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Kurtz, Jaclyn. "An Aural Skills Handbook for Modal Music." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1406587993.
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Hornstein, Daniel L. (Daniel Lather). "Relationships Between Selected Musical Aural Discrimination Skills and a Multivariate Measure of Intellectual Skills." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331803/.
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This study attempted to explore the strength and nature of relationships between specific intellectual information processing skills included in a multi-dimensional model conceived by Guilford, and measured by Meeker's Structure of Intellect - Learning Abilities Test, and specific musical aural discrimination skills as measured by Gordon's Musical Aptitude Profile. Three research questions were posed, which involved determining the strength and the nature of the relationship between MAP melodic, rhythmic, and aesthetic discrimination abilities and the intellectual information processing skills comprising the SOI - LA. Both instruments were administered to 387 fourth, fifth, and sixth graders from schools in the Dallas area. After a pilot study established the feasibility of the study and reliability estimates of the test instruments, multiple regression analysis determined that 10% to 15% of the variance between intellectual information-processing skills and the individual musical aural discrimination abilities was in common (r = +.32 to r = +.39). It was further determined that only six specific SOI intellectual dimensions, all involving the skills of "Cognition" and "Evaluation", were significantly related to the musical aural discrimination abilities. Through the use of the Coefficient of Partial Correlation, the strength of each individual information-processing skill's unique contribution to that covariance was determined. The study indicated that "Semantic" mental information processing skills, involving the ability to recall an abstract meaning or procedure given an external stimulus, play an extremely important part within this relationship. Skills of a "Figural" nature, which involve comprehending either a physical object or an non-physical idea and separating it from other impinging stimuli also enter into the relationship, although not to so high an extent. Finally, it was observed that the dimensions involving an understanding of "Systems", those mental skills which deal with groupings of figures, symbols, or semantic relationships, also was important to the relationship.
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McNeil, Alison Fiona. "Aural skills and the performing musician : function, training and assessment." Thesis, University of Huddersfield, 2000. http://eprints.hud.ac.uk/id/eprint/4749/.
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Brent, Timothy. "A Two-Semester Course Sequence for Jazz Ear-Training with Application for Vocal Improvisation." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/110.
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A series of interviews were conducted with Professor Armen Donelian (New School University), Professor Frank Carlberg (New England Conservatory of Music), Professor Gary Keller (University of Miami), Professor Thom Mason (University of Southern California), and Dr. Stephen Prosser (The Berklee College of Music). A comparison and analysis of existing texts whose focus was jazz aural-skill development, in combination with the information gathered from the interviews, as well as the author's personal teaching experience, served as the basis for the creation of a two-semester course sequence for jazz ear-training with application for vocal improvisation. The major content areas found to be most critical for inclusion in the sequence include: rhythm, harmony, improvisation, transcription, dictation, chord progressions, jazz articulation, the blues, guide tones, modified numeric system for chord tone identification, and sight-reading (sight-singing). It is the author's intention that this course sequence help to codify a system of jazz aural-skill development at the college-level that may be implemented in both existing jazz ear-training courses and programs where jazz ear-training courses do not currently exist.
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Cribari, Paul Basilio. "A comparison of aural and aural-visual modeling on the development of executive and performance skills of beginning recorder students." Thesis, Boston University, 2014. https://hdl.handle.net/2144/10974.
