Interval Identification Predicts Success in Melodic Dictation

The purpose of this study was to investigate possible predictive relationships between interval identification and melodic dictation performance on tasks where students identify short pitch spans after a brief tonicization. College musicians ( N = 35) completed an interval identification test and a series of melodic dictation tasks. Results indicated that interval identification and melodic dictation tests reflected a battery of items ranging from very easy to very difficult with acceptable Cronbach’s α levels. We conducted a two-stage hierarchical regression analysis to examine the extent to which interval identification served as a predictor of melodic dictation accuracy while controlling for selected music and demographic variables. Results indicated that interval identification served as a significant predictor of melodic dictation scores, contributing 28.9% of the variance in melodic dictation scores while controlling for musical experience variables. The analysis indicated a dictation task by interval ability interaction based on grouping by lower, mid-, and upper performing groups on the interval identification test. Issues in measurement of melodic dictation accuracy and strategies that affect the development of melodic dictation skills are discussed.

Improving Students’ Aural Skills on the AP Music Theory Exam

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.

The singing effect during melodic dictation

To sing while taking melodic dictation is a strategy employed by some Ear Training students as an aid, but there is a disagreement among the literature about its efficiency. Thus, it is important to disambiguate this question examining the contributions related to vocalization. The purpose of this research is to investigate the influence singing during melodic dictation can have over this activity, and to observe if this strategy contributes in a differentiated way for subjects in different development stages. An experimental study was conducted collectively with 68 undergraduates, which were divided in groups, one that was instructed to sing during dictation taking, and another that was instructed to stay in silence. Data collected were furthermore divided in sub-groups according to participants’ study time. The results show that singing hinders the dictation performance, especially in students with less musical experience, because it deconcentrates and disturbs the individuals in the same room. Although, we suggest instructors to not discourage vocalization, and to recommend students to do it outside the classroom until they develop inner singing. Our study, however, counted on a reduced number of subjects. Future research with an increased number of participants could give rise to different conclusions.

Effects of Two Approaches to Rhythmic Dictation

The purpose of this study was to investigate the effects of two listening strategies on rhythmic dictation scores. In a within-subjects design, 54 undergraduate music majors completed two-measure rhythmic dictations under each of three conditions: (a) no prescribed approach, (b) required listening before writing, and (c) required writing while listening. The first condition gauged participants’ baseline preference for the approach of the second or third condition. Repeated-measures t tests revealed a significant difference in test scores between the second and third conditions but no significant difference as a function of participants’ preferred strategy. Results suggest that some amount of simultaneous sketching may be helpful to students as they take dictation of rhythms, a common task in aural skills development both in and of itself and as a first phase of melodic dictation. Aural skills instructors should consider the potential benefits of sketching as an anchoring activity during dictation and discuss strategies explicitly with students. Helping high school and college students see how and why various strategies for dictation may be appropriate for particular task parameters can help them integrate component skills of listening, comprehension, and notation most effectively.

Gehørtrening og læring

I artikkelen presenteres en undersøkelse blant en mindre gruppe lærerstudenter av utbyttet av en utbredt gehørmetode innenfor musikkundervisning. Studenter i lærerutdanningen har i en årrekke fått undervisning i trinnsang for å lettere kunne lese noter og forstå melodiske mønstre. Denne undersøkelsen avdekker hvor effektiv gehørmetoden som brukes er, og hvor mye øving som skal til for å få fremgang. To studentgrupper var med i undersøkelsen. Én gruppe fikk undervisning i gehørmetoden, den andre ikke. Funn fra tidligere studier tyder på at denne metoden er effektiv i korsammenheng. Resultatene, målt gjennom pre- og posttest i notelesing og diktat, viser at lærerstudenter som øver til sammen cirka 1000 minutter i en periode over 7 måneder opplever å lese noter bedre og oppfatte tonetrinn lettere. Nøkkelord: trinnsang, notelesing, melodiforståelse, lærerstudenter Ear training and learning outcome AbstractThis article presents a study among a smaller group of teacher students on the outcome of a widespread ear training method used in music education. For many years, students in teacher education have learned numerical sight-singing in order to facilitate score reading and understanding of melodic patterns. This study is about measuring how effective this method is, and how much practice is required in order to attain progress. Two relatively similar student groups were included in the survey. One group had ear training, the other did not. Findings from earlier studies indicate that this method is effective in choirs. The results from this study, measured in a pre- and a post-test in score reading and melodic dictation, show that teacher students who practice around 1000 minutes over a 7-month period, are more fluent and accurate in score reading and the ability to recognize melodic patterns. Keywords: numerical sight-singing, score reading, melody recognition, teacher students

