Download or read book A Study of Two Approaches for Developing Rhythm Reading by Junior High School Band Students written by Kenneth Vernon Leemon and published by . This book was released on 1977 with total page 140 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book The Effects of Differing Rhythmic Instruction on Middle School Instrumentalists Rhythmic and Melodic Sight reading Performance written by Gregory Michael Miller and published by . This book was released on 2005 with total page 108 pages. Available in PDF, EPUB and Kindle. Book excerpt: Abstract: Sight-reading, the act of performing unfamiliar music at sight, is a valued measure of an instrumentalist's musical training and overall musicianship. Though sight-reading is recognized as an important ability, little is known about the process or how best to prepare students for sight-reading situations. Previous research has suggested the importance of rhythm, finding that most sight-reading errors are rhythm errors, and rhythmic ability is often a strong predictor of sight-reading accuracy. Related research has investigated a variety of approaches to rhythm instruction, including mathematical (numbers-based) approaches and speech cue (word-based) methods. Many studies have suggested that the latter approach may be more suitable to school-age musicians, especially younger students who may lack the conceptual understanding needed to grasp mathematical models. Other research has affirmed the importance of providing students with opportunities to respond individually and receive regular feedback from their instructor. The current study employed two parallel rhythmic instruction strategies in an effort to determine their impact on middle school band members' sight-reading performance. The control group reviewed rhythms using a previously-learned numerical counting system while a treatment group reviewed rhythms using an original speech cue method and performed individually at scheduled intervals. Sight-reading pretests and posttests were scored and compared to measure subjects' sight-reading accuracy. Results showed no statistically significant differences between the two groups on the sight-reading posttest. Mean scores for all subjects, regardless of treatment grouping, improved from pretest to posttest, including significant gains on pitch accuracy and total sight-reading scores. Additionally, important relationships were found regarding the interplay between pitch reading and rhythm reading during melodic sight-reading, suggesting that these processes present two separate and sometimes conflicting tasks. Overall results and an analysis of the scores of top sight-readers reaffirmed the importance of rhythmic ability in determining overall sight-reading accuracy.
Download or read book An Investigation of Rhythm Reading Practices in Texas Middle School Choirs written by Shelby Morgan and published by . This book was released on 2018 with total page 100 pages. Available in PDF, EPUB and Kindle. Book excerpt: The purpose of this study was to investigate rhythm reading instructional practices used in the middle school choral classroom. The study included an assessment of the amount of time spent on rhythm instruction per week, an examination of choral sight reading method books and pedagogical techniques employed, and the rhythm counting system used. A link to a researcher-designed survey was emailed to current Texas middle school choral directors and 129 responded with a response rate of 15%. Questions addressed demographics, teaching experience, musical training, and teaching methodology. Analysis of popular choral methods books showed that most of the available literature support a separation of pitch and rhythm during instruction. Results of the survey indicated that time spent on rhythm instruction and the pedagogical approaches used varied greatly among middle school choral directors. Further, many participants had not received rhythm training in middle school or high school choir. Recommendations for future research include a study of band and orchestra rhythm instructional practices and how they could be adapted for the choral classroom. Additionally, investigation into rhythm pedagogy presented in university choral methods classes could provide possible solutions to raising the level of rhythmic aptitude among middle school and high school choral students.
Download or read book Critical Essays in Music Education written by Marvelene C. Moore and published by Routledge. This book was released on 2017-07-05 with total page 553 pages. Available in PDF, EPUB and Kindle. Book excerpt: This volume of essays references traditional and contemporary thought on theory and practice in music education for all age groups, from the very young to the elderly. The material spans a broad range of subject areas from history and philosophy to art and music, and addresses issues such as curriculum, pedagogy, assessment and evaluation, as well as current issues in technology and performance standards. Written by leading researchers and educators from diverse countries and cultures, this selection of previously published articles, research studies and book chapters is representative of the most frequently discussed and debated topics in the profession. This volume, which documents the importance of lifelong learning, is an indispensable reference work for specialists in the field of music education.
