Journal articles on the topic 'Singing – Instruction and study'
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1
Demorest, Steven, Bryan Nichols, and Peter Q. Pfordresher. "The effect of focused instruction on young children’s singing accuracy." Psychology of Music 46, no. 4 (June 20, 2017): 488–99. http://dx.doi.org/10.1177/0305735617713120.
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The purpose of this study was to test the effect of daily singing instruction on the singing accuracy of young children and whether accuracy differed across four singing tasks. In a pretest-posttest design over seven months we compared the singing accuracy of kindergarteners in a school receiving daily singing instruction from a music specialist to a control school receiving no curricular music instruction. All children completed four singing tasks at the beginning and end of the study: matching single pitches, matching intervals, matching short patterns, and singing a familiar song from memory. We found that both groups showed improvement on the pitch-matching tasks from pretest to posttest, but the experimental group demonstrated significantly more improvement. Performance on the familiar song task did not improve for either group. Students achieved the highest accuracy scores when matching intervals. Regular singing instruction seems to accelerate the development of accurate singing for young children, but the improvement was evident only in the pitch-matching tasks. It is possible that singing skill development proceeds from pitch-matching to the more difficult task of singing a song from memory. If so, this has implications for how we structure singing instruction in the early grades.
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Li, Jing, and Miao Yu. "A Study of the Effect of Sichuan Opera Singing on the Vocal Skills of Music Students." Journal of Contemporary Educational Research 8, no. 6 (July 3, 2024): 161–65. http://dx.doi.org/10.26689/jcer.v8i6.7204.
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The purpose of the article is to explore the effects of Sichuan opera singing on music majors’ vocal skills, focusing on three key aspects: pitch test, assessment of rhythmic perception, and emotional expression. Through a quasi-experimental design, 100 music majors were selected as research subjects and divided into an experimental group that received Sichuan opera singing instruction and a control group that received traditional vocal instruction. The results showed that compared with the control group, the experimental group receiving Sichuan opera singing teaching showed significant improvement in pitch mastery, rhythm perception, and emotional expression.
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Reifinger, James L. "The Acquisition of Sight-Singing Skills in Second-Grade General Music." Journal of Research in Music Education 60, no. 1 (March 14, 2012): 26–42. http://dx.doi.org/10.1177/0022429411435683.
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This study was designed to examine two aspects of sight-singing instruction: (1) solfège syllables versus the syllable loo for singing patterns and (2) the use of related songs (songs that began with tonal patterns being studied) as compared with unrelated songs. Second-grade students ( N = 193) enrolled in general music classes participated in 25 minutes of sight-singing instruction for 16 sessions. In each session a new four-note pattern and song were introduced, and previously learned patterns were reviewed. Four levels of instructional treatment were examined as the independent variable: (1) related songs/solfège, (2) related songs/ loo, (3) unrelated songs/solfège, and (4) unrelated songs/ loo. Pitch and contour accuracy of familiar and unfamiliar patterns were examined as dependent variables on sight-singing pre-, post-, and retention tests. Results indicated significant pre- to posttest improvement in sight-singing skills. Most post- to retention test differences were nonsignificant, indicating skill retention. Sight-singing skills transferred to unfamiliar patterns. Treatment effectiveness differed by pattern familiarity. Solfège with familiar patterns and a neutral syllable ( loo) with unfamiliar patterns resulted in significantly greater contour accuracy. Relating patterns to songs had no significant effect on achievement.
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Demorest, Steven M. "Improving Sight-Singing Performance in the Choral Ensemble: The Effect of Individual Testing." Journal of Research in Music Education 46, no. 2 (July 1998): 182–92. http://dx.doi.org/10.2307/3345622.
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The purpose of this study was to examine the effect of individual testing, in conjunction with group instruction, on students' sight-singing skills. A quasi-experimental study was designed to test the following prediction: Choir students given a regular program of individual testing will show a significantly greater improvement in individual sight-singing over students given group sight-singing instruction alone. A sample of 306 subjects was drawn from the beginning and advanced choirs of six high schools in the State of Washington where sight-singing was taught. Intact choirs were randomly assigned in a pretest-posttest control group design to examine the effect of a señes of three individual tests administered to the experimental group throughout one semester. Results showed a significantly greater gain in individual sight-singing performance on the major melody for members of the experimental group. Members of the advanced choirs scored significantly higher on the major melody across conditions. There were no significant differences in either variable for the minor melody. There was a significant school-to-school difference in individual achievement for both melodies, but no interaction with the treatment. Individual testing was found to be an effective means of improving individual sight-singing performance in group instructional situations.
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Svec, Christina L. "The effects of instruction on the singing ability of children ages 5 to 11: A meta-analysis." Psychology of Music 46, no. 3 (June 1, 2017): 326–39. http://dx.doi.org/10.1177/0305735617709920.
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The purpose of the meta-analysis was to address the varied results within the area of singing ability research by statistically summarizing the data of related studies. Across 34 studies, analyses yielded an overall mean effect size for instruction of g = 0.43. Studies were limited to pretest-posttest or posttest-only quasi-experimental designs. The largest overall study effect size across categorical variables included the effects of same and different discrimination techniques on mean singing score gains. Overall mean effects by primary moderator variable ranged from trivial to moderate. Feedback yielded the largest effect regarding teaching condition, 8-year-old children yielded the largest effect regarding age, the Boardman assessment measure yielded the largest effect regarding measurement instrument, and song accuracy yielded the largest effect regarding measured task. Regarding gender, boys and girls improved similarly from singing interventions across studies. Implications for singing instruction pertain to the importance of intervention, especially between the ages of 5 and 8. Results from the meta-analysis have highlighted a tendency for singing interventions to improve singing ability more than traditional song-singing and more than no music instruction at all. Results from the meta-analysis have also highlighted the importance of self, teacher, and computer feedback in the development of singing.
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Rutkowski, Joanne. "Investigation of the effect of a male singing model on kindergarten children’s use of singing voice achievement." International Journal of Music in Early Childhood 14, no. 2 (December 1, 2019): 167–80. http://dx.doi.org/10.1386/ijmec_00003_1.
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Replicable singing models are important as children learn to use their singing voices. Previous research indicates that for elementary school-aged children a child model is most effective, then a female model, then a male falsetto model, then a male baritone model. In my work with preschool children in a more informal setting, I noticed that many of these children did not seem to have difficulties singing along with male undergraduate students. In a recent study I conducted, significant differences in male and female models were found, favouring the female model. However, gains in singing were not noted until the second half of the year and the male teacher was only part of instruction for the first half of the year. Therefore, the purpose of this study was to investigate the effect of a male singing model over an entire academic year of instruction on kindergarten children’s singing voice achievement. Kindergarten children (N=15, N=10) received informal music guidance once a week for 30‐40 minutes from October to May from a team of two music teachers, one female and one male. The teachers sang together during activities, but sometimes the female teacher would take the lead; other times the male teacher. The Singing Voice Development Measure (SVDM) was administered four times during the instructional period. For each test time, the female teacher administered the test with her voice as the singing model; on a different day the male teacher administered the test with his baritone voice as the singing model. Two raters evaluated the randomized recordings of the children’s singing; reliabilities were acceptable. A three-way repeated-measures ANOVA revealed a significant interaction by time and model. The children’s scores, while quite high on the pretest, showed an increase over time for both models except for the final performances when singing with text with the female model; one of these performances appears to be an outlier.
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Hong, Seungyoun. "Exploring Instruction Methods for the Resting Tone in Elementary School Music Classes." European Journal of Education and Pedagogy 3, no. 6 (December 20, 2022): 222–25. http://dx.doi.org/10.24018/ejedu.2022.3.6.513.
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This study aims to explore some instructional methods for the resting tone in music education, especially elementary general music education in Korea. Before exploring the instructional methods, the important role of the resting tone in the view of a western music history was investigated. Establishing the instructional methods, Music Learning Theory, a contemporary music education theory by Gordon was based upon and adapted to apply. Four integral applicable methods for elementary school music teachers to instruct the resting tone were introduced. First, through singing the last pitch of the patterns teacher uses, second, through singing the first pitch of the patterns teacher uses, third, through singing the resting tone of the patterns teacher uses, fourth, through singing the resting tone of a song teacher introduces. The four kinds of methods introduced in this study can be applied to any elementary music classes.
