Leitura musical à primeira vista é uma tarefa complexa que envolve a sobreposição de processos cognitivos, de execução motora, de memória e perceptuais. A habilidade demanda do músico uma ampla base de conhecimento em repertório, estilos e compreensão de códigos musicais. O desenvolvimento da habilidade de ler à primeira vista pode promover o melhoramento de muitas habilidades musicais, incluindo o aumento da consciência musical global. O objetivo deste trabalho é testar o uso de guias para o auxílio no desenvolvimento da tarefa de ler música à primeira vista com estudantes universitários, utilizando a análise musical como ferramenta de auxílio. Esta pesquisa contou com 23 participantes, organistas e pianistas, divididos em dois grupos (experimental e controle), os quais foram submetidos à performance de três trechos musicais inéditos. Os participantes do grupo experimental realizaram a interpretação do segundo trecho com interferência de guias de auxílio para a execução. A maioria dos estudantes demonstrou interesse em desenvolver estudos em leitura à primeira vista. A média de andamento dos sujeitos nos trechos da pesquisa foi 63,5% mais baixa do que o andamento sugerido na partitura A média de erros foi de 8,78 erros por trecho, e os tipos de erros mais cometidos foram os da voz do baixo. As melhores avaliações foram dadas aos estudantes de pós-graduação. 81,82% dos participantes do grupo experimental consideraram que os guias auxiliaram suas execuções. Os resultados mostram que o melhoramento em leitura à primeira vista possivelmente é mais efetivo em um estudo a longo prazo, envolvendo conhecimentos de análise musical, aspectos motores e conhecimento de repertório. Concluímos que o uso dos guias promoveu o melhoramento do andamento da execução dos trechos dos estudantes do grupo experimental e estes sujeitos obtiveram médias menores de erros e as melhores avaliações de juízes externos, além de cometerem menos erros na melodia e na voz do baixo depois de serem submetidos aos guias. / Sight-reading is a complex task that involves overlap of cognitive processes, motor execution, memory and perceptual process. This skill demands broad knowledge in repertory skills, styles and comprehension of musical codes. The development of sight-reading ability can improve several musical skills, including the increase of musical consciousness. The aim of this work is to test the use of musical guides in the development of sight-reading skills with undergraduate students, using musical analysis as a support tool. Twenty-three students participated in this research, among them organists and pianists, from undergraduate, graduate, and extension courses of Federal University of Rio Grande do Sul. The participants were included in two groups, experimental and control, and were asked to perform three unpublished musical excerpts. Those included in the experimental group performed the second excerpt with the use of musical guides. The majority of the students demonstrated interest in developing studies in sight-reading. The average overall tempo of the subjects in the excerpts was 63.5% lower than that suggested in the score The average of errors was 8.78%, and the most frequent errors occurred in the bass voice. The best evaluations were awarded to postgraduate students. 81.82% of the participants considered that the guides helped their performances. Results show that improvement in sight-reading is more likely to occur in a long term study involving, in addition to knowledge of musical analysis, motor aspects and repertory background. The use of guides improved the musical tempo in the students‟ performance in the experimental group. Moreover, the subjects in the experimental group obtained a lower error average and a better rate from the external evaluators. They also made fewer mistakes in the melodic line and the bass voice after using the musical guides.

Med utgångspunkt i min bristande notläsningsförmåga är syftet med föreliggande studie att undersöka vilka resurser utöver själva noterna som jag använder vid inlärningen av ett noterat musikstycke. Detta sker via videoobservation, dikterad loggbok, samt insamling av tidigare data. Tre olika övningspass á 20 minuter ligger till grund för resultatet. Dessa analyserades och bearbetades utifrån ett designteoretiskt perspektiv. I resultatet beskrivs vilka resurser jag använde, hur de användes, samt varför de användes. I diskussionsdelen belyses resultatet utifrån ett designteoretiskt perspektiv, jag resonerar kring behovet av att använda dessa resurser, samt diskuterar orsaken till min problematik och vägen framåt. / Based on my lacking ability to read sheet music, the purpose of this study is to examine what resources beyond the music notation I use in the process of learning a piano piece from sheet music. This is done through video observation, a dictated journal, and collection of previously available data. Three separate practice sessions of 20 minutes each is the basis for the result. These were analyzed and processed based on a design theoretical perspective. The result describes which resources I used, how they were used, as well as why they were used. In the concluding discussion section, I illuminate the result from the perspective of design theory, I argue regarding the need to use these resources, as well as discuss the cause of my problems and a possible way forward.

