Thesis (Ph. D.)--University of Wisconsin--Madison, 1972. / Typescript. Vita. eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Thesis (D.M.A.)--University of Illinois at Urbana-Champaign, 2006. / Source: Dissertation Abstracts International, Volume: 67-11, Section: A, page: 4031. Adviser: William Moersch. Includes bibliographical references (leaves 133-139) Available on microfilm from Pro Quest Information and Learning.

Thesis (D.M.A.)--University of Oregon, 2006. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 210-221). Also available for download via the World Wide Web; free to University of Oregon users.

The ability to sight-read well is held as a highly regarded and important skill in music performance and education. Over the past 90 years, researchers have investigated several aspects of music sight-reading, especially those attributes possessed by skilled sight-readers. A significant and recurrent finding from this body of research is the relationship between sight-reading and rhythm recognition. Though these studies have found positive effects and correlations between rhythm recognition and sight-reading, they have been limited and indirect. The aim of this dissertation was to investigate the effects of (a) practicing rhythms on a single pitch and (b) practicing rhythms with full-range scales and their direct effects on sight-reading ability in saxophonists at the college level. The primary objective in this research was to determine if one method was more effective than another in developing sight-reading skills. The participants (N = 74) consisted of college students who were enrolled in saxophone lessons at a university in the southwestern United States. Participants were administered a sight-reading pre-test at the beginning of an 8-week treatment period. After pre-testing, students were blocked into two groups. The first treatment group was assigned to practice rhythms on a single pitch and the second treatment group was assigned to practice rhythms combined with full-range major scales. After the treatment period, participants were administered a sight-reading post-test. A 2-way mixed ANOVA was used to determine if there were differences between treatment groups, differences from pre-test to post-test, and if there was a significant interaction between treatment and time. There was no significant difference between treatment groups, F (1, 72) = .035, p = .852, partial η2 = .000028. There was a significant effect for time, indicating that both treatment groups improved from pre-to post test, F (1, 72) = 83.499, p < .001, partial η2 = .537. There was no significant interaction between treatment and time, F (1, 72) = .322, p = .572, partial η2 = .004.

One of the most important skills of a pianist is the ability to read at sight. Because there are so many areas of piano study to address, sight-reading is overlooked either out of frustration or simple neglect. However, if acquisition of this skill is neglected, it will be difficult for a pianist to ever attain his full potential. For a pianist, sight-reading is one area that strengthens all others. The purposes of this study were to secure data concerning teaching sight-reading to undergraduate piano majors, to identify methods and techniques in current use in the instruction of sight-reading, to determine the extent of keyboard and computer-assisted learning technology usage within sight-reading instruction, to identify more effective methods and techniques being used to teach sight-reading, and to search for ways to enhance sight-reading instruction, including the utilization of recent computer technology applications in education and learning. The method used was survey research with a questionnaire sent to 168 randomly selected NASM colleges and universities. Response rate was 49.4 percent. The questionnaire, designed by the researcher, sought to ascertain the status of sight-reading instruction in these colleges and universities and to endeavor to determine the extent, if any, keyboard and computer-assisted learning technology was being used. Respondents of the survey were requested to identify outstanding sight-reading instructors and prominent accompanists, seven of whom were then interviewed. Final conclusions and recommendations are based upon the summation of data from respondents and professionals. There were no emerging tendencies in the instruction of sight-reading, but there was a strong agreement among respondents that there is a need for the development of a program to enable the usage of CAI. There were ten recommendations, ranging from the addition of sight-reading skills classes to conferences among teachers and computer programmers, to devise suitable programs to assist in the instruction of sight-reading skills.

The purpose of this study was to determine the effect of a program of rhythmic training upon the ability to perform music at sight. In addition to examining the overall sight-reading improvement, rhythm reading improvement was also investigated. The program of rhythmic training utilized the Temporal Acuity Products (TAP) system as the rhythm training aid. From these findings it was concluded that the program of rhythmic training did not affect the ability to perform music at sight. A transfer of rhythm reading to sight-reading did no take place. Results of the retention test indicated an improvement in the experimental group's scores over an extended period of time. This improvement revealed that when subjects were tested after two months, the program of rhythmic training did have an effect on sight-reading ability. It was also concluded that there might be a hierarchy of skills in which rhythmic training is only one aspect. Furthermore, there could be a combination of skills which must improve simultaneously in order to effect overall sight-reading ability.

