Search

Sight-singing is prevalent in aural skill classes, where learners differ in experience and cognitive abilities. In this research, we investigated whether musical experience, level of study, and working memory capacity (WMC) can predict sight-singing performance and if there is a correlation between WMC and performance among some subgroups of participants. We hypothesized that more experienced students and those with a higher WMC might sight-sing better than those with less experience and lesser WMC. We also hypothesized that the relationship between WMC and sight-singing performance would be more salient for less experienced and less proficient sight-singers. We surveyed 56 subjects about their experience with music, assessed their WMC, and evaluated their performance on a short sight-singing task. The results showed that the age when students began learning music could predict sight-singing performance independently from the number of years of experience and the educational level, suggesting a possible developmental component to sight-singing skill. We also found a negative relationship between WMC and pitch score in the low-performing group and between rhythm and pitch score, suggesting that pitch and rhythm are processed differently. Teachers should be aware of how students' backgrounds might be related to performance and encourage them to develop strong automated skills, such as reading music or singing basic tonal patterns.

The growing interest in musical improvisation is exemplified by the body of literatures evidencing the positive impacts of improvisation learning on the musical apprentice's aptitudes and the increasing presence of improvisation in Western classical concert halls and competitions. However, high-level Western classical music improvisers' thinking processes are not yet thoroughly documented. As a result of this gap, our research addresses the following question: What strategies are implemented in the course of performance by Western classical music improvisers? To answer this question, semistructured interviews were conducted with five internationally recognized Western classical music expert improvisers. Each participant improvised, and immediately afterward, a retrospective verbal protocol with subjective aided recall data collection strategy was used to elicit the improvising musician's strategies. After transcription, the interviews were coded and analyzed using NVivo 10 software, with a mixed (i.e., combining inductive and deductive coding) category approach. Our data revealed 46 improvisation strategies that were subsequently organized into five categories: preplanning, conceptual, structural, atmospheric and stylistic, and real time. Pedagogical implications arising from these findings are that (a) learners should be guided toward implementing various strategies and (b) the capacity to switch from one strategy to another according to the circumstances should be promoted.

Sight-singing is an inescapable component of music training in higher education and is often challenging for students. However, some strategies could help students perform. Yet, the extent to which students can use strategies to improve their sight-singing performance remains unclear. This article asks two questions to fill this gap: (1) Which strategies do students use when sight-singing? (2) Does the application of some types of strategy predict performance? We recruited 56 postsecondary music students and asked them about their musical backgrounds. They then sight-sang a short melody while we recorded their eye movements. After that, we conducted semi-structured retrospective interviews, using eye-movement videos and attention distribution heatmaps to help participants remember the strategies they used. We analyzed the interview transcripts to identify the strategies students used and regrouped them into categories. We extracted seven categories and discovered that using body movements predicted rhythm scores, that using musical knowledge predicted pitch and combined scores, and that relying on automatic skills predicted all dimensions of sight-singing performance. We recommend that aural skills instructors teach strategies explicitly and help students develop robust musical knowledge, as they are required to build strong automatic skills. [ABSTRACT FROM AUTHOR]

Developing musicians typically engage in self-regulated practicing during the time that passes between lessons with their teachers. An important aspect of self-regulated practice is the ability to identify and correct areas of development in performance in the absence of a teacher's feedback, but the effort required to perform as well as monitor a performance represents a challenge for any learner. Videotaping the performance and watching it afterwards to fully concentrate on each task could constitute a solution to this problem. In our study, we verified how video feedback could affect the self-evaluation of intermediate-advanced musicians while practicing a new piece of music. To attain this objective, we analyzed and coded the self-evaluative comments of 16 classical guitarists while practicing. We then compared the number of coding entries in each category of a group of participants who used video feedback (n = 8) on four occasions over a period of ten practice sessions with those of a group of musicians who did not use video feedback (n = 8). Our results indicate that musicians who used video feedback modified the way they formulated their self-evaluative comments while practicing, and that these changes were more marked with higher-performing musicians. [ABSTRACT FROM AUTHOR]

Many school-aged children learn music in studio settings, and those lessons often include musical dictation. Nevertheless, we conducted most research about dictation w among collegelevel students. Therefore, we do not know how independent music teachers experience dictation with children. In this paper, we addressed four questions: (1) What are the sociodemographics of teachers who include dictation to their lessons? (2) Why do some teachers choose not to include musical dictation? (3) How often do teachers use strategies when teaching dictation? (4) Are there factors related to the use of those strategies? To get a portrait of the situation, we sent an online questionnaire to studio teachers working with children between 6 and 12 in the Province of Quebec, Canada. We asked them about their instrumental and aural skills teaching habits and their sociodemographic characteristics. Results show that dictation teaching is more common among piano teachers, more experienced teachers, and teachers affiliated with an examination board. We also discovered that the main reason to omit dictation is lack of time. Finally, we found that some strategies are more common among specific categories of teachers. In conclusion, we suggest studio teaching tradition could have a role to play in teachers' decisions. [ABSTRACT FROM AUTHOR]