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Thesis (D.M.A.)--Boston UniversityThe purpose of this study was to compare the effects of aural and aural-visual modeling on the development o f executive and performance skills o f third-grade beginning recorder students. A secondary goal ofmy study was to determine whether music aptitude was a factor in students' responses to modeling condition. Two groups of students received instruction on the soprano recorder and heard musical examples modeled by the instructor. Modeling condition and music aptitude served as independent variables. Executive (i.e., posture, hand position, arm position, and finger position), performance (i.e., fmgerings, airstream, tonguing, rhythmic stability, and improvisation), and composite recorder skills served as the dependent variables. Before implementing the treatment phase, students completed Gordon' s Intermediate Measures ofMusic Audiation (IMMA) (1986a), and I randomly assigned pre-existing classes of third graders to either the aural or the aural-visual modeling treatment. In the aural modeling treatment, recorder instruction was conducted from the back of the classroom, where students were able to hear musical examples as they were performed, but were unable to watch as I manipulated the recorder. In the aural-visual modeling condition, recorder instruction was conducted from the front of the room, where students were able to hear musical examples as they were performed as well as see the teacher manipulate the instrument. At the end of approximately 5 months of treatment, I video recorded participants' executive and performance skills, which were analyzed by two external evaluators and me. Data were then subjected to Analysis ofVariance (ANOVA) to compare the effects of modeling condition and aptitude on the executive, performance, and composite recorder skills of students. There were no statistically significant differences between the executive skills (p =.75), performance skills (p = .46), or composite recorder skills (p = .49) of students in the aural and aural-visual treatments. There were no significant interactions between modeling condition and aptitude level. Music aptitude, however, was found to have a significant effect (p = .001) on the students' performance and composite recorder skills. I concluded that although neither modeling condition was significantly more effective in developing executive and performance skills of third-grade beginning recorder students, an understanding of a student's music aptitude level may prove useful in planning beginning recorder instruction.
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Tsabary, Eldad. "The aural skills acquisition process of undergraduate electroacoustic (EA) music majors in the context of a new aural learning method." Thesis, Boston University, 2013. https://hdl.handle.net/2144/12863.
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Thesis (D.M.A.)--Boston UniversityElectroacoustic (EA) musicians require aural skills that exist beyond tonality and meter; however, specialized ear training courses for EA music are rare in university and college music programs that offer EA studies (EaSt) in their curricula. Since 2005, this researcher has been developing and teaching EA aural training at a Canadian university in that was inspired by concepts from Auditory Scene Analysis (ASA) studies, primarily integration and segregation. In the 2009/10 academic year, the researcher conducted an action study with his intact EA aural training class of 25 first year undergraduate students majoring in EaSt for the purposes of better understanding and improving the students' aural skill acquisition process. and of refining the teaching and learning sequence. The action study was organized into four cycles of observation, critical reflection, and action, and focused on optimizing and autonomizing the skill acquisition process within the large, varied group. Actions were designed in response to critical reflection on emerging problems, evaluations of students' views about the process, their moods and attitudes, and measurements of students' achievements-with specific attention to eight EA-oriented skills and seven tonal and metric skills. Qualitative and quantitative data gathered from questionnaires, in-class surveys and tests, homework, and competence tests provided evidence of skill acquisition, primarily in loudness discrimination, timbral discrimination, tonal awareness, interval discrimination, meter discrimination, and descriptive ability. The most notable emerging problems in the skill acquisition process were related to the group's variety of ability levels, including imbalances in difficulty levels, in students' level of interest in the activities, and in the all-inclusive effectiveness of the training. The main transformational aspects of the action study were autonomization of the skill acquisition process at home through weekly reflective practice reports and developing a cooperative learning environment in the classroom through regular in-class discussion.
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Lochstampfor, Mark Lewis. "The effects of timbre on aural skills : an exploration of the attributes of timbre and spectral parsing for sounds used in aural training /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487685204968426.
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Buonviri, Nathan. "EFFECTS OF VISUAL PRESENTATION ON AURAL MEMORY FOR MELODIES." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/215416.
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Music EducationPh.D.
The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students.
Temple University--Theses
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La, Reau Marcia Ann. "An auralization-based curriculum as a methodology for advanced aural skills training for wind band conductors /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487672245899952.
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Doerksen, Paul Frederic. "A study of the aural-diagnostic and prescriptive skills of preservice and expert instrumental music teachers /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487850665557913.
