panies this text can be found at statistics.cengage.com/Peck2e/Apps.html.
● Restructured Chapters on Statistical Inference
The chapters on statistical inference have been restructured to include methods for learn-
ing from experiments in the same chapter as methods for learning from samples. While
the coverage of inference based on data from statistical experiments (Chapter 14 in the
first edition) has been integrated into earlier chapters, the important distinction between
inferences based on data from experiments and inferences based on data from sampling
is maintained in order to highlight the differences in how hypotheses are worded, in
conditions, and in the wording of conclusions in these two situations. The sections of the
chapter on inference for two means have also been reordered to put inference for paired
samples before inference for independent samples, in order to better connect the paired
samples structure with one sample inference for a mean in Chapter 12.
● Expanded Treatment of Probability
The second edition contains a new section titled “Calculating Probabilities—A More
Formal Approach” for instructors who want to also provide a more traditional cover-
age of probability. For those who prefer the “hypothetical 1000” approach from the
first edition, the newly added traditional section is optional and can be omitted with-
out compromising any of the probability student learning objectives.
● Updated Examples and Exercises
In our continuing effort to keep things interesting and relevant, the second edition
contains many updated examples and exercises on topics of interest to students that
use data from recent journal articles, newspapers, and web posts.
Features That Support Student Engagement and Success

The text also includes a number of features that support conceptual understanding, mastery
of mechanics, and putting ideas into practice.
Preface xiii
● Simple Design
There is now research showing that many of the “features” in current textbooks are
not really helpful to students. In fact, cartoons, sidebars, historical notes, and the
like, actually distract students and interfere with learning. The second edition of
Statistics: Learning from Data has a simple, clean design in order to minimize
clutter and maximize student understanding.
● Chapter Learning Objectives—Keeping Students Informed About Expectations
Chapter learning objectives explicitly state the expected student outcomes. Learning
objectives fall under three headings: Conceptual Understanding, Mastery of Mechan-
ics, and Putting It into Practice.
● Preview—Motivation for Learning
Each chapter opens with a Preview and Preview Example that provide motivation for
studying the concepts and methods introduced in the chapter. They address why the
material is worth learning, provide the conceptual foundation for the methods covered
in the chapter, and connect to what the student already knows. A relevant and current
example provides a context in which one or more questions are proposed for further
investigation. This context is revisited in the chapter once students have the necessary
understanding to more fully address the questions posed.
● Real Data
Examples and exercises with overly simple settings do not allow students to practice
interpreting results in authentic situations or give students the experience necessary to
be able to use statistical methods in real settings. The exercises and examples are a
particular strength of this text, and we invite you to compare the examples and exer-
cises with those in other introductory statistics texts.
Many students are skeptical of the relevance and importance of statistics. Con-
trived problem situations and artificial data often reinforce this skepticism. Examples
and exercises that involve data extracted from journal articles, newspapers, and other
published sources and that are of interest to today’s students are used to motivate and
engage students. Most examples and exercises in the book are of this nature; they
cover a very wide range of disciplines and subject areas. These include, but are not
limited to, health and fitness, consumer research, psychology and aging, environmen-
tal research, law and criminal justice, and entertainment.
● Exercises Organized into a Developmental Structure—Structuring the Out-of-Class
Experience
End-of-section exercises are organized into developmental sets. At the end of each sec-
tion, there are two grouped problem sets. The exercises in each set work together to
assess all of the learning objectives for that section. In addition to the two exercise sets,
each section also has additional exercises for those who want more practice.
Answers for the exercises of Exercise Set 1 in each section are included at the end
of the book. In addition, many of the exercises in Exercise Set 1 include hints directing
the student to a particular example or a relevant discussion that appears in the text. This
feature provides direction for students who might need help getting started on a particular
exercise. Instructors who prefer that students be more self-directed can assign Exercise
Set 2. Answers and hints are not provided for the exercises in Exercise Set 2.
● Are You Ready to Move On?—Students Test Their Understanding
Prior to moving to the next chapter, “Are You Ready to Move On?” exercises allow
students to confirm that they have achieved the chapter learning objectives. Like the
developmental problem sets of the individual sections, this collection of exercises is
developmental in nature. These exercises assess all of the chapter learning objectives
and serve as a comprehensive end-of-chapter review.
● Explorations in Statistical Thinking—Real Data Algorithmic Sampling Exercises
and Multivariable Thinking
Most chapters contain extended sampling-based, real-data exercises at the end of the
chapter. Each student goes online to get a different random sample for the same exer-
cise. These unique exercises are designed to develop conceptual understanding and to
teach about sampling variability.
xiv Preface
New guidelines from the American Statistical Association recommend that stu-
dents in the introductory statistics course be provided with opportunities to develop
multivariable thinking. To facilitate this, several chapters include an exploration that
allows students to work with data sets that include more than two variables.
● Data Analysis Software
JMP data analysis software may be bundled for free with the purchase of a new text-
book. See Student Resources for more information.
● Technology Notes
Technology Notes appear at the end of most chapters and give students helpful hints
and guidance on completing tasks associated with a particular chapter. The following
technologies are included in the notes: JMP, Minitab, SPSS, Microsoft Excel 2007,
TI-83/84, and TI-nspire. They include display screens to help students visualize and
better understand the steps. More complete technology manuals are also available on
the text web site.
● Chapter Activities—Engaging Students in Hands-On Activities
There is a growing body of evidence that students learn best when they are actively
engaged. Chapter activities guide students’ thinking about important ideas and concepts.
● Support for Co-Requisite and Pre-Requisite Courses
In recognition of the emerging trend of placing students who might previously have
been placed into a developmental mathematics sequence directly into the college-
level introductory statistics course with co-requisite support, Statistics Companion:
The Math You Need to Know provides a text companion for the co-requisite course.
Also written by Peck and Short, this companion volume provides a just-in-time treat-
ment of the mathematics needed for success in introductory statistics. While Statistics
Companion can be adapted for use with any introductory statistics text book, it was
written specifically with Statistics: Learning from Data, Second Edition, in mind and
matches the terminology, notation and ordering of topics. The companion can also be
adapted for use in a one-semester pre-statistics course for schools that prefer to have
students complete their math preparation prior to beginning the statistics course. For
more information or to receive a sample copy of Statistics Companion: The Math You
Need to Know, contact your Cengage Learning Consultant.
Consistent with Recommendations for the Introductory

