A Comparison of Successful and Unsuccessful Strategies in Individual Sight-Singing Preparation and Performance

Abstract

High school singers ( N=198) individually sang two melodies from notation, with and without a 30-second practice opportunity. Overall accuracy scores were significantly higher with preparation time. The less accurate singers, however, did not benefit from practice time. Analysis of videoed tests indicated that high scorers tonicized (vocally established the key), used hand signs, sang out loud during practice, physically kept the beat, and finished practicing the melody within 30 seconds significantly more frequently than did low scorers during practice. Similar strategies were used during performance, with the addition of tonicizing before singing. Sight-singing system used made no significant difference. Characteristics appearing significantly more often among high scorers included: region/state choir, private voice or piano lessons, playing an instrument, membership in instrumental ensemble, sight-singing individually outside class, and director giving individual sight-singing tests. Results are discussed in terms of strategies for teaching individual sight-singing and recommended areas of future research. August 11, 2004 January 18, 2005.

Sight-Singing Scores of High School Choristers with Extensive Training in Movable Solfège Syllables and Curwen Hand Signs

“…This specific finding agrees with a number of studies, in which choristers with instrumental experience were found to be significantly more successful on sight-singing tests than choristers without instrumental experience (Casarow, 2002;Daniels, 1986;Demorest & May, 1995;Henry & Demorest, 1994;Killian & Henry, 2005). A possibly more intriguing result of this study, however, and different from the findings in the other studies, was that when the kinesthetic hand sign requirement was eliminated, both groups (with and without instrumental backgrounds) performed similarly; there was no statistical difference between them.…”

“…Each measure was worth 2 points, 1 point for acceptable pitch accuracy and 1 point for acceptable rhythm accuracy. Other viable scoring approaches have assessed points on a per-note basis (Demorest, 1998;Demorest & May, 1995;Henry, 2001;Henry & Demorest, 1994;Killian & Henry, 2005). The scoring approach chosen for this specific study (note to note within the context of a measure) was an attempt to quantify a holistic and real-life picture of each participant's sight-singing skills.…”

“…Although Killian and Henry (2005) reported the general use of Curwen hand signs by high school choristers during the testing of sight-singing skills, the effect of hand signs on the sight-singing scores of high school choristers extensively trained in the use of movable solfège syllables, coupled with Curwen hand signs, remained untested.…”

Effects of music notation reinforcement on aural memory for melodies

“…Cultivating strong cognitive relationships between aural and visual aspects of music is key to success in many standard Western school music activities (Killian & Henry, 2005;Sheldon, 1998). Skills in error detection, sight-singing, and music reading depend, at least in part, on development of those cognitive relationships.…”

“…Common challenges in the dictation process are lack of time to process percepts, lack of repetitions of the melody, and lack of a silent environment during the task (Karpinski, 2000;Killian & Henry, 2005). Students taking dictation must learn to work quickly and accurately, and to develop strategies to overcome the interference of aural distractions.…”