Jag har under projektets gång studerat in fem renässansstycken för klassisk gitarr utan att ta hjälp av instrumentet vid instuderingsprocessen och analyserat resultatet utifrån ett hermaneutiskt perspektiv. Instuderingen av styckena har skett helt mentalt genom en kombination av två olika metoder för mental instudering baserat på Giesking och Liemers (1972) Visualizarion och en metod som Pujol (1983) presenterat som jag i denna studie väljer att kalla för Praktiskt Föreställande. Syftet är att se hur väl jag kan studera in ett stycke helt utan instrument i handen och att utforska hur den mentala instuderingsprocessen utvecklas under projektets gång i takt med att jag lär mig mer om metoderna genom att använda dem. Under den fem veckor långa studien förde jag loggbok där jag reflekterade och redovisade för mina instuderingstillfällen samt spelade in uppspelet av vart stycke med video och ljud. Varje instuderingsperiod á en vecka ledde till en utveckling av metoderna. I resultatet presenterar jag hur min användning av de båda metoderna gradvis utvecklas och hur det klingande resultatet i sin tur förbättras av den mentala förberedelsen. I diskussionskapitlet ställs mitt resultat mot mitt teoretiska perspektiv samt relevant litteratur och tidigare forskning inom området.   Nyckelord: gitarr, mental träning, visualisering, observationsstudie, notläsning, prima vista, hermeneutik / I have during this project studied five renaissance pieces for classical guitar without the help of my instrument while studying them and analyzed the results from a hermeneutical point of view. The studying of the pieces has been a completely mental process and a combination of two methods for mental rehearsal that have been used based on Giesking and Liemers (1972) Visualization and a method presented by Pujol (1983) that I during this study will call Practical Imagery. The intention is to explore how the process of mental rehearsal will evolve during the project as I learn more about the methods by using them. During the five-week long study I wrote a journal used for me to reflect and present the process of studying the pieces and recorded each performance with video and audio. Each period lead to me evolving the use of the methods. In the results I present how the use of both methods lead to them both gradually evolved and how the performance was affected by the mental training. In the discussion chapter I compare the results to my theoretical perspective, relevant literature and former research within the subject matter.   Keywords: guitar, mental rehearsal, visualization, observational study, reading sheet music, sight reading, hermeneutics

Leitura musical à primeira vista é uma tarefa complexa que envolve a sobreposição de processos cognitivos, de execução motora, de memória e perceptuais. A habilidade demanda do músico uma ampla base de conhecimento em repertório, estilos e compreensão de códigos musicais. O desenvolvimento da habilidade de ler à primeira vista pode promover o melhoramento de muitas habilidades musicais, incluindo o aumento da consciência musical global. O objetivo deste trabalho é testar o uso de guias para o auxílio no desenvolvimento da tarefa de ler música à primeira vista com estudantes universitários, utilizando a análise musical como ferramenta de auxílio. Esta pesquisa contou com 23 participantes, organistas e pianistas, divididos em dois grupos (experimental e controle), os quais foram submetidos à performance de três trechos musicais inéditos. Os participantes do grupo experimental realizaram a interpretação do segundo trecho com interferência de guias de auxílio para a execução. A maioria dos estudantes demonstrou interesse em desenvolver estudos em leitura à primeira vista. A média de andamento dos sujeitos nos trechos da pesquisa foi 63,5% mais baixa do que o andamento sugerido na partitura A média de erros foi de 8,78 erros por trecho, e os tipos de erros mais cometidos foram os da voz do baixo. As melhores avaliações foram dadas aos estudantes de pós-graduação. 