Statistics Course Endorsed by the American Statistical
Association
In 2005, the American Statistical Association endorsed the report “College Guidelines in
Assessment and Instruction for Statistics Education (GAISE Guidelines),” which included
the following six recommendations for the introductory statistics course:
1. Emphasize statistical literacy and develop statistical thinking.
2. Use real data.
3. Stress conceptual understanding rather than mere knowledge of procedures.
4. Foster active learning in the classroom.
5. Use technology for developing conceptual understanding and analyzing data.
6. Use assessments to improve and evaluate student learning.
In 2016, these guidelines were revised. The new guidelines reaffirmed the six recommenda-
tions and also included two new recommendations. The two new recommendations were:
● Teach statistics as an investigative process of problem-solving and decision making.
● Give students experience with multivariable thinking.
The second edition of Statistics: Learning from Data is consistent with these recommenda-
tions and supports the GAISE guidelines in the following ways:
1. Emphasize Statistical Literacy and Develop Statistical Thinking.
Statistical literacy is promoted throughout the text in the many examples and exer-
cises that are drawn from the popular press. In addition, a focus on the role of
Preface xv
variability, consistent use of context, and an emphasis on interpreting and communi-

cating results in context work together to help students develop skills in statistical
thinking.
2. Use Real Data.
The examples and exercises are context driven, and the reference sources include the
popular press as well as journal articles.
3. Stress Conceptual Understanding Rather Than Mere Knowledge of Procedures.
Nearly all exercises in the text are multipart and ask students to go beyond just calcu-
lation, with a focus on interpretation and communication. The examples and
explanations are designed to promote conceptual understanding. Hands-on activities
in each chapter are also constructed to strengthen conceptual understanding. Which
brings us to . . .
4. Foster Active Learning in the Classroom.
While this recommendation speaks more to pedagogy and classroom practice, the
second edition of Statistics: Learning from Data provides more than 30 hands-on
activities in the text and additional activities in the accompanying instructor resources
that can be used in class or assigned to be completed outside of class.
5. Use Technology for Developing Conceptual Understanding and Analyzing Data.
The computer has brought incredible statistical power to the desktop of every investiga-
tor. The wide availability of statistical computer packages, such as JMP, Minitab, and
SPSS, and the graphical capabilities of the modern microcomputer have transformed
both the teaching and learning of statistics. To highlight the role of the computer in
contemporary statistics, sample output is included throughout the book. In addition,
numerous exercises contain data that can easily be analyzed using statistical software.
JMP data analysis software can be bundled with new purchases of the text, and
technology manuals for JMP and for other software packages, such as Minitab and
SPSS, and for the graphing calculator are available in the online materials that
accompany this text. The second edition of Statistics: Learning from Data also includes
a number of Shiny web apps that can be used to illustrate statistical concepts and to
implement the simulation-based inference methods covered in new optional sections.
The App collection can be found at statistics.cengage.com/Peck2e/Apps.html.
6. Use Assessments to Improve and Evaluate Student Learning.
Comprehensive chapter review exercises that are specifically linked to chapter learn-
ing objectives are included at the end of each chapter. In addition, assessment materi-
als in the form of a test bank, quizzes, and chapter exams are available in the instructor
resources that accompany this text. The items in the test bank reflect the data-in-
context philosophy of the text’s exercises and examples.
7. Teach Statistics as an Investigative Process of Problem-Solving and Decision
Making.
A systematic approach to inference helps students to see how data are used to answer
questions and to learn about the world around them. Without such a foundation, stu-
dents may see the methods they are learning in their statistics course as just a loose
collection of tools and may not develop a real sense of the complete data analysis
process. The organization of this text helps to highlight this process, addressing meth-
ods of data collection, followed by methods for summarizing data, followed by meth-
ods for learning from data. The data analysis process is also featured in Chapter 7,
which provides an overview of statistical inference.
8. Give Students Experience with Multivariable Thinking.
Several new explorations have been included in the second edition as part of the Ex-
plorations in Statistical Thinking sections. These new explorations provide students
with opportunities to work with data sets that include more than one variable in order
to develop multivariable thinking.
Instructor and Student Resources
JMP Statistical Software
JMP is a statistics software for Windows and Macintosh computers from SAS, the market
leader in analytics software and services for industry. JMP Student Edition is a streamlined,
easy-to-use version that provides all the statistical methods and graphical displays covered in
this textbook. Once data is imported, students will find that most procedures require just two or
Access to JMP is free with the
three mouse clicks. JMP can import data from a variety of formats, including Excel and other
purchase of a new book.
statistical packages, and you can easily copy and paste graphs and output into documents.
JMP also provides an interface to explore data visually and interactively, which will
