Made available in DSpace on 2015-05-14T12:52:36Z (GMT). No. of bitstreams: 1 arquivototal.pdf: 1373268 bytes, checksum: 408a133af0a811ec543de763269af681 (MD5) Previous issue date: 2014-04-30 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / This work presents the results of a survey about the practices, conceptions, beliefs and didactic materials employed by guitar professors through graduation courses of music performance at guitar in Brazilian universities, specially the materials and practices about sight-reading, and aims to contribute to research about teaching of musical instruments, both at Music Education and at Performing Practices. This survey revealed the most used guitar teaching methods at Brazilian universities and the literature search undertaken about the sightreading subject made it possible to draw a state of the art that guided the analysis of those didactic materials, identifying and relating its features with the knowledge base about expertise in problem solving, flow and deliberate practice. Presenting and analyzing the instrument teaching methods used by the aforementioned guitar teachers, their practices and beliefs about the teaching of guitar playing and sight-reading, made it possible to relate literature s knowledge of the subject with teaching approaches, and to state well informed hypothesis about sight-reading relevance to Brazilian guitar playing and teaching. It was made clear that sight-reading valuing manifested itself more in speech than in practice, and issues concerning guitar students suggests that, among many other factors, deficiencies in elementary music education makes that guitar teaching excessively focuses on memorized repertoire teaching and sacrifices more integrative practices like chamber music and sightreading. Seeking to improve the comprehension of this scenario, possibilities of didactic and pedagogical acting and researching are discussed. / Ao apresentar os resultados de um levantamento a respeito das práticas, concepções e materiais didáticos utilizados por professores de violão dos bacharelados em música do Brasil no processo de formação de violonistas e no ensino da leitura musical à primeira vista (LMPV), este trabalho visa a contribuir para a pesquisa sobre ensino de instrumento, no âmbito da Educação Musical e das Práticas Interpretativas. A partir desse levantamento puderam ser conhecidos os principais métodos de ensino de instrumento utilizados pelos professores brasileiros no ensino de violão e, a partir da pesquisa bibliográfica empreendida sobre o tema da LMPV, foi traçado um estado da arte que balizou a análise desses materiais, ao identificar as suas características e relacioná-las com os conhecimentos sobre expertise em resolução de problemas, fluxo e prática deliberada. Ao apresentar e analisar os métodos de ensino de instrumento utilizados pelos professores de violão dos bacharelados em música do Brasil, juntamente com as práticas e concepções por eles manifestadas, foi possível explicitar e relacionar o conhecimento científico sobre o tema com as atividades propostas nesses materiais e as concepções dos professores de violão sobre LMPV, bem como emitir hipóteses bem fundamentadas sobre a relevância da LMPV para o violão brasileiro e suas práticas de ensino. Constatou-se que a valorização da LMPV é muito mais dita do que praticada e questões relativas à formação dos estudantes de música levam a crer que, dentre diversos fatores, a precariedade de formação básica induz o foco no ensino de repertório ensaiado e sacrifício de práticas mais integrativas como música de câmera e LMPV. Em seguida, em busca da uma melhoria da compreensão dessa situação, discutem-se as possibilidades de atuação e pesquisa didático-pedagógicas diante desse quadro.

Developing the music cognition competencies of both singers and instrumentalists is one of the goals of school music programs. Vocal and instrumental sight reading are used to indicate the level of development of cognitive skills in music. In this study, vocal and instrumental sight reading served as a basis for determining public school orchestra students' cognitive development in music. Vocal sight-reading and instrumental sight-reading performances of 143 orchestra students in 7th, 9th, and 11th grades were examined. Students' vocal sight-singing accuracy was tested using the Vocal Sight Reading Inventory (Henry, 1999). Students' instrumental sight-reading was assessed using the String Performance Rating Scale (Zdzinski & Barnes, 2002). The ANOVA procedure and the Welch test were applied to determine whether there was an improvement in students' vocal and instrumental sight reading with additional years of school orchestra experience. Results from ANOVA analyses indicated that the differences in students' instrumental sight-reading scores across the three grade levels were statistically significant [F (2,140) = 34.50], p < .01. A post hoc Bonferroni adjustment revealed that the differences between each of the groups were statistically significant (p < .05) in favor of older and more experienced students. For vocal sight reading, the Tamhane procedure revealed significant differences only between students at the 7th and 11th grade levels, also in favor of the older students (p < .05). Correlational analysis indicated that there was a strengthening of the relationship between students' vocal sight reading and instrumental sight reading as students progressed in grade level, indicating that they were continuing to develop their musicianship skills. The correlation between vocal sight-reading and instrumental sight-reading scores according to grade level were r = .36, p < .05 for 7th grade, r = .52, p < .01 for 9th grade, and r = .64, p < .01 for 11th grade. In this study I stressed the importance of both vocal sight-reading and instrumental sight-reading experiences for orchestra students and ultimately for all instrumental students. I also proposed theoretical models as to how the two skills are related and how they might be developed.

