Sight-Singing: Ten Years of Published Research

Kuehne, Jane M.

doi:10.1177/8755123310378453

Cited by 3 publications

(2 citation statements)

References 12 publications

(42 reference statements)

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“…Inclusion in the Kodaly method boosted the spread of hand sign usage to the international scale (Choksy, 1974). Within the United States, hand signs are widely used by choral (Frey-Clark, 2017;Kuehne, 2010Nichols, 2012-2013Sanders, 2015) and elementary (Gentry, 2016;Reifinger, 2013) music educators.…”

Section: Glover/curwen Hand Signsmentioning

confidence: 99%

Student Perceptions of Glover/Curwen Hand Signs in the Elementary Music Classroom

Mayo

2023

Update: Applications of Research in Music Education

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Elementary music educators use a variety of strategies in classroom instruction. The purpose of this case study was to explore student perceptions of Curwen hand signs, a common instructional strategy in elementary music classrooms. Second- and third-grade students reported various challenges, benefits, and influential factors surrounding hand sign use. Results indicated that students enjoyed movement activities and benefited from visual and physical reminders of singing tasks during instruction. They described several challenges, including multitasking, required background knowledge, and distraction. Influential factors included a learning curve, accuracy, placement, pattern length and complexity, and enjoyment. The results of this study suggest that hand signs should be considered one instructional strategy in a toolbox of multiple approaches.

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Section: Glover/curwen Hand Signsmentioning

confidence: 99%

Student Perceptions of Glover/Curwen Hand Signs in the Elementary Music Classroom

Mayo

2023

Update: Applications of Research in Music Education

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“…Contemporary studies on singers’ sight reading have mainly focused on pedagogical and psychological aspects. Pedagogically oriented studies have investigated sight-singing development in different musical contexts (for a review, see Kuehne, 2010). For instance, Demorest and May (1995) reported that practice time and diversity of learning situations crucially enhanced individual sight-singing performance.…”

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confidence: 99%

Eye movements in sight singing: A study with experts.

Huovinen¹,

Timoshenko²,

Nyström³

2021

Psychomusicology: Music, Mind, and Brain

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In comparison with instrumental sight reading of musical notation, sight singing is typically characterized by the presence of lyrics. The purpose of this study was to explore how skilled sight singers divide their visual attention between written music and lyrics and how their eye-movement behavior is influenced by musical stimulus complexity. Fourteen competent musicians performed 10 newly composed songs in a restricted temporal condition (60 bpm). Eye movements and vocal performances were recorded and complemented with posttask complexity ratings and interviews. In the interviews, the singers emphasized the priority of focusing on the melody instead of the lyrics. Accordingly, eye-movement analyses indicated not only more total fixation time on music than lyrics but also longer fixation durations, longer durations of visits (i.e., sequences of fixations), and a larger number of fixations per visit on music than on lyrics. The singers also more typically arrived at a bar by glancing first at the music instead of lyrics. Generalized linear mixed-model analyses showed that the number of notes and accidentals in a bar influenced the fixation time and that pupil dilation was increased by a larger number of accidentals. Measurements of eye-voice span, that is, the temporal distance between fixating and singing a note, were best predicted by phrase structure and the note density of previous melodic material. According to the interviews, the best sight singers' approaches were characterized by a flexibility of moving between different sight-singing strategies. The study offers a comprehensive overview regarding the bottom-up and top-down aspects affecting sight-singing performance.

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Sight-Singing Pedagogy

Floyd

Haning

2014

Journal of Music Teacher Education

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The purpose of this study was to examine the sight-singing pedagogy content of choral methods textbooks, with the intent of determining what elements of sight-singing pedagogy are most commonly included in these resources. A content analysis was conducted to analyze information related to sight-singing pedagogy in 10 textbooks that are commonly used in undergraduate choral methods courses. Results of this content analysis indicated that although most choral methods textbooks contain some information about teaching sight-singing and music literacy skills, this information is often quite limited and does not include reference to helping students internally organize sound. In addition, information about concepts such as assessment and curriculum planning for sight-singing skills is included in only a small percentage of popular textbooks. Evaluation of these findings can help to illuminate the ways in which textbooks communicate the priorities and core values of a particular field of study, such as choral music education.

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Sight-Singing: Ten Years of Published Research

Cited by 3 publications

References 12 publications

Student Perceptions of Glover/Curwen Hand Signs in the Elementary Music Classroom

Student Perceptions of Glover/Curwen Hand Signs in the Elementary Music Classroom

Eye movements in sight singing: A study with experts.

Sight-Singing Pedagogy

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