The primary purpose of this research paper was to study performance anxiety among middle school students during a sight-reading audition. Furthermore, this sutdy asks whether the manner in which directions are presented by the sight-reading adjudicator during the course of an audition has significant impact on the performance outcome. Participants (n=75) were middle school students attending a highly rated band program in the Miami-Dade County (Miami, FL) area. By use of investigator-derived surveys, levels of trait and state anxiety were determined before and after the sight-reading performance. Means and standard deviations were calculated for perceived anxiety and for the resulting scores of the performance. A t-testcompared the control and experimental groups perceived level of anxiety, where statistically significant results were found at the pp

No description available.

No description available.

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.

<p>The main purpose of this study is to identify and compare classical pianists' understanding of sight-reading. Six pianists were interviewed, four professionals and two students. All of them concidered good sight-reading ability to be an advantage, especially when rehearsing, but most important is to be a good musicians performing music thoroghly gone through.</p>

The main purpose of this study is to identify and compare classical pianists' understanding of sight-reading. Six pianists were interviewed, four professionals and two students. All of them concidered good sight-reading ability to be an advantage, especially when rehearsing, but most important is to be a good musicians performing music thoroghly gone through.

The present study investigated how knowledge of tonality is used in sight-reading by comparing sight-reading accuracy across three tonal constructs: major, minor and atonal. It was hypothesized that sight-reading performance would be the worst in instances with no tonal information, as participants would be unable to generate appropriate top-down expectancies to guide their sight-reading. To test this, twelve pianists sight-read major, minor and atonal versions of monophonic, homophonic and polyphonic excerpts. The results indicated that pianists performed the major excerpts with greater accuracy than the atonal excerpts. Furthermore, the errors made within the major excerpts were significantly biased towards diatonicism, and there was a global shift towards tonality in participants’ atonal performances, providing a clear demonstration of how pianists’ expectations might have contributed to their sight-reading performance. The diatonic bias was not found in the minor excerpts, suggesting that the minor hierarchy does exert as strong of an influence during sight-reading.

The present study investigated how knowledge of tonality is used in sight-reading by comparing sight-reading accuracy across three tonal constructs: major, minor and atonal. It was hypothesized that sight-reading performance would be the worst in instances with no tonal information, as participants would be unable to generate appropriate top-down expectancies to guide their sight-reading. To test this, twelve pianists sight-read major, minor and atonal versions of monophonic, homophonic and polyphonic excerpts. The results indicated that pianists performed the major excerpts with greater accuracy than the atonal excerpts. Furthermore, the errors made within the major excerpts were significantly biased towards diatonicism, and there was a global shift towards tonality in participants’ atonal performances, providing a clear demonstration of how pianists’ expectations might have contributed to their sight-reading performance. The diatonic bias was not found in the minor excerpts, suggesting that the minor hierarchy does exert as strong of an influence during sight-reading.