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Janssen, Brett Allen. "A preliminary comparative study of rhythm systems employed within the first-year college aural skills class." Diss., Kansas State University, 2017. http://hdl.handle.net/2097/35392.
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Doctor of PhilosophyCurriculum and Instruction Programs
Frederick Burrack
Phillip Payne
The purpose of this study was to discover whether differences exist in rhythm pattern achievement of the three rhythm systems Takadimi, 1 e & a, and 1 ta te ta in introductory level aural skills classrooms. Participants (N = 27) were first-level aural skills students in three Midwest colleges. Data were collected by implementing a demographics questionnaire to obtain a descriptive profile of the participants, Gordon’s (1989) Advanced Measures of Music Audiation (AMMA) test to obtain the music aptitude level of the participants, and a researcher-designed pretest and posttest. A significant difference was unable to be determined of rhythm pattern achievement between the three systems. However, results revealed improvement of rhythm reading between the pretest and posttest for all rhythm systems. A significant difference was unable to be determined in achievement between students with low and high aptitude following instruction in a particular rhythm system. The improvements in rhythm reading suggest that progress and achievement can be independent of using any of the three rhythm systems, but further investigation with a larger sample is recommended.
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Sisley, Beth Ann. "A Comparative Study of Approaches to Teaching Melodic Dictation." Kent State University / OhioLINK, 2008. http://rave.ohiolink.edu/etdc/view?acc_num=kent1216237008.
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Yao, Shey-Tzer. "The aural skills development program in music departments of two post-secondary institutions in Taiwan : status and recommendations." Virtual Press, 1990. http://liblink.bsu.edu/uhtbin/catkey/722777.
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Apostolaki, Artemis. "Working memory for music, pitch labels and solfège : a cross-cultural study of university students' aural and cognitive skills." Thesis, University of Hull, 2012. http://hydra.hull.ac.uk/resources/hull:10117.
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Hartz, Barry C. "Cultivating Individual Musicianship and Ensemble Performance Through Notation-Free Learning in Three High School Band Programs." Case Western Reserve University School of Graduate Studies / OhioLINK, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=case1435244359.
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Buonviri, Nathan. "Audio-OnlyTest [Digital File]." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254227.
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Music EducationPh.D.
The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students.
Temple University--Theses
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Buonviri, Nathan. "Audio-VisualTest [Digital File]." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/254228.
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Music EducationPh.D.
The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students.
Temple University--Theses
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Owens, John Thomas. "POWER CHORDS, BLAST BEATS, AND ACCORDIONS: UNDERSTANDING INFORMAL MUSIC LEARNING IN THE LIVES OF COMMUNITY COLLEGE MUSICIANS." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1490284957758873.
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Goodman, Todd William. "Part I--Night of the Living Dead, the operaPart II--How Music Sounds: A Comprehensive Guide to the Grammar of Music." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1501093066724373.
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Bengtsson, Camilla, and Caroline Englund. "“Do you want to take a short survey?” : Evaluating and improving the UX and VUI of a survey skill in the social robot Furhat: a qualitative case study." Thesis, Linnéuniversitetet, Institutionen för informatik (IK), 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-76923.