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Mead, Tim P., Leif E. Berg, Starr K. Sage, and Dennis J. Guillot. "Increasing Reading Fluency through the Use of Physical Movement and Affirming Parallel Concepts." Studies in Linguistics and Literature 5, no. 2 (June 1, 2021): p118. http://dx.doi.org/10.22158/sll.v5n2p118.
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Sixteen 6th grade middle school students, who were all classified as struggling readers, volunteered to participate in a study examining the impact of daily physical movement and singing (Affirming Parallel Concepts) on reading fluency, as measured by words read per minute. Half of the participants received instruction on learning new songs to sing in class while simultaneously learning new sight words over a six-week period. The other eight students served as a control group and received standard reading instruction on learning new sight words. The experimental group incorporated movement into their singing by clapping their hands and thighs, stomping their feet, and moving around the classroom while singing. Students in the experimental group significantly improved their reading fluency (14% improvement) versus those students in the control group (5% improvement) over the six-week instruction period as measured by Fountas and Pinnell reading assessments.
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Glover, Helen, Joseph Kalinowski, Michael Rastatter, and Andrew Stuart. "Effect of Instruction to Sing on Stuttering Frequency at Normal and Fast Rates." Perceptual and Motor Skills 83, no. 2 (October 1996): 511–22. http://dx.doi.org/10.2466/pms.1996.83.2.511.
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Singing as a fluency-enhancing mechanism is well-established. The fluency derived by singing has been attributed to a reduced speech rate, memorized material, semantically reduced content, and an imposed rhythm. In this study, we attempted to address each of these explanations. 12 participants who stuttered were instructed to read or sing each of four different passages under the following conditions: reading at a normal rate, reading at a fast rate, singing at a normal rate, and singing at a fast rate. Participants exhibited a statistically significant increase in disfluencies while reading, i.e., participants displayed a 75% reduction in disfluency in the singing condition relative to the reading condition. There was no difference in stuttering frequency with rate conditions. Current findings suggest that stutterers are capable of internally generating fluent speech production by imposing idiosyncratic melodic structures or some derivation of melody when asked simply to sing. There is no claim that these participants were singing, as skills and capabilities varied tremendously, only that participants achieved dramatic enhancement of fluency after they were just asked to sing. Thus, the only intervening variable was the instruction to sing, which suggests the attempt to follow the instruction, no matter how futile, generated fluent speech. Since fluency was maintained in both the normal and fast rates of production, alternate central mechanisms must be held accountable for these findings.
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Phillips, Kenneth H., and Randall E. Aitchison. "Effects of Psychomotor Instruction on Elementary General Music Students' Singing Performance." Journal of Research in Music Education 45, no. 2 (July 1997): 185–96. http://dx.doi.org/10.2307/3345579.
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This study is an investigation of the effects of a year-long program of vocal instruction I on measures of respiration (vital capacity, peak flow, duration) and singing performance (high pitch, low pitch, total range, pitch accuracy) among general music students in Grades 4, 5, and 6 (n = 269). A posttest-only control-group design was used with intact classes randomly assigned to either experimental or control conditions. Results of 2 ? 2 ? 3 factorial analyses (MANOVA and ANOVA) were as follows: (1) breath support (peak flow) may be improved with instruction; (2) vital capacity seems to be affected more by age than by instruction; (3) breath control (duration) may be improved with instruction, especially among fifth-grade students; (4) highest pitch of vocal range may be improved with instruction; (5) lowest pitch of vocal range may be improved with instruction, especially for boys; (6) total vocal range may be improved with instruction, especially for boys; (7) pitch accuracy seems to be greater for girl than for boys, and boys pitch accuracy may not be helped with vocal instruction when there is a reluctance to sing in the treble range.
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Demorest, Steven M., and William V. May. "Sight-Singing Instruction in the Choral Ensemble: Factors Related to Individual Performance." Journal of Research in Music Education 43, no. 2 (July 1995): 156–67. http://dx.doi.org/10.2307/3345676.
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In this study, we examined individual sight-singing skills of choir members in relation to their private musical training, their choral experience, the difficulty of the melodic material, and the system used for group sight-singing instruction. The subjects (N= 414) were drawn from both the first and second choirs of four Texas high schools. Two schools used the fixed-do system of sight-singing; the other two, the movable-do system. Subjects were randomly assigned to two melody conditions of varying difficulty. A multiple-regression analysis of musical background variables indicated that the number of years of school choir experience was the strongest predictor of individual success, followed by years of piano, instrumental, and vocal lessons, respectively. Scores for the more challenging Melody Condition B were significantly lower than those for Melody A. An analysis of covariance revealed that students in the movable-do groups scored significantly higher than did those in the fixed-do groups. However, this finding was tempered by the existence of other differences between the groups regarding private lessons, the consistency of method in the students' early solfege training, and the sight-singing assessment procedures used in each school district.
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Cuadrado, Albina, and Gabriel Rusinek. "Singing and vocal instruction in primary schools: an analysis from six case studies in Spain." British Journal of Music Education 33, no. 1 (January 11, 2016): 101–15. http://dx.doi.org/10.1017/s0265051715000273.
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This is an analysis of how specialist music teachers sing and teach how to sing, based on data collected from six case studies carried out in Spanish primary schools. The study aimed at understanding classroom singing practices, and in particular the provision or absence of vocal instruction in relation with teachers’ singing models. The findings support claims for thorough vocal training in the preparation of music teachers to enable them to face the challenges of the profession. Also suggested is the need to provide them with a coherent theoretical framework about the teaching and learning of singing.
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Orun, Putri Anugraheli Ramba. "The Impact of Singing on Second Language Acquisition in Indonesian ESL Learners." Pulchra Lingua: A Journal of Language Study, Literature & Linguistics 2, no. 2 (November 30, 2023): 137–47. http://dx.doi.org/10.58989/plj.v2i2.30.
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This quantitative study investigates the impact of singing songs on English as a Second Language vocabulary acquisition. Sixty Indonesian ESL learners were randomized into experimental and control groups, with the experimental group engaging in singing activities while the control group followed traditional instruction. Pre-test and post-test assessments in vocabulary, pronunciation, and translation were completed. The experimental group showed substantial gains across all metrics, including a 15.3 point vocabulary increase, 2.3 point pronunciation improvement, and 5.8 point translation enhancement (all p<0.001). Outcomes align with prior research on singing for language learning and support incorporating singing into ESL teaching to actively engage learners and improve linguistic skills. Limitations include short-term analysis and adult-focused sampling. Recommendations are longitudinal research, diverse participants, qualitative inquiries into experiences, and continued singing technique optimization.
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Huljannah Arianto, Mifta, Fatmaridah Sabani, Ervi Rahmadani, Sukmawaty Sukmawaty, Muhammad Guntur, and Irfandi Irfandi. "Penerapan Metode Bernyanyi dalam Meningkatkan Keterampilan Membaca Permulaan Siswa Sekolah Dasar." Attadrib: Jurnal Pendidikan Guru Madrasah Ibtidaiyah 7, no. 1 (April 8, 2024): 23–31. http://dx.doi.org/10.54069/attadrib.v7i1.711.
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This research discusses the implementation of the singing method in enhancing the reading skills of first-grade students at SDN 30 Mattirowalie, Palopo City. The main objective of this study is to describe the implementation of the singing method in early reading instruction and to evaluate its impact on students' reading abilities. This research adopts a classroom action approach, combining qualitative and quantitative descriptive methods in data collection and analysis. Data were collected through observation, interviews, documentation, and tests conducted throughout the research cycle. The research process is divided into four main stages: planning, implementation, observation, and reflection. The researcher acts as a teacher, implementing the singing method in instruction, while the homeroom teacher serves as an observer to collect observational data. The implementation of the singing method proves to be effective, evidenced by increased student enthusiasm in the teaching and learning process and significant improvement in average test scores conducted at the end of each learning cycle. The results consistently improve students' early reading skills from cycle to cycle. The average score in cycle I was 38.2, increased to 57.6 in cycle II, and finally reached its peak in cycle III with an average score of 78.6. This improvement exceeds the Minimum Mastery Criteria (KKM) set by the school at 70, leading to the termination of the research in cycle III as the target has been successfully achieved.
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Febri, Doni, Tulus Handra Kadir, and Harisnal Hadi. "PELAKSANAAN PEMBELAJARAN BERNYANYI SECARA UNISONO BERDASARKAN KURIKULUM 2013 EDISI REVISI DI KELAS VII-2 SMP NEGERI 3 PADANG." Jurnal Sendratasik 10, no. 1 (December 5, 2020): 75. http://dx.doi.org/10.24036/jsu.v9i2.110562.
