The Effects of Learning Songs by Ear in Multiple Keys on Pitch Accuracy and Attitudes of Band Students (aural Transposition). PDF Download
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Author: Ann Marie Musco
Publisher:
ISBN: 9781109902846
Category : Ear training
Languages : en
Pages : 221
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Book Description
To assess the effects of instruction on performance, repeated-measures ANOVAs considered the variables of group, time, and key. The experimental group improved significantly in playing by ear in the keys of Db and G concert, p
Author: Ann Marie Musco
Publisher:
ISBN: 9781109902846
Category : Ear training
Languages : en
Pages : 221
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Book Description
To assess the effects of instruction on performance, repeated-measures ANOVAs considered the variables of group, time, and key. The experimental group improved significantly in playing by ear in the keys of Db and G concert, p
Author:
Publisher:
ISBN:
Category : Dissertations, Academic
Languages : en
Pages : 614
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Book Description
Author: Neal Yancey Smith
Publisher:
ISBN:
Category : Bands (Music)
Languages : en
Pages : 121
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Book Description
This study sought to examine the effect of playing songs by ear on the musical performance of middle school instrumental music students in order to clarify the efficacy of non-traditional methods of instrumental music instruction. Subjects were students in grades six through eight (N=114) in three schools. Classes were designated as control and experimental groups and two experienced instrumental music teachers delivered instruction to classes in both groups. Portions of the Music Aptitude Profile (MAP) and the pretest version of the Instrumental Performance Test (IPT), designed by the researcher, were administered to students prior to the study. The IPT included subtests for music reading, aural response, and ear-tune performance. During a twelve-week treatment period students in both groups learned a repertoire of common folk songs. Students in experimental group learned songs by singing and echoing them following a teacher model and then were introduced to the musical notation. Students in the control group were given the musical notation for the songs from the outset and were asked to perform and sing the songs after studying the notation. A posttest version of the IPT was administered after the treatment period. Three expert judges evaluated student performances in the areas of pitch, rhythm, and expression using a criteria-specific rating scale. A series two-way ANCOVAs using group and aptitude as independent variables and corresponding pretest scores as covariates were conducted on each subtest of the IPT. Though trends in the data could be identified none proved to be statistically significant. Based on the results of the study it was not possible to conclude that the experimental treatment had an effect on the performance of middle school band students. However, it could also be noted that learning to perform songs by ear did not significantly hinder students' ability to perform music using notation. As a result of the study, several conclusions about the nature and design of future research could be made.
Author: Michele K. Lazinski
Publisher:
ISBN:
Category : Musical pitch
Languages : en
Pages : 100
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Book Description
Author: Georann Gale Whitman
Publisher:
ISBN:
Category : Improvisation (Music)
Languages : en
Pages : 692
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Book Description
Author: Colin R. Wright
Publisher:
ISBN: 9781443897990
Category : Ear training
Languages : en
Pages : 411
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Book Description
Research indicates that aural skills are vital in developing musical expertise, yet the precise nature of those skills and the emphasis placed upon them in educational contexts merit closer attention and exploration. This book assesses the relevance of aural in a university music degree and as a preparation for the professional career of a classical musician. By way of the discussion of four empirical studies, two main areas are investigated: firstly, the relationship between university music students aural ability and their overall success on a music degree programme, and, secondly, the views of music students and professional musicians about aural and its relevance to their career are analysed. The subject is investigated particularly in the light of the current socio-educational background of the past fifty years, which has greatly influenced the participation of music and the study and development of musicianship. Many related issues are touched upon as part of the research for this project, and these emerge as relevant topics in the discussion of aural. Apart from students and musicians views on training and singing, aspects considered include the role of improvisation, memorisation and notation, examinations, absolute pitch and the affinity with language, all of which have a part to play in the debate about the importance of aural.
