Sound Before Sight Strategies for Teaching Music Reading

Hicks, Charles E.

doi:10.2307/3395858

Cited by 8 publications

(3 citation statements)

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“…In the context of choral education, external representations encompass physical gestures and movements that contribute to the learning of musical works, while internal representations primarily involve auditory and proprioceptive elements that reflect students' abilities and musical literacy. However, the acquisition of these internal representations often comes at the expense of students' overall musical development (Hicks, 1980;Phillips, 2003). This is partially due to a tendency to neglect the educational implications of rehearsal activities, an occasional overemphasis on competition, and a failure to recognize that choral music education takes place within schools, where programs thrive or decline based on their educational implications (Hylton, J.…”

Section: Literature Reviewmentioning

confidence: 99%

The Barcelona Conference on Education 2023: Official Conference Proceedings

2023

BCE Official Conference Proceedings

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Section: Literature Reviewmentioning

confidence: 99%

The Barcelona Conference on Education 2023: Official Conference Proceedings

2023

BCE Official Conference Proceedings

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“…One way to improve students' rhythm often discussed in the literature is using a physical response to the music. It is believed that the development of large muscle movements in response to music is the first step toward a readiness to read rhythms (Hicks, 1980). Based on the work of Dalcroze, teachers are encouraged to have children walk to the music to develop this readiness (Forssmark, 1941;Sorlien, 1951).…”

Section: Rhythm In Sight-readingmentioning

confidence: 99%

Effects of Pitch and Rhythm Priming Tasks on Accuracy and Fluency During Sight-Reading

Russell

2019

Journal of Research in Music Education

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The purpose of this study was to investigate the effects of pitch and rhythm priming tasks on sight-reading accuracy and fluency. High school wind instrumentalists ( N = 182) were assigned to one of four experimental groups: pre-/posttest rhythm, pre-/posttest pitch, posttest-only rhythm, or posttest-only pitch. Participants sight-read selected stimulus exercises from the Watkins-Farnum Performance Scale and completed two priming treatments and a control condition as part of a repeated-measures design. A three-way repeated-measures MANOVA, with rhythm accuracy, pitch accuracy, and fluency accuracy as dependent measures, revealed a significant main effect due to priming condition. Rhythm accuracy scores were significantly lower after both perceptual and conceptual priming than after a control condition. No significant differences in pitch accuracy or fluency existed based on priming condition. No significant differences were found in rhythm, pitch, or fluency accuracy based on treatment condition (pitch or rhythm) or exposure condition (pre-/posttest or post only). Two-way repeated-measures MANOVAs revealed significant main effects based on time. Pitch accuracy and fluency each significantly improved between pre- and posttest and from the first to third study tasks. Results suggest that performing rhythm alone or pitch alone requires different cognitive processes than does performing both together.

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“…There appears to be a consensus among music educators (see Hicks, 1980, for instance) that children must experience the sound of music before they can be expected to understand written notation. Children hear music from birth, if not before, but there is seemingly no empirical evidence which establishes how much implicit learning occurs before formal teaching of music begins.…”

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confidence: 99%

The Acquisition of the Pitch Element of Music Literacy Skills by 3-4-year-old Pre-school Children: A Comparison of Two Methods

Tommis¹,

Fazey

1999

Psychology of Music

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This study compared the acquisition of the pitch component of music literacy skills between three groups of pre-school children aged 3-4 years. The Control Group received no tuition at all, while the two teaching groups received 20 tenminute teaching sessions. The children in the StimEquiv Group were taught using a method based on stimulus equivalence whilst those in the Context Group were taught using a method based on spatial and contextual information processing. The children in both teaching groups learned up to five notes and were able to play simple, unlearned melodies made up of these notes 3-5 days after the end of the teaching period (post-test). Preto post-test gains in the accuracy of the playing of these melodies were significant (p < 0.001) for both groups. There was no significant difference found between the preand post-test scores of the Control Group. The children in the teaching groups were given a further test seven weeks after completion of the sessions. There was no significant difference for either group between post-test and re-test indicating that learning had occurred. As they had not been exposed to the intervention, the re-test (a measure of learming) was not given to the Control Group.

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Sound Before Sight Strategies for Teaching Music Reading

Cited by 8 publications

References 0 publications

The Barcelona Conference on Education 2023: Official Conference Proceedings

The Barcelona Conference on Education 2023: Official Conference Proceedings

Effects of Pitch and Rhythm Priming Tasks on Accuracy and Fluency During Sight-Reading

The Acquisition of the Pitch Element of Music Literacy Skills by 3-4-year-old Pre-school Children: A Comparison of Two Methods

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