help your students develop a healthy relationship with their data, work more efficiently
with data, and tackle difficult statistical problems more easily. Because its output provides
both statistics and graphs together, the student will better see and understand the applica-
tion of concepts covered in this book as well. JMP Student Edition also contains some
unique platforms for student projects, such as mapping and scripting. JMP functions in
the same way on both Windows and Mac platforms and instructions contained with this
book apply to both platforms.
Access to this software is available for free with new copies of the book and avail-
able for purchase standalone at CengageBrain.com or http://www.jmp.com/getse. Find out
more at www.jmp.com.
Student Resources
Digital
To access additional course materials and companion resources, please visit www
.cengagebrain.com. At the CengageBrain.com home page, search for the ISBN of your
title (from the back cover of your book) using the search box at the top of the page. This
will take you to the product page where free companion resources can be found.
If your text includes a printed access card, you will have instant access to the follow-
ing resources:
● Complete step-by-step instructions for JMP, TI-84 Graphing Calculators, Excel,
Minitab, and SPSS.
● Data sets in JMP, TI-84, Excel, Minitab, SPSS, SAS, and ASCII file formats.
● Applets used in the Activities found in the text.
Prepare for class with confidence using WebAssign from Cengage Statistics:
Learning from Data, Second Edition. This online learning platform fuels practice, so you
truly absorb what you learn—and are better prepared come test time. Videos and tutorials
walk you through concepts and deliver instant feedback and grading, so you always know
where you stand in class. Focus your study time and get extra practice where you need it
most. Study smarter with WebAssign!
Ask your instructor today how you can get access to WebAssign, or learn about self-
study options at www.webassign.com
Print
Student Solutions Manual (ISBN: 9781337558389): Contains fully worked-out solutions
to all of the Exercise Set 1 and odd-numbered additional exercises in the text, giving stu-
dents a way to check their answers and ensure that they took the correct steps to arrive at
an answer.
xvi
Preface xvii
Instructor Resources
Digital
WebAssign from Cengage Statistics: Learning from Data, Second Edition, is a fully cus-
tomizable online solution for STEM disciplines that empowers you to help your students
learn, not just do homework. Insightful tools save you time and highlight exactly where
your students are struggling. Decide when and what type of help students can access
while working on assignments—and incentivize independent work so help features aren't
abused. Meanwhile, your students get an engaging experience, instant feedback and better
outcomes. A total win-win!
To try a sample assignment, learn about LMS integration or connect with our digital
course support, visit http://www.webassign.com/cengage
Instructor Companion Website: Everything you need for your course in one place!
Access the Instructor Solutions Manual, full lecture PowerPoints, and other support mate-
rials. This collection of book-specific lecture and class tools is available via http://www
.cengage.com/login
Instructor Solutions Manual (ISBN: 9781337558396): This guide contains solu-
tions to every exercise in the book. You can download the solutions manual from the
Instructor Companion Site.
Print
Teacher’s Resource Binder (ISBN: 9781337559263): The Teacher’s Resource Binder is
full of wonderful resources for both AP Statistics teachers and college professors. These
include:
● Recommendations for instructors on how to teach the course, including sample syl-
labi, pacing guides, and teaching tips.
● Recommendations for what students should read and review for a particular class
period or set of class periods.
● Extensive notes on preparing students to take the AP exam.
● Additional examples from published sources (with references), classified by chapter
in the text. These examples can be used to enrich your classroom discussions.
● Model responses—examples of responses that can serve as a model for work that
would be likely to receive a high mark on the AP exam.
● A collection of data explorations that can be used throughout the year to help students
prepare for the types of questions that they may encounter on the investigative task on
the AP Statistics Exam.
● Activity worksheets that can be duplicated and used in class.
● A test bank that includes assessment items, quizzes, and chapter exams.
Acknowledgments
We would like to express our thanks and gratitude to the following people who made this
book possible:
Cassie Van Der Laan, our editor at Cengage, for her support of this project.
Spencer Arritt and Gabriela Carrascal, our content developers at Cengage, for their helpful
suggestions and for keeping us on track.
Andrea Wagner, the content project manager.
Ed Dionne, our manager at MPS Limited.
Hunter Glanz and Alex Boyd for creating the Shiny Apps that accompany the text.
Stephen Miller, for his careful and complete work on the huge task of creating the student
and instructor solutions manuals.
Roger Lipsett, for his attention to detail in checking the accuracy of examples and solutions.
xviii Preface
Kathy Fritz, for creating the interactive PowerPoint presentations that accompany this text.
Melissa Sovak, for creating the Technology Notes sections.
Mike Saver, the Marketing Manager.
Chris Sabooni, the copy editor for the book.
MPS, for producing the artwork used in the book.
We would also like to give a special thanks to those who served on the Editorial Board for
the book and those who class tested some of the chapters with their students:
Many people provided invaluable comments and suggestion as this text was being
developed.
Reviewers Kim Massaro, University of Texas, San Antonio

