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Relevant bibliographies by topics / Sight-reading (Music) Musical ability

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Academic literature on the topic 'Sight-reading (Music) Musical ability'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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Journal articles on the topic "Sight-reading (Music) Musical ability"

1

Tereshchenko, L. V., L. A. Boyko, D. K. Ivanchenko, G. V. Zadneprovskaya, and A. V. Latanov. "Characteristics of musical performance and visual-motor interaction of sight-reading performance of pianists depending on texture of musical pieces." Experimental Psychology (Russia) 10, no. 2 (2017): 40–53. http://dx.doi.org/10.17759/exppsy.2017100204.

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We studied the basic characteristics of the music playback while sight-reading of three two-line musical selections of classic music of different textures and complexity–two-voice polyphonic musical piece, the theme and variation of homophonic-harmonic musical piece. The tempo of play and the number of errors depend on the texture of a musical selection. These characteristics are objective indicators of the skill of sight-reading of musicians, and the complexity of musical selection. Using an original technique of eye movement recording without head fixation we studied eye-hand span–the time f

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Wöllner, Clemens, Emma Halfpenny, Stella Ho, and Kaori Kurosawa. "The Effects of Distracted Inner Hearing on Sight-Reading." Psychology of Music 31, no. 4 (2003): 377–89. http://dx.doi.org/10.1177/03057356030314003.

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The importance of inner hearing in musical sight-reading was investigated with an interference paradigm. In a repeated measures design, 20 music students sight-sang two melodies, one of those while listening to distracting music. Participants answered aspects of sight-reading ability and strategy in questionnaires and in semi-structured interviews. The number of mistakes in the sung melodies was calculated; in addition, expert listeners rated continuity/fluency and overall quality. Distracted inner hearing only led to significantly worse rating results for overall quality. Nevertheless, partic

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Mishra, Jennifer. "Factors Related to Sight-Reading Accuracy." Journal of Research in Music Education 61, no. 4 (2013): 452–65. http://dx.doi.org/10.1177/0022429413508585.

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The purpose of this meta-analysis was to determine the extent of the overall relationship between previously tested variables and sight-reading. An exhaustive survey of the available research literature was conducted resulting in 92 research studies that reported correlations between sight-reading and another variable. Variables ( n = 597) were grouped by construct (e.g., music aptitude, technical ability) and separate meta-analyses were conducted for each construct. Construct had a variable effect on sight-reading, with improvisational skills, ear-training ability, technical ability, and musi

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Haimson, Jennifer, Deanna Swain, and Ellen Winner. "Do Mathematicians Have Above Average Musical Skill?" Music Perception 29, no. 2 (2011): 203–13. http://dx.doi.org/10.1525/mp.2011.29.2.203.

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accompanying the view that music training leads to improved mathematical performance is the view that that there is an overlap between the kinds of skills needed for music and mathematics. We examined the popular conception that mathematicians have better music abilities than nonmathematicians. We administered a self-report questionnaire via the internet to assess musicality (music perception and music memory) and musicianship (music performance and music creation). Respondents were doctoral-level members of the American Mathematical Association or the Modern Language Association (i.e., litera

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Gromko, Joyce Eastlund. "Predictors of Music Sight-Reading Ability in High School Wind Players." Journal of Research in Music Education 52, no. 1 (2004): 6–15. http://dx.doi.org/10.2307/3345521.

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The purpose of this study, grounded in near-transfer theory, was to investigate relationships among music sight-reading and tonal and rhythmic audiation, visual field articulation, spatial orientation and visualization, and achievement in math concepts and reading comprehension. A regression analysis with data from four high schools (N = 98) in the American Midwest yielded a 4–variable model that included reading comprehension, rhythmic audiation, visual field articulation, and spatial orientation, F = 21.26, p < 0.001, accounting for 48% of the variance on music sight-reading. The results

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Reifinger, James L. "The Relationship of Pitch Sight-Singing Skills With Tonal Discrimination, Language Reading Skills, and Academic Ability in Children." Journal of Research in Music Education 66, no. 1 (2018): 71–91. http://dx.doi.org/10.1177/0022429418756029.

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This study investigated correlates that might explain variance in beginning sight-singing achievement, including tonal discrimination, reading fluency, reading comprehension, and academic ability. Both curriculum-based and standardized tests were used, including the Intermediate Measures of Music Audiation, Otis-Lennon School Ability Test, and Dynamic Indicators of Basic Early Literacy Skills. Sight-singing ability of second-grade students ( N = 170) was individually assessed for pitch accuracy only using four-note tonal patterns following a 16-week instructional period and again 8 weeks later

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Hayward, Carol M., and Joyce Eastlund Gromko. "Relationships Among Music Sight-Reading and Technical Proficiency, Spatial Visualization, and Aural Discrimination." Journal of Research in Music Education 57, no. 1 (2009): 26–36. http://dx.doi.org/10.1177/0022429409332677.