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This study aims to explore and describe the implementation of Culture and Arts instruction based on the revised 2013 curriculum of 2016 edition at SMP Negeri 3 Padang. This is a qualitative research using descriptive method. The research instrument was the researcher itself and was assisted by supporting instruments such as writing tools and cameras. The data were collected through literature study, observation, interview, and documentation. The data analysiswas conducted through collecting the data, describing the data, taking conclusion and making suggestions. The results showthat the unisono singing instruction conducted by teachers in class VII-2 of SMP Negeri 3 Padang has not gone well and had not met the targets of the learning objectives and the objectives of the revised 2013curriculum. This can be seen from the planning, implementation, and evaluation. Thereisnorelevancy between the lesson plans and those implemented by the teacher in the classroom. Teachers do not fully understand the concepts and techniques of singing unisono so that students do not understand the subject matter. The results of the unisono learning evaluation of students in class VII-2show that the highest score got only reached 87, the lowest score was 75, and 10 students did not reach the cut score.Keywords : Implementation, Instruction, 2013 Curriculum
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Smolej Fritz, Barbara, and Cirila Peklaj. "A case study of music instruction according to E. Willems’ pedagogy in children with intellectual disabilities: Its impacts on music abilities and language skills." International Journal of Music Education 37, no. 2 (March 13, 2019): 243–56. http://dx.doi.org/10.1177/0255761419833082.
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The aim of this case study was to explore the effects of music instruction according to the E. Willems teaching method on the music abilities and language skills in students with intellectual disabilities (ID). Eight students with ID (average age 9.64 years) participated in the study. They attended 35 music lessons during the school year. Each lesson included tasks for developing four domains: auditory perception, rhythm, singing songs and natural body movement. We developed the tasks for measuring music abilities and language skills and applied them three times: before the music training, immediately after the training and in delayed measurement 10 months after the training. Results showed a significant improvement in the music abilities in rhythm between the first and the second measurements. The improvements between the first two measurements were also found in language skills, in following instructions and in discrimination and repetition of phonemes in pairs. The research method used does not allow for the generalization of results, but it is the first step in empirical research into the effects of music instruction according to the principles of E. Willems’ pedagogy in children with ID.
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Moore, Randall S. "Influence of Multicultural Singing Games on Primary School Children'S Attentiveness and Song Preferences in Music Classes." International Journal of Music Education os-39, no. 1 (May 2002): 31–39. http://dx.doi.org/10.1177/025576140203900104.
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In this study, eight multicultural songs with varying amounts of movement were taught to one hundred ninety-five 4- to 7-year-olds in a school setting during three weeks of daily music lessons. Three observers recorded group and individual attentiveness behavior during 17 hours of music instruction. At the end of the research period, subjects were asked in groups and individually to tell how much they liked the eight songs they had learned. Results indicated over 95% group on-task behavior during music instruction, and attention varied with amount of action in each song. A Spearman correlation of -.90 (p = .01) indicated that as the amount of activity in songs increased, the amount of off-task behavior decreased. Group and individual attitudes correlated moderately highly (r = .75) and confirmed that two forms of attitude assessment, group rating and individual interviewing, showed consistency in preferences. Additional observation of ten individuals showed that on-task behavior for listening was 88%, singing 64%, and moving 84%. It appears that young children enjoy moving and singing together and show preferences for songs with more actions. Music educators are encouraged to use singing games when teaching young children, particularly multicultural songs in foreign languages that might otherwise be eschewed.
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Oh, Jiyeon. "A Study on the Contents of the Integrated Instruction for Judae Sori." National Gugak Center 47 (April 30, 2023): 333–67. http://dx.doi.org/10.29028/jngc.2023.47.333.
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This study is motivated to make people have a wide range of thoughts of empathizing with Korean life through minyo (folk song) education and further to educate minyo that reflects locality. Accordingly, it examines educational contents utilizing judae sori, a folk song which has been handed down in the Incheon area, selecting an integrated educational method to obtain various information through the subject and develop communication skills.
The study was conducted as follows. First, it set a learning structure goal, reviewing the concept and necessity of integrated education. Second, it extracted the contents at a level that elementary school students can learn, examining the contents of judae sori . Third, it selected a subject corresponding to the extracted contents of judae sori and set a guidance direction for teaching and learning of judae sori , examining the 2015 revised curriculum. Fourth, it composed the contents of integrated instruction of judae sori and specified the instruction contents through teaching activities.
The results of the study are as follows. Judae sori includes geographical elements of learning the location and background of the region, cultural and historical elements of learning the background of the era in which the song was sung, ethical elements of learning through the connection between music and labor, and musical elements of learning singing. In elementary schools, these integrated elements of judae sori have a direct relationship with the subjects of society, ethnics, and music, while they can be reconstructed at the teacher's discretion in the subjects of Korean literature and arts according to the contents of the curriculum . It integrates the elements that make up judae sori and the corresponding subjects to select instructional contents, and plans learning activities in the stages of introduction, development, and organization following the set learning structure to design specific instructional contents for judae sori .…
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Skadsem, Julie A. "Effect of Conductor Verbalization, Dynamic Markings, Conductor Gesture, and Choir Dynamic Level on Singers' Dynamic Responses." Journal of Research in Music Education 45, no. 4 (December 1997): 509–20. http://dx.doi.org/10.2307/3345419.
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The purpose of this study was to determine the effects of conductor verbalization, dynamic markings, conductor gesture, and choir dynamic level on individual singers' dynamic responses in music. Singers (N = 144) sang along with nine renditions of a tune while watching a videotape of a conductor, listening to a choir through headphones, and referring to the music. Instructions regarding the dynamic level (soft or loud) were given under four conditions: (a) verbal instructions, (b) written instructions, (c) changes in conducting gesture, and (d) volume changes in the choir. Results indicated that verbal instructions from the conductor elicited significantly stronger dynamic performance responses (alpha = .05) than did the other three instructional conditions. Singers responded significantly better on instructions pertaining to soft singing than they did on instructions relating to loud singing. Comparisons were made between conductors, college singers, and high school singers, and eye contact was also examined.
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Pratiwi, Widya Rizky, and Bachtiar Bachtiar. "COMMUNICATIVE INSTRUCTION BASED ON LISTENING APPROACH: A RESEARCH AT THE INDONESIAN IMMERSIVE ENVIRONMENT." EXPOSURE : JURNAL PENDIDIKAN BAHASA INGGRIS 12, no. 1 (May 30, 2023): 184–98. http://dx.doi.org/10.26618/exposure.v12i1.10676.
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Creative Innovation in teaching significantly impacts EFL students' success. Thisresearch explored teachers' teaching methods in an Indonesian English immersiveEnvironment. It was a qualitative study that involved eight participants. Theresearch was conducted in a "Let's Speak class" at Mr. Pepsi Upgrade EnglishInstitution in Kampung Inggris Pare, Kediri. Data were collected from classroomobservation, interviews, photos, and documents. Then, the data were analyzed insix steps, from preparing to interpreting the description of the data's meaning.Research findings presented that teacher in Indonesian immersive environmentstaught English, especially for communicative instruction, utilizing technology, suchas communicative instruction based on a listening approach. It was called aListening-based Communicative Instructional Approach model (L-CIA model). Sixphases were trained, from giving ice-breaking preface and chitchat, listening to asong and filling in the blank, finding problematic words and translating, explainingthe song using own words, and singing together. This method has been proven tostimulate the students' speaking skills. Finally, this research contributed to sharinginformation about teaching Innovation in Second Language Acquisition in theIndonesian Immersive Environment, which can be implemented in other contexts.
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Portman, Gordon, and David Playfair. "Integrated Training For The Singing Actor: Theory And Practice." Brock Review 12, no. 2 (February 19, 2012): 62–72. http://dx.doi.org/10.26522/br.v12i2.356.
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In the current world of voice training, the physical, emotional and dramatic aspects of the singer’s art are undergoing a thorough re-examination. Musicals, opera, performance art, “popera” – all are placing increasing, and increasingly varied, demands on the voice, body, mind, and spirit of the singing actor. In this context, how do teachers in both the classroom and the studio prepare young performers? Playfair and Portman address this question with commentary on both the theory and practice associated with their development of an innovative training program at the Brandon School of Music that systematically integrating movement, text study, and acting technique with vocal instruction.
