Effects of Contextual Sight-Singing and Aural Skills Training on Error-Detection Abilities

1998 ◽  
Vol 46 (3) ◽  
pp. 384-395 ◽  
Author(s):  
Deborah A. Sheldon
Keyword(s):  
Error Detection ◽  
Skills Training ◽  
Aural Skills ◽  
Sight Singing

Pedagogy of Aural Skills

2020 ◽  
pp. 190-227
Author(s):  
Jennifer Snodgrass
Keyword(s):  
Error Detection ◽  
Effective Teachers ◽  
Musical Experience ◽  
Aural Skills ◽  
Sight Singing ◽  
Music Making ◽  
Creative Music ◽  
Academic Class ◽  
Musical Literacy ◽  
Creative Music Making

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

Practical Tools and Strategies for Assessing Aural Skills

2019 ◽  
pp. 678-700
Author(s):  
Nathan Buonviri
Keyword(s):  
Teacher Preparation ◽  
Error Detection ◽  
Music Teachers ◽  
Aural Skills ◽  
Sight Singing ◽  
Music Curriculum ◽  
Relevant Research ◽  
Educational Levels ◽  
Technological Tools ◽  
School Music

This chapter focuses on assessment of three aural skills: sight-singing, dictation, and error detection. Relevant research is synthesized to offer numerous examples of how aural skills assessments can be created and conducted at all educational levels prior to university study, and recommendations for filling several gaps in aural skills instruction and assessment are provided. Issues and challenges in aural skills instruction are addressed, including teacher preparation and confidence, use of technological tools, and “teaching to the test.” The chapter closes with these recommendations: School music teachers should incorporate aural skills practice and assessment into multiple musical course offerings; infuse instruction and assessment with relevant musical material; begin aural skills instruction early in the music curriculum; and incorporate technological tools into instruction for assessment purposes when appropriate.

Cognitive strategies in sight-singing: The development of an inventory for aural skills pedagogy

2017 ◽  
Vol 47 (2) ◽  
pp. 270-283 ◽  
Author(s):  
Guillaume Fournier ◽  
Maria Teresa Moreno Sala ◽  
Francis Dubé ◽  
Susan O’Neill
Keyword(s):  
Time Management ◽  
Comparative Method ◽  
Self Regulation ◽  
Cognitive Strategies ◽  
Aural Skills ◽  
Skills Acquisition ◽  
Sight Singing ◽  
Scientific Publications ◽  
Constant Comparative Method ◽  
Skills Education

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), reading skills acquisition (musical vocabulary enrichment, symbolic associations, internalization, rehearsal techniques) and learning support (self-regulation, attention, time management, motivation, stress). Our cognitive strategy inventory provides a new framework for the study of cognitive strategies in aural skills research, and offers new insights for teachers who implement explicit cognitive strategies within their sight-singing pedagogy.

scholarly journals Iconography, Nomenclature, and Sound: Building a Musical Database

2020 ◽  
Vol 7 ◽  
Author(s):  
Cynthia I. Gonzales
Keyword(s):  
Visual Representation ◽  
Curricular Reform ◽  
Aural Skills ◽  
Sight Singing ◽  
Musical Sound ◽  
The Third ◽  
Human Touch ◽  
Music Iconography ◽  
Human Eyes ◽  
Labeling System

Musicians who possess functional sight singing and dictation skills have unified into a single entity three discrete bodies of knowledge about music: iconography, nomenclature, and sound. Iconography refers to the visual representation of music. By nomenclature, I mean any labeling system for pitch, rhythm, and harmony. The third component—musical sound—is abstract, being invisible to human eyes and intangible to human touch. In this essay, I suggest approaches to unifying iconography, nomenclature, and sound into a "musical database," as well as propose a curricular reform in which aural skills precedes courses in written theory.

scholarly journals Taking Aural Skills Beyond Sight Singing and Dictation

2020 ◽  
Vol 7 ◽  
Author(s):  
Timothy K. Chenette
Keyword(s):  
Aural Skills ◽  
Sight Singing

In this article, I address the issue of stratification between high- and low-performing students in aural skills classes, proposing that this situation may be in part a result of the rigidity of standard curricula. If we go beyond our focus on sight singing and dictation, our low-performing students may be able to demonstrate other strengths, and all students will learn to apply their skills to a greater variety of situations. I propose two methods of diversification: focusing on the diverse skills that underly these dominant tasks, and embracing a wider view of tasks and skills relevant to the aural experience of music. Finally, I suggest methods of assessing and integrating these more diverse skills into our curricula.

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

2020 ◽  
pp. 030573562096431
Author(s):  
Guillaume Fournier ◽  
Susan O’Neill ◽  
Maria Teresa Moreno Sala
Keyword(s):  
Q Methodology ◽  
Musical Training ◽  
Strategy Instruction ◽  
Approaches To Learning ◽  
Skills Training ◽  
Educational Expectations ◽  
Music Students ◽  
College Level ◽  
Sight Singing ◽  
Wide Range

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

Improving Students’ Aural Skills on the AP Music Theory Exam

2021 ◽  
Vol 107 (3) ◽  
pp. 47-53
Author(s):  
Alyssa Grey
Keyword(s):  
Music Theory ◽  
Aural Skills ◽  
Sight Singing ◽  
Practical Applications ◽  
The Past ◽  
Melodic Dictation

In the past six years, more than 40,000 students have failed the AP Music Theory Exam. Students have struggled especially when sight-singing or taking melodic dictation in compound meter and minor tonality. Research has shown that students can improve these specific aural skills through learning pitch and rhythm patterns, improvisation activities, and learning from musical literature. This article includes research-based practical applications for helping students improve their aural skills for the AP Music Theory Exam.

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