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

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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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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3

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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6

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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10

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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Tinti, Francesca. "la musica e il potenziamento dei prerequisiti di apprendimento." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 1, no. 1 (2016): 315. http://dx.doi.org/10.17060/ijodaep.2015.n1.v1.94.

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Riassunto: Premessa: La musica viene utilizzata come canale elettivo nella prevenzione dei disturbi di apprendimento. Il DSA è una disabilità specifica dell'apprendimento, di origine neurobiologica, che interessa uno specifico dominio di abilità (lettura, scrittura, calcolo). Il corso di propedeutica musicale è stato rivolto a bambini dai 4 ai 6 anni, fascia di età in cui la diagnosi di DSA non può ancora essere effettuata ma si possono individuare i bambini a rischio attraverso la valutazione dei prerequisiti di apprendimento. Obiettivo: intervenire in maniera preventiva sulle difficoltà di a

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Johnson, Erik. "The Effect of Symmetrical and Asymmetrical Peer-Assisted Learning Structures on Music Achievement and Learner Engagement in Seventh-Grade Band." Journal of Research in Music Education 65, no. 2 (2017): 163–78. http://dx.doi.org/10.1177/0022429417712486.

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The purpose of this study was to examine the effect of two different reciprocal peer-assisted learning (PAL) arrangements on music achievement and learner engagement in the secondary instrumental music classroom. Using a quasi-experimental design, students from six separate seventh-grade bands from one large urban/suburban school district ( N = 261) were randomly assigned to one of two treatment conditions: symmetrical PAL, where students of like ability were paired together, and asymmetrical PAL, where students of divergent ability were paired together. Students worked in pairs over the cours

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McPherson, Gary E., Michael Bailey, and Kenneth E. Sinclair. "Path Analysis of a Theoretical Model to Describe the Relationship among Five Types of Musical Performance." Journal of Research in Music Education 45, no. 1 (1997): 103–29. http://dx.doi.org/10.2307/3345469.

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Path analysis was used to test a model designed to encapsulate the flow of influences theorized to exist between five types of musical performance and four factors derived from a researcher-administered questionnaire. Results, using a sample of 101 high school wind instrumentalists, reveal major differences in the pattern of influences leading to the re-creative skill of performing a repertoire of rehearsed music for a formal music examination, compared to the creative ability of improvising. Performing a repertoire of rehearsed music was found to be influenced most by an ability to sight-read

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14

Daniels, Rose Dwiggins. "Relationships among Selected Factors and the Sight-Reading Ability of High School Mixed Choirs." Journal of Research in Music Education 34, no. 4 (1986): 279. http://dx.doi.org/10.2307/3345261.

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Wong, Yetta Kwailing, Cynthia Peng, Kristyn N. Fratus, Geoffrey F. Woodman, and Isabel Gauthier. "Perceptual Expertise and Top–Down Expectation of Musical Notation Engages the Primary Visual Cortex." Journal of Cognitive Neuroscience 26, no. 8 (2014): 1629–43. http://dx.doi.org/10.1162/jocn_a_00616.

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Most theories of visual processing propose that object recognition is achieved in higher visual cortex. However, we show that category selectivity for musical notation can be observed in the first ERP component called the C1 (measured 40–60 msec after stimulus onset) with music-reading expertise. Moreover, the C1 note selectivity was observed only when the stimulus category was blocked but not when the stimulus category was randomized. Under blocking, the C1 activity for notes predicted individual music-reading ability, and behavioral judgments of musical stimuli reflected music-reading skill.

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16

Thomas, Jennifer. "Reading Michele Pesenti’s Tulerunt Dominum meum." Journal of Musicology 32, no. 3 (2015): 367–409. http://dx.doi.org/10.1525/jm.2015.32.3.367.