The focus of this study is on the relationships among three basic auditory representations as well as their interaction with a measure of overall musicianship (sight-singing) among a group of classical and non-classical university music students (N = 112) selected from three different universities. Students were enrolled in level one of an aural skills course at the time. Basic auditory representations included were tonic centrality, measured by Colwell’s (1968) Feeling for Tonal Center, tonal grouping, measured by Colwell’s (1968) Auditory-Visual Discrimination, and harmonic function grouping, measured by a revised version of Holahan, Saunders and Goldberg’s (2000) assessment. I evaluated relationships by correlating scores on each measure and also compared these relationships among classical and non-classical music students. The participants in this study were the most skilled at forming auditory representations of tonic centrality and non-classical musicians significantly (p = .002) outperformed classical musicians in this area. Tonic centrality was also most strongly correlated with overall musicianship (τ = .45, p < .001) within the sample, and this relationship appeared to be stronger among non-classical musicians (τ = .52, p < .001) than among classical musicians (τ = .39, p < .001). This difference may be accounted for by the increased reliance on grounding in a tonal center required by the musical activities of a typical non-classical music student. Given the changing balance of musical endeavors present in tertiary music schools today (Lehmann, Sloboda, & Woody, 2007), educators are encouraged to better understand the particular strengths non-classical musicians may bring to the classroom in terms of ear-based musical abilities. Likewise, music educators on each level are encouraged to incorporate ear-based activities such as improvisation and playing by ear to the benefit of musicians of all genres.

A capacidade de executar uma obra à primeira vista no violão é considerada por muitos uma tarefa de difícil execução. Um dos principais motivos para isto é o fato de uma mesma nota poder ser tocada em diferentes lugares da escala do violão, gerando diversas possibilidades de digitação para uma mesma passagem. A presente pesquisa investigou os procedimentos utilizados por 11 estudantes de graduação em violão durante a execução de uma tarefa de leitura à primeira vista. Os sujeitos da pesquisa foram filmados e entrevistados e os dados relativos ao histórico de cada sujeito foram acessados pela aplicação de questionário. Foram considerados como variáveis influentes na execução dessa tarefa fatores como as diferentes possibilidades de digitação para uma mesma passagem, o conhecimento das possibilidades expressivas do instrumento, e a habilidade motora. A digitação e a tonalidade apresentaram-se como as principais dificuldades. As questões expressivas foram deixadas em segundo plano, considerando a quantidade de decisões a serem tomadas no tempo de um minuto dado a leitura silenciosa. Assim, nem sempre a execução mais correta em termos de acertos de notas e tempo foi a de resultado mais expressivo. Evidenciou-se na pesquisa que nem sempre o tempo de estudo reflete no melhor resultado quando se trata da tarefa de leitura à primeira vista. Os sujeitos de melhores desempenhos na tarefa de leitura à primeira vista responderam em questionário que praticam música de câmara e/ou canto coral, mostrando que essas práticas podem influenciar positivamente o desenvolvimento da habilidade de leitura à primeira vista. Com relação ao teste de habilidade motora, os sujeitos com os melhores desempenhos na execução do teste de leitura à primeira vista (considerando fluência de tempo, evitando correções de notas e ritmos) ultrapassaram os sujeitos de menor desempenho em marcas metronômicas. / Sight-reading a piece on the guitar is often considered a difficult task. One reason for this may be the fact that the same note on the guitar may be played in different ways, thus generating various fingering possibilities for the same passage. The present study investigated the procedures adopted by 11 undergraduate guitar students in a sight-reading exercise. The subjects were filmed and interviewed and their background was taken from a written questionnaire. Distinct fingering possibilities for the same passage, knowledge of expressive possibilites of the guitar and mechanical dexterity were considered as influential variables in this study. Fingering and tonality proved to be the main difficulties. Expressive aspects were not considered the most important, considering the number of decisions to be made in the one minute allotted for silent reading before the sight-reading began. Thus, the best performances in terms of correct notes and tempo were not necessarily the most expressive. The best outcomes came from students who engage in choral or chamber music activities, therefore, these may have a positive influence on sight-reading. The mechanical ability exercise applied showed that the subjects that did better on the sight-reading passsage (considering tempo, correct notes and rhythm) surpassed those that had lower metronomical markings.