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The purpose of this qualitative case study is to evaluate an early stage survey skill developed for the social robot Furhat, and look into how the user experience (UX) and voice user interface (VUI) of that skill can be improved. Several qualitative methods have been used: expert evaluations using heuristics for human-robot interaction (HRI), user evaluations including observations and interviews, as well as a quantitative questionnaire (RoSAS – Robot Social Attribution Scale). The empirical findings have been classified into the USUS Evaluation Framework for Human-Robot Interaction. The user evaluations were performed in two modes, one group of informants talked and interacted with Furhat with the support of a graphical user interface (GUI), and the other group without the GUI. A positive user experience was identified in both modes, showing that the informants found interacting with Furhat a fun, engaging and interesting experience. The mode with the supportive GUI could be suitable in noisy environments, and for longer surveys with many response alternatives to choose from, whereas the other mode could work better for less noisy environments and for shorter surveys. General improvements that can contribute to a better user experience in both modes were found; such as having the robot adopt a more human-like character when it comes to the dialogue and the facial expressions and movements, along with addressing a number of technical and usability issues.Syftet med den här kvalitativa fallstudien är att utvärdera en enkätskill för den sociala roboten Furhat. Förutom utvärderingen av denna skill, som är i ett tidigt skede av utvecklingen, är syftet även att undersöka hur användarupplevelsen (UX) och röstgränssnittet (VUI) kan förbättras. Olika kvalitativa metoder har använts: expertutvärderingar med heuristik för MRI (människa-robot-interaktion), användarutvärderingar bestående av observationer och intervjuer, samt ett kvantitativt frågeformulär (RoSAS – Robot Social Attribution Scale). Resultaten från dessa har placerats in i ramverket USUS Evaluation Framework for Human- Robot Interaction. Användarutvärderingarna utfördes i två olika grupper: en grupp pratade och interagerade med Furhat med stöd av ett grafiskt användargränssnitt (GUI), den andra hade inget GUI. En positiv användarupplevelse konstaterades i båda grupperna: informanterna tyckte att det var roligt, engagerande och intressant att interagera med Furhat. Att ha ett GUI som stöd kan passa bättre för bullriga miljöer och för längre enkäter med många svarsalternativ att välja bland, medan ett GUI inte behövs för lugnare miljöer och kortare enkäter. Generella förbättringar som kan bidra till att höja användarupplevelsen hittades i båda grupperna; till exempel att roboten bör agera mer människolikt när det kommer till dialogen och ansiktsuttryck och rörelser, samt att åtgärda ett antal tekniska problem och användbarhetsproblem.
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Walker, Carolyn A. "Intonation in the Aural-Skills Classroom." 2010. https://scholarworks.umass.edu/theses/483.
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The goal of the thesis is to explain intonation perception and cognition, as well as the vocal mechanism and techniques, to help aural-skills instructors teach vocal intonation skills to students who struggle with intonation. The thesis explores comprehensive information on intonation perception and cognition and introduces basic vocal technique for an over-all understanding of the skills involved with accurate vocal intonation.
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Wieske, Mark E. "Issues Involved in the Acquisition of Atonal Aural Skills." 2009. https://scholarworks.umass.edu/theses/375.
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Horton, Staci Marie. "Effect of educational neuroscience techniques in the university aural skills classroom." Diss., 2018. http://hdl.handle.net/2097/39229.
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Doctor of PhilosophyCurriculum and Instruction Programs
Jana Fallin
The purpose of this study was to test student achievement in the course of one semester while enrolled in an Aural Skills music classroom. The research used the framework from Caine and Caine’s 1991 Brain/Mind Learning Principles (later revised and republished in 2005 by Caine, Caine, McClintic and Klimek) and Jensen’s Brain-Compatible Teaching theory (1997). The research was completed at a mid-American university. Treatment classrooms taught using strategies to implement novelty, student engagement, and scaffolding success techniques based on a subset of Caine’s et al. Brain/Mind Learning Principles. The researcher used a quasi- experimental design with a treatment and control group, gathering quantitative pre-test/post-test data from student assessments before and after the implementation of the research-based brain- compatible strategies in the university Aural Skills classroom. The study followed four graduate teaching assistants who were new to collegiate teaching over the course of a semester; two were put in a training program and trained on how to create novelty, perpetuate student engagement, and build levels of success and two were left alone, to continue with a lecture style of teaching. At the end of the study, student test scores were examined to determine significance of the treatment. Results of this study are inconclusive, due to a methodology fail during the grading of the pre and post-tests. In the final chapter, preliminary findings indicate that academic gains were maintained within the control classes of Aural Skills I and III, and academic gains were maintained within the treatment class of Aural Skills II. The study is concluded with a discussion on methodological improvements necessary to provide reliable results within the bounds of educational research.