Susan Andrews, The College of Saint Rose Nola McDaniel, McNeese State
Melanie Autin, Western Kentucky University Glenn Miller, Borough of Manhattan Community College
Jordan Bertke, Central Piedmont Community College Philip Miller, Indiana University SE
Gregory Bloxom, Pensacola State College Sumona Mondal, Clarkson University
Denise Brown, Collin College Kathy Mowers, Owensboro Community and Technical College
Elena Buzaianu, University of North Florida Linda Myers, Harrisburg Area Community College
Andy Chang, Youngstown State University Nguyet Nguyen, Youngstown State University
Jerry Chen, Suffolk County Community College Ron Palcic, Johnson County Community College
Monte Cheney, Central Oregon Community College Nishant Patel, Northwest Florida State College
Ivette Chuca, El Paso Community College Maureen Petkewich, Univiversity of South Carolina
Mary Ann Connors, Westfield State University Nancy Pevey, Pellissippi State Community College
George Davis, Georgia State University Chandler Pike, University of Georgia
Rob Eby, Blinn College, Bryan Campus Blanche Presley, Macon State College
Karen Estes, St. Petersburg College Daniel Rowe, Heartland Community College
Larry Feldman, Indiana University of Pennsylvania Fary Sami, Harford Community College
Kevin Fox, Shasta College Laura Sather, St. Cloud State University
Leslie Hendrix, University of South Carolina, Columbia Sean Simpson, Westchester Community College
Melinda Holt, Sam Houston State University Sam Soleymani, Santa Monica College
Brett Hunter, Colorado State University Cameron Troxell, Mount San Antonio College
Kelly Jackson, Camden County College Diane Van Deusen, Napa Valley College
Keshav Jagannathan, Coastal Carolina University Richard Watkins, Tidewater Community College
Clarence Johnson, Cuyahoga Community College Jane-Marie Wright, Suffolk Community College
Nancy Johnson, State College of Florida, Bradenton Cathy Zucco-Teveloff, Rider University
Sue Ann Jones Dobbyn, Pellissippi State Technical
Community College And last, but certainly not least, we thank our families,
Hoon Kim, Calfornia State Polytechnic University, Pomona friends, and colleagues for their continued support.
Cathy Lockwood, Sam Houston State University
Jackie MacLaughlin, Central Piedmont Roxy Peck and Tom Short
Another random document with
no related content on Scribd:
employing the syncopated form, the triple rhythm clashes with the
dual rhythm, require assurance, which can be given by easy means.
The uncertainty occasioned them by the sudden appearance of the
unexpected rhythm, contradicted by the rest of the orchestra, always
leads the performers to cast an instinctive glance towards the
conductor, as if seeking his assistance. He should look at them,
turning somewhat towards them, and marking the triple rhythm by
very slight gestures, as if the time were really three in a bar, but in
such a way that the violins and other instruments playing in dual
rhythm may not observe the change, which would quite put them out.
From this compromise it results that the new rhythm of three-time,
being marked furtively by the conductor, is executed with steadiness;
while the two-time rhythm already firmly established, continues
without difficulty, although no longer indicated by the conductor. On
the other hand, nothing, in my opinion can be more blamable, or
more contrary to musical good sense, than the application of this
procedure to passages where two rhythms of opposite nature do not
co-exist, and where merely syncopations are introduced. The
conductor, dividing the bar by the number of accents he finds
contained in it, then destroys (for all the auditors who see him) the
effect of syncopation; and substitutes a mere change of time for a
play of rhythm of the most bewitching interest. If the accents are
marked, instead of the beats, in the following passage from
Beethoven’s Pastoral Symphony, we have the subjoined:—
[Listen]
whereas the four previously maintained display the syncopation and

make it better felt:—
[Listen]
This voluntary submission to a rhythmical form which the author

intended to thwart is one of the gravest faults in style that a beater of
the time can commit.
There is another dilemma, extremely troublesome for a
conductor, and demanding all his presence of mind. It is that
presented by the super-addition of different bars. It is easy to
conduct a bar in dual time placed above or beneath another bar in
triple time, if both have the same kind of movement. Their chief
divisions are then equal in duration, and one needs only to divide
them in half, marking the two principal beats:—
[Listen]
But if, in the middle of a piece slow in movement, there is

introduced a new form brisk in movement, and if the composer
(either for the sake of facilitating the execution of the quick
movement, or because it was impossible to write otherwise) has
adopted for this new movement the short bar which corresponds with
it, there may then occur two, or even three short bars super-added to
a slow bar:—
[Listen]
The conductor’s task is to guide and keep together these different

