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A model of aural instruction examined in a case of fiddle teaching /Holmes, Ramona Adella, January 1990 (has links)
Thesis (D. Mus. Arts)--University of Washington, 1990. / Vita. Includes bibliographical references (leaves [136]-151).
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Ear training lessons to improve auditory discrimination of children in beginning readingDillon, Rita C. January 1957 (has links)
Thesis (Ed.M.)--Boston University / The purpose of this study is the construction of
ear training exercises to improve the auditory discrimination
of children in beginning reading. It is an effort
to provide training in seeing the formation of sounds on
the lips, kinesthetic training in feeling the sounds as
they are spoken, in addition to auditory training in distinguishing
word elements.
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'n Ondersoek na die geskiktheid van sillabi vir gehoortoetse in gegradeerde musiekeksamensNaude, Anna Catharina 12 1900 (has links)
Thesis (MMus) -- Stellenbosch University, 1987. / VOORWOORD: Gedurende my tydperk as musiekonderwyseres het ek toenemend bewus geword van die
belangrikheid van gehooropleiding in die musiekopleidingsprogram enersyds, en die gebrek aan
motivering en 'n voldoende metodiek andersyds. Hierdie lewendige belangstelling in
gehooropleiding en die probleme wat die vakgebied omring, het aanleiding gegee tot 'n ondersoek
na die geskiktheid van die gehoortoetse soos dit voorkom in gegradeerde musiekeksamens.
Die hoë standaard van gehooropleiding wat Dr. P.E.O.F. Loeb van Zuilenburg aan die Universiteit
van Stellenbosch daargestel het, en die groot hoeveelheid bronne oor die onderwerp wat in die
Musiekbiblioteek beskikbaar was, was die hoofredes vir my keuse van hierdie Universiteit vir
nagraadse studiedoeleindes.
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The effects of different familiar and unfamiliar musical timbres on musical melodic dictationGephardt, Donald Louis. January 1978 (has links)
Thesis--Washington University, 1978. Dept. of Music. / Includes appendices. Includes bibliographical references (leaves 250-261).
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The effects of different familiar and unfamiliar musical timbres on musical melodic dictationGephardt, Donald Louis. January 1978 (has links)
Thesis--Washington University, 1978. Dept. of Music. / Includes appendices. Includes bibliographical references (leaves 250-261).
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Riglyne vir geintegreerde gehooropleiding by klavieronderrigDouglas, Bernita 12 1900 (has links)
Thesis (MMus.) -- Stellenbosch University, 1990. / ENGLISH ABSTRACT: This study was undertaken after it was found that aural training is being neglected in general. The researcher wanted to explore a possible solution. Aural training integrated with piano training is regarded as a way of teaching that will grant aural training its rightful place in music education. A literature study was
undertaken and personal interviews were held with eleven
specialists in the field of music.
It was found that a small amount of integration is taking
place, but that a purposeful effort must be made to
integrate aural training with piano training during the
whole duration of a piano lesson.
A theory, on·which integrated teaching is being based, was
set up and guidelines for aural training integrated with
piano training were given. / AFRIKAANSE OPSOMMING: Hierdie studie is onderneem omdat gehooropleiding in die
algemeen afgeskeep word en die navorser ' n moontlike
oplossing wou ondersoek.
Geïntegreerde gehooropleiding by klavieronderrig word beskou
as ' n onderwysmetode wat aan gehooropleiding sy regmatige
plek in musiekonderrig sal verleen. 'n Literatuuroorsig is gedoen en persoonlike onderhoude is gevoer met elf gesaghebbendes op musiekgebied. Daar is vasgestel dat integrasie wel in ' n klein mate
onbewustelik plaasvind, maar dat daar 'n doelbewuste poging
aangewend moet word om gehooronderrig te alle tye tydens
' n klavierles te integreer. 'n Teorie waarop geïntegreerde onderwys gebaseer word, is
opgestel en riglyne vir geïntegreerde gehooronderrig by
klavieronderrig is ook gegee.