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Guo, Junyao, and Dickson K. W. Chiu. "Preliminary Study on Enhancing Students’ Sight Singing and Ear Training Abilities through the Integration of Kodaly Teaching Method and Chinese Folk Songs." SHS Web of Conferences 187 (2024): 02017. http://dx.doi.org/10.1051/shsconf/202418702017.
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This study examines the effectiveness of the Kodály teaching method in enhancing students’ sight singing and ear training abilities. The experimental design involves a controlled intervention study with high school music students randomly assigned to either a Kodály-inspired instruction group or a control group receiving conventional music education methods. Results indicate that the Kodály teaching method positively impacts pitch recognition, melody interpretation, and rhythm comprehension. The study contributes valuable insights to the field of music education and highlights the importance of a holistic approach to music learning. Implications for future research and practical applications are discussed.
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Baker, Vicki D., and Nicki Cohen. "University Vocal Training and Vocal Health of Music Educators and Music Therapists." Update: Applications of Research in Music Education 35, no. 3 (March 15, 2016): 46–54. http://dx.doi.org/10.1177/8755123316638517.
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The purpose of this study was to describe the university vocal training and vocal health of music educators and music therapists. The participants ( N = 426), music educators ( n = 351) and music therapists ( n = 75), completed a survey addressing demographics, vocal training, voice usage, and vocal health. Both groups reported singing at least 50% of the work day; moreover, music educators complained of vocal fatigue and hoarseness at the end of the week. Music educators expressed concern about their vocal health, due to the unique demands of music instruction and large classes. A majority of participants, particularly instrumental concentration majors, expressed a desire for more career-focused vocal training. Results suggest that additional university training in vocal health could help prevent vocal abuse and misuse among music educators and therapists; furthermore, music educators may be better qualified to promote healthy singing among developing voices.
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Panggabean, Hanna Maria, and Lika Silvia Batubara. "Utilizing a Karaoke App in Learning English Pronunciation: A Case Study of EFL College Students." International Journal of English and Applied Linguistics (IJEAL) 2, no. 1 (April 1, 2022): 103–11. http://dx.doi.org/10.47709/ijeal.v2i1.1432.
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The use of karaoke songs as an instrument to learn English pronunciation is considered to be an enjoyable learning method especially to enhance English as Foreign Language (EFL) students' pronunciation skills. In discourse activities, unclear pronunciation might affect the interpretation among peers which might lead to misunderstanding or miscommunication. Because the world is becoming more global, EFL college students as future generations will need to improve their English pronunciation to participate in future international meetings. As Smith (2003) stated, native speakers, tended to be concerned about pronunciation when having conversations with non-native speakers. To minimize misinterpretation, English pronunciation should be given higher attention in listening and speaking instruction. This study surveyed 30 EFL students' experience of learning pronunciation by utilizing a karaoke app, more specifically after listening to an English song and singing via 'Smule-Sing!' karaoke app. This study explained that the listening and singing activities through 'Smule-Sing!' karaoke app assisted EFL learners to produce clear pronunciation devices including word stress, rhythm, intonation, and sounds. However, there are some limitations regarding melody rate and unfamiliarity with the sounds which need to have further research. This study implies the English language and pedagogy to promote and facilitate autonomous learning strategy in EFL students' learning process.
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Kalinde, Bibian, and Dorette Vermeulen. "Fostering children’s music in the mother tongue in early childhood education: A case study in Zambia." South African Journal of Childhood Education 6, no. 1 (December 3, 2016): 9. http://dx.doi.org/10.4102/sajce.v6i1.493.
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The influence that the use of a familiar language has on learning has long been explored with suggestions that a child’s mother tongue is the most suited initial language of instruction in school. In Zambia, however, this is not the case as the majority of people think that young children should learn to speak in English as soon as possible because this is the language of education. As a result, songs in English dominate the singing repertoire in pre-schools even when children have not mastered sufficient English vocabulary. Singing songs in English, just as teaching children in a language they do not understand, has been shown to hamper learning. The theoretical lens of indigenous African education underpins the study in order to investigate how music in the mother tongue in a cultural context can foster educational aims. Research participants included an expert in Zambian indigenous children’s songs who also acted as resource person and led 18 children aged between 5 and 6 years in sessions of music in their mother tongue. The findings of the study revealed that educational implications of children’s participation in music in the mother tongue can be found in the way in which they are organised, the activities they involve and in the music elements that characterise them.
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Killian, Janice N., and John B. Wayman. "A Descriptive Study of Vocal Maturation Among Male Adolescent Vocalists and Instrumentalists." Journal of Research in Music Education 58, no. 1 (April 2010): 5–19. http://dx.doi.org/10.1177/0022429409359941.
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This descriptive study was designed to examine middle school adolescent boys’ singing voices ( N = 104) comprising volunteers enrolled in band ( n = 72) or choir ( n = 32). The authors sought to confirm possible earlier voice change, to compare vocal characteristics among frequent (choir) and infrequent (band) singers, and to determine use of falsetto during each voice stage. To assess falsetto, the authors had participants view and then imitate a segment of Shrek, in which characters speak in falsetto and bass. Students then spoke a line at high, medium, and low pitches. They then self-selected their highest and lowest singing pitches, sustaining them as long as possible. Following Cooksey procedures, the authors identified the boys’ speaking pitch and guided them to their highest and lowest pitches. Data consisted of demographic information; changing voice stages; high, medium, and low speaking contrasts; highest and lowest sung pitches (both self-selected and instructor-guided); number of seconds pitches were held; presence/absence of falsetto singing; and Likert-type responses to “Like singing?” and “Sing well?” Results confirmed that boys’ voices continue to change at an early age and can be divided reliably into predictable developmental stages and that speaking voices were 3 to 4 semitones above lowest sung pitches. Predictable identification of falsetto appeared elusive.
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Zhang, Yuan, Florence Baills, and Pilar Prieto. "Singing Songs Facilitates L2 Pronunciation and Vocabulary Learning: A Study with Chinese Adolescent ESL Learners." Languages 8, no. 3 (September 18, 2023): 219. http://dx.doi.org/10.3390/languages8030219.
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The present study assesses the effect of a three-session classroom-based training program involving singing songs with familiar melodies on second-language pronunciation and vocabulary learning. Ninety-five adolescent Chinese ESL learners (M = 14.04 years) were assigned to one of two groups. Participants learned the lyrics in English of three songs whose melodies were familiar to them either by singing or reciting the lyrics, following a native English singer/instructor. Before and after training, participants performed two vocabulary tasks (picture-naming and word meaning recall tasks) and two pronunciation tasks (word and sentence oral-reading tasks). The results revealed that although both groups showed gains in vocabulary and pronunciation after training, the singing group outperformed the speech group. These findings support the value of using songs with familiar melodies to teach second languages at the early stages of learning in an ESL classroom context.
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A., Veronica, Emmanuel O. A., and Samuel A. "Fostering Cognitive and Social Development through Music Instruction in Winneba Kindergarten Schools." British Journal of Education, Learning and Development Psychology 7, no. 2 (June 27, 2024): 192–201. http://dx.doi.org/10.52589/bjeldp-ocx6gfgw.
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Numerous scholarly inquiries have underscored the influential role of music in the educational and developmental journey of young children. Musical engagements have demonstrated a capacity to foster intellectual, social, and multifaceted personal growth, including the cultivation of foundational reading skills such as heightened aural discrimination of sounds and letters. This study presents an exploration of the impact of musical activities on the developmental trajectory of kindergarten children in the Winneba community, with a particular focus on their intellectual and social growth. Grounded in the qualitative paradigm, the research employed a case study design, utilizing interview, observation and Focus Group Discussion (FGD) for data collection from a purposive sample which comprised four (4) teachers and twenty (20) kindergarten children. The findings revealed that while the primary intention behind organizing musical activities in the kindergarten classroom was to infuse joy and energy, these endeavors unwittingly yielded significant positive impacts on intellectual, social, and personal developmental domains. It is anticipated that educators will adopt a more purposeful approach to music pedagogy, expanding beyond traditional singing and dancing activities to incorporate instrument playing and active listening practices.
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Meissner, Henrique. "Instrumental teachers’ instructional strategies for facilitating children’s learning of expressive music performance: An exploratory study." International Journal of Music Education 35, no. 1 (June 23, 2016): 118–35. http://dx.doi.org/10.1177/0255761416643850.