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For his example of Phrygian mode in his 1547 Dodecachordon, Heinrich Glarean chose a motet first published in Petrucci’s 1503 Motetti B, Michele Pesenti’s Tulerunt Dominum. Glarean’s effusive response to Pesenti’s motet indicates that he had not only studied but had also heard the work; he marvels at the “great emotion and innate sweetness” that conveys so well its subject, which begins with Mary Magdalene’s lament at the empty tomb of Jesus and culminates in an expression of hope. Pesenti’s artistry lies in his ability to acknowledge, structurally and aesthetically, three distinct textual moo

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Fasanaro, A. M., D. L. A. Spitaleri, R. Valiani, and D. Grossi. "Dissociation in Musical Reading: A Musician Affected by Alexia without Agraphia." Music Perception 7, no. 3 (1990): 259–72. http://dx.doi.org/10.2307/40285464.

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Previous works have postulated a similarity between music reading and text reading. Therefore it is interesting to evaluate both of these functions in an alexic subject. The patient investigated is a professional musician who had an ischemic lesion in the left temporoparieto-occipital region. Text reading showed pure alexia in which both the phonological and global routes were damaged. His ability to read correctly via matching tests showed that the word-form system was preserved. The reading of musical scores was damaged too and showed a dissociation between the reading of ideograms and rhyth

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Hutchins, Sean. "Early Childhood Music Training and Associated Improvements in Music and Language Abilities." Music Perception 35, no. 5 (2018): 579–93. http://dx.doi.org/10.1525/mp.2018.35.5.579.

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Adult musicians tend to outperform nonmusicians in a variety of language and language-relevant tasks. Moreover, children who take music lessons will show an increased ability in several types of language skills. However, it is still unclear what the time course of these developmental effects might be, and the degree to which young children improve in their musical abilities. Here, we present the first year of data from an ongoing longitudinal study, aimed at finding if measurable improvements in musical and linguistic abilities can be seen among children taking music classes. We studied 90 chi

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Stanzione, Maria, Dario Grossi, and Luciano Roberto. "Note-by-Note Music Reading: A Musician with Letter-by-Letter Reading." Music Perception 7, no. 3 (1990): 273–83. http://dx.doi.org/10.2307/40285465.

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This paper reports the case of a musician suffering from letter-by-letter reading caused by a left posterior temporoparietal lesion. The patient also had difficulty in reading musical scores, although her expressive ability was intact. The time taken by the patient to read words and nonwords increased with the number of letters in the items. There was a similar increase in the time required to read music as the number of notes increased. Analogous to the text-reading model, two accesses (one global, the other step-by-step) to the representations of written notes are proposed.

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20

Werrett, Simon. "Disciplinary Culture: Artillery, Sound, and Science in Woolwich, 1800–1850." 19th-Century Music 39, no. 2 (2015): 87–98. http://dx.doi.org/10.1525/ncm.2015.39.2.87.

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The rise of military music around 1800 offers a suggestive context in which to examine the connections between science, music, and the military. Olinthus Gregory was representative of a community of reform-minded mathematicians and astronomers who sought to introduce greater precision and more mathematics into science, applying mathematical calculation to music and the sciences. His proposal to regulate tempo with a pendulum followed what was no doubt a familiar sight for him at the Woolwich Arsenal—the use of the pendulum by the drum-major to regulate marching music. Indeed, a number of such

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21

Lambert, Sterling. "Franz Schubert and the Sea of Eternity." Journal of Musicology 21, no. 2 (2004): 241–66. http://dx.doi.org/10.1525/jm.2004.21.2.241.

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The sea, in its seemingly limitless expanse, symbolized the concept of eternity to a number of important artists of the early 19th century, including Coleridge, Friedrich, and Goethe, who struggled to come to terms with this difficult concept through revision of their initial thoughts and ideas. Goethe's poem Meerestille was set by both Beethoven and Schubert within weeks of one another, and Schubert's two settings, written in the space of only two days, demonstrate the young composer's increasing ability to grasp the existential notion of timelessness as he grappled with Goethe's text. Schube

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22

Chappell, Sally. "Developing the complete pianist: a study of the importance of a whole-brain approach to piano teaching." British Journal of Music Education 16, no. 3 (1999): 253–62. http://dx.doi.org/10.1017/s0265051799000340.