81,82% dos participantes do grupo experimental consideraram que os guias auxiliaram suas execuções. Os resultados mostram que o melhoramento em leitura à primeira vista possivelmente é mais efetivo em um estudo a longo prazo, envolvendo conhecimentos de análise musical, aspectos motores e conhecimento de repertório. Concluímos que o uso dos guias promoveu o melhoramento do andamento da execução dos trechos dos estudantes do grupo experimental e estes sujeitos obtiveram médias menores de erros e as melhores avaliações de juízes externos, além de cometerem menos erros na melodia e na voz do baixo depois de serem submetidos aos guias. / Sight-reading is a complex task that involves overlap of cognitive processes, motor execution, memory and perceptual process. This skill demands broad knowledge in repertory skills, styles and comprehension of musical codes. The development of sight-reading ability can improve several musical skills, including the increase of musical consciousness. The aim of this work is to test the use of musical guides in the development of sight-reading skills with undergraduate students, using musical analysis as a support tool. Twenty-three students participated in this research, among them organists and pianists, from undergraduate, graduate, and extension courses of Federal University of Rio Grande do Sul. The participants were included in two groups, experimental and control, and were asked to perform three unpublished musical excerpts. Those included in the experimental group performed the second excerpt with the use of musical guides. The majority of the students demonstrated interest in developing studies in sight-reading. The average overall tempo of the subjects in the excerpts was 63.5% lower than that suggested in the score The average of errors was 8.78%, and the most frequent errors occurred in the bass voice. The best evaluations were awarded to postgraduate students. 81.82% of the participants considered that the guides helped their performances. Results show that improvement in sight-reading is more likely to occur in a long term study involving, in addition to knowledge of musical analysis, motor aspects and repertory background. The use of guides improved the musical tempo in the students‟ performance in the experimental group. Moreover, the subjects in the experimental group obtained a lower error average and a better rate from the external evaluators. They also made fewer mistakes in the melodic line and the bass voice after using the musical guides.

Leitura musical à primeira vista é uma tarefa complexa que envolve a sobreposição de processos cognitivos, de execução motora, de memória e perceptuais. A habilidade demanda do músico uma ampla base de conhecimento em repertório, estilos e compreensão de códigos musicais. O desenvolvimento da habilidade de ler à primeira vista pode promover o melhoramento de muitas habilidades musicais, incluindo o aumento da consciência musical global. O objetivo deste trabalho é testar o uso de guias para o auxílio no desenvolvimento da tarefa de ler música à primeira vista com estudantes universitários, utilizando a análise musical como ferramenta de auxílio. Esta pesquisa contou com 23 participantes, organistas e pianistas, divididos em dois grupos (experimental e controle), os quais foram submetidos à performance de três trechos musicais inéditos. Os participantes do grupo experimental realizaram a interpretação do segundo trecho com interferência de guias de auxílio para a execução. A maioria dos estudantes demonstrou interesse em desenvolver estudos em leitura à primeira vista. A média de andamento dos sujeitos nos trechos da pesquisa foi 63,5% mais baixa do que o andamento sugerido na partitura A média de erros foi de 8,78 erros por trecho, e os tipos de erros mais cometidos foram os da voz do baixo. As melhores avaliações foram dadas aos estudantes de pós-graduação. 81,82% dos participantes do grupo experimental consideraram que os guias auxiliaram suas execuções. Os resultados mostram que o melhoramento em leitura à primeira vista possivelmente é mais efetivo em um estudo a longo prazo, envolvendo conhecimentos de análise musical, aspectos motores e conhecimento de repertório. Concluímos que o uso dos guias promoveu o melhoramento do andamento da execução dos trechos dos estudantes do grupo experimental e estes sujeitos obtiveram médias menores de erros e as melhores avaliações de juízes externos, além de cometerem menos erros na melodia e na voz do baixo depois de serem submetidos aos guias. / Sight-reading is a complex task that involves overlap of cognitive processes, motor execution, memory and perceptual process. This skill demands broad knowledge in repertory skills, styles and comprehension of musical codes. The development of sight-reading ability can improve several musical skills, including the increase of musical consciousness. The aim of this work is to test the use of musical guides in the development of sight-reading skills with undergraduate students, using musical analysis as a support tool. Twenty-three students participated in this research, among them organists and pianists, from undergraduate, graduate, and extension courses of Federal University of Rio Grande do Sul. The participants were included in two groups, experimental and control, and were asked to perform three unpublished musical excerpts. Those included in the experimental group performed the second excerpt with the use of musical guides. The majority of the students demonstrated interest in developing studies in sight-reading. The average overall tempo of the subjects in the excerpts was 63.5% lower than that suggested in the score The average of errors was 8.78%, and the most frequent errors occurred in the bass voice. The best evaluations were awarded to postgraduate students. 