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Lien, Wen-wen, and 連玟雯. "Incorporating Aural Skills Software in the Elementary Music Program for Talented Children." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/20793822252327673646.
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碩士國立屏東師範學院
音樂教育學系碩士班
93
Perfect ear is essential for talented children in elementary music program. However, developing good aural skills is not an easy task for them. Since incorporating instructional technology is the trend for the twenty-first century music education, researcher had been thinking about how to use related software in aural skill training. The purposes of this study are as follows: (1) To find out the effect of using music software in aural skills training compared to the traditional approach. (2) To find out the effect of using different approaches between advanced and not-so-advanced students. This study is a quasi-experimental research. The subjects of this study are fifth grade students from the researcher’s class. The range of this study includes four areas in aural skills training: chord identification, chord inversions, chord progressions, and scale identification. The period for this research is four weeks. After randomly dividing the subjects into two groups with Computer-Assisted Music Instruction (CAMI) and traditional approach, one test was utilized to determine the effect of different approaches after the experiment. One questionnaire developed by the researcher was also distributed to the group using CAMI afterwards. The data collected in this study was analyzed with two statistic methods: One-way ANOVA, and Descriptive statistics. The major results of the research are as follows: 1.Using CAMI in aural skills training for talented children in elementary music program proved to be more effective than the traditional approach. 2.Using CAMI for advanced students proved to be more effective than the traditional approach. However, there is no statistically significant effect for not-so-advanced students with different approaches. The recommendations made to the Bureau of Education, music teachers, and future researchers are as follows: 1.To the Bureau of Education (1)Encouraging the development of music software in this area. (2)Encouraging more researches and seminars in this area. (3)Providing more funds for elementary schools to improve related equipment including hardware and software. 2.To the music teacher (1)Music teachers need to know how to use information technology. (2)Music teachers need to be acquainted with the field of music technology. (3)Music teachers need to have the ability to incorporate music technology in their teaching. 3.To the future researchers (1)Choosing subjects from different grades or increasing the number of subjects to make this research even more reliable. (2)Enlarging the range of this research to include more areas in aural skills training such as rhythm, intervals, and melodies, etc. (3)Increasing the period of research for each session. (4)Adapting the concept of this research to the web-based learning.
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Hsieh, Su-Yueh, and 謝素月. "A Research of experimental teaching program to Aural Skills in new curriculum standard of music subject of elementary school." Thesis, 1996. http://ndltd.ncl.edu.tw/handle/91994769226216388015.
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Spaulding, Penka. "The development of and relationship between vocal sight reading and instrumental sight reading of seventh, ninth, and eleventh grade orchestra students." Thesis, 2015. https://hdl.handle.net/2144/15635.
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Developing the music cognition competencies of both singers and instrumentalists is one of the goals of school music programs. Vocal and instrumental sight reading are used to indicate the level of development of cognitive skills in music. In this study, vocal and instrumental sight reading served as a basis for determining public school orchestra students' cognitive development in music.
Vocal sight-reading and instrumental sight-reading performances of 143 orchestra students in 7th, 9th, and 11th grades were examined. Students' vocal sight-singing accuracy was tested using the Vocal Sight Reading Inventory (Henry, 1999). Students' instrumental sight-reading was assessed using the String Performance Rating Scale (Zdzinski & Barnes, 2002). The ANOVA procedure and the Welch test were applied to determine whether there was an improvement in students' vocal and instrumental sight reading with additional years of school orchestra experience.
Results from ANOVA analyses indicated that the differences in students' instrumental sight-reading scores across the three grade levels were statistically significant [F (2,140) = 34.50], p < .01. A post hoc Bonferroni adjustment revealed that the differences between each of the groups were statistically significant (p < .05) in favor of older and more experienced students. For vocal sight reading, the Tamhane procedure revealed significant differences only between students at the 7th and 11th grade levels, also in favor of the older students (p < .05).
