Sight-Singing Systems

McClung, Alan C.

doi:10.1177/875512330102000102

Cited by 16 publications

(2 citation statements)

References 5 publications

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“…Determining which strategies to teach for successful dictation and how to teach them are crucial yet scarcely researched tasks. In a related study of sight-singing pedagogy, McClung (2001) noted the lack of research on effectiveness of various sight-singing systems and the resultant tendency of teachers to learn and teach a smattering of various approaches. This can be problematic if their students do not ultimately learn any approach well.…”

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Melodic Dictation Instruction

Buonviri

Paney

2015

Journal of Research in Music Education

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Based on relevant literature and recent qualitative findings, the purpose of this survey research was to identify pedagogical approaches to melodic dictation employed by Advanced Placement (AP) Music Theory teachers across the United States. The researcher-designed survey questions focused on pitch and rhythm skills, instructional resources, dictation strategies, test-taking skills, and characteristics of successful dictation students. The survey was distributed online to a stratified random sample of 875 AP Music Theory teachers across the United States. Of these recipients, 398 participants from 49 states and the District of Columbia completed the survey, yielding a 45.5% return rate. Results indicated that teachers preferred pitch systems that emphasized scale degree function and rhythm systems that emphasized the meter. Participants also reported the influence of the AP exam on their dictation teaching and described their need for additional instructional time and better preparation for teaching aural skills. Suggestions for further research include similar studies of other populations, including high school teachers of other theory courses and college theory instructors.

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Melodic Dictation Instruction

Buonviri

Paney

2015

Journal of Research in Music Education

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“…With regard to teaching high school age choristers, McClung (2001) mentioned that music teachers select from a larger variety of numeric and syllabic approaches when teaching rhythm. "Commonly used rhythm systems include time-value note names, syllables and names based on time-value note names, mnemonic word devices, rhythm numbers, and syllables based on beat functions" (p. 3).…”

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Rhythm in shoes: student perceptions of the integration of tap dance into choral music

Wagoner¹

2017

Voice and Speech Review

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I would like to convey my thanks to my colleagues, Frances Duffy and SusanGleeson, for their willingness to listen, read and suggest improvements related to the study and dissertation. In addition, I want to extend my appreciation to Dr. Rockford Sansom for lending his expertise, examining my work and providing an external perspective regarding my study. Additionally, I want to thank my students for their willingness to participate in the study and offer their insights with regard to how this approach affected their learning and how it might be modified to improve the rhythmic learning of other singers. ABSTRACTThe purpose of this qualitative study was to collect descriptive data pertaining to students' perceptions regarding the use of tap dance movement and its effect on the understanding of rhythms found in choral literature. This enquiry investigated the following questions: (a) What are the perceptions of high school students regarding the difficulty of tap dance movement? (b) What are the perceptions of high school students regarding the effectiveness of tap dance movement as a method toward promoting their rhythm accuracy when performing rhythms featured in choral music? (c) What are the perceptions of high school students regarding the effectiveness of integrating tap dance movement with the study of select rhythm patterns chosen from choral literature in their retention of the rhythms? Over a five-month period, high school choral ensemble members (N = 88) were taught twenty-five rhythm patterns excerpted from choral literature, integrating tap dance movement with the instruction. The results revealed that the difficulty level of the movement, tempo at which it is executed, the changing of feet while performing the movement, and the amount of tap experience an individual possesses influence students' perceptions regarding the degree of complexity of tap dance viii movement. Additionally, the data indicate the enjoyment of the movement, the demonstrations of the movement, the integration of music with the movement, the use of step names and counting, and the use of tap shoes are elements related to tap dance movement that students perceived to help promote their understanding of rhythms found in choral music. Moreover, the results pertaining to the students' perception of how tap dance movement was an effective method of promoting their retention of rhythms found in choral music indicate a lack of agreement. While there were singers who found the movement to benefit their ability to memorize the examined rhythms, there was a comparable amount of students who indicated that they were unable to remember the rhythms following the instruction. Lastly, the findings provide information regarding the specific types of movements that students found beneficial to their rhythmic comprehension, adding to the existing literature and useful for replication in future Baudin (2011) substantiated the idea that "Rhythmic movement is a part of nature" (p. 1). Baudin explained that rhythmic movement is "a very primitive...

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Increased activation in the left ventrolateral prefrontal cortex and temporal pole during tonality change in music

Tsai

2019

Neuroscience Letters

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Sight-Singing Systems

Cited by 16 publications

References 5 publications

Melodic Dictation Instruction

Melodic Dictation Instruction

Rhythm in shoes: student perceptions of the integration of tap dance into choral music

Increased activation in the left ventrolateral prefrontal cortex and temporal pole during tonality change in music

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