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This article maintains that the emphasis placed on technical work during instrumental lessons inhibits the growth of students' musicianship. In addition the focus given to technique is shown to be responsible for the development of unnecessary physical tensions. It is argued that in terms of brain usage, technical skills and note-reading are based largely in the left-hemisphere, while the less used skills of improvisation, memorisation and internalisation are based in the right-hemisphere. It is proposed that in order to allow pianists to become more creative, imaginative and musical, young be

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23

Topaloğlu, Taner, and Şebnem Yıldırım Orhan. "Instructor Opinions on the Use of Turkish Folk Music of Syncopated Style in Cello Training." Journal of Education and Learning 7, no. 6 (2018): 165. http://dx.doi.org/10.5539/jel.v7n6p165.

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The ability of the music teacher to provide a more qualified education in the professional life and to express himself musically is directly proportional to the quality of the previous instrument training. Studies revealed that the Turkish music products are not used sufficiently in the instrument training given by the institutions of music education and the inadequacy of the customized Turkish music products for use in education.  From this point of view, the aim of this study is to determine the usage status of works and studies of Turkish folk music of syncopated style arranged

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24

TCHAROS, STEFANIE. "The Serenata in Early 18th––Century Rome: Sight, Sound, Ritual, and the Signification of Meaning." Journal of Musicology 23, no. 4 (2006): 528–68. http://dx.doi.org/10.1525/jm.2006.23.4.528.

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ABSTRACT By the turn of the 18th century serenatas performed in Rome's urban squares as political or dynastic propaganda were a well-established ritual. In this public forum the effect of sound produced by large instrumental forces was a central feature, yet the serenata was a complex performance in which music was but one element in a series of other displays. Though undoubtedly an important part of the serenata, music's role in this multifaceted performance and its effect on audiences remain unclear. Part of that ambiguity stems from the serenata's ability to service both public and private

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Roux, Franck-Emmanuel, Vincent Lubrano, Jean-Albert Lotterie, Carlo Giussani, Clémence Pierroux, and Jean-François Démonet. "When “Abegg” is read and (“A, B, E, G, G”) is not: a cortical stimulation study of musical score reading." Journal of Neurosurgery 106, no. 6 (2007): 1017–27. http://dx.doi.org/10.3171/jns.2007.106.6.1017.

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Object To spare the cortical areas involved both in musical score reading and in language, the authors used a score reading task during direct cortical stimulation mapping in musicians undergoing operations for brain lesions. The organization of the cortical areas involved in language and score reading, respectively, was analyzed in relation with these surgical data. Methods Seven patients with brain lesions were tested using three language tasks and a score-reading task. Preoperatively, none of them had exhibited significant language or musical ability deficits, and all had a special interest

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Gromko, Joyce Eastlund, and Christine Russell. "Relationships among Young Children's Aural Perception, Listening Condition, and Accurate Reading of Graphic Listening Maps." Journal of Research in Music Education 50, no. 4 (2002): 333–42. http://dx.doi.org/10.2307/3345359.

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The purpose of our study was to explore relationships among children's aural perception, music listening condition, and the accuracy of children's reading of listening maps. The aural discrimination skills of 41 elementary children were tested using the Intermediate Measures of Musical Audiation (IMMA). The children were then systematically assigned to one of three listening conditions: passive, unstructured active, or structured active. After listening to European art music according to their assigned condition, every child traced a graphic listening map while listening to the music a second

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Tkachenko, Tetiana, and Ol’ha Shums’ka. "ORGANIZATION OF INDEPENDENT WORK OF STUDENTS OF ARTISTIC SPECIALTIES." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 37–40. http://dx.doi.org/10.36550/2415-7988-2021-1-195-37-40.

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Under today’s conditions the system of higher education should gradually but steadily move from the transfer of information to managing educational and cognitive activities of students, to forming their skills of creative independent work. This problem is especially topical for students of artistic specialties, in particular, music students. Their independent work actively influences the nature and quality of educational process throughout the whole period of instruction, underlies artistic education and is an important part of training process. Based on the above, there is a need to reorient

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RIVAL, ROBERT. "The Comfort of Denial: Metre, Cyclic Form, and Narrative in Shostakovich's Seventh String Quartet." Twentieth-Century Music 6, no. 2 (2009): 209–35. http://dx.doi.org/10.1017/s1478572210000174.