Download or read book An Approach to Sight Reading Rhythm written by Carson H Sharp and published by Createspace Independent Publishing Platform. This book was released on 2016-12-04 with total page 52 pages. Available in PDF, EPUB and Kindle. Book excerpt: One of the most valuable skills musicians can acquire is that of being able to read at first sight all (or most) of the music they are asked to play.Sight reading is a skill that enables the student to make the most out of the time available to sing or play an instrument. The student can use the time otherwise spent on working out "rhythm" problems, to increase musicality and will be able to cover more literature. And every professional musician knows that the "musician who reads gets the jobs."It's also true that the better the members of any school or other musical group sight read, the better that group will sound. This is true for several reasons: First, more time can be spent on the development of other aspects of quality performing (sound, balance, intonation, and other general musicianship skills). Second, the time involved in reaching an acceptable performance level is less, so the music will naturally be more interesting to the performer. And this "freshness" willshow up dramatically in the concert or festival. Third, the director will now be able to use more rehearsal time to teach some of the things (theory, music history, conducting, composition, etc.) that he or she "just didn't have time for" previously. The more each student understands about music as a whole, the bigger their contribution will be to the group. Of course the greatest benefit will go to the individual student. The enjoyment of music will be enhanced considerably as a result of the skills gained in the reading of new music. It's been my experience that students, at a very young age (at least by the sixth grade) are capable of handling the concepts and skills required for effective sight reading. There are of course, several areas in which skills must be developed before a student will be able to sight read well. The skill I'll focus on in this book is rhythm. This book is an extremely effective method for helping students develop the ability to read simple and complex rhythms at first sight.The most effective way of developing the skill of instantly analyzing complex rhythmic figures is pulse subdivision. The difficulty most of us have had involves the material available to help us teach these concepts. Once the student understands what to do, practice material is needed that will help integrate each new concept into their bag of performance skills. Material is needed that will allow focus on a particular new concept without the distraction of other playing problems. Enough material is needed to avoid going over and over the same exercises. (The student can't learn to sight read if the material is familiar).The manner in which this method solves this problem is with many lines of "single pitch" exercises. These exercises allow the student to concentrate on developing particular skills without having to worry about changes in pitch, etc. There are also enough exercises so that by the time all of them are covered, the previous exercises are forgotten and can be reused if necessary.When used by instrumental organizations (bands and orchestras) or choral groups, choose a single pitch or octaves. Example: Concert FPiano students (who use their feet on pedals) can vocalize the: say 'down' on each quarter note and rest. Instrumentalists not using their mouths to generate sound can vocalize the pulse (percussion, strings, etc.). If fingers are available to generate the pulse (vocalists), use them against your leg or lap to generate the pulse.
Download or read book Sight reading Module for Middle School Band written by Danielle Sabol and published by LAP Lambert Academic Publishing. This book was released on 2014-05-28 with total page 92 pages. Available in PDF, EPUB and Kindle. Book excerpt: Sight-reading is one way for middle school band students to demonstrate musicianship. If the students are very good at sight-reading, then the level of musicianship is high. The researcher has created an organized module addressing methods of how to teach middle school band students to sight-read effectively. A working definition of sight-reading is playing a work of music accurately the first time it is seen by a performer. At the middle school level, performers must be able to play a steady beat, play accurate rhythms, demonstrate correct eye movements, and recognize patterns of notes to be an effective sight-reader. The students in this study were exposed to activities and lessons that addressed these four aspects of sight-reading. After the study was concluded, the researcher determined that the sight-reading abilities of the students increased. The students became aware of the skills necessary to be effective sight-readers. The most effective lesson of this study was the rhythm lesson. The least effective lesson was the eye movement lesson. The rhythm lesson allowed the students to become familiar with common rhythms, increasing their abilities to perform
Download or read book An Investigation of Two Different Approaches for Teaching Rhythm Reading written by Brent Donald Snyder and published by . This book was released on 1998 with total page 98 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book A Procedure to Teach Rhythm Reading written by Betty L. Kluth and published by . This book was released on 1986 with total page 163 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book A Review of Approaches to Teaching Rhythm Reading in Beginning Band Methods written by Garland E. Markham and published by . This book was released on 1976 with total page 92 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Teaching Rhythmic Phenomena as a Foundation for Rhythmic Independence written by Sarah Kocses and published by . This book was released on 2023 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: Despite their level of performance ability, many high school students still struggle with independent music reading compared to the level they can physically perform. A systematic and literacy-based approach to teaching rhythms as patterns of rhythmic phenomena can break this cycle for increased music reading independence. The purpose of this capstone project was to develop a curricular unit for band students in a Title 1 school who struggle with sight-reading and general music reading. The target audience is a mixed-level concert band including students with 0-3 years of music experience. A review of literature considers research on sight-reading, pattern perception, movement, rhythm syllables, and music learning theory. Based on the research findings, a 5-phase rhythmic learning sequence is presented with teaching steps provided. These phases are integrated into a long-term unit plan that spirals through a sequential presentation of rhythmic phenomena. Two online sight-reading programs, Émile and Sight- Reading Factory, are used as teaching resources and to generate sight-reading material. Appendices including rhythm syllables, sequences of rhythmic phenomena, rhythm worksheets, teaching phases, sample lesson plans, and descriptions of the online programs used are provided.