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This article presents findings from an action research project that investigated instrumental teachers’ strategies for facilitating children’s learning of expressive music performance. Nine teachers and 14 pupils (aged 9–15) participated in this project, which consisted of 10 weeks of teaching. At the beginning and end of this period pupils’ concerts were held and performances were audio-recorded. Participating teachers used various strategies for improving students’ expressive performance: teacher’s enquiry, discussion, explanation of expressive devices, gestures and movements, singing, imagery, modelling, “projected performance” and listening to own recordings. According to teachers these strategies had been useful in lessons. However, analysis of assessments of students’ performances did not show a significant improvement. Four out of five pupils who did improve their expressiveness were taught by teachers who used enquiry and discussion of musical character and instruction about modifying expressive devices. This project influenced the practice of participating tutors as they focused more on teaching expressive performance.
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Casas-Mas, Amalia, Guadalupe López-Íñiguez, Juan Ignacio Pozo, and Ignacio Montero. "Function of private singing in instrumental music learning: A multiple case study of self-regulation and embodiment." Musicae Scientiae 23, no. 4 (March 5, 2018): 442–64. http://dx.doi.org/10.1177/1029864918759593.
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The aim of this article is to explore a range of largely embodied vocalisations and sounds produced by learners of string instruments and how they relate to the potential self-regulatory use provided by such vocalisations. This type of “singing” while learning to play an instrument may have similarities to the use of private speech in other types of learning tasks. This report describes a multiple case study based on the naturalistic observation of learners playing string instruments in different situations. We observed private rehearsals by six adult guitarists from different music cultures (classical, flamenco and jazz) who had different approaches to learning (traditional and constructivist). In addition, we observed the one-to-one lessons of a constructivist cello teacher with a 7-year-old beginner and a 12-year-old student. All sessions were recorded. We applied the System for Analysing the Practice of Instrumental Lessons to the video lessons and/or practices and participant discourse for constant comparative analysis across all categories and participants. From the theoretical framework of private speech, we identified a set of qualities in private singing, such as whistling, humming, and guttural sounds, with different levels of audibility. Self-guidance and self-regulation appeared to be the functions underlying both psychomotor learning and reflective-emotional learning from an embodiment approach. Guitar learners from popular urban cultures seemed to use less explicit singing expression than classical guitar learners, the explicitness of which may be related to the instructional use of the notational system. In the one-to-one cello lessons, we observed a process of increasing internalisation from the younger to the older student. Both results are consistent with the literature on private speech, indicating that this process is a natural process of internalisation at higher literacy levels. Singing is not as frequent in music lessons as might be expected, and it is even less frequently used as a reflective tool or understood as an embodied process. The examples provided in this article shed light on the multiplicity of applications and on the potential benefits of private singing in instructional contexts as a powerful learning tool.
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Brendell, Janna K. "Time Use, Rehearsal Activity, and Student Off-Task Behavior during the Initial Minutes of High School Choral Rehearsals." Journal of Research in Music Education 44, no. 1 (April 1996): 6–14. http://dx.doi.org/10.2307/3345409.
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In this study, the use of rehearsal time during the initial minutes (i.e., the warm-up time) of 33 high school choral rehearsals was examined. Student attentiveness was also investigated during initial rehearsal activities. Trained observers used interval observation techniques in collecting attentiveness, rehearsal activity, and time usage data. Interobserver agreement averaged .93 for off-task, .88 for activity coding, and .85 for rehearsal timing. Conductors averaged 43.45 elapsed seconds prior to the first verbal statement to begin and 14 minutes 19 seconds prior to rehearsal of literature. Time allotted to rehearsal activities was the following: sight-reading, 22.23%; vocal warm-up, 9.63%; getting ready, 6.75%; physical warm-up, 3.37%; literature instruction, 1.84%; and other activity, 1.46%. Off-task percentages were: getting ready, 26.14%; physical warm-up, 18.48%; other, 16.53%; literature instruction, 16.27%; vocal warm-up, 15.07%; and sight-reading, 9.22%. Results indicated that the highest percentages of off-task behavior occurred during activities requiring less singing and active participation. Off-task behavior seemed to be a function of the nature of the activity.
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Gruenhagen, Lisa M., and Rachel Whitcomb. "Improvisational Practices in Elementary General Music Classrooms." Journal of Research in Music Education 61, no. 4 (November 25, 2013): 379–95. http://dx.doi.org/10.1177/0022429413508586.
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Despite historic and ongoing support for the inclusion of improvisation in the elementary general music curriculum, music educators consistently report challenges with implementation of improvisational activities in their classes. This study was designed to examine (a) the extent to which improvisational activities were occurring in the participants’ elementary general music classrooms, (b) the nature of these improvisational activities, and (c) participants’ perceptions of the quality of their students’ improvisations. The most common improvisational activities reported by these teachers were question-and-answer singing, improvising on unpitched and pitched percussion instruments, and improvising rhythmic patterns using instruments. Analysis of their reflections on these activities revealed three broad themes: (a) process, practice, and experience, (b) sequencing, scaffolding, and modeling in instruction; and (c) collaboration, reflection, and creation. These teachers stated they were most interested in the quality of the improvisational process rather than with the product and indicated that sequencing was crucial in the instruction of improvisation. While some put less importance and priority on improvisation, the majority perceived it as necessary to the development of students’ musical skills, as an important way for students to show musical understanding, and as an empowering creative process that produces independent thinkers and musicians.
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Ruismäki, Heikki, and Tarja Tereska. "Students' assessments of music learning experiences from kindergarten to university." British Journal of Music Education 25, no. 1 (March 2008): 23–39. http://dx.doi.org/10.1017/s026505170700770x.
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This article reports on a retrospective study of Finnish pre-service elementary teachers' assessments of their musical experiences in nursery school and elementary and secondary school and real-time study of their experiences in teacher training. The participants (N = 590) had received musical instruction in five age groups (4–6 years, 7–12 years, 13–15 years, 16–19 years, 20–25 years). The assessments were most positive in the 4–6 years group and thereafter declined until puberty in the 13–15 years group. A change in a positive direction was perceived in the 16–19 years group and also in the 20–25 years group (during teacher training). Gender differences were statistically significant except during upper secondary school. The most enjoyable activities in formal music education were singing and playing; music theory was experienced most negatively.
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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 (February 13, 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 following a period of no practice. A factor analysis explained 62% of the variance across 13 variables, revealing correlated factors of Music Ability, Reading Ability, and Academic Ability. Regression analyses with individual variables as predictors indicated that significant variance in sight-singing achievement beyond that explained by pitch matching ability could be explained by reading comprehension ability. Similar results were found with both sight-singing tests. Findings are discussed in relation to Patel’s shared syntactic integration resource hypothesis and the need to advocate for music education programs.
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Ngobeni, Nyiko Condry. "Investigating Virtual Teaching Experiences: Perspectives of Undergraduate Student Teachers in Singing and Choral Techniques." International Journal of Learning, Teaching and Educational Research 23, no. 2 (February 28, 2024): 184–202. http://dx.doi.org/10.26803/ijlter.23.2.9.
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The COVID-19 pandemic has prompted a widespread shift toward virtual learning across various educational domains, significantly impacting music instruction. This qualitative study, conducted at a university in the Eastern Cape Province, delved into the experiences of third-year undergraduate music students enrolled in the "Singing and Choral Techniques" module. Guided by the Technology Acceptance Model (TAM) and Constructivist Learning Theory, the research employed thematic analysis on in-depth interviews with 30 purposefully sampled students, revealing intricate dynamics related to technology, collaboration, student engagement, and motivational factors. Findings not only illuminate the challenges faced by students but also present innovative strategies aimed at elevating the quality of online teaching. Key motivational factors, including effective time management and interactive teaching methods, emerged as crucial elements for fostering meaningful online learning experiences. These insights are paramount for educators and policymakers, shaping the trajectory of online music education. The study emphasised the importance of strategic investments in technology, the creation of collaborative environments, targeted student support, and specialised training for educators. Policymakers can leverage these insights to formulate inclusive policies and initiatives that enhance the quality of virtual music education. Serving as a guiding compass for music education in the digital age, this research not only highlighted hurdles encountered but also unveiled innovative solutions, thus contributing significantly to the evolving landscape of online music education.
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Rahardi Thursdila, Diovani, and Esy Maestro. "PENGARUH KEGIATAN EKSTRAKURIKULER PADUAN SUARA TERHADAP HASIL BELAJAR SENI BUDAYA (BERNYANYI LAGU DAERAH) DI SMP NEGERI 10 PADANG." Jurnal Sendratasik 9, no. 3 (September 15, 2020): 29. http://dx.doi.org/10.24036/jsu.v9i1.109392.