81.82% of the participants considered that the guides helped their performances. Results show that improvement in sight-reading is more likely to occur in a long term study involving, in addition to knowledge of musical analysis, motor aspects and repertory background. The use of guides improved the musical tempo in the students‟ performance in the experimental group. Moreover, the subjects in the experimental group obtained a lower error average and a better rate from the external evaluators. They also made fewer mistakes in the melodic line and the bass voice after using the musical guides.

Syftet med denna självstudie har varit att undersöka min livsvärld när jag spelar a prima vista och syna de tankemönster som uppstår. Arbetet genomsyras av ett livsvärldsperspektiv och utgångspunkten är frågeställningarna: Hur upplever jag avistaspel samt Hur förändras min livsvärld under arbetets gång. Insamling av material har skett via en strukturerad processloggbok som förts efter varje dokumenterat avistapass. Dessa anteckningar tillsammans med frågeställningarna lägger sedan grund för resultatet som delas upp i två avsnitt. Det första, Upplevelser av a prima vista, redogör för betydelsen av sammanhang utifrån faktorerna Tid och plats, Material och progression samt Avista med sällskap. Jag redovisar i detta avsnitt återkommande mönster i upplevelsen av min avistaläsning som förhåller sig till dessa faktorer och synar vilket sammanhang som tycks gynna min övning bäst. Resultatets andra del, Min föränderliga livsvärld, beskriver sedan hur min livsvärld har förändrats under projektets gång. Detta redovisas utifrån rubrikerna: Tankemönster, Medvetenhet samt Motivation och nya tankemönster. I detta avsnitt går det att skildra en resa från att förknippa min prestation med jaget, till att se på avistaläsning som ett fristående fenomen där medveten övning hjälper mig framåt i utvecklingen. Slutligen knyts resultatet till bakomliggande litteratur och forskning i diskussionsavsnittet. Under rubriken a prima vista och övning diskuteras mina upplevelser i förhållande till färdigheter i avistaspel, därefter beskrivs min resa mot en ny livsvärld, där fokus ligger på känslomässiga aspekter och betydelsen av medvetenhet. / The purpose of this self-observation has been to see into my life-world while sight-reading sheet music for piano and to visualize the thinking patterns that arise followed by reflection. The work is permeated by a life-world perspective with following questions as starting point: How do I experience playing a prima vista and In which ways does my life-world change during the project. The material has been collected via a structured process logbook, which has been written in after every occasion. These notes along with the questions described above then shapes the result which is divided into two sections. The first section, Experiences during a prima vista explains the importance of context based on Time and place, Material and progression, and Playing a prima vista with someone watching. In this section, I report repeating patterns in the experience of my sight-reading that relate to these contexts and I also point out which context seems to benefit my exercise the best. The second section of the result My changeable life-world, then explains in which ways my life-world has changed during the project. Beneath the headings Thinking patterns, Awareness and New thinking patterns it is possible to see a journey from associating my achievements with my identity to looking at sight-reading as a phenomenon possible to manage by being aware while practicing. Lastly I relate the literature and researches to my result in a closing discussion. Under the headline a prima vista and practice I discuss my experiences and relate these to relevant skills during sight-reading, thereafter I describe my journey towards a new life-world where main topics are emotional aspects and the meaning of awareness.

