Research on the Effect and Influence of Solfeggio on Vocal Music Skills

2020 ◽  
Vol 1 (1) ◽  
pp. 22-26
Author(s):  
Jiangtao TU
Keyword(s):  
Author(s):  
Chenchen Liu ◽  
Ping Wan ◽  
Yun-Fang Tu ◽  
Kai Chen ◽  
Youmei Wang

Peer assessment has been regarded as an effective learning strategy in art education, such as in music, dance and art design. For music education, technology-supported peer assessment makes it easier for learners to reflect on their learning performance. However, the process of reflection needs solid and systematic theoretical knowledge. In terms of vocal music, which develops students’ singing skills, it is difficult for learners to compare their own works with those of others because of a lack of sufficient theoretical knowledge. Therefore, a WSQ (watch-summary-question)-based mobile peer assessment approach was used to help learners reflect based on their theoretical knowledge with the support of WSQ learning sheets. To investigate the effectiveness of the approach, an experiment was carried out in a Chinese university. The experimental group (N = 22) learned with the WSQ approach, whereas the control group (N = 22) adopted a mobile peer assessment approach without WSQ. Vocal music skills, learning attitude and learning motivation were assessed. The experimental results indicate that the approach effectively enhanced the students’ vocal music skills but did not improve their learning motivation or attitude. In addition, a higher correlation between teacher scoring and peer scoring was found for the experimental group. Implications for practice or policy: Technology has a great potential in supporting art education and integrating technology into vocal music education should follow the rules of music education. Developing students’ reflective thinking skills in vocal music education is challenging, but attainable; it needs considered instructional design and sustained efforts from students.


2016 ◽  
Vol 69 (1) ◽  
pp. 1-46
Author(s):  
Tim Carter

Monteverdi's Il sesto libro de madrigali a cinque voci (1614) is often viewed as an outlier in his secular output. His Fourth and Fifth Books (1603, 1605) were firmly embroiled in the controversy with Artusi over the seconda pratica, while his Seventh (1619) sees him shifting style in favor of the new trends that were starting to dominate music in early seventeenth-century Italy: the Sixth Book falls between the cracks. But it also suffers—in modern eyes, at least—for the fact that it reflects the composer's first encounters with the poetry of Giambattista Marino, marking what many see as the start of a fundamental reorientation, if not downward spiral, in his secular vocal music. The problems are exposed by one of the Marino settings in the Sixth Book, “Batto, qui pianse Ergasto: ecco la riva,” in which an unnamed speaker tells Batto how Ergasto has been abandoned by Clori. The text has often been misunderstood. Uncovering the sources for the story—and the literary identities of Batto, Ergasto, and Clori—forces a new reading of the poetry and more particularly of Monteverdi's music. It also answers some profound questions in terms of how best to address issues of narration and representation, and of diegesis and mimesis, in this complex repertory.


Author(s):  
Nataliia Kosaniak

Vasyl Bezkorovayny (1880–1966) was a talented artist, an active figure in the musical life of Galicia and a representative of post-war Ukrainian emigrants in the United States of America. He wrote more than 350 works of various genres. Among them are compositions for symphony orchestra; vocal works — for chorus, ensembles or solo singing; chamber and instrumental music — for piano, violin, zither, cello; music for dramatic performances. The article deals with the archival and musicological analysis of expressive and stylistic features of V. Bezkorovayny’s vocal works, based on the materials of Stefanyk Lviv National Library of Ukraine. Attention is paid to the place of the composer’s vocal masterpieces in the context of Ukrainian vocal music of the first half of the XX century. The most important achievements of the composer related to the genres of choral and chamber vocal music. In style, the composer’s works combine the influences of M. Lysenko, composers of the «Peremyshl school» and Western European romantic and post-romantic models. The original secular choral music of V. Bezkorovayny covers genres of songs, plays, and large-form choirs. In his solo songs the influences of romantic western European music and Ukrainian folk songs affected the formation and approval of the composer’s style. Keywords: vocal music, chorus, solos, melodic-intonation means, harmony, rhythm.


2021 ◽  
pp. 102986492110254
Author(s):  
Roger Chaffin ◽  
Jane Ginsborg ◽  
James Dixon ◽  
Alexander P. Demos

To perform reliably and confidently from memory, musicians must able to recover from mistakes and memory failures. We describe how an experienced singer (the second author) recovered from mistakes and gaps in recall as she periodically recalled the score of a piece of vocal music that she had memorized for public performance, writing out the music six times over a five-year period following the performance. Five years after the performance, the singer was still able to recall two-thirds of the piece. When she made mistakes, she recovered and went on, leaving gaps in her written recall that lengthened over time. We determined where in the piece gaps started ( losses) and ended ( gains), and compared them with the locations of structural beats (starts of sections and phrases) and performance cues ( PCs) that the singer reported using as mental landmarks to keep track of her progress through the piece during the sung, public performance. Gains occurred on structural beats where there was a PC; losses occurred on structural beats without a PC. As the singer’s memory faded over time, she increasingly forgot phrases that did not start with a PC and recovered at the starts of phrases that did. Our study shows how PCs enable musicians to recover from memory failures.


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