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The purpose of this study was to examine predictors of music sight-reading ability. The authors hypothesized that speed and accuracy of music sight-reading would be predicted by a combination of aural pattern discrimination, spatial-temporal reasoning, and technical proficiency. Participants ( N = 70) were wind players in concert bands at a medium-sized university in the Midwest. In a regression analysis with music sight-reading as the criterion variable, aural-spatial patterning and technical proficiency explained 51% of the variance, F = 37.34, p < .0001. These results support previous re

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Wolfs, Zyxcban G., Henny P. A. (Els) Boshuizen, and Johan L. H. van Strien. "The role of positional knowledge and tonal approaches in cellists’ sight-reading." Musicae Scientiae 24, no. 1 (2018): 3–20. http://dx.doi.org/10.1177/1029864918762269.

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Sight-reading is an important skill for amateur and professional musicians. Several factors seem to play a role in sight-reading skills, such as expertise level, ear training, mental speed and improvisation skills. If we are right in supposing that these factors cannot easily be generalized for all musicians, one of the reasons for this must surely lie in the fact that different musical instruments set different technical requirements for the player. The purpose of this study was to investigate which factors help cello students have better sight-reading abilities. Amateur cello students ( N =

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Boll-Avetisyan, Natalie, Anjali Bhatara, and Barbara Höhle. "Processing of Rhythm in Speech and Music in Adult Dyslexia." Brain Sciences 10, no. 5 (2020): 261. http://dx.doi.org/10.3390/brainsci10050261.

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Recent studies have suggested that musical rhythm perception ability can affect the phonological system. The most prevalent causal account for developmental dyslexia is the phonological deficit hypothesis. As rhythm is a subpart of phonology, we hypothesized that reading deficits in dyslexia are associated with rhythm processing in speech and in music. In a rhythmic grouping task, adults with diagnosed dyslexia and age-matched controls listened to speech streams with syllables alternating in intensity, duration, or neither, and indicated whether they perceived a strong-weak or weak-strong rhyt

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Henry, Michele L. "The Effect of Pitch and Rhythm Difficulty on Vocal Sight-Reading Performance." Journal of Research in Music Education 59, no. 1 (2011): 72–84. http://dx.doi.org/10.1177/0022429410397199.

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Singing music at sight is a complex skill, requiring the singer to perform pitch and rhythm simultaneously. Previous research has identified difficulty levels for pitch and rhythm skills individually but not in combination. In this study, the author sought to determine the relationship between pitch and rhythm tasks occurring concurrently. High school singers ( N = 252) sang melodies with varying combinations of pitch and rhythm difficulty. Results indicate that pitch and rhythm skills retained their relative difficulty levels, regardless of the presence of other factors. Rhythmic success was

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Dissertations / Theses on the topic "Sight-reading (Music) Musical ability"

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Hardy, Dianne B. "The construction and validation of an original sight-playing test for elementary piano students /." Full-text version available from OU Domain via ProQuest Digital Dissertations, 1995.

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McCabe, Melissa Christine Fredrickson William E. "The effect of movement-based instruction on the beginning instrumentalists ability to sight-read rhythm patterns." Diss., UMK access, 2004.

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Thesis (M.M. Ed.)--Conservatory of Music. University of Missouri--Kansas City, 2004.<br>"A thesis in music education." Typescript. Advisor: William E. Fredrickson. Vita. Title from "catalog record" of the print edition Description based on contents viewed Feb. 27, 2006. Includes bibliographical references (leaves 66-74). Online version of the print edition.

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Tsangari, Victoria. "An interactive software program to develop pianists' sight-reading ability." Diss., University of Iowa, 2010. https://ir.uiowa.edu/etd/3393.

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Pursell, Anthony F. "The effectiveness of iconic-based rhythmic instruction on middle school instrumentalists' ability to read rhythms at sight." Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1325987.

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The purpose of this study was to investigate the effectiveness of iconic-based rhythmic instruction on middle school instrumentalists' ability to read rhythms at sight in the preparation of music for sight-reading. One hundred thirty-one middle school students from 12 randomly assigned bands in the Midwestern United States provided data for a pretest-posttest control-group design. Of the 12 participating middle schools, four schools served as the control group (n= 42), four schools delivered rhythmic instruction using iconic-based methods (n= 42), and four schools delivered isolated rhythmic t

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Waggoner, Dori T. Sims Wendy L. "The effects of listening conditions, error types, and ensemble textures on the error detection skills of undergraduate instrumental music education majors." Diss., Columbia, Mo. : University of Missouri--Columbia, 2009. http://hdl.handle.net/10355/7022.