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Didactical perspectives of aural trainingHerbst, Anna Catharina 12 1900 (has links)
Thesis (PhD) -- Stellenbosch University, 1993. / ENGLISH ABSTRACT: The purpose of this research endeavour is to develop an understanding of the general state of Aural Training as presented
in Aural Training literature and at a tertiary level. Based on this understanding, recommendations for a theory
towards Aural Training are furthermore made.
The investigation consists of three main parts. In the first two parts, an in-depth theoretical study, exploring aspects
such as the rationale behind Aural Training, teaching ideologies, contents and target group and methodological
approaches found in published and unpublished sources, as well as a practical questionnaire-based survey,
investigating selected Aural Training aspects as presented on a tertiary level in the Republic of South Africa (RSA),
the Federal Republic of Germany (FRG), and the United States of America (USA) are presented. A model of an
integrated Aural Training approach for children is proposed in the third part.
Results from both the theoretical and practical surveys indicate that: (a) the rationale behind Aural Training has not
been thoroughly thought through; (b) Aural Training lecturers with sound pedagogical credentials are needed; (c)
prospective students are not prepared for their tertiary Aural Training courses; (d) the Aural Training curricula at
most tertiary music institutions do not meet lecturers' expectations; (e) more instruction time is needed for classes
scheduled in both individual and group tuition; (f) Aural Training literature and teaching methods are still influenced
by the Behaviouristic school of psychological thinking, with its emphasis on drill and practice; (g) methods such as
Sight Singing and Dictation are more frequently applied than others, possibly because they are readily quantifiable;
(h) most emphasis is placed on tonal music; (i) research results in which holistic approaches to Aural Training have
been recommended since the early 1980s are not reflected in the majority of Aural Training work-/textbooks and
teaching methods; (j) commercially available software is often chosen because of its availability and not because of
being based on sound pedagogical principles; (k) there is a growing interest amongst lecturers to re-examine the goals
of Aural Training and to apply music psychological principles.
Because of the already mentioned problem of improperly prepared prospective music students" and the scarcity of
Aural Training approaches to develop children's musical consciousnesses, a model for integrating' Aural Training into
the instrumental/vocal music lesson through composition is proposed. This model is based entirely on (a) the
conviction that most effective learning takes place through active involvement and creation, and (b) music psychological
principles such as Gestalt perception, the developmental theories of Piaget, Gardner and Swanwick-Tillman,
and the musical thinking process theories of Prince and Webster. Through the application of this model, Aural
Training can be approached by dealing with wholes within a musical context. Structural and perceptual thinking, as
well as the mental principles of exploring, applying, problem-solving and critical reasoning can also be developed. It
offers a comprehensive approach to learning written theory skills, and the opportunity to apply all other Aural
Training methods. Examples of children's compositions are presented to support this model.
It is finally recommended that: (a) Aural Training lecturers should constantly re-examine their objectives, contents,
teaching philosophies and methods applied; (b) advanced courses in Aural Training should be offered at all tertiary
music institutions in order to meet the need for adequately trained lecturers; (c) a compulsory course on the didactics of Aural Training should be offered for all music students; (d) more instruction time should be made available for
Aural Training; (e) Aural Training should be treated in its own right in grading policies; (f) holistic approaches to
both classroom-based and programmed Aural Training should replace drill and practice; (g) music from all style
periods should be included; (h) a wide spectrum of Aural Training methods should be incorporated and not mainly
Sight Singing and Dictation; (i) lecturers should inform themselves about recent research results and try to
incorporate these into their Aural Training curricula and syllabi; g) Work-/textbooks and computer software based on
holistic and comprehensive approaches to Aural Training should be released; (k) Aural Training should be
incorporated from the very first instrumental/vocal lesson by applying an integrated, holistic approach through
composition. / AFRIKAANSE OPSOMMING: Die doel van hierdie navorsing is om 'n ondersoek te loods na die algemene stand van gehooropleiding soos daargestel
in musiekliteratuur, en soos aangebied aan tersiere musiekinstansies: 'n Model vir gelntegreerde gehooropleiding
word ten slotte voorgestel aan hand van hierdie inligting.