A capacidade de executar uma obra à primeira vista no violão é considerada por muitos uma tarefa de difícil execução. Um dos principais motivos para isto é o fato de uma mesma nota poder ser tocada em diferentes lugares da escala do violão, gerando diversas possibilidades de digitação para uma mesma passagem. A presente pesquisa investigou os procedimentos utilizados por 11 estudantes de graduação em violão durante a execução de uma tarefa de leitura à primeira vista. Os sujeitos da pesquisa foram filmados e entrevistados e os dados relativos ao histórico de cada sujeito foram acessados pela aplicação de questionário. Foram considerados como variáveis influentes na execução dessa tarefa fatores como as diferentes possibilidades de digitação para uma mesma passagem, o conhecimento das possibilidades expressivas do instrumento, e a habilidade motora. A digitação e a tonalidade apresentaram-se como as principais dificuldades. As questões expressivas foram deixadas em segundo plano, considerando a quantidade de decisões a serem tomadas no tempo de um minuto dado a leitura silenciosa. Assim, nem sempre a execução mais correta em termos de acertos de notas e tempo foi a de resultado mais expressivo. Evidenciou-se na pesquisa que nem sempre o tempo de estudo reflete no melhor resultado quando se trata da tarefa de leitura à primeira vista. Os sujeitos de melhores desempenhos na tarefa de leitura à primeira vista responderam em questionário que praticam música de câmara e/ou canto coral, mostrando que essas práticas podem influenciar positivamente o desenvolvimento da habilidade de leitura à primeira vista. Com relação ao teste de habilidade motora, os sujeitos com os melhores desempenhos na execução do teste de leitura à primeira vista (considerando fluência de tempo, evitando correções de notas e ritmos) ultrapassaram os sujeitos de menor desempenho em marcas metronômicas. / Sight-reading a piece on the guitar is often considered a difficult task. One reason for this may be the fact that the same note on the guitar may be played in different ways, thus generating various fingering possibilities for the same passage. The present study investigated the procedures adopted by 11 undergraduate guitar students in a sight-reading exercise. The subjects were filmed and interviewed and their background was taken from a written questionnaire. Distinct fingering possibilities for the same passage, knowledge of expressive possibilites of the guitar and mechanical dexterity were considered as influential variables in this study. Fingering and tonality proved to be the main difficulties. Expressive aspects were not considered the most important, considering the number of decisions to be made in the one minute allotted for silent reading before the sight-reading began. Thus, the best performances in terms of correct notes and tempo were not necessarily the most expressive. The best outcomes came from students who engage in choral or chamber music activities, therefore, these may have a positive influence on sight-reading. The mechanical ability exercise applied showed that the subjects that did better on the sight-reading passsage (considering tempo, correct notes and rhythm) surpassed those that had lower metronomical markings.