The interaction of repetition and difficulty for working memory in melodic dictation tasks

This research examines the effect of repetition on melodic dictation tasks in an undergraduate ear-training class. A pilot group of freshman music majors ( n = 17) were asked to notate four melodies, of which two were slightly more difficult since they contained more melodic leaps. Participants heard two melodies repeated three times and two other melodies six times. An analysis of variance (ANOVA) suggests that the number of repetitions had a significant effect on participants’ dictation accuracy, both for scores on pitch and on rhythm. In addition, dictation accuracy was significantly lower when the melodies contained more leaps (controlling for other factors). Overall, we found a statistical interaction between the number of repetitions and the number of leaps in the melody, both of which factors affect the working memory load in these dictation tasks. Given the similarity of the notated melodies, these findings suggest that ear-training pedagogues must carefully select melodic dictations appropriate for student ability and control the number of melodic leaps. Furthermore, we found evidence that the variance in working memory for music among this population is wider than Karpinski (2000) hypothesizes. These findings provide pedagogues with melodic characteristics well-suited for the average incoming freshman music major. Finally, this first empirical evidence of the dictation ability of incoming undergraduate music majors invites a long-term study on the extent to which working memory and/or chunking ability may increase during the multi-semester ear-training curriculum.

Effects of Silence, Sound, and Singing on Melodic Dictation Accuracy

This study continues a line of inquiry testing strategies commonly used in melodic dictation. Undergraduate music majors ( N = 44) completed short tonal dictations in a within-subjects design to determine effects of silence, audible sounds, and singing on test scores. Participants scored significantly lower when required to sing the melody prior to notating it compared with either of the other conditions. In the singing condition, only 18% of participants sang all target melodies completely correctly, and a significant positive correlation was found between singing accuracy and dictation scores in that condition. In light of previous studies, these results suggest that singing may be a distraction during dictation and that if it is employed for memory reinforcement, it must be executed accurately. The lack of a significant difference in scores between the silent and audible sounds conditions, coupled with the finding that 82% of participants made audible sounds when allowed, suggests that silence should be maintained during dictation when necessary but that students should be allowed to make sounds when feasible. Technological tools could aid instructors in physically isolating students so they do not distract each other during dictation.

Effects of Two Listening Strategies for Melodic Dictation

The purpose of this research was to examine effects of two listening strategies on melodic dictation scores. Fifty-four undergraduate music majors completed short tonal melodic dictations in a within-subjects design with three conditions: (a) no specified strategy in the instructions, (b) required listening before writing, and (c) required writing while listening. The purpose of the first condition was to determine subjects’ preference for listening before writing or writing while listening prior to requiring each. Two repeated measures t tests revealed no significant difference in test scores between the second and third conditions and no significant difference in test scores between subjects’ demonstrated preferred strategy and nonpreferred strategy. Results corroborate prior research suggesting that both may be viable strategies for melodic dictation, each offering unique benefits to aural memory and musical comprehension. Implications for high school and college aural skills instructors include the need to offer students options for dictation strategies and help them choose when and how to use them. Students who have tried multiple strategies in practice and considered their relative benefits might be better prepared to make wise decisions during dictation.

Developing Melodic Dictation Pedagogy: A Survey of College Theory Instructors

The purpose of this study was to identify pedagogical approaches to melodic dictation used by college music theory instructors at National Association of Schools of Music accredited institutions. Instructors ( N = 270) from 45 states responded to an online survey targeting melodic dictation instruction in their freshman theory courses. Results indicated that instructors: Chose pitch systems that emphasized scale degree function and rhythm systems that emphasized the meter, acknowledged the difficulty of compound meter for students, and advocated listening to a dictation completely before beginning to write. Respondents also listed the textbooks, software programs, and Web sites they used to supplement instruction and the types of music they chose for dictation assessments. Their replies to free-response questions highlighted several challenges of teaching dictation and aural skills in general. Knowledge of these instructional trends could be helpful when evaluating K–12 music curricula, especially for students who plan to major in music in college. The results of this study may benefit both college instructors and K–12 music educators in that their students face similar challenges and seek corresponding solutions.