Doctor of Philosophy / Curriculum and Instruction Programs / Frederick Burrack / Phillip Payne / The purpose of this study was to discover whether differences exist in rhythm pattern achievement of the three rhythm systems Takadimi, 1 e & a, and 1 ta te ta in introductory level aural skills classrooms. Participants (N = 27) were first-level aural skills students in three Midwest colleges. Data were collected by implementing a demographics questionnaire to obtain a descriptive profile of the participants, Gordon’s (1989) Advanced Measures of Music Audiation (AMMA) test to obtain the music aptitude level of the participants, and a researcher-designed pretest and posttest. A significant difference was unable to be determined of rhythm pattern achievement between the three systems. However, results revealed improvement of rhythm reading between the pretest and posttest for all rhythm systems. A significant difference was unable to be determined in achievement between students with low and high aptitude following instruction in a particular rhythm system. The improvements in rhythm reading suggest that progress and achievement can be independent of using any of the three rhythm systems, but further investigation with a larger sample is recommended.

Este trabalho discute a obra pedagógica musical de H.Villa-Lobos contida nos cinco volumes editados para uso no Canto Orfeônico (Guia Prático, Solfejos - volumes 1 e 2 e Canto Orfeônico - volumes 1 e 2) sob o ponto de vista da pedagogia musical; não é focado, em primeiro plano, nas questões ideológicas do Canto Orfeônico, nem pretende recomendar a aplicação dessa política educacional nos dias atuais. A proposta principal é apresentar uma análise do material selecionado, arranjado, composto e editado por Villa-Lobos para o Canto Orfeônico, para uma possível utilização no processo de ensino musical, face à importância do compositor e desse segmento de sua obra. A partir da análise pedagógica, são apresentadas sugestões de cunho didático relacionadas à metodologia de ensino musical relacionada com a priorização da atividade. Considerando o objetivo principal deste trabalho, que é sugerir uma organização didática para a utilização das canções e solfejos contidos nos cinco volumes analisados, são estabelecidos os critérios adotados, bem como os instrumentos utilizados para tanto. São abordados os precedentes do movimento do Canto Orfeônico e as personagens que influenciaram Villa-Lobos na preparação de sua obra pedagógica. Os textos que serviram de base para o trabalho foram os cinco volumes da edição Vitale e os quatro volumes do Guia Prático pela editora ABM - Academia Brasileira de Música (FUNARTE-ABM, último trimestre de 2009). O primeiro capítulo refere-se ao contexto da criação da obra pedagógica de Villa-Lobos e o segundo capítulo apresenta as análises das peças contidas nos cinco volumes em questão. / This paper discusses the musical pedagogical work of H.Villa-Lobos contained in the five volumes edited for use in Canto Orfeônico (\"Guia Prático, Solfejos\" - volumes 1 e 2 and \"Canto Orfeônico\" - volumes 1 and 2) of the musical pedagogy point of view; it is not focused, in first plan, the ideological questions of Canto Orfeônico, nor intends to recommend the implementation of educational policy in the current days. The main purpose is to present an analysis of the selected, arranged, composed material and edited by Villa-Lobos for Canto Orfeônico, for a possible use in the process of musical education, given the importance of the composer and this segment of his work..From this pedagogical analysis, suggestions are presented related to the didactic methodology of music education related to the prioritization of activity. Considering the main objective of this work, which is to suggest a didactic organization for the use of the songs and solfeges contained in the five analyzed volumes, the adopted criterias are established, as well as the instruments used for both . The precedents of the movement of the Canto Orfeônico who had influenced Villa-Lobos in the preparation of his pedagogical work and also the characters are registered. The texts that served as the basis for this work were the five-volume edition of Vitale and four volumes of the Practical Guide by ABM - Brazilian Academy of Music (FUNARTE-ABM, the last semester of 2009). The first chapter refers to setting up the educational work of Villa-Lobos and the second chapter presents the analysis of the parts contained in five volumes in question.