A capacidade de executar uma obra à primeira vista no violão é considerada por muitos uma tarefa de difícil execução. Um dos principais motivos para isto é o fato de uma mesma nota poder ser tocada em diferentes lugares da escala do violão, gerando diversas possibilidades de digitação para uma mesma passagem. A presente pesquisa investigou os procedimentos utilizados por 11 estudantes de graduação em violão durante a execução de uma tarefa de leitura à primeira vista. Os sujeitos da pesquisa foram filmados e entrevistados e os dados relativos ao histórico de cada sujeito foram acessados pela aplicação de questionário. Foram considerados como variáveis influentes na execução dessa tarefa fatores como as diferentes possibilidades de digitação para uma mesma passagem, o conhecimento das possibilidades expressivas do instrumento, e a habilidade motora. A digitação e a tonalidade apresentaram-se como as principais dificuldades. As questões expressivas foram deixadas em segundo plano, considerando a quantidade de decisões a serem tomadas no tempo de um minuto dado a leitura silenciosa. Assim, nem sempre a execução mais correta em termos de acertos de notas e tempo foi a de resultado mais expressivo. Evidenciou-se na pesquisa que nem sempre o tempo de estudo reflete no melhor resultado quando se trata da tarefa de leitura à primeira vista. Os sujeitos de melhores desempenhos na tarefa de leitura à primeira vista responderam em questionário que praticam música de câmara e/ou canto coral, mostrando que essas práticas podem influenciar positivamente o desenvolvimento da habilidade de leitura à primeira vista. Com relação ao teste de habilidade motora, os sujeitos com os melhores desempenhos na execução do teste de leitura à primeira vista (considerando fluência de tempo, evitando correções de notas e ritmos) ultrapassaram os sujeitos de menor desempenho em marcas metronômicas. / Sight-reading a piece on the guitar is often considered a difficult task. One reason for this may be the fact that the same note on the guitar may be played in different ways, thus generating various fingering possibilities for the same passage. The present study investigated the procedures adopted by 11 undergraduate guitar students in a sight-reading exercise. The subjects were filmed and interviewed and their background was taken from a written questionnaire. Distinct fingering possibilities for the same passage, knowledge of expressive possibilites of the guitar and mechanical dexterity were considered as influential variables in this study. Fingering and tonality proved to be the main difficulties. Expressive aspects were not considered the most important, considering the number of decisions to be made in the one minute allotted for silent reading before the sight-reading began. Thus, the best performances in terms of correct notes and tempo were not necessarily the most expressive. The best outcomes came from students who engage in choral or chamber music activities, therefore, these may have a positive influence on sight-reading. The mechanical ability exercise applied showed that the subjects that did better on the sight-reading passsage (considering tempo, correct notes and rhythm) surpassed those that had lower metronomical markings.

The purpose of this study was to develop a valid and reliable measure and attendant rating scale for the assessment of the sight-reading skills of classical guitarists at the beginning of collegiate study. This study sought to answer the following questions: 1. What musical components and their ranges of values should be measured in a sight-reading assessment for entry-level collegiate classical guitarists? 2. Can a valid and reliable sight-reading assessment for classical guitarists be constructed? 3. Can a rating scale or other scoring mechanism be constructed that would be easy to use and promote a high degree of objectivity and reliability? Tentative standards were drawn from data acquired by means of an electronic survey questionnaire sent to collegiate guitar teachers throughout North America (N = 1,193) which yielded 241 responses. Musical elements that emerged from the survey results were validated by comparison with specific works from the guitar’s literature that were recommended by survey respondents as appropriate for testing sight-reading skills at the college-entry level, as well as with published sample sight-reading exams. The emergent elements were constructed into six short musical exams and a rating sheet for each, loosely patterned after the scoring mechanism of the Watkins-Farnum Performance Scale. These exams constituted the pilot test, which was administered to 14 student volunteers by their college guitar instructors. Internal reliability coefficients were obtained using several methods, all of which were strong (generally in the .82 to .98 range). Interrater reliability coefficients were also strong (.91 to .99). Based on analysis of the pilot results and suggestions from teachers, one of the original assessments was slightly modified, a new assessment was constructed, and rating sheets developed. The same procedures used in the pilot test were followed in the field test, which was administered to 28 volunteer students. Internal reliability using several methods resulted in coefficients generally in the .90 to .96 range, and interrater reliabilities ranged from .87 to .98.