The purpose of this study was to investigate the effectiveness of iconic-based rhythmic instruction on middle school instrumentalists' ability to read rhythms at sight in the preparation of music for sight-reading. One hundred thirty-one middle school students from 12 randomly assigned bands in the Midwestern United States provided data for a pretest-posttest control-group design. Of the 12 participating middle schools, four schools served as the control group (n= 42), four schools delivered rhythmic instruction using iconic-based methods (n= 42), and four schools delivered isolated rhythmic training using symbolic-based methods (n= 47).Using adjusted pretest scores from a researcher-constructed rhythm test (Rhythm Sight-Reading Performance Ability), the Musical Aptitude Profile (1995), and the Wechsler Abbreviated Scale of Intelligence (1999), results of an analysis of covariance (ANCOVA) revealed that no group obtained a significant difference on the posttest mean scores from the rhythmic performance test (F= 1.940, df= 1, 107, p= .149). Because results from individual schools showed considerable variation, other variables were observed to see if they were significant. Findings from an ANCOVA revealed that the individual school was significant (F= 3.141, df= 9, 107, p= .002).To verify the relationship found between the individual school and the posttest measurement, an analysis of covariance (ANCOVA) was run with the pretest and posttest scores serving as repeated measures. The results indicate that a significant interaction between the individual school and the pretest to posttest measurement exists. In light of these findings, it is speculated that the key to improving a student's rhythm-reading ability may be dependent not only on the method, but also on the quality of instructional delivery. / School of Music

Syftet med denna uppsats är att belysa i vilken mån trumsetslärares tendenser att främja notläsningsbaserade verksamheter kontra gehörsspelsbaserade dito, samt det sätt som dessa olika moment utförs på, är ett resultat av hur de själva blivit undervisade. Tidigare forskning på bland annat spegelneuroner ger vid handen att olika handlingsprogram lärs in omedvetet hos en person vid kontakten med andra människor, för att vid ett senare tillfälle kunna manifesteras i handlingar likartade den som personen iakttagit. Uppsatsen bygger på kvalitativa intervjuer med fyra trumsetslärare från kulturskolor i Storstockholmsområdet. Resultatet visar att respondenterna med viss variation visar relativt stora likheter med sina respektivelärare särskilt med avseende på proportionerna i vilka de använder notspel respektive gehörsspel. Flera av respondenterna utför vidare undervisningsmoment på ett sätt som nästan är identiskt med hur de utförde det som elever. I de fall då respondenterna avviker från sin lärares didaktiska stil, har de snarast lagt till olika moment i undervisningen som inte förekom under deras elevtid.

xiii, 221 p. : ill., music, forms. A print copy of this title is available through the UO Libraries under the call number: MUSIC MT35 .M87 2006 / The main purpose of the study was to examine the effects of learning songs by ear in multiple keys on skills in playing by ear and sight-reading. Secondary purposes of the study were to explore the effects of instruction on student attitudes, and to consider differential effects due to music aptitude. Students were brass and woodwind musicians ( N =28) in grades 7--8, placed in one of two instructional groups according to music aptitude, instrument, and music background. Time for instruction was three 20-minute lessons per week for four weeks. Students in the experimental group learned songs by ear in the keys of Bb, Db, and G concert, while students in the contact-control group practiced technical exercises in those same keys. Before and after instruction, students performed a well-known melody by ear in the keys of Bb, Db, and G concert, as well as a short etude in each of the three keys. Two adjudicators listened to recorded performances and evaluated pitch accuracy. To assess the effects of instruction on performance, repeated-measures ANOVAs considered the variables of group, time, and key. The experimental group improved significantly in playing by ear in the keys of Db and G concert, p < .001, but not in Bb. The contact-control group did not improve significantly in playing by ear in any of the keys. Both groups improved significantly in sight-reading in all three keys, p < .001. Analyses of qualitative and quantitative data from a researcher-authored attitude survey indicated that students in the experimental group perceived significant improvement in the new keys of Db and G, while students in the contact-control group did not perceive improvement. There were no statistically significant effects of music aptitude on performance achievement or attitude. Whether this was because the sample sizes were too small for the detection of effects, or whether there were no significant effects, is not known. The results of the study suggest that learning songs by ear may benefit student musicians. / Committee in Charge: Dr. Harry E. Price, Chair; Dr. Michael D. Bullis; Dr. Phyllis M. Paul; Dr. Steve Vacchi

The reasons given by thirty-three junior high school band directors for success and failure at the University Interscholastic League Concert/Sightreading Contest were studied using the methodology of Attribution Theory. All of the subjects attended the same contest and were members of a region which included urban and suburban schools. The subjects responded to a questionnaire which evaluated their attitudes towards the contest, allowed them to make judgments about other directors in hypothetical contest situations, and finally asked them to list the five most important reasons for their success or failure at the contest in an open-response format.