bars of unequal number and dissimilar movement. He attains this by
dividing the beats in the Andante bar, No. 1, which precedes the
entrance of the Allegro in 6/8, and by continuing to divide them; but
taking care to mark the division more decidedly. The players of the
Allegro in 6/8 then comprehend that the two gestures of the
conductor represent the two beats of their short bar, while the
players of the Andante take these same gestures merely for a
divided beat of their long bar.
Bar No. 1
Bars Nos. 2, 3,
and so on.
It will be seen that this is really quite simple, because the division
of the short bar, and the subdivisions of the long one, mutually
correspond. The following example, where a slow bar is super-added
to the short ones, without this correspondence existing, is more
awkward:—
[Listen]
Here, the three bars Allegro-assai preceding the Allegretto are

beaten in simple two-time, as usual. At the moment when the
Allegretto begins, the bar of which is double that of the preceding,
and of the one maintained by the violas, the conductor marks two
divided beats for the long bar, by two equal gestures down, and two
others up:—
The two large gestures divide the long bar in half, and explain its
value to the hautboys, without perplexing the violas, who maintain
the brisk movement, on account of the little gesture which also
divides in half their short bar.
From bar No. 3, the conductor ceases to divide thus the long bar
by 4, on account of the triple rhythm of the melody in 6/8, which this
gesture interferes with. He then confines himself to marking the two
beats of the long bar; while the violas, already launched in their rapid
rhythm, continue it without difficulty, comprehending exactly that
each stroke of the conductor’s stick marks merely the
commencement of their short bar.
This last observation shows with what care dividing the beats of a
bar should be avoided when a portion of the instruments or voices
has to execute triplets upon these beats. The division, by cutting in
half the second note of the triplet, renders its execution uncertain. It
is even necessary to abstain from this division of the beats of a bar
just before the moment when the rhythmical or melodic design is
divided by three, in order not to give to the players the impression of
a rhythm contrary to that which they are about to hear:—
[Listen]
In this example, the subdivision of the bar into six, or the division
of beats into two, is useful; and offers no inconvenience during bar
No. 1 when the following gesture is made:—
But from the beginning of bar No. 2 it is necessary to make only

the simple gestures:—
on account of the triplet on the third beat, and on account of the one
following it which the double gesture would much interfere with.
In the famous ball-scene of Mozart’s Don Giovanni, the difficulty
of keeping together the three orchestras, written in three different
measures, is less than might be thought. It is sufficient to mark
downwards each beat of the tempo di minuetto:—
[Listen]
Once entered upon the combination, the little allegro in 3/8, of

which a whole bar represents one-third, or one beat of that of the
minuetto, and the other allegro in 2/4, of which a whole bar
represents two-thirds, or two beats, correspond with each other and
with the principal theme; while the whole proceeds without the
slightest confusion. All that is requisite is to make them come in
properly.
CHAPTER VI.
How To Prepare a Score
Methodical mastery of the full score, mental

reading, use of piano. Preparing a score for
rehearsal and performance.
To the average layman and even a great many musicians, an

orchestral score appears to be about as intricate in appearance as a
blue print of a complicated engine. The simile of the blue print and
the score is not inapt inasmuch as the blue print represents on paper
every detail of the mechanical construction of the engine, and,
likewise, the musical score is an exact description on paper of every
detail of the musical composition.
No attempt will be made in this book to describe the development
of the core from the days of the early Italian opera composers who
did not even write out parts for the players, to our own time when
hardly anything is left to the imagination of the musician, and
everything is written in the music. Likewise, the aesthetic
interpretation and evaluation of the musical content of the score will
be left undiscussed, to make way for the presentation of the practical
aspect of a methodical system of learning to read quickly and
accurately the mere notes of the score.
It is related that a celebrated professional magician, in order to
train his sense of vision, quickness of mental perception and
memory, used to practice looking at a show window for exactly one
minute and then writing down from memory the name of every article
he saw therein. By practice he was enabled to increase the number
of articles remembered from a relatively small number to a total
which included everything in the window. Now, what the magician did
with his sense of vision, quickness of mental perception, and
memory is precisely what the musician must do in learning to read
the full score.
Possibly the most confusing thing to the beginner in score
reading is the increased demands made upon his vision.
Accustomed to reading music in one or two staves, the eye is now
called upon to comprehend as many as 24 to 30 staves in a glance.
At first this seems an impossible task but like many other seemingly
impossible tasks it can be accomplished by patient and systematic
practice. Of course, every conductor has his own way of mastering a
score and the author can only give his personal method. However,
this method has been followed successfully by students, and in
practically every case has been found successful.
It is assumed that the conductor has some ability in piano-
playing. Naturally, the more the better, although it is not necessary to
be equipped with the highest virtuoso technic. A knowledge of the
scales and arpeggios, the ability to play Bach’s Two and Three Part
Inventions and Well-Tempered Clavichord might be considered a
working equipment for the conductor. Let it be explained here, that
while the ideal of score reading is to be able to read and hear every
note of the partitur without the aid of the piano, the value of the use
of the instrument in the process of developing this ability and as a
constant means of checking and proving one’s capacity is
unquestioned.
The best exercise for widening or broadening the sense of vision
is to practice the playing of three or more part vocal scores. A
collection of early church music such as “Musica Sacra,” published
by Peters, contains the most practical material. Herein are to be
found in two, three, four, five, six, eight, ten and twelve parts and
staves, the lovely old polyphonic works of the early Italian masters
and the patient practice on these, always adding one more part, will
do much toward the spreading of a sense of vision that has become
limited by the habitual perusal of just one or two lines. The absolute
independence of each individual part makes these polyphonic
choruses highly valuable as practice material.
The second difficulty of the full score is the fact that not all of the
instruments are written in the familiar clefs and many of them are
transposed into different keys because of their peculiar mechanical
construction.
Following the method employed in the conducting classes of the
High School for Music in Berlin, the author has found the use of
Bach’s chorales with each of the four parts written in a different clef,
most effective in imparting the ability to transpose. These chorales
should be taken from the various two-line editions (Peters, Breitkopf
& Härtel, C. C. Birchard) and copied by the student on four separate
lines, using the Soprano, Alto, Tenor and Bass clefs for the
respective parts.
The Soprano clef,
Alto clef,
and the Tenor clef,
are C clefs, i.e., the note on the staff indicated by the clef is
middle C;
with the Soprano clef this is the first line, with the Alto clef the third,
and with the Tenor clef, the fourth. Knowing the position of middle C
it should not be difficult to trace the position of the other notes of the
scales. The following is an example of the old and new vocal scores:
Passion Chorale (Bach)