Correlational analysis indicated that there was a strengthening of the relationship between students' vocal sight reading and instrumental sight reading as students progressed in grade level, indicating that they were continuing to develop their musicianship skills. The correlation between vocal sight-reading and instrumental sight-reading scores according to grade level were r = .36, p < .05 for 7th grade, r = .52, p < .01 for 9th grade, and r = .64, p < .01 for 11th grade.
In this study I stressed the importance of both vocal sight-reading and instrumental sight-reading experiences for orchestra students and ultimately for all instrumental students. I also proposed theoretical models as to how the two skills are related and how they might be developed.
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Brito, Hugo Manuel Soares de. "Contributos para uma etnopedagogia musical." Master's thesis, 2013. http://hdl.handle.net/1822/28959.
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Relatório de estágio de mestrado em Ensino de MúsicaEste relatório de estágio foi desenvolvido como parte integrante do Programa de Mestrado em Ensino de Música da Universidade do Minho, em Braga. O principal objetivo deste projeto, que aconteceu durante o ano de estágio na Escola de Música de Esposende, foi trazer uma perspetiva etnomusicológica para a prática pedagógica da escola de música tradicional e avaliar os seus impactos e resultados, nomeadamente numa pequena classe de orquestra de cordas. Trazer para as práticas pedagógicas, do ensino especializado da música, a música tradicional e a cultura popular visa colocar em prática o pensamento pedagógico há muito definido por pedagogos como Dalcroze, Orff, Kodaly e, mais recentemente Gordon, Lucy Green, entre outros, e que normalmente não o são. Estes processos concentraram-se na audição (e “audiação”, como proposto por Edwin Gordon), na aprendizagem de ouvido, na imitação, na aprendizagem entre pares, na aprendizagem em grupo, na improvisação, harmonização e memorização. Os primeiros passos da pesquisa foram a recolha e estudo de canções e danças de uma comunidade local de agricultores que coletam algas como fertilizante em Apúlia, Esposende (Norte Litoral). Esses agricultores, conhecidos como Sargaceiros, são um grupo único no país, usando um traje peculiar e chapéus adequados para enfrentar o mar, as ondas, os ventos e as baixas temperaturas e cantam músicas de esperança, alegria, amor e resistência às dificuldades do trabalho na lavoura. Os passos seguintes foram o planeamento pedagógico das atividades escolares para os alunos de uma pequena classe de Orquestra de Cordas, com base no repertório coletado. O estágio contou ainda com uma componente de ensino de violino para a qual foram operacionalizadas as atividades didáticas do currículo oficial. Os dados foram recolhidos por meio de notas de campo, gravações em vídeo, observação direta, diários do grupo e entrevistas (focus group). Através dos resultados obtidos foi possível observar a transformação da consciência da riqueza musical contida na tradição local, a perceção das múltiplas possibilidades de aprendizagem e desempenho musical e a melhoria das destrezas na utilização funcional da linguagem musical.