Studien utforskar hur jag tolkar Prelude i d-moll ur Johan Sebastian Bachs andra svit för solocello. Syftet är att undersöka hur instuderingsprocessen sker, från okänd not till fri tolkning med avseende på att instrumentet ska ”sjunga”. Forskningsfrågorna berör en fungerande inlärningsmetod, hur jag påverkas av min lärares tolkning samt i vilken grad en publik upplever mitt sjungande instrument. Med hjälp av bland annat en barockcello, loggboksskrivande och videoinspelning under processen har jag, utifrån ett hermeneutiskt perspektiv, tolkat stycket på mitt sätt. Resultatet belyser hur jag gått tillväga för att studera in stycket, med hjälp av bland annat a-vistaläsning. Det berör också hur mottaglig jag är till att påverkas av min lärares tolkning av stycket, vilket inte visade sig vara i samma utsträckning som jag till en början trott. I resultatet beskrivs också hur min tolkningsprocess har gått tillväga och vilka mönster i musiken som uppenbarade sig med tiden. I resultatets senare del görs en sammanställning av enkätsvaren som bland annat visar på att jag och min cello, enligt publiken, frambringar en sjungande ton. Slutligen diskuteras resultatet i förhållande till tidigare litteratur och forskning inom det aktuella området. / The study explores how I interpret Prelude in D minor from Johan Sebastian Bach’s second suite for solo cello. The purpose is to examine how the rehearsal process is done, from the unknown note to free interpretation with respect to the instrument to “sing”. Research questions concern a workable method of learning, how I influenced by my teacher’s musical interpretation, and the degree to which an audience experiencing my singing instrument. With the help of including a baroque cello, logbook writing and recording during the process, I have, from a hermeneutic perspective, interpreted the paragraph in my direction. The result highlights how I proceeded to study the piece, with the help of sight-reading. It also affects how susceptible I am to be influenced by my teacher’s interpretation of the piece, which has not proved to be as much as I initially thought. The result also describes how my interpretation process has processed and the patterns in the music that appeared over time. In the later part of the result is a compilation of responses that shows that my cello and I, according to the audience, brings a singing tone. Finally, the results are discussed in relation to previous literature and research in the field.

I tid och otid har elgitarrister fått dras med stigmat att vara bristfälliga notläsare. Rimligtvis borde det gå att lösa med lite övning, men hur ska en strukturera upp sådan övning och ger det några resultat? Deras motparter i den klassiska genren åtnjuter inte samma stämpel, tack vare dess långa tradition av notläsning. Kan svaret ligga hos den klassiska gitarrens läroresurser som bara behöver översättas till elgitarr för att notläsningen ska ta fart? I denna självstudie utforskar jag min egen övning på avistaläsning för både el- och klassisk gitarr med hjälp av en videodagbok, analyserad ur ett multimodalt designteoretiskt perspektiv. / Time and again, electric guitarists have had to live with the stigma of being deficient note readers. Presumedly, this should be solvable with a little practice, but how should one structure such practice and does it produce results? Their counterparts in the classic genre do not inherit the same label, thanks to their long tradition of reading sheet music. Could the answer lie with the classical guitar's teaching methods that need only to be translated into electric guitar for the sheet music reading to take off? In this self-study, I explore my own exercise in sight reading for both electric and classical guitars with the help of a video diary, analyzed from a multimodal perspective.