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AbstractRecent scholarship has taken the leap from documenting cyclic form in Shostakovich's Seventh String Quartet to its interpretation. David Fanning, Judith Kuhn, and Sarah Reichardt, for instance, endorse a belief in the quartet's satisfactory closure. I propose an alternative reading that qualifies such resolution as merely apparent. I posit a musical ‘persona’ (Edward T. Cone) that achieves comfort in denial. I support my claim by analysing shifting hypermetre, metrical insertions, motif, and cyclic form, then weave my observations into a narrative interpretation. While acknowledging th

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Ghozali, Imam. "Professional Competence of Teachers in Learning Music at Elementary Schools in Pontianak." Harmonia: Journal of Arts Research and Education 20, no. 1 (2020): 84–94. http://dx.doi.org/10.15294/harmonia.v20i1.24932.

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Learning the art of music that has characteristics, special characters, and is carried out within an integrative thematic frame in elementary schools, needs to be supported by the professional competence of classroom teachers. The purpose of this study was to determine the professional competence of classroom teachers in learning music in elementary schools. This paper is the result of interpretive descriptive research with the main data source of classroom teachers, while the source of supporting data are students and principals. Data collection techniques are done by tests, observations, and

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Mai, Alexander Chih-Yuan. "Recreating an American Myth: An Analytical Reading of Paul Bunyan by W. H. Auden and Benjamin Britten." Review of European Studies 11, no. 3 (2019): 26. http://dx.doi.org/10.5539/res.v11n3p26.

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One of the ability which music possesses is to evoke the audience&rsquo;s sense of cultural and national identity. In the second half of the twentieth century, people can easily travel and relocate to a new country in order to search for a better living condition. However, with this newly found freedom, people&rsquo;s sense of belonging and cultural identity has been put into serious doubts and tests. W. H. Auden and Benjamin Britten&rsquo;s Paul Bunyan encapsulates and foresees this phenomenon. Both have just arrived at the United States to escape from the war-torn Britain. Eager

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Draus, Agnieszka. "Between the Lines: Reading Into Marek Stachowski’s Self-Reflections." Musicology Today 12, no. 1 (2015): 45–50. http://dx.doi.org/10.1515/muso-2015-0005.

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Abstract Marek Stachowski: composer, teacher, and vice-chancellor, one of cultural Kraków’s most outstanding figures, died prematurely in 2004. The tenth anniversary of his death is an occasion to review the works he left behind as well as his extensive reflections on his own output and on the state of art in general. Reading into the numerous opinions regarding his own activity as a composer, we have found significant statements that confirm three distinctive qualities of Marek Stachowski’s artistic personality. First and foremost, his deep conviction of being predestined for the profession a

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Sveshchynska, Natalia. "PECULIARITIES OF THE CONCERT MASTER ACTIVITY OF THE FUTURE TEACHER OF MUSIC ART." Academic Notes Series Pedagogical Science 1, no. 192 (2021): 129–32. http://dx.doi.org/10.36550/2415-7988-2021-1-192-129-132.

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The article analyzes the question of the peculiarities of concertmaster activity of future teachers of music art in the process of learning in the class of accompaniment and improvisation and in further practical activities. The author identifies the constituent structural elements in the training of pianist-accompanist in higher educational institutions of art, which is manifested in various aspects of the activities of future professionals. The field of activity for a musician-performer is concertmaster's work, which by its specificity requires from the specialist not only the possession of

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Li, Tianjiao. "Visual Classification of Music Style Transfer Based on PSO-BP Rating Prediction Model." Complexity 2021 (May 13, 2021): 1–9. http://dx.doi.org/10.1155/2021/9959082.