Som gitarrist är det inte ovanligt att ens förmåga till notläsning blir ifrågasatt, av både andra gitarrister såväl som medmusiker. Jag har genom det här arbetet undersökt vilka underliggande faktorer som kan spela in i varför det är så svårt att spela efter noter på gitarren samt analyserat mitt eget lärande och vilken utveckling jag har observerat hos mig själv efter åtta veckor av fokuserat övande på a vista. Jag har arbetat utifrån ett designteoretiskt perspektiv, och analyserat min progression med hjälp av loggbok och videoinspelning samt analyserat läroböcker som berör a vista och ackompanjemang. Det jag fann var att det finns en skillnad i läroböckerna gällande vilket teckensystem som föredras att användas för att lära sig spela a vista gentemot att lära sig spela ackompanjemang, och att dessa två aspekter av gitarr särskiljs. Jag fann också att min egen utveckling främjades av att jobba på ett strukturerat sätt med a vista. Slutligen så för jag en diskussion kring mitt resultat och tidigare forskning, samt det teoretiska perspektiv som jag använt i den här studien. / As a guitarist, it is not uncommon for one's ability to read sheet music to be questioned, both by other guitarists as well as fellow musicians. In this paper, I have investigated what underlying factors may play a role in why it is so difficult to sight read on the guitar, as well as analyzed my own learning and what improvement I could observe in myself after eight weeks where I practiced sight reading. Using design theory, I analyzed my progression with the help of a practice journal and video recording. I also analyzed textbooks that focus on sight reading and accompaniment. What I found was that there is a difference in which notation system teachers choose to use when teaching sight reading versus accompaniment, and that these two aspects of guitar are separated. I also found that my own improvement benefitted from working in such a structured environment. I  also discuss what it could mean to work with these two different forms of guitar playing.

Chunking is a cognitive process that re-organizes information into groupings, promoting efficient memory storage and recall. Due to the complexity of music scores, music reading requires both knowledge of the individual notes and recognition of musical chunks for rapid and accurate reading. For young piano students, it is especially important to systematically introduce and develop connections between individual notes and chunks. However, despite the importance of chunking, few studies have examined the development of chunking techniques in music reading for younger students. The objective of this thesis is to investigate how beginner piano method book and sight-reading book series for young students address chunking and provide a guide to develop chunking techniques that influence both reading and playing the piano. This study analyzes the contents of ten method book series and seven sight reading book series, examining the types and sizes of patterns introduced within the series, and the frequency of reinforcement. The study also examines pattern-related instructions, concepts and visual cues included in the series. The results reveal a lack of systemic chunking technique development, the importance of pattern recognition and the need for incorporating written instructions and visual cues to encourage chunking. Although the present study affirms the lack of development on chunking techniques in the evaluated teaching materials, the findings demonstrate the areas that could be developed to form chunking processes. Based on this research, suggestions are made to improve teaching materials to include chunking techniques and processes.

Denna studie har utförts med syfte att studera resultatutvecklingen, utifrån ett hermeneutiskt perspektiv, vad gäller övning av förmågan i att direkt läsa musik, också att undersöka orsaker vad gäller variation i resultatet vid övning ia prima vista-läsning av musik.Data och information har insamlats genom videoobservation vid 11 tillfällen och genom loggboksanteckningar vid samtliga 38 övningstillfällen. Det hermeneutiska perspektivet centrerat kring teorier av Gadamer och Ricœur har använts för att analysera händelseförloppen vid de dokumenterade övningspassen. I resultatet visas att vissa studerade parametrar så som läshastighet och antal repetitioner av toner eller passager blev måttligt förändrade samtidigt som parametrar så som antal fel spelade under varje övningspass förblev oförändrade under tiden för studien. Det visas också att vissa parametrar relaterade till god förmåga till a prima vista-spel blev utvecklade under övningsperioden. I diskussionen sätts upptäckterna i analysen och resultatet i relation till presenterad forskning samt utifrån det teoretiska perspektivet. / This study have been executed with the purpose to examine the progress of the results during the study of the ability to sight-read music from a hermeneutic perspective, and also to examine the occurring variations in the results during sight-reading practice. The data and information have been collected through 11 occasions of observation via video and all 38 of the practice sessions were documented in the form of logbook. The hermeneutic perspective centered around the theories presented by Gadamer and Ricœur have been used to analyze the sequence of events presented by the collected information. The results show that some of the studied parameters such as the speed of the reading and the number of repetitions of notes or passages became moderately changed while parameters such as the number of wrong notes played during each practice session remained unchanged during the course of the study. There are also parameters related to good sight-reading ability that show great change under the time of study. In the discussion the results are compared to presented research on the subject. Further analysis of the material were made with the help of the theoretical perspective.