[Listen]
For variety, the student might make use of ordinary four part
hymn tunes in the same manner. These chorales and hymn tunes in
the old clefs must not be merely played through a few times, but are
to be practiced daily until the process of playing the old clefs has
become as automatic as playing in the treble and bass clefs. This
will give the student the necessary mental gymnastics and make the
reading and playing of the various transposing instrumental parts
comparatively easy.
So much for the purely technical preparation in the process of
learning to read and transcribe scores.
The following headings are descriptive of a method of score
preparation generally used by modern conductors:
1. The Architectural or General Impression.
2. Detailed study of the individual parts.
3. Detailed study of individual sections (strings,
woodwinds, brass, and percussion).
4. Mental hearing of the composition in parts
and as a whole.
5. Piano transcription as a means of checking
up and ratifying the mental concept.
When a building is viewed for the first time hardly anything more
than a general impression of the type of architecture, size, symmetry,
and color is made upon the mind. The details of construction,
materials used, number of floors, style of windows and doors are
only comprehended after closer study.
At the first perusal of a score, which should always be away from
the piano, the impression made is just as general as in viewing the
building. Hardly more than the contour of the melody and bass,
outstanding climaxes and general character can be grasped at the
first reading.
Next, a reading through either with or without piano, of each
individual part reveals the details of construction, and the playing on
the piano of the various sections gives the harmonic and polyphonic
content of the work. A practical knowledge of Instrumentation is most
helpful at this stage of the work.
After this detailed study, the work should be read through
mentally at about the speed of actual performance, the climaxes
noted, the emotional content determined, and a diagram of the form
fixed in the mind. There is always a danger of losing the perspective
of the work as a whole if too much detailed study is indulged in. The
ability to read and hear music without the aid of an instrument is
absolutely essential for the conductor. It can be acquired to a degree
by proper study. Such works as Wedge’s “Sight Singing and Ear
Training” (G. Schirmer) and Robinson’s “Aural Harmony” (G.
Schirmer) are invaluable helps. “Musical Form” by H. Anger
(Augener) is a most practical treatise on the subject and contains
clear instructions for analyzing the piano Sonatas of Beethoven and
the Fugues in Bach’s “Well-tempered Clavichord.”
Upon being questioned as to his opinion of the importance of the
conductor’s “ears” or hearing, Wilhelm Furtwängler, the eminent
German conductor, made the following reply: “Generally considered,
there is no such thing among conductors as a good or bad ‘ear.’
There is only a greater or lesser mastery of the material, that is, the
score and its every detail. One can only hear individual mistakes in
the complicated mass of sound when one knows completely just
what the composer wanted.” (Pult and Takstock, Dec., 1925).
Of course there are conductors who learn the content of a score
quickly from listening to the orchestra as they rehearse. But, it
matters not how clever the conductor is, his orchestra always senses
when it is being used as the means of their leader’s learning the
score and their respect for him is lowered. There is a fable of a
young conductor who wished to impress himself on his men by a
display of sharp hearing. He secretly wrote in a false F ♯ in the
second bassoon part of a particularly loud and boisterous passage.
At the rehearsal in the midst of the orchestral rumpus he suddenly
stopped the orchestra and cried out impatiently, “F sharp, F sharp in
the second bassoon is wrong,” only to be answered by the first
player, “Beg pardon, Sir, the second bassoon is absent today.”
To play a full score accurately and fluently on the piano, is an art
in itself and in the course of musical history we hear of only a few
musicians who really could do this. Saint-Saëns, Liszt, and Von
Buelow were said to be proficient in this difficult art, and undoubtedly
their marvelous piano technique was a most important factor in their
prima-vista score transcriptions. To fluently play a printed pianoforte
arrangement of a Beethoven Symphony takes as much technique as
to play one of his sonatas. We must not forget the comparative
simplicity of even a Wagner score when compared with such a work
as Varese’s “L’Amériques” or “The Rites of Spring” by Stravinsky,
and it is just likely that any of the three masters just mentioned would
have great difficulty in reading Honegger’s “Pacific 231” at the piano.
For the average conductor then, the piano does not become the
supreme channel for expressing the score, but is used merely as an
aid to his mental and spiritual master of its intricacies.
There still remains for discussion one phase in the work of score
preparation, and that is—memory. Just as among concert players
the old custom of playing from the printed page has given way to the
one of playing and singing everything from memory, so have modern
conductors taken to dispensing with their scores in performance.
The increased amount of preparatory work involved in
memorizing a score certainly gives one an increased insight into the
composition and to be freed from the necessity of reading the printed
page gives a much greater authority and command in the whole
attitude of the conductor at the performance. We never read of any
great military commander leading his troops to battle with his eyes
glued on the map, and we have all heard of the conductors who
have their heads in the score when they should have the score in
their heads. Arturo Toscanini memorizes every detail of the score
before the first rehearsal and conducts even the rehearsals from
memory. This, of course, is such miraculous achievement in the
mastery of the purely technical that it ceases to be technique and
becomes an integral part of the conductor’s being.
The improved gramophone with the new process records of the
great orchestral, choral and operatic masterworks can be put to
splendid use by the student of conducting. Score in hand, these
records should be listened to until completely absorbed and then
they should be conducted. The operatic arias are particularly good
practice for practising the art of conducting accompaniments.
In concluding this chapter the following paragraph from Adrian
Boult’s “Handbook on the Technique of Conducting” is most fitting.
He says, “In conducting there is a double mental process. There is
the process of thinking ahead and preparing the orchestra for what is
to come, that is to say, of driving it like a locomotive. There is also
the process of listening and noting difficulties and points that must be
altered, in fact of watching the music, as a guard watches his train.
At rehearsal the second of these is the more important. Occasionally
one must take hold and drive one’s forces to the top of a climax, just
as a boat’s crew on the day before the race does one minute of its
hardest racing, but takes it pretty easy otherwise. The main thing at
a rehearsal is to watch results and to act on them. At a performance
it is the other way about—the conductor must take the lead. It is then
too late to alter things like faulty balance or wrong expression, but
the structure and balance of the work as a whole and the right spirit
are the two things of paramount importance.”
CHAPTER VII
The Technic of the Baton
in Choral Conducting
There seems to be in the minds of some musicians an idea that a vast

