The problem of teaching music-reading to the masses of musically-illiterate children and adults weighs heavily on the hearts and minds of all competent, conscientious music teachers. This test of music-reading ability has been devised in the hope that it will help music students and teachers to determine specific weaknesses of one kind or another, in the individual students musical comprehension.

Thesis (Ed.D.)--Liberty University School of Education, 2009. / Includes bibliographical references.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 79-89). Also available on the Internet.

Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 79-89). Also available on the Internet.

The present study is an attempt to understand the differences between the child and young adult beginner in learning how to play the piano as a basis towards improving college-level beginning piano teaching. The purpose of this study then is three fold: (1) to examine to what extent there is a difference of learning achievement and rate between the child and young adult beginner, centering on psychomotor skills, the process of music reading, and elements of interpretation in learning how to play the piano; (2) to find out factors affecting these three elements of musical learning in two groups; and (3) to drive ways towards improving college level beginning piano teaching. To examine these questions, comparisons were drawn between undergraduate non-music majors (19 - 24 years) and primary school children (8 years). The 10-week instructional period consisted of two 40-minute lessons per week for each individual. The investigator taught all subjects individually with the investigator-designed instructional programme focused on keyboard fluency, music reading, and interpretation. Through the pilot study materials and sequencing in the instructional programme were revised and a system of categories for learning-relevant variables emerged. Hypotheses related to a basis of differences in music learning between two groups were investigated using a three-point achievement measurement tool designed by the investigator. Other variables (physical capacity, intelligence, musical background, motivation to learn, learning attitude, emotional factors) affecting musical learning were investigated using IQ tests, the students' self-reports, investigator's reports, and parents' reports. The results of the principal investigation indicate that the young adult beginners performed in all three musical learning elements better than the child group. No evidence was found in support of stereotypical assumptions in the beginning piano study-related literature that the young adult beginner is at disadvantage to the child beginner in the acquisition of keyboard fluency skills. It appears that the young adult did not have problems related to physical capacity taught in this instruction. In addition, it appears that selection variables (physical capacity, intelligence, and musical background) played an important role in the musical achievement of the child beginner group compared with the young adult group. On the other hand, in the case of the young adult group, it appears that learning-related characteristics (motivation to learn, learning attitude, and emotional factors) were likely to be more important factors affecting the musical development compared with the child group.

Music reading is a complex skill. In order to better understand the reading process and evaluate the effects of teaching intervention, it is essential to measure this skill. Research in the field of music pedagogy has provided a number of studies concerned with the measurement of music reading, using varying methods of assessment. However, the corpus of literature is lacking in organization and clarity, in part due to the fact that the assessment methods come from diverse disciplines and the studies themselves may present a number of inconsistencies. Using a research model based on systematic review, the objective of the thesis is to provide an organized synopsis of music reading assessment methods. The thesis has identified and compiled a corpus of 88 relevant studies, with an emphasis on experimental keyboard research in the Western, classical, tonal tradition, though studies with woodwind, brass, percussion, and vocal instrumentation are included as necessary. The assessment methods employed in the studies are classified according to one of three broad categories: test measurements, eye-tracking measurements, and neurological measurements. The purpose of this guide is to be a reference for researchers and educational practitioners, and includes comparison and summary charts and a concluding index.

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.

No description available.

One of the difficulties most frequently encountered among music students is reading inadequacy. In this particular study we shall attempt to measure and increase the visual span of reading musical notation.

Throughout the history of public school music in the United States, one of the problems which has continually been in the foreground is that of music reading, It is primarily a problem for the elementary school as that is the place where reading must begin in order for the children's interest and ability to be balanced. The elementary school is the focal point for the teaching of all skills and tools in learning. Certainly, reading is one of the major tools in the process of musical learning. In many cases the ability of the students to read music has been the basic criterion of the entire music program. Davison states that the aim and end of a large percentage of instruction has for so long been to train students to sing music at sight that it has grown to be a fetish. While such a standard as that is an over-emphasis of reading, most music educators will agree that the place of music reading in the elementary school is of utmost importance. The differences of opinions lie not so much in the goals to be reached as in the methods of reaching them. The purpose of this study is not to weigh these various methods as to their usefulness. It is rather to survey as many publications as possible concerning the teaching of music reading in the elementary school and to make a digest of the opinions found in them. In agreement with Mursell's statement that anything can be taught effectively in a considerable number of ways,2 it is the writer's belief that there is no one best method for teaching music reading. The desired outcome of this study is to present an adequate digest of the material published about various methods in order that these lines of thought may be followed as they are needed to fit individual teaching problems.