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In this paper, based on computer reading and processing of music frequency, amplitude, timbre, image pixel, color filling, and so forth, a method of image style transfer guided by music feature data is implemented in real-time playback, using existing music files and image files, processing and trying to reconstruct the fluent relationship between the two in terms of auditory and visual, generating dynamic, musical sound visualization with real-time changes in the visualization. Although recommendation systems have been well developed in real applications, the limitations of CF algorithms are

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Kulikova, Svitlana. "USE OF INTERACTIVE TECHNOLOGIES IN THE PROCESS OF DEVELOPING THE PROFESSIONAL COMPETENCE OF THE FUTURE TEACHER OF MUSIC ART." Academic Notes Series Pedagogical Science 1, no. 195 (2021): 81–86. http://dx.doi.org/10.36550/2415-7988-2021-1-195-81-86.

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In the context of increasing attention to the training of future professionals outlines the special urgency of the problem of professional competence of future music teachers, which includes the ability of individuals to acquire knowledge and skills in art education institutions, to form personal qualities and values and value orientations required for professional activity. social requirements. The level of professional competence of a music art teacher reflects the degree of his readiness for music-educational work in a secondary school, is a prerequisite for the effectiveness of pedagogic

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Guiard, Yves. "Failure to Sing the Left-Hand Part of the Score during Piano Performance: Loss of the Pitch and Stroop Vocalizations." Music Perception 6, no. 3 (1989): 299–314. http://dx.doi.org/10.2307/40285591.

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An experiment compared the ability of classical pianists to sing, during keyboard performance, the right- and the left-hand part of the score being played. Upon instructions requiring them to "sing" one or the other voice of the score, the subjects spontaneously chose to sing and name the notes simultaneously, in keeping with the French traditional way of reading music, thus producing a two- dimensional tonal and verbal vocal act in response to each visual stimulus. Singing the right-hand part of the music, whether in unison with or in place of the right hand, while concurrently playing the le

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Anggoro, Raden Roro Maha Kalyana Mitta. "Optimalisasi Kompetensi Primavista Mahasiswa Instrumen Pokok Piano Melalui Metode Drill." Virtuoso: Jurnal Pengkajian dan Penciptaan Musik 4, no. 1 (2021): 70. http://dx.doi.org/10.26740/vt.v4n1.p70-81.

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Every musical instrument that is taken at the college "demands" students to be mastery learning, in both theoretical and practical aspects, as well as possible. However, in the process, there are obstacles that often arise. As in learning the Piano Major course. Based on observations in class, students are constrained in terms of primavista. With the character of the piano score that is consisting of two staves, students are constrained to coordinate their cognitive processing when reading piano scores, with the application of their ten fingers when playing the piano. This study discusses the

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Sokolova, Alla N. "The “Dance with Daggers” as an Ethno-Marker of Adyghe Culture." Vestnik of Saint Petersburg University. Arts 11, no. 1 (2021): 39–55. http://dx.doi.org/10.21638/spbu15.2021.103.

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This article reviews the history, semantic scope and meaning of the “dance with daggers”, which has survived today as a solo male stage number. The dance is becoming a very important part of academic dance concerts in the North Caucasus, and at the same time dancers with daggers are invited to traditional weddings and corporate parties. Сamechas (kъамэчIас) are identified as military sports and exercises, while also being a modern dance concert number with the same name. The military sport, circus and dance characteristics of this action are revealed in the article. It is proved that the dance

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Brooks, Lisa. "The Primacy of the Present, the Primacy of Place: Navigating the Spiral of History in the Digital World." PMLA/Publications of the Modern Language Association of America 127, no. 2 (2012): 308–16. http://dx.doi.org/10.1632/pmla.2012.127.2.308.