Download or read book A Comparative Study of Two Approaches to Rhythmic Reading written by Margaret Dee Merrion and published by . This book was released on 1979 with total page 166 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book A Comparison of Three Methods of Teaching Rhythm to Middle School Band Students written by Donald Dowdy and published by . This book was released on 1991 with total page 58 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Handbook of Research on Music Teaching and Learning written by Richard Colwell and published by New York : Schirmer Books ; Toronto : Maxwell Macmillan Canada ; New York : Maxwell Macmillan International. This book was released on 1992 with total page 856 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book American Doctoral Dissertations written by and published by . This book was released on 2001 with total page 776 pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book A Comparative Study of Two Approaches to Rhythmic Reading written by Margaret Mary Dee Merrion and published by . This book was released on 1983 with total page pages. Available in PDF, EPUB and Kindle. Book excerpt:
Download or read book Studying Rhythm written by Anne Carothers Hall and published by Pearson. This book was released on 2018-07-02 with total page 416 pages. Available in PDF, EPUB and Kindle. Book excerpt: For courses in Music Theory, Musical Skills, or Sight Singing. A thorough, practical introduction to rhythm Studying Rhythm introduces students to the basic processes and complexities of musical rhythm and helps them develop the ability to perform all kinds of rhythmic patterns accurately at sight. Authors Anne Hall and Timothy Urban provide students over 300 one- and two-part rhythmic studies, each with short preliminary exercises, that are intended to be sung, spoken, and tapped or clapped. The Fourth Edition offers fresh examples from the standard repertory as well as new material on structured improvisation.
Download or read book Developing Independent Musicians in Middle School Band Through the Components of Playing and Chamber Music written by Andreia C. Postlewaite and published by . This book was released on 2022 with total page 0 pages. Available in PDF, EPUB and Kindle. Book excerpt: The goal of this project was to guide middle school band students to understand then utilize the components of playing in order to create realistic goals that met them at their level of musicianship. Students were introduced to five components of playing: time, tone, playing in tune, with good technique, and with blend and balance. Students were given the opportunity to then form their own chamber groups where they would set goals derived from the components. Before students participated in activities to focus on each component, they were asked to independently define either one or more of the components using their own words and musical experiences in writing. Activities took place at the start of a rehearsal and that focused on one component per activity. For time, I provided students with a sight-reading rhythm excerpt for them to perform on one note. With this same excerpt they then completed a written activity breaking down time signatures and utilizing a counting system. Students also participated in a phrase-based rhythmic audiation activity. I created a tuning rotation activity for our flute and saxophone players where they started tuning from mouthpiece, to neck/headjoint to horn. To learn about tone, we had a variety of discussions in class about what the sound quality or character would look or feel like within a given musical work we were rehearsing. Students were also asked to independently explore and describe the tone of two different professional musicians performing on their instrument of study using their own words. I created sight-singing and audiation activities to engage students' in first internalizing pitch through their singing voice then through their instruments. Technique was reinforced throughout full ensemble rehearsals with intentional questions to remind students to observe and correct within their sections. Students took an active role in blend and balance by listening back to recordings of themselves and commenting on who they heard more or less of and what strategy they might use to adjust accordingly. I have been motivated to try strategies that allow for a focused balance towards the multitude of tasks demanded of an instrumental music teacher. The informative yet practical delivery and guidance of instrumental music education text, examples, organized lectures, feedback, and assistance from Dr. Wimmer, Dr. Gardner, and Dr. Tracz's coursework helped me gain new tools and a new perspective on how to approach an instrumental music program. I was highly motivated to start to explore and maintain practical strategies to balance the work of research, application, reflection, and modification of activities that challenged both myself and my students. Through the inspirational and at times brutally honest reflection processes in Dr. Tracz's and Dr. Payne's classes, I have experienced that successful leadership is an ongoing process that is not necessarily about being in control. It involves consistency, thoughtful planning, taking risks, failing, succeeding, engaging in a variety of research, applying research in a manner that is realistic and motivational, and being transparent about the importance of all goals that our music programs set out to achieve.