Este trabalho discute a obra pedagógica musical de H.Villa-Lobos contida nos cinco volumes editados para uso no Canto Orfeônico (Guia Prático, Solfejos - volumes 1 e 2 e Canto Orfeônico - volumes 1 e 2) sob o ponto de vista da pedagogia musical; não é focado, em primeiro plano, nas questões ideológicas do Canto Orfeônico, nem pretende recomendar a aplicação dessa política educacional nos dias atuais. A proposta principal é apresentar uma análise do material selecionado, arranjado, composto e editado por Villa-Lobos para o Canto Orfeônico, para uma possível utilização no processo de ensino musical, face à importância do compositor e desse segmento de sua obra. A partir da análise pedagógica, são apresentadas sugestões de cunho didático relacionadas à metodologia de ensino musical relacionada com a priorização da atividade. Considerando o objetivo principal deste trabalho, que é sugerir uma organização didática para a utilização das canções e solfejos contidos nos cinco volumes analisados, são estabelecidos os critérios adotados, bem como os instrumentos utilizados para tanto. São abordados os precedentes do movimento do Canto Orfeônico e as personagens que influenciaram Villa-Lobos na preparação de sua obra pedagógica. Os textos que serviram de base para o trabalho foram os cinco volumes da edição Vitale e os quatro volumes do Guia Prático pela editora ABM - Academia Brasileira de Música (FUNARTE-ABM, último trimestre de 2009). O primeiro capítulo refere-se ao contexto da criação da obra pedagógica de Villa-Lobos e o segundo capítulo apresenta as análises das peças contidas nos cinco volumes em questão. / This paper discusses the musical pedagogical work of H.Villa-Lobos contained in the five volumes edited for use in Canto Orfeônico (\"Guia Prático, Solfejos\" - volumes 1 e 2 and \"Canto Orfeônico\" - volumes 1 and 2) of the musical pedagogy point of view; it is not focused, in first plan, the ideological questions of Canto Orfeônico, nor intends to recommend the implementation of educational policy in the current days. The main purpose is to present an analysis of the selected, arranged, composed material and edited by Villa-Lobos for Canto Orfeônico, for a possible use in the process of musical education, given the importance of the composer and this segment of his work..From this pedagogical analysis, suggestions are presented related to the didactic methodology of music education related to the prioritization of activity. Considering the main objective of this work, which is to suggest a didactic organization for the use of the songs and solfeges contained in the five analyzed volumes, the adopted criterias are established, as well as the instruments used for both . The precedents of the movement of the Canto Orfeônico who had influenced Villa-Lobos in the preparation of his pedagogical work and also the characters are registered. The texts that served as the basis for this work were the five-volume edition of Vitale and four volumes of the Practical Guide by ABM - Brazilian Academy of Music (FUNARTE-ABM, the last semester of 2009). The first chapter refers to setting up the educational work of Villa-Lobos and the second chapter presents the analysis of the parts contained in five volumes in question.