Die inhoud van die ondersoek is in drie hoofdele georganiseer. In die eerste deel word In teoretiese ondersoek
geloods na die redes vir, en doelstellings van gehooropleiding, onderrigfilosojiee, inhoud en teikengroep, en
metodiese benaderingswyses. Die mate waarin hierdie aspekte, soos gevind in gepubliseerde en ongepubliseerde
bronne, neerslag gevind het in tersiere gehooropleidingsprogramme in die Republiek van Suid-Afrika, die Federale
Republiek van Duitsland en die Verenigde State van Amerika, vorm die kern van die vraelys-gebaseerde tweede deel.
'n Model vir gelntegreerde gehooropleiding met kinders word in die derde deel voorgestel.
Resultate van beide die teoretiese en praktiese ondersoeke toon dat: (a) die redes vir, en doelstellings van gehooropleiding
nog nie goed deurdink is nie; (b) spesiaal geskoolde gehooropleidingsdosente benodig word; (c)
voornemende musiekstudente nie voorbereid vir tersiere gehooropleidingskursusse is nie; (d) die
gehooropleidingskurrikula nie aandie vereistes van die meeste gehooropleidingsdosente voldoen nie; (e) meer
onderrigtyd benodig word vir gehooropleiding, wat in beide individuele en groepsonderrig plaas behoort te vind; (f)
gehooropleidingsmetodes steeds sterk belnvloed word deur die Behavioristiese skool van musiekpsigologiese denke
waarin dril en herhaling beklemtoon word; (g) bladsang en diktee voorkeur geniet bo ander metodes, waarskynlik as
gevolg van die feit dat studente se antwoorde makliker gekwantifiseer kan word as in ander metodes; (h) tonale
musiek meestal beklemtoon word; (i) navorsingresultate waarin holistiese benaderingswyses tot gehooropleiding
sedert die begin van die 1980's aanbeveel word, min tot geen invloed op die meerderheid gehooropleidingsteksboeke
en -metodes gehad het; g) kommersieel beskikbare rekenaarprogramme dikwels gekies word op grond van
beskikbaarheid en nie op grond van pedagogiese doelstellings nie; (k) daar 'n toenemende geinteresseerdheid onder
dosente is om die doelstelling van gehooropleiding te re-evaIueer, en om musiekpsigologiese beginsels in
gehooropleiding te inkorporeer.
Vanwee die reeds genoemde probleemvan onvoorbereide voornemende musiekstudente wat gehooropleiding betref
en die skaarsheid aan gehooropleidingsprogramme vir kinders, is 'n model vir die integrering van gehooropleiding
deur middel van komposisie in die instrumentale en/of sangles voorgestel. Hierdie model is gebaseer op (a) die
oortuiging dat die mees effektiewe vorm van leer plaasvind d.m. v. aktiewe betrokkenheid en skepping; en (b) die
musiekpsigologiese beginsels van Gestalt-waameming, die ontwikkelingsteoriee van Piaget, Gardner en Swanwick-
Tillman, en musikale denkprosesteoriee van Prince en Webster. Deur middel van hierdie model kan gehooropleiding
benader word vanuit 'n holistiese oogpunt deurdat gehele binne 'n musikale konteks behandel word. Daardeur word
nie net strukturele en persepsuele denke ontwikkel nie, maar ook verstandelike denkprosesse soos ontdekking,
aanwending, probleemoplossing en kritiese denke. Dit bied ook die geleentheid vir 'n geheelbenadering tot die
aanleer van musiekteoretiese kennis en skryfvaardighede, en die inkorporering van aIle ander gehooropleidingsmetodes.
Voorbeelde van kinders se komposisies is ingesluit as bewys daarvoor dat dit weI in die praktyk toepasbaar
is.
