Effects of Two Approaches to Rhythmic Dictation

Abstract

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.

El dictado melódico: análisis del rendimiento de los estudiantes en la prueba de acceso al grado profesional de música en Cataluña

“…Además, parafraseando a Krumhansl (2000), cabe considerar que el vínculo establecido entre percepción y producción rítmica sugiere un fuerte componente motor en la representación psicológica del ritmo. Tal y como señalan Buonviri (2021) y Potter (1990), probablemente atender primero al ritmo en los dictados podría proporcionar un marco organizador para situar las alturas permitiendo, según Beckett (1997), mejorar eficientemente la precisión rítmica, aunque no existan evidencias sobre la mejora en la precisión de las alturas.…”