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Title from PDF of title page (University of Missouri--Columbia, viewed on March 1, 2010). The entire thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file; a non-technical public abstract appears in the public.pdf file. Dissertation advisor: Dr. Wendy Sims. Vita. Includes bibliographical references.

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Wiltshire, Eric Scott. "The effects of visual and aural congruence on the sight-reading of music notation /." Thesis, Connect to this title online; UW restricted, 2006. http://hdl.handle.net/1773/11245.

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Beckett, Christine Alyn. "An experimental study of a silent score reading method for music ear training /." Thesis, McGill University, 1986. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=65472.

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Morckel, Jeffrey A. "The Effects of Prior Aural Familiarity On Piano Students' Sight Reading and Learning of Musical Excerpts." The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1339590765.

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Laing, Daniel Robert. "The effect of rhythmic pattern instruction on the sight-reading achievement of wind instrumentalists." Diss., Columbia, Mo. : University of Missouri-Columbia, 2007. http://hdl.handle.net/10355/4876.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2007.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on November 29, 2007) Vita. Includes bibliographical references.

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Hadley, Lauren Victoria. "Musical prediction in the performer and the listener : evidence from eye movements, reaction time, and TMS." Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/21009.

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Musical engagement can take many forms, from the lone pianist rehearsing in their study, to the headphone-wielding teenager on the bus, or even the orchestral musician on stage. Although much music research dissociates the performer from the listener (a differentiation starkly demonstrated in the layout of the concert hall), in this thesis I consider the performer and listener as two sides of the same coin. This thesis therefore empirically investigates musical prediction in the solo performer and the solo listener, then brings these together by investigating musical predictions in a turn-taki

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Books on the topic "Sight-reading (Music) Musical ability"

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Vogler, Leonard. How to read music. Amsco Publications, 2000.

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How to read music: Reading music made simple. St. Martin's Press, 1999.

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Rhythm reading: Elementarythrough advanced training. 2nd ed. W.W. Norton, 1997.

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Reading music: A step-by-step introduction to understanding music notation and theory. 2nd ed. Fall River Press, 2012.

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Kazez, Daniel. Rhythm reading: Elementary through advanced training. 2nd ed. W.W. Norton, 1997.

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Lisa, Bastien, and Bastien Lori, eds. Bastien piano for adults: A beginning course, lessons, theory, technic, sight reading. Neil A. Kjos Music Co., 1999.

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Nickol, Peter. Learning to read music: Make sense of those mysterious symbols and bring music alive. 2nd ed. How To Books, 2007.

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E, V. A. L. Practical hints on playing at sight. s.n., 1993.

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Stewart, Dave. The musician's guide to reading & writing music. GPI Books, 1993.

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The musician's guide to reading & writing music. 2nd ed. Miller Freeman Books, 1999.

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Book chapters on the topic "Sight-reading (Music) Musical ability"

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Tereshchenko, Leonid, Lyubov’ Boyko, Dar’ya Ivanchenko, Galina Zadneprovskaya, and Alexander Latanov. "Characteristics of Music Playback and Visio-Motor Interaction at Sight-Reading by Pianists Depending on the Specifics of a Musical Piece." In Communications in Computer and Information Science. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-030-05594-3_14.

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Putra, Z. A. W., and K. S. Astuti. "Increasing sight-reading ability through implementation of the Super Sight-Reading Secrets programme." In 21st Century Innovation in Music Education. Routledge, 2019. http://dx.doi.org/10.1201/9780429024931-25.

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Sloboda, John. "The Psychology of Music Reading." In Exploring the Musical MindCognition, emotion, ability, function. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198530121.003.0001.

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Sloboda, John. "Experimental Studies of Music Reading: A Review." In Exploring the Musical MindCognition, emotion, ability, function. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198530121.003.0002.

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Kokotsaki, Dimitra. "Engagement and Creativity in Music Education." In Advances in Multimedia and Interactive Technologies. IGI Global, 2016. http://dx.doi.org/10.4018/978-1-5225-0270-8.ch014.

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The wider benefits of active engagement with music throughout life have been well documented. There is evidence that playing a musical instrument and integrating music in the curriculum can have a range of positive effects on children's self-esteem, their social behavior and cognitive skills, such as creativity, spatial-temporal ability, reading, language and IQ score. Music is a vital part of children's everyday lives and schools have a major role to play in helping children develop a positive musical identity by encouraging active participation in musical activities. When children are actively involved in creative work in music, they are affectively, behaviorally and cognitively engaged with the creative task. This chapter concludes that there is a problem with lack of engagement in formal music education and that we need to do more to understand why many students are disengaged with music at school and put music to its proper place of being an integral part of students' lives.