Ten slotte word aanbeveel dat: (a) gehooropleidingsdosente hulle doelstellings, onderrigfilosofiee en -metodes voortdurend
krities moet betrag en ondersoek; (b) gevorderde kursusse in gehooropleiding aan alle tersiere musiekinstansies
aangebied behoort te word om sodoende te voorsien in die nood van onvoldoende geskoolde,dosente; (c) alle studente
verplig moet word om 'n kursus in gehooropleidingsdidaktiek te volg; (d) meer onderrrigtyd ingeruim behoort
te word vir gehooropleiding; (e) gehooropleiding as 'n vak in eie reg behandel moet word by puntetoekennings; (t)
metodes van 001 en herhaling met holistiese benaderingswyses tot gehooropleiding in beide klaskamergebaseerde en
geprogrammeerde onderrig vervang moet word; (g) musiek van alle stylperiodes ingesluit behoort te word; (h) 'n
wye spektrum van gehooropleidingsmetodes aangewend moet word en me slegs bladsang en diktee me; (i) gehooropleidingsdosente
hulself voortdurend op hoogte van die nuutste navorsingsresul-tate behoort'te hou en moet poog
om hierdie resultate in hulle gehooropleidingsprogramme te integreer; g) gehooropleidingsboeke en rekenaarprogramme
wat op holistiese en kontekstuele benaderings tot gehooropleiding gebaseer is, gepubliseer moet word; (k)
gehooropleiding vanaf die eerste instrumentale en/of sangles gei'ntegreer behoort te word deurdat die voorgestelde
model van 'n holistiese benaderingswyse d.m. v. komposisie aangewend word.
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An experimental study of a silent score reading method for music ear training /Beckett, Christine Alyn. January 1986 (has links)
No description available.
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The effect of auditory discrimination on the learning of music concepts.Orbach, Yael. January 1984 (has links)
This study investigates the effect of training in auditory discrimination on the learning of music concepts. The study draws on Klausmeier's theory concerning the role of discrimination in concept learning, and on Gibson's theory concerning the process of discrimination. Six hypotheses are tested: two stating that a particular program of auditory discrimination training positively affects the performance of pitch and rhythm conceptual tasks, two stating that age positively relates to such performance, and two stating that if the effect of initial auditory discrimination ability is eliminated, there will be no
significant difference between the achievements of 7 - 8 year-old and 8 - 9 year-old students performing the said tasks. These hypotheses are tested in an experiment where 232 students participated. All were given a specially constructed Auditory Recognition Test to assess initial auditory discrimination ability before instruction, and all received the ordinary music instruction at school. Students in the experimental group received additionally a short, self-administered training module on discriminating auditory attributes of pitch, register, duration and tempo. These were high-low, long-short, and fast-slow. Following instruction, the experimental and control groups were given a specially constructed Music Concepts Achievement Test to assess their performance. A 2 x 2 factorial design is used to relate discrimination training and age to the performance of conceptual tasks. Variance and covariance analyses are performed to test the hypotheses. Results demonstrate a significant positive effect of the auditory discrimination training on the performance of pitch and rhythm tasks (p < .001), and a significant positive relationship between age and the performance of these tasks (p < .001). However, upon eliminating the effect of initial discrimination ability, age is no longer significant (p = .54 in pitch, and p = .181 in rhythm). The study concludes that training in auditory discrimination facilitates the learning of music concepts and that improvement in auditory discrimination which is gained with age facilitates such learning. These conclusions indicate that auditory
discrimination training could improve the learning of many music concepts, and thus become a strategy for the achievement of important objectives in music education. / Theses (Ph.D.)-University of Natal, Durban, 1984.
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Sight-reading and ear-playing abilities related to the training and backgroud of instrumental music studentsLuce, John R. January 1958 (has links)
Thesis--University of Nebraska, 1958. / Includes bibliographical references (leaves, 144-146).
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