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Abstract This study aims to determine whether choir extracurricular activities affect student learning outcomes. This research is a quantitative research with correlation method. Theories used are about extracurricular, choir, learning and instruction, learning outcomes, andCulture and Arts.The data supporting this study sourced from primary data and secondary data. The results show that there is a significant relationship between extracurricular activities and the learning outcomesof singing folk songs. Based on the calculation of simple correlation test, it shows that r count> r table (0.853> 0.831). Thus, it can be concluded that the relationship is positive and can be continued with a significant test. Significant test is sought by using the t test. The resultgot istcount>ttable (7.004> 1.907). This value gives a conclusion that there is a positive and significant relationship between the choir extracurricular activities (X) on the learning outcomes of arts and culture (Y) at SMP N 10 Padang.Keywords: Extracurricular, Choir, Learning Outcomes, Culture and Arts
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Jo, Eun-Sook. "2022 Revised Music Curriculum-based Elementary Music Textbook Exploration of the direction of Korean Traditional Music Curriculum." Korean Society of Music Education Technology 59 (April 16, 2024): 169–98. http://dx.doi.org/10.30832/jmes.2024.59.169.
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The purpose of this study is to compare and review the characteristics of the 2015 and 2022 revised music curriculum, analyze the contents of Korean traditional music instruction in eight elementary music textbooks in the 3rd and 6th grades reflecting the 2015 revised music curriculum, and propose a direction for writing Korean traditional music textbooks based on the 2022 revised music curriculum. The results of the study are summarized as follows. First, the content system of the 2015 revised music curriculum consisted of three areas: expression, appreciation, and daily life, and the expression area was mainly composed of singing, performing, and creative activities. Focusing on the explicit and independent form of Korean traditional music instruction in elementary music textbooks, it was classified and reviewed into factors such as the number of units(sanction songs) for each area, sub-areas according to the activity content, the number of programming pages, the time difference, and the organization rate. As a result, the contents of Korean traditional music instruction in 8 types of elementary music textbooks were, on average, linked to activities in 8 to 9 units(sanction songs) in the expression area and various sub-areas, a total of 16 to 20 pages, a total of 16 to 20 sessions, around 25%; linked activities in 2 to 3 units(sanction songs) in the appreciation area and various sub-areas, a total of 5 sessions, around 7%; linked activities in one unit(sanction songs) in the daily life area and several sub-areas, a total of 1 to 2 pages, a total of 1st sessions, less than 1 to 5%. On the other hand, it was found that within the same textbook, the organization rate by area showed a rather large variation by grade group. Second, the 2022 revised music curriculum was designed in three areas: performance, appreciation, and creation, unlike the previous curriculum. Accordingly, the direction of organizing the Korean traditional music instruction contents of elementary music textbooks to be developed in the future should be linked to the expansion of performance activities centered on differentiated singing and instrumental music, the presentation of continuous appreciation activities, and the implementation of reinforcement of differentiated and independent creative activities. In addition, based on explicit and independent units, the 2022 revised elementary music textbook Korean traditional music instruction content should be at least 27 sessions and at least 40% of the organization rate in all music textbooks. Specifically, six to eight units(sanctioned songs) in the performance(singular and instrumental music) area, a total of 15 sessions or more, 22% or more; two to three units in the appreciation area, a total of six sessions or more, 9% or more in the organization rate; two to three units in the creative area, a total of six sessions or more; a ratio of 3:1:1 in the three areas of performance, appreciation and creation; It is suggested that the organization rate be arranged in a balanced manner so that the deviation of the organization rate by area is not too large by grade group. However, it should be noted that the number of units(sanction songs) can be added or subtracted depending on the autonomy of the publisher's writers, and various activities such as body expression and play should be designed to be integrated with the main area's activities. The total organization rate increases further because the contents of Korean traditional music are integrated and organized through Western music, multicultural music, concerts, and unit arrangements.
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Dendane, Zoubir. "Dialectal Arabic, MSA and Formal Education in Algeria." Traduction et Langues 14, no. 1 (August 31, 2015): 100–107. http://dx.doi.org/10.52919/translang.v14i1.798.
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The present paper addresses issues related to the effect that the abrupt shift from the mother tongue to the school language impacts on the quality of Algerian children’s formal instruction and the difficulties they face in primary school. The diglossic character of today’s Arabic appears to be problematic as it hampers the intellectual progress and the cognitive development of the child. To clarify the point, the study compares the intellectual development that the Algerian learner goes through with that of English or French children who are not faced with the same difficulties at school as their respective native tongues are not very distant from the standard forms. A number of 3 to 5-year-old children were observed in a kindergarten where they got progressively acquainted with Standard Arabic, particularly in its spoken form, while playing, singing and drawing. This early immersion proved to be of valuable assistance for their academic achievement when they reached school age.
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Watanabe, Naomi. "Phonology-Based Instruction for Pre-Literacy Japanese Elementary Students." JALT Postconference Publication - Issue 2020.1; August 2021 2020, no. 1 (August 1, 2021): 98. http://dx.doi.org/10.37546/jaltpcp2020-13.
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This study investigated the following three points regarding the effectiveness of phonology-based instruction on Japanese elementary school students. (1) Does phonology-based instruction have positive effects on improving phonological awareness in Japanese elementary school students?; (2) To what extent does phonology-based instruction enhance letter knowledge in Japanese elementary school students?; and (3) Does phonology-based instruction motivate Japanese elementary school students to learn English? Twenty-nine fourth graders in a public elementary school received phonology-based instruction, such as reciting and singing along with nursery rhymes, detecting rhymes or initial phonemes, and counting syllables. These activities took place during weekly 15-minute modules in English classes. Additionally, letter activities were conducted in English and other subjects to help develop phonological awareness. Study results suggested that phonology-based instruction was effective in improving students’ phonological awareness and attitudes to learn English. 本研究は、日本の小学生に対する音韻指導の有効性について、以下の3点について調べたものである。(1) 日本の小学生の音韻認識の向上にプラスの効果があるか。(2) 日本の小学生の文字知識をどの程度向上させるか。(3) 日本の小学生が英語を学ぶことへの動機付けとなるか。参加者は、公立小学校の4年生29名で、ナーサリーライムの暗唱や歌唱、脚韻や最初の音素の気付き、音節の数などの音韻指導を受けた。これらの活動は、毎週の英語の授業で15分の帯活動で実施され、さらに、音韻認識の発達を促進するために英語および他の教科で文字の活動が行われた。結果として音韻指導が小学生の音韻認識と英語学習に対する態度を向上するのに効果的であることが示唆された。
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Glindemann, Helen Rae. "A Tale of Two Teaching Styles: A multi-genre singer's experience of music theatre and classical voice lessons." Australian Voice 22 (2021): 1–8. http://dx.doi.org/10.56307/hpoz5879.
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In order to meet the demands of the modern music industry, singers are expected to be able to perform across a wide range of singing styles (Bartlett, 2019; Rosenberg, 2016). Despite the growing acceptance of “contemporary commercial music” (CCM) and associated style-based pedagogies, there are limited training options for singers seeking to perform across a range of genres (Bourne & Kenny, 2016; Meyer & Edwards, 2014). As a practising multi-genre singer and teacher, I have experienced first-hand the challenges of performing and teaching across a spectrum of styles. My doctoral studies have focused my thinking on existing, genre-based teaching practices and how these might be synthesised to support multi-genre singers and teachers. This paper highlights preliminary findings from an artistic research project centred around an autoethnographic case study of genre-based teaching practices. Data were collected via journaling of video-recorded singing lessons, semi-structured interviews with participant singing teachers, instrumental and perceptual testing, pre and post data collection, and stroboscopic imagery collected via clinical visits with a medical specialist (ENT). The coding of the data set highlighted common themes including pedagogic tools and instructional language used by teachers, while pre and post measurements helped to evaluate possible vocal health impacts for performers.
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Liao, Mei-Ying, and Jane W. Davidson. "The effects of gesture and movement training on the intonation of children’s singing in vocal warm-up sessions." International Journal of Music Education 34, no. 1 (November 23, 2015): 4–18. http://dx.doi.org/10.1177/0255761415614798.