Author: Rebecca B. MacLeod
Publisher: Routledge
ISBN: 135125412X
Category : Music
Languages : en
Pages : 183
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Book Description
Teaching Strings in Today’s Classroom: A Guide for Group Instruction assists music education students, in-service teachers, and performers to realize their goals of becoming effective string educators. It introduces readers to the school orchestra environment, presents the foundational concepts needed to teach strings, and provides opportunities for the reader to apply this information. The author describes how becoming an effective string teacher requires three things of equal importance: content knowledge, performance skills, and opportunities to apply the content knowledge and performance skills in a teaching situation. In two parts, the text addresses the unique context that is teaching strings, a practice with its own objectives and related teaching strategies. Part I (Foundations of Teaching and Learning String Instruments) first presents an overview of the string teaching environment, encouraging the reader to consider how context impacts teaching, followed by practical discussions of instrument sizing and position, chapters on the development of each hand, and instruction for best practices concerning tone production, articulation, and bowing guidelines. Part II (Understanding Fingerings) provides clear guidance for understanding basic finger patterns, positions, and the creation of logical fingerings. String fingerings are abstract and thus difficult to negotiate without years of playing experience—these chapters (and their corresponding interactive online tutorials) distill the content knowledge required to understand string fingerings in a way that non-string players can understand and use. Teaching Strings in Today’s Classroom contains pedagogical information, performance activities, and an online virtual teaching environment with twelve interactive tutorials, three for each of the four string instruments. ACCOMPANYING VIDEOS CAN BE ACCESSED VIA THE AUTHOR'S WEBSITE: www.teachingstrings.online
Author: James L. Reifinger (Jr.)
Publisher:
ISBN:
Category : School music
Languages : en
Pages : 442
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Book Description
Second grade students (N = 193) in three urban elementary schools in Pennsylvania received sightsinging instruction for 15 sessions of general music classes, each 25 minutes in length. The children read notation and sang four-note tonal patterns, with one new pattern presented each session and all previously learned patterns practiced at the beginning and end of each session. During each session a new song with an activity was learned by rote and sung. In the 16th session all 15 patterns were reviewed. Independent variables included instructional treatment, school, and sex. Variations in instructional treatment included singing the patterns with solfege or loo , and singing a related or unrelated song. Related songs used the pattern as the first four notes of the song. The following four treatment conditions were randomly assigned to classrooms: (1) solfege/related song; (2) solfege/unrelated song; (3) loo /related song; (4) loo /unrelated song. The children were individually tested at three points in time on their ability to read and sing the patterns: a pretest prior to instruction; a posttest after the 16 sessions; and a retention test that followed an additional eight weeks of no sightsinging instruction. For each test, the children sightsang patterns learned in class (familiar patterns) and 10 patterns which had not been practiced (unfamiliar patterns) to assess the ability to transfer learning. Sightsinging performance was evaluated for pitch and contour accuracy. Also examined were correlations of sightsinging scores with pitch matching, tonal discrimination using the IMMA, school ability using the Otis-Lennon Test, and reading fluency using Dynamic Indicators of Basic Early Literacy Skills (DIBELS). The instruction resulted in a significant improvement in sightsinging achievement. Nonsignificant differences from posttest to retention test for all treatment groups indicated that students' performance in sightsinging remained statistically stable. Significant improvement in singing unfamiliar patterns indicated that skills transferred. Treatment effectiveness differed according to pattern type. For familiar patterns, contour accuracy scores were significantly higher in the solfege condition. For unfamiliar patterns, however, contour accuracy scores were significantly higher in the loo condition. Learning related songs during instruction had no significant effect on students' ability to sightsing the patterns. Pitch matching correlated highly with sightsinging note accuracy, but moderately with contour accuracy. Sightsinging scores correlated moderately with IMMA and school ability scores.
Author: Gretchen Michelle Grace Harrison
Publisher:
ISBN:
Category : Musical pitch
Languages : en
Pages : 134
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Book Description
Author: Gary Steven Karpinski
Publisher: Oxford University Press, USA
ISBN: 9780195117851
Category : Music
Languages : en
Pages : 274
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Book Description
This book is about thinking in music. Music listeners who understand what they hear are thinking in music. Music readers who understand and visualize what they read are thinking in music. This book investigates the various ways musicians acquire those skills through an examination of the latest research in music perception and cognition, music theory, along with centuries of insight from music theorists, composers, and performers. Aural skills are the focus; the author also works with common problems in both skills teaching and skills acquisition.