This internship report was developed as part of a Master of Music Education Program at the University of Minho in Braga. The main goal of the project, which took place during the practicum year in Escola de Música de Esposende was to bring an ethnomusicological perspective to the pedagogical practice of the specialized music school and evaluate its impacts and results. Bringing in the pedagogical practices of traditional music and popular culture into the specialized music school aims at enlivening pedagogy through processes long defended by pedagogues such as Dalcroze, Orff, Kodaly, and more recently Gordon, Lucy Green, among others, but usually not put into practice. These processes focus on audition (and audiation, as proposed by Edwin Gordon), playing by hear, imitation, peer learning, group learning, improvising, harmonizing and memorizing. The first steps of the research were the collection and study of songs and dances of a local community of farmers who collect seaweed as fertilizer in Apulia, Esposende (Northern coast). These farmers are known as Sargaceiros (literally, seaweed gatherers) and they are a very unique group in the country, wearing a peculiar costume and hats adequate to confront the sea, the waves, the winds, the low temperatures and singing songs of hope, joy, love and resistance to the hardships of farming work. The following steps were the pedagogical planning of school activities for instrumental students of a small String Orchestra Class, based on the collected repertoire. The practicum was also implemented in another pedagogical context of violin group teaching, involving the development of didactic activities recommended by the official program. Data were collected through field notes, video recordings, direct observation and group diaries. Through the obtained results it was possible to observe a transformation in the students’ awareness of the musical richness contained in the local tradition, their perception of multiple learning and performance possibilities, and the improvement of their command of a functional use of the musical language.
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Lin, Yu-Hsien, and 林于仙. "An Action Research of Designing Music Curriculum for First-Grade Aural Skill Instruction." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/57927158822034519510.
Full textAbstract:
碩士臺北市立大學
音樂學系
104
Abstract This study aimed to design feasible ear training instruction for the “Life Curriculum” at the 1st-grade elementary school level. An action research approach was adopted with the qualitative data as the major resources while quantitative ones as the minor for analysis. The teaching subjects were the researcher’s 28 1st-grade students — 14 boys and 14 girls—from the Happy Elementary School ( pseudonym) in Taipei City. Music and ear training occupied only a relatively small proportion of class time in Life Curriculum. It thus resulted in students’ failing to master in beat precision or pitch identification. Besides, students tended to possess low learning motivation in related music theory teaching. These all led to low learning attitude or interest or even worse, failure for students to obtain proper development in ear training at this critical state. The researcher thus developed feasible ear training instructional content for the “Life Curriculum” at the 1st-grade elementary school level mainly based on Grade 1-9 Curriculum Guidelines as well as the 1993 Music Curriculum Standards. Instructional themes were planned and related games were designed. Instructional content covered rhythm identification knowledge and skills, duets teaching as well as recorder duets performances. Instructional content covered pitches, timbre, durations and tempo. Besides sessions for pretest and posttest, 12 lessons were implemented. Studying instruments consisted of “Pretest in Ear Training,” “Form for Students’ Music Learning Background,” “Form for Class Observation Record,” “Students’ Ear Training Study Sheer,” “Form for Students’ Feedback” as well as “Teachers’ Reflection Journal.” Conclusions were drawn as follows: Firstly, the instructional objectives of this study included the aural identification of environmental sounds and rhythm percussive instruments; the aural identification of the quarter note and the eighth note; as well as the aural identification and reading of the three notes Mi, Sol and La. Secondly, the ear training instruction involved multiple assisting approaches such as storybooks, concrete pictures, games, body movement, chanting rhythm, music maps and instrument ensemble. Thirdly, this study underwent a teaching process starting from timbre, duration, tempo and pitch. Fourthly, regarding the teaching effectiveness of this study, students were found to progress in their sensitivity toward music in terms of the affective domain; cognition-wise, students learned to identify between the musical elements of timbre, duration, tempo and pitch. However, students did not perform well regarding the acting out of precise rhythm and pitch, which the researcher suspected having something to do with the short instructing time. Lastly, the action research process of designing, implementing, reflecting and revising ear training curriculum helped foster the researcher’s professional development. The researcher, based on the research process and findings, proposed related suggestions for references. Keywords: ear training instruction, curricular action research, Life Curriculum
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Wang, Su-Yun, and 王素雲. "The Effect of Webpage Structures and Learning Styles on Elementary Students’ Aural Skill Training." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/89193752418118972877.