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The main purpose of the current study was to examine the effects of gesture and movement training for beginning children’s choirs with regard to improving intonation. It was a between-subjects design with one independent variable Training Technique (TT). One dependent variable was measured: intonation in the singing of vocal pattern warm-up exercises. Fifty-three fifth grade students (10–11 years old) participated in the empirical investigation. They were randomly assigned into three training groups: (1) Group 1— students who received no gesture and movement training; (2) Group 2— students who received gesture training; and (3) Group 3— students who received gesture and movement training. The instructional unit, consisting of two 40-minute sessions per week for 24 sessions, focused on vocal development. Each individual was pretested and posttested on singing 5 vocal patterns, selected from some 20 learned in the sessions. Three experts were asked to judge the children’s individual singing of these patterns, assessing intonation. Results showed that the children who received gesture and/or movement training sang significantly more in tune than those who did not. It was concluded that gesture training has a positive effect on improving children’s intonation. Furthermore, the combination of gesture and movement training could be a powerful teaching strategy in choral rehearsals.
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Kaushnian, Y. M. "On the Model of “National” and “International” Style (Illustrated by vocalises of S. Pavliuchenko, M. Zavalyshyna, O. and R. Voronin)." Aspects of Historical Musicology 13, no. 13 (September 15, 2018): 141–53. http://dx.doi.org/10.34064/khnum2-13.11.
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Background. Ukrainian vocal pedagogy represents almost all types of instructive vocalises, which take into account both the specifi c features of the national vocal school and the individual style of authors and originators (both composers and performers). The aspect of national stylistic extends to such a component of vocal style as pedagogy. The national-specifi c features manifest themselves, fi rst of all, in the tone of material used to teach singers. The aspect of the musical Ukrainian “linguistics” in the modern language situation is associated with a certain type and the national form of language/speech. Dialogue of languages in the form of traditions and national musical lexicon is represented in Ukrainian vocalise, even in its instructional variants. After all, vocalization, which lays in the beginning of an academic singer teaching, plays one of the leading roles in understanding the art of solo singing. Such a teaching is based on the corresponding vocal exercises and more or less completed samples that came to vocal pedagogy from the traditions of academic and folklore practice, both world and the national one. It is obvious that there is no need to draw a direct parallel between the artistic samples of the national vocal music and training in their performance based exclusively on Ukrainian vocalises. It is only about the fact that the variety of methods for the voice training and development also includes a mandatory national-specifi c component, which is developed through the national vocal school practice and is based primarily on the embodiment of folk tones in vocalization interpreted in the curriculum. Therefore, the creators of Ukrainian instructive vocalises, focusing on substantial intonation, combine it with the singing techniques arising out of Italian bel canto. At the same time, a number of methodological and methodical issues related to Ukrainian vocalises require further coverage. The question of Ukrainian vocalise in two of its varieties – instructive and artistic – has not been almost studied which is an important aspect of the relevance of the paper. Thus, the relevance of the paper is determined by the following reasons: - the signifi cant value of vocalise in the practice of vocal art; - the need to fi ll a gap in studying the genre of vocalise based on samples created by Ukrainian authors. The aim of the study is to determine the specifi city of vocalise in Ukrainian vocal art, as well as related vocal-intonational exercises in the practice of Ukrainian vocal schools. The object of research is vocalise in Ukrainian vocal art. The subject of the study is its varieties and stylistic features in the Ukrainian vocal school. The material of the study consisted of samples of various types of vocalises and related vocal-intonational exercises in Ukrainian vocal literature: collections by M. Zavalyshina, S. Pavlyuchenko, О. Voronin and R. Voronina. One can distinguish another characteristic feature common to Italian and Ukrainian vocal stylistics, which is spoken by many Ukrainian vocal pedagogues, including representatives of the Kharkov Vocal School: P. Golubev, M. Mykhailov, L. Tsurcan, N. Grebenyuk, T. Madysheva. The matter is that in their genre specifi city, vocalises always refl ect the peculiarities of vocal music with the text, where the national language imposes its imprint on melody and rhythm, as well as on harmony (Harmony of Solo Singing by B. Filts). The Ukrainian “nightingale language”, characterized by the fl uidity of the transitions from word to word, the special role of vowels being singed, emotionality in the intonational rise of words, is close in many respects to the Italian, in which the same features are presented. Therefore, the presence of these two linguistic principles, which, although presented in non-verbal forms, through vocalization, is always felt in Ukrainian vocalises, refer both to instructional and artistic samples. The multidimensional nature of the tasks facing pedagogues and students in instructive vocalises is refl ected in certain specializations on which certain collections and selections are being created. Vocalises are an international genre, in which for several centuries of its exis tence, various musical and linguistic sources and techniques of singing, coming from them, were assimilated. In the vocalises, referring to different national schools, not only “our own” musical and mental features, coming from national folklore and professional creativity, but also “strangers”, come from the sources of foreign style (far, near, own; “theywe- you”, if you recall the triads of Е. Nazaikinsky). Relevant material is needed to develop multi-ethnic stylistics in the genre of vocalise. Teachers of vocalise widely use folk songs arrangements. The practice of such arrangements forms the basis for the creation of a national musical language, and the interest of composers-arrangers in other peoples’ songs helps extend such a language base. It is known that the national vocal school style acts as a general aesthetic phenomenon and is refl ected in all spheres of vocal art. This is about the vocal style of national authors, which is closely related to the peculiarities of verbal language (“music” and “word” as a key problem of vocal tone), as well as the refl ection of such a style in performing art, where syntheses of foreign national traditions and indigenous aspects of singing related to the national culture. The national specifi c features of instructive vocalises should be considered. One should not forget that this genre is traditional in nature and dates back to classical singing schools, especially to the Italian ones.
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Paney, Andrew S., and Nathan O. Buonviri. "Teaching Melodic Dictation in Advanced Placement Music Theory." Journal of Research in Music Education 61, no. 4 (November 20, 2013): 396–414. http://dx.doi.org/10.1177/0022429413508411.
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In this study approaches to teaching melodic dictation skills used by Advanced Placement (AP) Music Theory teachers were examined. Twelve high school teachers from four states were interviewed. Four themes emerged from the interview transcripts: cognitive frameworks, processing strategies, rhythm, and course design. Participants generally confirmed established understandings of aural skills pedagogy, particularly in areas of pattern instruction, connecting aural and written theory, connecting sight-singing and dictation, incorporating scale degree function, targeting melodic “bookends,” focusing on the big picture, sequencing curricula, and incorporating familiar melodies. Unique to the findings of this study were participants’ positive attitudes toward a standardized test and their concern for the students’ psychological barriers inherent in learning aural skills. A general indifference to rhythm counting systems and a common acknowledgment of students’ difficulties with rhythmic notation also were found. Recommendations for further research include a large-scale survey of melodic dictation strategies taught by AP Music Theory teachers, empirical investigation of the efficacy of specific counting systems, comparison of students’ reported dictation strategies and their success with dictation on the AP exam, and exploration of the influence of psychological fortitude on the dictation process.
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Firgina Aura, Fanny, and Jagar Lumbantoruan. "PELAKSANAAN BINA VOKALIA DI SANGGAR PARINTANG BUKITTINGGI." Jurnal Sendratasik 9, no. 3 (September 15, 2020): 9. http://dx.doi.org/10.24036/jsu.v9i1.109437.
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Abstract This study aims to reveal the phenomena related to vocalia building at Parintang Studio Bukittinggi. These phenomena include sound production techniques, breathing, resonance, intonation, articulation, phrasering, and expression.This study uses a qualitative approach with the object of research was vocalia building at Parintang Studio Bukittinggi. The types of data used were primary and secondary data. The data were collected through literature study, observation, interviews, and documentation. The data analysis was conducted by identifying data, classifying data, clarifying data, analyzing data, describing / explaining data, and concluding.The results of the implementation of vocalia building in Parintang Studio are as follows. The training process at Parintang Studio is doing warming up as basic vocal technique exercise. It includes breathing exercises which are useful for regulating the right breath when singing, resonance exerciseswhich are useful for widening the range of sound, articulation exerciseswhich are useful for clarifying the pronunciation of words, intonation exercises which are useful for improving the ability to read tones, phrasering exerciseswhich are useful for keeping sentences intact, and expression exercises which are useful for expressing the meaning or atmosphere of a song sung. All vocal technique exercises are taught so that students can improve voice processing skills in singing. The obstacle found in the vocational training at Parintang studio is that there are still some student’s voices that are false and not in line with the tempo in singing. The students also do not have confidence. Repeating exercises is the solution made by the instructor to deal with students’ difficulties.Keywords: Studio, Vocalia Building, Parintang.