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In her introduction to the english institute's e-book on periodization, the editor, virginia jackson, remarks on the ability of its “digital format” to invite innovative ways of interacting with texts. Marshall Brown's article in the book, for example, allows readers to hear Joseph Haydn's music while they read nineteenth-century literature, giving them an immediate understanding of the musical metaphors Brown uses for describing literary history. Our contemporary presence and capabilities in the digital world, Brown suggests, may help us to understand periods as “linked episodes within the ro

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Petrova-Kirkova, Galya. "THE REPERTOIRE IN FOLK SINGING TRAINING AS AN OPPORTUNITY FOR CREATING CREATIVITY IN STUDENTS MINDS - THE FUTURE TEACHERS." KNOWLEDGE INTERNATIONAL JOURNAL 30, no. 2 (2019): 453–57. http://dx.doi.org/10.35120/kij3002453p.

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Nowadays, the formation of creative attitude is a current issue which is directly related to the goals and missions of todays folk singing training and education; and to the uniqueness and adaptability skills in each and every personality. Through the means of expression (concluding improvisation) found in bulgarian folklore, the repertoire in folk singing training allows the development of a creative attitude. The repertoire in folk singing training among with the means of expression in both authentic and processed folklore songs allows the ability of creative thinking in every student to gro

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Goolsby, Thomas W. "Eye Movement in Music Reading: Effects of Reading Ability, Notational Complexity, and Encounters." Music Perception 12, no. 1 (1994): 77–96. http://dx.doi.org/10.2307/40285756.

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Six types of eye movement were measured and recorded with an SRI Eyetracker: number of progressive and regressive fixations, durations of progressive and regressive fixations and lengths of progressive and regressive saccades. Twenty-four graduate music students were selected as skilled and less- skilled music readers. Eye position was measured every millisecond with a high degree of accuracy. The factorial design was 2 Groups x 4 Melodies x 3 Encounters (including a practice period). Results indicated that patterns of eye movement in the two groups were similar across melodies and encounters,

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Fournier, Guillaume, Maria Teresa Moreno Sala, Francis Dubé, and Susan O’Neill. "Cognitive strategies in sight-singing: The development of an inventory for aural skills pedagogy." Psychology of Music 47, no. 2 (2017): 270–83. http://dx.doi.org/10.1177/0305735617745149.

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This research aimed to identify, describe and categorize cognitive strategies related to sight-singing within aural skills education. Using a constant comparative method, we carried out a thematic content analysis using NVivo to categorize strategies in a broad range of sources, including six interviews, five scientific publications, two professional books, and two ear-training manuals. Findings revealed 72 cognitive strategies grouped into four main categories and 14 subcategories: reading mechanisms (pitch decoding, pattern building, validation), sight-singing (preparation, performance), rea

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Leikvoll, Katarzyna Julia. "Hvordan kan kunnskap om tekstlesing og lese- og skriveopplæring i grunnskolen brukes i noteopplæring på nybegynnernivå?" Nordic Research in Music Education 2, no. 1 (2021): 46–70. http://dx.doi.org/10.23865/nrme.v2.3026.

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How can knowledge about language learning and teaching be used to enhance the study of music reading at the beginner level? This theoretical article aims to discuss the possibility of using teaching methods for reading and writing used in Norwegian primary schools for teaching literacy for music notation to instrumental pupils at the beginner level, focusing on western tonal music. Language and music reading have much in common as cognitive processes. However, comparison of methods for teaching how to read language and music shows several fundamental differences. They relate to the emphasis on

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Lu, Ching-I., Margaret L. Greenwald, Yung-Yang Lin, and Susan M. Bowyer. "Reading musical notation versus English letters: Mapping brain activation with MEG." Psychology of Music 47, no. 2 (2017): 255–69. http://dx.doi.org/10.1177/0305735617744886.

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Temporal and spatial analyses of brain function with magnetoencephalography (MEG) are seldom reported in studies of musical sight-reading. We used MEG to compare the timing and localization of brain regions active during print-to-sound translation of musical notation versus English letters. MEG recordings were made on 22 professional musicians during print-to-sound tasks involving low versus high cognitive load. The MEG data were analyzed using MR-FOCUSS, a current density imaging technique. A laterality index was calculated to determine which hemisphere had more neural activation during these

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Torge Claussen, Jan. "Gaming Musical Instruments." Digital Culture & Society 5, no. 2 (2019): 121–30. http://dx.doi.org/10.14361/dcs-2019-0208.