The purpose of this study was to analyze and understand experienced choral directors' perceptions and beliefs on a variety of topics surrounding the teaching and learning of secondary choral music sight singing or sight reading. A focus group of eight highly successful college, high school and middle school choral music educators addressed seven questions. The investigation gathered qualitative data that covered the purposes of teaching sight singing, the positive or negative attributes of movable Do, fixed Do and numbers, and a review of sight-singing curricula. Further, the investigation gathered data on the effect, if any, of an instrumental student's sight-singing ability and the use and effectiveness of Curwen or Kodály hand signs and sight-singing assessment for students. Additional data was gathered concerning how secondary music educators were evaluated. Results suggested that the focus group's purpose in teaching sight singing was to produce independent, self-reliant musicians. Individual sight-singing assessment was deemed important and should focus on how singers progressed. Music composed specifically for sight-singing contests or festivals should contain challenging notes and rhythms, dynamic changes, phrase markings and at least one tempo or meter change. Further, music teacher evaluations were discussed, coded and analyzed. Twenty-nine recommendations are offered that are designed to make sight singing more efficient and more effective in today's choral music classrooms. While there are some very good sight-singing materials in print, music publishers who contemplate printing new instructional material should offer a holistic approach to musicianship. Adjudicators for choral sight-singing festivals and contests should be trained. Choirs entering a sight-singing performance should be adjudicated on musical elements such as meter changes, correct tempi, phrasing, tone, articulation and dynamics, not merely on performing the correct notes and rhythms. Many more recommendations were offered to secondary and college choir teachers, supervisors, contest chairmen, adjudicators, composers, music publishers and students. The investigation was not intended to determine a recommended method for sight-singing instruction nor assessment. The purpose of this study was to understand and analyze experienced choral directors' perceptions and beliefs concerning sight singing on secondary campuses.

L’objectif principal de cette étude est de mettre à jour l’œuvre de Sébastien Le Camus († 1677), un nom derrière lequel se cache également celui de son fils, Charles Le Camus († 1717), lui-même compositeur. Les 32 airs connus du père ont été rassemblés dans un recueil d’auteur posthume publié en 1678 à l’initiative du fils. En faisant appel à la métaphore du cercle avec ce recueil au centre, nous parcourons, en périphérie, l’ensemble des sources écrites qui permettaient la diffusion du genre de l’air, sérieux et spirituel, dans la seconde moitié du XVIIe siècle et au début du XVIIIe siècle : les recueils collectifs musicaux et poétiques imprimés chez Ballard, les manuscrits conservés en France et à l’étranger, un roman – Clélie de Madeleine de Scudéry – et un périodique, le Mercure galant. Les 211 airs de Sébastien et Charles Le Camus collectés à ce jour ont été détachés de ces sources pour être maintenant rassemblés dans un catalogue (vol. 3) et dans une édition musicale moderne (vol. 4). La dynastie en miniature amène à s’interroger à la fois sur l’objet « partition » et sur la notion d’auteur, questionnée puis mise au centre de notre étude (vol. 1 et 2). En maniant finement cette notion plastique, nous offrons au musicien et au musicologue une analyse tant du contexte de création des airs que du matériau musical en tant que tel. Cette analyse, qui propose un va-et-vient entre la théorie et la pratique contemporaines de nos auteurs, amène à voir l’air comme un genre en mouvement dont la vie dépend tant de son succès dans les réseaux de sociabilité que de sa faculté à être composé, décomposé et recomposé pour s’adapter aux circonstances de son exécution. / The main goal of this study is to unveil the work of Sébastien Le Camus († 1677), behind whose name one also finds that of his son, Charles Le Camus († 1717), himself a composer. A collection of the father’s 32 known airs was published posthumously in 1678 upon the son’s initiative. By means of a metaphor, where that collection is at the centre of a circle, we navigate on the circle’s periphery through the set of written sources that allowed for diffusion of the genre of the French air, both secular and sacred, in the second half of the 17th century and at the beginning of the 18th century: The collections of airs and song-texts published by Ballard, the manuscripts kept in France and abroad, a novel – Clélie by Madeleine de Scudéry – and a periodical, the Mercure galant. The 211 airs by Sébastien and Charles Le Camus collected to date, extracted from those sources, are now gathered in a catalogue (vol.3) and in a modern music edition (vol.4). The miniature dynasty leads to explore the « score » as an object as well as the notion of author, first questioned and then set at the core of our study (vol.1 and 2). By subtle handling of that flexible notion, we offer to musicians and musicologists an analysis of both the airs’ creation context and the music material itself. This analysis, based on a constant dialogue between the theory and the practice of our authors’ time, leads to viewing the air as a dynamic genre whose life depends on its success within social milieus as much as on its ability to be composed, decomposed and recomposed according to the requirements of its performance context.