Full textAbstract:
碩士國立屏東教育大學
音樂學系碩士班
94
The purpose of this study is to investigate the effect of webpage structures and learning styles on elementary students’ aural skill training. The webpage structures are divided into three types: linear, star-like and hierarchical. The learning styles in this study are visual, auditory, and tactual. Research questions include: (1) Students applying different webpage structures will show different results in their aural skill examination (2) Students with different learning styles will show different results in their aural skill examination. The subjects selected for this study were 94 sixth-grade students from three classes. A quasi-experimental method was employed in this study. The tools utilized in this study were: (1) Learning websites; (2) Learning style scale; (3) Aural skill examination; (4) Web-learning questionnaire. The learning website contains seven pages focused on chord identification. Chords used in this study are major and minor triads which root are C, G, and F. The pre-test and post-test on aural examination were given to the subjects before and after this experiment. Paired-samples t test, one-way, and two-way analysis of covariance were used to analyze the collected data. The main results of this study are as follows: (1) The webpage structures did not cause statistically significant results on elementary students’ aural skill examination. (2) Subjects achieve statistically significant results on their aural skill examination regardless of their learning styles. According to these results, this study draws several recommendations on the following issues. 1. Webpage design: The design of the website must be appealing to the learners. 2. Learning styles: Follow researchers can investigate the relationship of learning achievement with other types of learning styles found in the literature review. 3. Follow-up researches (1) Choosing subjects from other fields in music such as music theory, singing, performance, appreciation, composition, or improvisation may cause different results. (2) Increasing the number of subjects to get more students in different learning styles. (3) Enlarging the learning websites and increasing the experimental period may lead to different results.
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Chang, Ju-Han, and 張如涵. "An Action Research on Differentiated Instruction Applied in Interval Aural Skill of Fifth-grade." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/secy9f.
Full textAbstract:
碩士國立臺中教育大學
教師專業碩士學位學程
105
Learners’ learning abilities are varied from each other due to their individual backgrounds. In the differentiated instructions, instructors should take each learner’s differences into consideration and focus on learners’ entry behavior and learning efficiency to facilitate learners’ learning with multiple instructions. The researcher aimed to apply play-oriented strategies in differentiated instruction to sharpen learners’ interval and aural skills and assist learners to do adaptive self-learning and increase their learning motivations. To facilitate learners’ learning, the researcher aimed to investigate the process of differentiated instructions employed in improving fifth graders’ interval aural skills and further explored researcher’s teaching reflections on utilizing the differentiated instructions. On the basis of previous literature review, an action research method was introduced, as a proposal of differentiated instruction which was implemented to fifth graders’ interval and aural learning in the elementary school in southern Taiwan. The research tools included research-developed lesson plan, observation form, teaching reflections, and interval and aural tests. And also discussing with scholars and collaborative teachers. The experimental instruction included six units in fourteen class periods lasted for seven weeks. Learners took the pre- and post of unit assessment at the first and the last periods. This study went through conception stage and action stage, repeatedly revising and re-implementing based on the observing forms and reflections in order to accomplish the whole action research. During the process of differentiated instruction, learners were grouped homogeneously first and further grouped heterogeneously based on their basic music competency and interval as well as aural abilities to increase the effects on learning interval and aural. The data were then analyzed with triangulation to increase the reliability and validity. This study aimed to investigate the process of differentiated instructions employed in improving fifth graders’ interval aural skills and further explored researcher’s teaching reflections on utilizing the differentiated instructions. The result revealed that play-oriented strategies and grouping in differentiated instruction facilitate learners’ interval and aural learning included unison, second, third, and sixth interval. The results and major findings were summarized as follows: 1. Play-oriented strategies stimulated learners’ interest through homogeneous and heterogeneous grouping. 2. Differentiated instructions posed positive influence on fifth graders’ interval and aural learning outcomes. In particular, learners improved the most on listening and recognizing unison, second, third, and sixth interval in melodic and harmonic intervals. The experimental teaching posed positive influence on pupils' learning outcomes. However, the cultivation of interval and aural skills took long time for achieving the goal of being sensitive in aural skills.