The Seeing Ear

Karpinski, Gary S.

doi:10.4324/9780429276392-7

Cited by 11 publications

(23 citation statements)

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“…They related more to musical analysis and gave little importance to decoding strategies. This sight-singing approach is probably the one that most closely matches the viewpoints of Rogers (2004) and Karpinski (2000). They both consider that sight-singing stems from aural skills.…”

Section: Underlying Conceptions About the Purpose Of Sight-singingsupporting

confidence: 65%

“…This pragmatic approach shares several similarities with Thompson’s (2004) metaphor of “tone builder,” where one “sight sings primarily by thinking about the size of intervals” (p. 104). Several authors (e.g., Karpinski, 2000; Rogers, 2004) have argued that intervallic strategies should be avoided because they could lead students to read music in a non-musical way. However, it may not be the intervallic strategies that are problematic in themselves, but rather the underlying conception that pushes students to look for quick tips.…”

Section: Underlying Conceptions About the Purpose Of Sight-singingmentioning

confidence: 99%

“…Rogers (2004) believes that sight-singing is no different from music dictation in as much as both seek to develop “the ability to hear musical relationships accurately and with understanding” (p. 100). According to Karpinski (2000), the goal of thinking in music is achieved when musicians can “understand and auralize what they read” (p. 4). Participants who shared this viewpoint tended to dismiss strategies related to the sight-singing performance and valued those that helped them make sense of their musical reading.…”

Section: Underlying Conceptions About the Purpose Of Sight-singingmentioning

confidence: 99%

“…They valued tone height internalization, pitch decoding strategies, and rote learning, while neglecting strategies related to music analysis. Although this approach is not directly favored by Rogers (2004) and Karpinski (2000), it nevertheless corresponds to a common belief in music education according to which singing, in general, is viewed as a powerful tool to develop aural imaging, memory patterns, and inner hearing (Gordon, 2003; McNeil, 2000). The fact that this viewpoint shares negative associations with prior music theory achievement, individual music lessons, and individual practice indicates that this approach is more frequently used among less experienced music students.…”

Section: Underlying Conceptions About the Purpose Of Sight-singingmentioning

confidence: 99%

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Strategic approaches to learning sight-singing at college level: An investigation using Q Methodology

Fournier

O’Neill

Sala

2020

Psychology of Music

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This research investigates the main strategic approaches used by students for learning sight-singing in aural skills training. Using Q method, 41 college-level music students were invited to think about the importance of a wide range of strategies for their sight-singing acquisition. Factor analysis revealed three main strategic approaches: the pragmatic approach, the analytic approach, and the sound-first approach. Post hoc analyses indicated that these strategic approaches do not provide a valid typology of music students; rather, they reveal underlying conceptions about the purposes of sight-singing, which are likely to evolve according to an individual’s musical training. For sight-singing strategy instruction, these findings offer new insights for understanding better the influence of students’ prior musical knowledge on their use of sight-singing strategies. The discussion highlights the need for (re)establishing clear educational expectations that are capable of fulfilling teachers’ musical ideals.

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Section: Underlying Conceptions About the Purpose Of Sight-singingsupporting

confidence: 65%

Section: Underlying Conceptions About the Purpose Of Sight-singingmentioning

confidence: 99%

Section: Underlying Conceptions About the Purpose Of Sight-singingmentioning

confidence: 99%

Section: Underlying Conceptions About the Purpose Of Sight-singingmentioning

confidence: 99%

See 2 more Smart Citations

Strategic approaches to learning sight-singing at college level: An investigation using Q Methodology

Fournier

O’Neill

Sala

2020

Psychology of Music

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“…The lack of frets or buttons on our string instruments as a visual or tactile representation of finger placement increases the importance of strengthening skills early on. Renowned aural skills scholar Gary S. Karpinski suggests, “Developing musicians who begin their training in aural skills development are much more likely to learn by thinking ‘ in music’ instead of ‘ about music’” (Karpinski 2000, 4). Karpinski further defines in music as “Music listeners who understand what they hear are thinking in music.…”

Section: The Importance Of Aural Skills Developmentmentioning

confidence: 99%

The Tuning Connection: Strategies and Games to Strengthen Aural Skills, Tuning, and Intonation in the String Orchestra

Dirks¹,

Williams²,

Fulcher³

et al. 2021

American String Teacher

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The Effectiveness of Diverse Designs of Chinese Stem-Deriving Instruction for Chinese Children With Dyslexia

Wang,

Liu,

Lin

et al. 2024

Exceptional Children

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One of the most well-known instructional methods used to enhance Chinese character reading (CCR) is Chinese stem-deriving instruction (CSDI). In this method, CCR is taught via a group of characters (e.g., 清, 情, and 靚) that share the same stem (e.g., 青). However, the effectiveness of CSDI on the CCR of Chinese children with dyslexia remains inconsistent, and the reason may be the diverse designs of this method across studies. Thus, this study aimed to use a quasiexperiment-design study to compare the effects of various forms of CSDI based on the (in)consistency of the extending characters’ sounds, their appearances, and their amount (i.e., how many of them). In total, 122 Chinese third to sixth graders with dyslexia were recruited from primary schools, and they were randomly assigned to one of three groups: (a) visuospatially controlled CSDI ( n = 37; all taught characters shared the same pronunciation), (b) verbally controlled CSDI ( n = 45; all taught characters shared the same structure), and (c) noncontrolled CSDI ( n = 40; all taught characters selected only on the basis of their frequencies). They were tested by CCR and dictation before and after the instruction. We found that CCR was significantly improved in all three CSDI groups, whereas only the verbally controlled CSDI group showed significant improvements in dictation. Furthermore, verbally and visuospatially controlled CSDI earned the greatest benefits in decreasing the visual errors and phonetic errors in CCR and decreasing the radical errors and homophone errors in dictation. Our findings shed light on the effectiveness of CSDI in terms of diverse designs, and frontline practitioners should take our findings into consideration when using CSDI.

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The Seeing Ear

Cited by 11 publications

References 0 publications

Strategic approaches to learning sight-singing at college level: An investigation using Q Methodology

Strategic approaches to learning sight-singing at college level: An investigation using Q Methodology

The Tuning Connection: Strategies and Games to Strengthen Aural Skills, Tuning, and Intonation in the String Orchestra

The Effectiveness of Diverse Designs of Chinese Stem-Deriving Instruction for Chinese Children With Dyslexia

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