difference exists between chorus conducting and orchestra conducting. In fact, it
is a very common fact that there are many fine musicians who obtain excellent
results from their choruses but who are completely at a loss when it comes to
conducting even the orchestral accompaniment of the choral works they are
presenting. The tales told by sophisticated orchestral players on their return from
music festivals in the provinces about the antics of many choral conductors
would be funny if they were not tragic.
Usually, the choral conductor is a good musician and knows his musical
subject matter thoroughly. Through the process of much careful rehearsing and
teaching, he succeeds in imparting his ideas of interpretation to his chorus,
which in turn comes to understand the meaning of his gestures. Up until the first
orchestral rehearsal, which is usually the only one, everything goes smoothly;
but as soon as the highly trained and sensitive orchestra tries to follow the
conductor’s beat, a state of utter chaos ensues. Much time is wasted, the
conductor becomes irritable, the chorus demoralized, the orchestra scornful, and
in general the outlook for a successful concert begins to look very black. Finally,
the more practical side of the orchestra rises above the disgruntled and
disillusioned attitude and it rescues the situation by playing more in spite of the
conductor rather than because of him. This picture is not exaggerated and has
almost a universal application. The author, in his orchestral playing days, has
witnessed such scenes not only in the United States but also in France and
Germany, and has been told by competent authorities that the same conditions
exist in England. In fact, this little tale is one that will be verified by almost every
experienced orchestral musician.
The cause of much of this ineffective conducting is a profusion of vague,
meaningless (to the orchestral player) gestures on the part of the choral
conductor, who has gotten into the habit of making many motions because of
certain conditions peculiar to choruses and choral music. First of these
conditions is the average chorus member’s rather low standard of musical ability,
(in comparison with the professional orchestra) which causes the conductor to
lead his charges through intricate rhythmical mazes by indicating every 32d note
and beating out the melodic contour rather than giving the basic beats and
subdivision of the beats. Secondly, the conductor usually has the assistance of a
good accompanist who plays the piano arrangement of the orchestral score so
efficiently that the conductor ceases to even think about it, and who provides a
firm rhythmical background by crisp and incisive marking of the main beats of
the measure. Naturally, the conductor cannot change the habits acquired during
many weeks of rehearsal and when he finally finds himself in front of the critical
professional orchestra, he is confronted with the task of leading this complicated
organization with gestures engendered by the peculiar weaknesses of his choral
body and which are totally confusing to the strange orchestra.
There is only one remedy for this condition. Directors of choruses must
remember that essentially there is no difference between orchestral conducting
and choral conducting, although there is a vast difference between orchestral
and choral training and rehearsing. It is not necessary to give the chorus a
special gesture for each 32d note of the melodic line. Chorus members will give
a rhythmical performance of a work only when they are made to feel the main
pulsations of the movement, and this can be accomplished only by using such
established gestures which clearly mark the fundamental rhythm. Naturally, such
gestures will easily be understood by the orchestral musicians as well as by the
chorus singers. Of course, this refers definitely to the conducting of combined
orchestral and choral forces. The conducting of part songs accompanied or
unaccompanied calls for a somewhat different treatment.
In A Capella music, the conductor usually dispenses with the baton in order
to gain more expressive freedom of both hands. In comparison with a choral-
orchestral composition, these part songs and polyphonic choruses have but few
individual parts and the conductor is not so much concerned with the actual
beating of time as with the subtle indication of interpretative shades and
meaning. Nevertheless, the author believes that the fundamental gestures are a
sufficiently comprehensive basis for the most expressive type of conducting.
It is not the purpose of this chapter to enter into the details of choral training
and interpretation. Those subjects have been admirably treated by other writers
and for the chorus master seeking truly authoritative advice in these matters, the
following books are recommended:
Coward—Choral Technic and Interpretation (Novello)