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Abstract This article addresses the relationship between labour and learning a popular musical instrument like the guitar in the specific context of a video game. Most gamification theories promise that using a video game makes it easy to learn (Kapp 2012; Deterding et al. 2011). Even if this holds true, I argue that this kind of playfulness causes some backlash, which I observed during an experiment in which students played the music video game Rocksmith 2014. Learning and playing the guitar through the medium of a video game comes with diverse experiences as well as expectations that are clo

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Tsang, Christine D., and Nicole J. Conrad. "Music Training and Reading Readiness." Music Perception 29, no. 2 (2011): 157–63. http://dx.doi.org/10.1525/mp.2011.29.2.157.

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several reports have noted significant associations among phonological awareness, early reading skills, and music perception skills in young children. We examined whether music processing skills differentially predicted reading performance in a broad age range of 69 children with and without formal music training. Pitch perception was correlated with phonological awareness, a finding consistent with the hypothesis that basic auditory processing skills underlie the association between music and reading abilities. Nevertheless, the correlation between music skills and reading skills was affected

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Bedrii, Christina. "Patriotic upbringing of younger students in class work." Scientific Visnyk V.O. Sukhomlynskyi Mykolaiv National University. Pedagogical Sciences 66, no. 3 (2019): 14–19. http://dx.doi.org/10.33310/2518-7813-2019-66-3-14-19.

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The article analyzes the implementation of patriotic education in the content of elementary school lesson work. It has been established that the upbringing of patriotism is one of the priority aspects of the national upbringing system and involves the formation of patriotic feelings, love for its people, a deep understanding of civic duty, and a willingness to defend the national interests of the Motherland. Examples of tasks and exercises in elementary education disciplines designed to educate children by patriots are considered. As, in the Concept of national patriotic education of children

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Corrigall, Kathleen A., and Laurel J. Trainor. "Associations Between Length of Music Training and Reading Skills in Children." Music Perception 29, no. 2 (2011): 147–55. http://dx.doi.org/10.1525/mp.2011.29.2.147.

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previous research has found that music training in childhood is associated with word decoding, a fundamental reading skill related to the ability to pronounce individual words. These findings have typically been explained by a near transfer mechanism because music lessons train auditory abilities associated with those needed for decoding words. Nevertheless, few studies have examined whether music training is associated with higher-level reading abilities such as reading comprehension, which would suggest far transfer. We tested whether the length of time children took music lessons was associ

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Phuthego, Mothusi. "The Identification of Needs for the Provision of In-service Training in Music Education in Botswana." British Journal of Music Education 15, no. 2 (1998): 191–200. http://dx.doi.org/10.1017/s0265051700009347.

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This study investigates the in-service training needs of the primary school generalist teacher in Botswana. The findings established that singing is a major cross-curricular activity in schools. Dance on the other hand, despite being the most popular form of entertainment in and outside school, is not regarded as an aspect of music education. Instrumental teaching is virtually non-existent. Teachers' interests in further musical training are influenced by a misconception that singing should be the main activity in music lessons. As a result most are only interested in improving their skills in

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Fine, Philip, Anna Berry, and Burton Rosner. "The effect of pattern recognition and tonal predictability on sight-singing ability." Psychology of Music 34, no. 4 (2006): 431–47. http://dx.doi.org/10.1177/0305735606067152.

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Klebanova, S. V. "Keys to mastery: from the experience of the concertmaster’s work in the class of the concert-chamber singing." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 53, no. 53 (2019): 8–20. http://dx.doi.org/10.34064/khnum1-53.01.

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The basis for the topic. The present article is devoted to the coverage of pedagogical functions of the concertmaster activity in the class of the concert and chamber singing. Taking into account that the functions of a teacher-concertmaster are quite extensive, and the scope of the performed repertoire in genre and style account is extremely broad, the topic of works on concertmaster studies is a special section of music science. The utmost goal of the concertmaster in the class of concert and chamber singing is to develop the artistic thinking and musical taste of the young singer, to increa

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