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Kokotsaki, Dimitra. "Engagement and Creativity in Music Education." In Student Engagement and Participation. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-2584-4.ch020.

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The wider benefits of active engagement with music throughout life have been well documented. There is evidence that playing a musical instrument and integrating music in the curriculum can have a range of positive effects on children's self-esteem, their social behavior and cognitive skills, such as creativity, spatial-temporal ability, reading, language and IQ score. Music is a vital part of children's everyday lives and schools have a major role to play in helping children develop a positive musical identity by encouraging active participation in musical activities. When children are actively involved in creative work in music, they are affectively, behaviorally and cognitively engaged with the creative task. This chapter concludes that there is a problem with lack of engagement in formal music education and that we need to do more to understand why many students are disengaged with music at school and put music to its proper place of being an integral part of students' lives.

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Haroutounian, Joanne. "Talent as Giftedness." In Kindling the Spark. Oxford University Press, 2002. http://dx.doi.org/10.1093/oso/9780195129489.003.0012.

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Wolfgang Amadeus Mozart began composing at the age of four. He toured as a prodigy for three years before the age of ten, astounding audiences with his ability to perform on the harpsichord, voice, organ, and violin. He would compose on sight in different styles and on different instruments. He could “most accurately name from a distance any notes that may be sounded for him either singly or in chords, on the clavier or on every imaginable instrument, including bells, glasses, and clocks.” When his father was recovering from an illness, eight-year-old Wolfgang was not allowed to play the piano. He filled his time by composing his first symphony (K.16) for all instruments of the orchestra. When we hear the word “gifted” in connection with music, the musical prodigy immediately comes to mind. The arguments of recognizing talent through performance, creative endeavors, or music aptitude tests seem incidental in comparison to the possibilities and accomplishments of the musical prodigy. There is no question that these young musicians show incredible levels of musical talent, often exhibiting musical capabilities equal to those of a highly trained adult. Mozart remains the preeminent example of the prodigy, described by his father and teacher as a “God-given miracle,” knowing “in his eighth year what one would expect from a man of forty. Indeed, only he who sees him can believe it.” A prodigy is a child who displays extraordinary talent at an early age. Prodigies occur most often in the field of music, exceeding the total of all other fields combined. Musical prodigies show outstanding abilities at a younger age than other prodigies, with some as young as three or four years old. The field of chess is a distant second place in number, with prodigious achievement often seen at five or six years of age. Relatively few prodigies are identified in the natural sciences, philosophy, dance, or plastic arts. Even the field of mathematics, whose young calculating wonders gain media recognition, have few true prodigies capable of original mathematical reasoning prior to their teen years. The literature offers differing opinions concerning age and prodigious talent.

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WILLIAMON, AARON. "Strategies for sight-reading and improvising music." In Musical ExcellenceStrategies and Techniques to Enhance Performance. Oxford University Press, 2004. http://dx.doi.org/10.1093/acprof:oso/9780198525356.003.0008.

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Snodgrass, Jennifer. "Pedagogy of Aural Skills." In Teaching Music Theory. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.003.0007.

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There is no academic class where the students and faculty can participate in an active musical experience like the traditional aural skills course. There is a new trend in aural skills pedagogy in that effective teachers are moving away from the focus on just sight singing and dictation to a focus on musical literacy. Topics such as improvisation and error detection are now being taught in the traditional aural skills core, and students are asked to engage with music through contextual listening and creative music making. Traditional methods of solmization and rhythmic reading are still considered to be effective in the aural skills classroom; however, instructors are using these systems in new ways, along with audiation, to create a musical experience that encourages sound before sight.

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Dalby, Bruce. "Beginning Woodwinds and Brass." In Teaching School Jazz. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190462574.003.0007.

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Many school jazz programs in North America do an impressive job of developing their members’ technical and music-notation-reading skills, necessary to perform jazz big band literature with polish and precision. However, many school jazz students are as dependent on notation as they are in the concert band. Although the young jazzer may take improvised solos in jazz band performances, he may be unable to negotiate chord changes or incorporate characteristic jazz vocabulary. In light of this, this chapter covers concepts and skills relevant to beginning jazz instruction for wind instrumentalists. Specifically, it identifies three foundational topics for the reader to consider in fashioning an authentic and effective jazz curriculum: (1) establishing a listening foundation, (2) developing ear-playing ability, and (3) developing a personal repertoire of jazz tunes. Following these sections the text addresses (4) style and articulation and (5) rhythm.

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