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Choi, Euna. "A study on the instructional design plan for developing musical literacy." Korean Society of Music Education Technology 31 (April 16, 2017): 61–77. http://dx.doi.org/10.30832/jems.2017.31.61.
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Musical literacy can be defined as the ability to read and write music as well as comprehend the concepts of music. It is the foundation of learning and enjoying music independently and more deeply throughout a student’s life. As such, it should be taught during public school. It is especially important to teach musical literacy systematically in the stage of elementary school. Unfortunately, it tends to be neglected in current music classes, while more entertaining musical activities are emphasized. This problem is partially caused by the notion that learning musical concepts is an unnecessary detail when compared with the enjoyment of singing and playing. Kodály’s instructional process contains remarkably relevant proposals for this situation. The process consists of three stages: preparation, presentation, and practice. For students to grasp these, teachers must intentionally integrate complexities of structure and style into their lesson planning. The process underscores the essential connection among the three stages, and provides a method for presenting deeper ideas to students without detracting from their enjoyment of music class. Therefore, the purpose of this study is to examine the instructional design plan for developing musical literacy on the basis of Kodály’s instructional process, and exemplify the instructional design focusing on the 3rd grade in elementary school.
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Sims, Wendy L. "Children's Ability to Demonstrate Music Concept Discriminations in Listening and Singing." Journal of Research in Music Education 43, no. 3 (October 1995): 204–21. http://dx.doi.org/10.2307/3345636.
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This study examined the relationship of grade level to children s ability to make musical discriminations when elements are presented simultaneously. Children enrolled in first through fifth grade were subjects for this study (N = 669). A listening test designed to assess the subjects' ability to discriminate and label contrasting musical characteristics related to tempo and articulation within single- and double-discrimination contexts was administered following a brief instructional period. A smaller sample of children (n = 60) then completed a singing task in which they were required to perform a familiar song to demonstrate varied combinations of the two musical elements. Results of the listening test indicated significant main effects for grade, characteristic, and type of discrimination, with significant interactions. Subjects were significantly more successful with single discriminations than double discriminations, and mean scores for tempo were significantly higher than for articulation, particularly under the double discrimination condition. When singing subjects demonstrated contrasting tempi and smooth articulation but had difficulty with choppy articulation, both in single-element as well as combined-element examples.
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Chong, Angela A. "Elusive Kodály, Part II: The Hungarian Foundations of the Baby-Toddler Music Industry in the US." Hungarian Cultural Studies 15 (July 19, 2022): 45–61. http://dx.doi.org/10.5195/ahea.2022.464.
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This article is the second part of a study investigating how Hungarians have influenced early childhood music education in the United States. In Part One, Chong documented the lesser-known histories of four Hungarian and American female scholar-educators who promoted the early childhood concepts at the heart of Zoltán Kodály's approach to music education. In this study, she traces Kodály’s footprints to private, stand-alone baby-toddler music classes in the US. In the 2000’s, baby-toddler music enrichment exploded in popularity as the children’s activity industry became one of the fastest growing sectors of the US market. Only a handful of local programs are explicitly Kodály-based, such as Sing, Play, Move!, at Holy Names University’s Kodály Center. Chong’s search in the Los Angeles area for quality Kodály instruction for her toddlers led to highly lucrative major US providers of baby-toddler music such as Music Together and Kindermusik. These programs share Kodály pedagogical practices, such as that of singing folk music in the children’s mother tongue, but map histories without reference to Hungary and attribute their approaches to American men not known as Kodály protégés. This paper explores whether the impressive profits and musical excellence of these programs can rightly be attributed to Kodály.
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Breslavets, Halyna, Halyna Shpak, Alla Khomenko, Lydmyla Bakalo, Viktoriia Osypenko, and Oleg Dziuba. "Distance Vocal Training in the Postmodern Period." Revista Romaneasca pentru Educatie Multidimensionala 15, no. 2 (April 10, 2023): 440–55. http://dx.doi.org/10.18662/rrem/15.2/743.
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The relevance of the article lies in the fact that in the 21st century the distance learning of vocal arts is becoming increasingly important in the postmodern period. The article characterizes the role and importance of educational innovations in the development of music education during distance learning. The author indicates the most important tasks, the solution of which involves the use of educational innovations during distance learning vocal art in the postmodern period. Along with this, such main directions of innovation activities as the formation of new content of the educational process, assimilation of new pedagogical technologies, and the creation of new varieties of educational institutions are influencing. The topic of the article is relevant in the international context, since examples of relevant innovations at the university level consider a "universal" approach to teaching vocal methodology (with coverage of "child" and "adult" periods as interrelated components), the use of media technologies to find professional information, the study of priority aspects of singing in distance vocal training in the postmodern period.
The article presents innovations in vocal arts distance learning in the postmodern era; the use of innovations in vocal arts instruction; the renewal of present-day vocal arts institutions in the postmodern era: the vocal arts distance learning process in the twenty-first century.
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Nechesnyi, Ihor. "Formation of Basson Classes at the Paris Conservatory." Часопис Національної музичної академії України ім.П.І.Чайковського, no. 3(60) (September 27, 2023): 98–111. http://dx.doi.org/10.31318/2414-052x.3(60).2023.296802.
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The object of the study was the origins and initial period of the formation of bassoon classes at the Paris Conservatory. The author analyzed the early stages of the training process involved in the French bassoon school. The role of maîtrise and military bands in the instruction of bassoon performers before the beginning of the revolutionary events in 1789 was revealed. The study exposed the influence of the church music-educational system on the professionalization of secular instrumental and vocal performance, as well as its importance in the creative development of prominent French bassoonists who were formed in the second half of the 18th and early 19th centuries. The author investigated the essence of the ideological and political factors of the French Revolution in the creation of a new democratic system that began to exist in professional musical education, which guaranteed its accessibility to the general population and free education on a competitive basis. The article provides a chronology of the beginning and development of bassoon classes on the path of professionalization of performance on wind instruments at the National Guard Music School, the National Institute of Music and the Paris Conservatory. The peculiarities of the implementation of the competitive system of professional training of instrumentalists, as well as the formation of didactic materials to ensure the educational process at the Paris Conservatory became the basis for further artistic education. This fact was carefully analyzed and became the basis for the conclusions of the article. The innovative guide of E. Ozi "School of Playing the Bassoon", was regarded as one of the first complete instructional materials for the bassoon. It was officially approved as a study guide for mastering the instrument, became a powerful impetus for the development of the conservatory students’ performance skills. The author emphasized and defined the role of E. Ozi in the creation of bassoon classes at the Paris Conservatory, as well as in the founding of the French performing school. It has been proven that an important factor in the development of French bassoon performance in the second half of the 18th century was the inclusion of the bassoon in the training programs of metris and its use in church ensembles to accompany choral singing during divine services
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Ahmed, Mohamed Mohi El-Din, and Fardous Ahmed Mohamed Gad. "Arabic Language Teaching in Arabic Preparatory Schools." Tanwir Arabiyyah: Arabic As Foreign Language Journal 4, no. 1 (June 22, 2024): 1–22. http://dx.doi.org/10.31869/aflj.v4i1.5457.
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This study aims to highlight, describe and analyse the experiment conducted at the Arabic Preparatory School for Girls in Bandar Seri Begawan (SPABSB) and explore how it can be utilised to improve the teaching of Arabic to non-Arabic speakers. The Arabic school in Brunei seeks to leverage modern theories and methods of language teaching. The school established a committee to oversee all aspects related to the Arabic language. This committee aims to enhance Arabic language instruction by mandating that all teachers of Arabic language and religious studies, as well as students, communicate in Arabic. They additionally translated posters and publications into Arabic, while arranging professional development events to educate teachers on language teaching theories and methods. They develop class activity books and materials for extensive Arabic practice both inside and outside the classroom. Furthermore, they organise various intensive learning activities to promote Arabic language usage, such as competitions encompassing plays, speeches, group presentations, calligraphy, and singing in Arabic. They also initiated numerous activities aimed at teaching Arabic culture, including Arabic festivals, expeditions, Arabic Week, and open days. The school encourages the use of Arabic language in all activities and events. This study found that the approach adopted by the (SPABSB) serves as a valid model for other newly established schools. It emphasises a balance between extracurricular activities organised by the administration and academic pursuits within the classroom. It suggests the integration of Arabic language use both inside and outside the classroom, highlighting that traditional classroom teaching alone may not suffice to enhance Arabic language proficiency and develop students' skills