The study substantiates common strategies and theories regarding the teaching of sight-reading. The literature study done on sight-reading at the keyboard consists of opinions and recommendations resulting from empirical findings of well-known piano pedagogues. Seven beginner courses were analysed in order to assess their presentation of a well-structured development of piano sight-reading against the opinions and recommendations of well-known piano pedagogues and authors in this field as well as the personal experience of the researcher. During this process it was discovered that insufficient attention was paid to the development of the association between a note symbol and its corresponding key on the piano. However no attention was paid to the act of playing while reading ahead. The researcher compiled additional progressive exercises for the 7 to 9 year old beginner, to address the above-mentioned discrepancies. The exercises and their individual purposes are clearly explained with instructions regarding their performance. / Hierdie studie bevestig algemene strategieë en teorieë aangaande die ontwikkeling van vaardighede om musieknotasie te lees en te speel. Die literatuur wat in hierdie studie bestudeer is, handel oor opinies en aanbevelings van vooraanstaande klavierpedagoë wat voortspruit uit die resultate van hulle empiriese navorsing. Sewe aanvangskursusse is ontleed en die aktiwiteite en metodes waarvolgens vaardighede onderrig word om musieknotasie te leer lees en speel, is gemeet aan die aanbevelings van vooraanstaande klavierpedagoë, navorsers op die gebied, asook die navorser se eie ervaring met die boeke. Gedurende die studie is daar ontdek dat daar meesal nie aandag geskenk word aan die ontwikkeling van 'n assosiasie tussen 'n toonhoogtesimbool en ooreenstemmende klawer op die klavier nie en glad nie aan die proses van vooruitlees nie. Om hierdie tekortkominge te oorkom het die navorser 'n stel aanvullende en progressiewe oefeninge saamgestel wat maklik genoeg uitvoerbaar is vir die 7- tot 9-jarige beginner. Duidelike beskrywings van die oefeninge, elkeen se spesifieke doel, en aanwysings vir effektiewe uitvoering daarvan word verskaf. / Art History, Visual Arts & Music / M.A. (Musicology)

The study substantiates common strategies and theories regarding the teaching of sight-reading. The literature study done on sight-reading at the keyboard consists of opinions and recommendations resulting from empirical findings of well-known piano pedagogues. Seven beginner courses were analysed in order to assess their presentation of a well-structured development of piano sight-reading against the opinions and recommendations of well-known piano pedagogues and authors in this field as well as the personal experience of the researcher. During this process it was discovered that insufficient attention was paid to the development of the association between a note symbol and its corresponding key on the piano. However no attention was paid to the act of playing while reading ahead. The researcher compiled additional progressive exercises for the 7 to 9 year old beginner, to address the above-mentioned discrepancies. The exercises and their individual purposes are clearly explained with instructions regarding their performance. / Hierdie studie bevestig algemene strategieë en teorieë aangaande die ontwikkeling van vaardighede om musieknotasie te lees en te speel. Die literatuur wat in hierdie studie bestudeer is, handel oor opinies en aanbevelings van vooraanstaande klavierpedagoë wat voortspruit uit die resultate van hulle empiriese navorsing. Sewe aanvangskursusse is ontleed en die aktiwiteite en metodes waarvolgens vaardighede onderrig word om musieknotasie te leer lees en speel, is gemeet aan die aanbevelings van vooraanstaande klavierpedagoë, navorsers op die gebied, asook die navorser se eie ervaring met die boeke. Gedurende die studie is daar ontdek dat daar meesal nie aandag geskenk word aan die ontwikkeling van 'n assosiasie tussen 'n toonhoogtesimbool en ooreenstemmende klawer op die klavier nie en glad nie aan die proses van vooruitlees nie. Om hierdie tekortkominge te oorkom het die navorser 'n stel aanvullende en progressiewe oefeninge saamgestel wat maklik genoeg uitvoerbaar is vir die 7- tot 9-jarige beginner. Duidelike beskrywings van die oefeninge, elkeen se spesifieke doel, en aanwysings vir effektiewe uitvoering daarvan word verskaf. / Art History, Visual Arts and Music / M.A. (Musicology)