Russell—English Diction (Ditson)
Henderson—The Singer’s Art.
Mees—Choirs and Choir Music
Schweitzer—Bach
Newman Flower—Handel

Full download Statistics : learning from data Second Edition. Edition Thomas H. Short file pdf all chapter on 2024

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Full download Statistics : learning from data Second Edition. Edition Thomas H. Short file pdf all chapter on 2024

Uploaded by

Copyright:

Available Formats

Statistics : learning from data Second

Edition. Edition Thomas H. Short

Statistics: The Art and Science of Learning from Data

Applied Statistics: From Bivariate Through Multivariate

Applied Statistics: From Bivariate Through Multivariate

Statistical Learning for Big Dependent Data (Wiley

Probability and Statistics (4th Edition) Morris H.

Machine Learning for Signal Processing: Data Science,

Viruses: A Very Short Introduction 3rd Edition Dorothy

Breakheart Hill Thomas H. Cook

Australia ● Brazil ● Mexico ● Singapore ● United Kingdom ● United States

Product Assistant: Abby DeVeuve

IP Project Manager: Nick Barrows

Production Service: MPS Limited

Cover Image: Color of the Rails by

Cengage is a leading provider of customized learning solutions with

Cengage products are represented in Canada by Nelson Education, Ltd.

To learn more about Cengage platforms and services, visit www.cengage.com.

To register or access your online learning solution or purchase materials for

Printed in the United States of America

To Jerry Moreno and Jerry Senturia for inspiring

About the Cover

ROXY PECK is a professor emerita of statistics at California

TOM SHORT is an Associate Professor in the Statistics Program

SECTION I COLLECTING DATA

SECTION II DESCRIBING DATA DISTRIBUTIONS

SECTION III A FOUNDATION FOR INFERENCE: REASONING ABOUT PROBABILITY

SECTION IV LEARNING FROM SAMPLE DATA

SECTION V ADDITIONAL OPPORTUNITIES TO LEARN FROM DATA

SECTION I COLLECTING DATA

S E C T I O N II DESCRIBING DATA DISTRIBUTIONS

CHAPTER 3 Numerical Methods for Describing Data

3.6 Avoid These Common Mistakes 159

CHAPTER 4 Describing Bivariate Numerical

CHAPTER 5 Probability 240

CHAPTER 6 Random Variables and Probability

Chapter Activities 373

S E C T I O N IV LEARNING FROM SAMPLE DATA

CHAPTER 8 Sampling Variability and Sampling

CHAPTER 9 Estimating a Population Proportion 424

CHAPTER 10 Asking and Answering Questions About

CHAPTER 11 Asking and Answering Questions About the

CHAPTER 12 Asking and Answering Questions About

CHAPTER 13 Asking and Answering Questions About the

SECTION V ADDITIONAL OPPORTUNITIES TO LEARN FROM DATA

CHAPTER 15 Understanding Relationships—Numerical

CHAPTER 16 Asking and Answering Questions About More

Appendix A Statistical Tables 811

to create a hypothetical population in the context of means because this requires

New in This Edition

Features That Support Student Engagement and Success

Consistent with Recommendations for the Introductory

variability, consistent use of context, and an emphasis on interpreting and communi-

Reviewers Kim Massaro, University of Texas, San Antonio

whereas the four previously maintained display the syncopation and

This voluntary submission to a rhythmical form which the author

But if, in the middle of a piece slow in movement, there is

The conductor’s task is to guide and keep together these different

Here, the three bars Allegro-assai preceding the Allegretto are

But from the beginning of bar No. 2 it is necessary to make only

Once entered upon the combination, the little allegro in 3/8, of

Methodical mastery of the full score, mental

To the average layman and even a great many musicians, an

The Soprano clef,