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The purpose of this research was to examine methods of sight singing assessment in the high school choral classroom, and to develop and test a tool for student self-assessment of sight singing skills for use in high school choral classes. Problems associated with this study included designing a method for students in a high school choral class to predict and assess their individual abilities in sight singing; to investigate the extent to which students in a high school choral class can detect their own errors and therefore self-correct errors made while sight singing; to determine the reliability between the students’ predictions of their abilities and their actual performance of sight singing exercises; and to prepare students, through the self-assessment process, to successfully sight sing music equivalent to the examples used in the All-Virginia Chorus auditions. The study included the participation of 24 students in a select high school choir who voluntarily participated in four vocal recording sessions. Students were given a sight singing exercise of four measures and asked to predict on a rating scale of 1-5, how well they thought they would be able to sing it. They circled their rating, and recorded the example, rating from 1-5 how well they thought they had sung it. They listened to their recording and circled the errors. Exercises were presented in four separate recording sessions, each exercise increasing in difficulty until they were equivalent in difficulty to exercises used in the All-Virginia Chorus auditions. Data were reviewed by a panel of two high school choral directors. The analysis supports both the hypotheses that: 1. The student can accurately predict their performance before sight singing an exercise. 2. The student can accurately assess their performance after sight singing the exercise. Following all four recording sessions, the tapes were reviewed by the instructor and also by a panel of two independent assessors. The analysis of the data associated with the four recording sessions confirms both hypotheses. The ability of the students to accurately predict their post test score was positively confirmed by the second analysis. Eighty of the possible eighty-six assessor scores were the same or higher than the students—93%. Only six of the 86 (7%) were assessed as lower than predicted by the student.
This is a compact and comprehensive overview of the many teaching methods, strategies, materials, and assessments available for choral sight-singing instruction. It takes the mystery out of teaching music reading. Topics covered include practical strategies for teaching and assessment.
"The purpose of this research was to determine the effectiveness of research-designed high school choral sight-sing exercises that include researcher-designed basic keyboard skills exercises. Fifteen weeks of SATB and SSA sight-singing exercises and basic keyboard skill exercises based on Georgia Music Educators Association Large Group Performance Evaluation guidelines were created and implemented with high school choral students (N= 66). An experimental group (N= 43) received instruction with sight-singing exercises and basic keyboard exercises. A control group (N= 23) received instruction in sight-singing. Students self-administered Vocal Sight-Reading Inventory (VSRI) Form A created by Henry (1999). Following the 15 weeks researcher-designed sight-singing exercises instruction, students self-administered Form B of the VSRI by Henry (1999). The researcher calculated a t-test to determine that the groups were fundamentally the same (t = 1.975, p = .053). Pre-test and post-test mean scores were compared using ANOVA. A significant effect was found for the difference in methods of the experimental and control groups (F (n,64) = 5.230, p = .026). A follow-up t-test was used to examine the mean scores of the post-test. Significance was established at
Despite the theorized benefits of sight-singing in the choral classroom, little research has focused on the changing perceptions of high school choral students regarding sight-singing. The goal of this qualitative study with a historical approach and a grounded theory design is to assess the changing perceptions of high school choral students concerning the task of sight-singing using solfege syllables and Curwen hand signs. The study used a qualitative research approach with a pre-study and post-study questionnaire on sight-singing skills. The students received 1 twenty-minute lesson for four consecutive weeks. The goal of the questionnaire was to assess high school choral students’ feelings and perceptions of sight-singing. This study answers the question of whether the two mentioned tools positively or negatively affect sight-singing accuracy. The data revealed from this study showed that student perceptions were more positive towards the use of solfege syllables, negative about using hand signs, and extremely negative about using both at the same time. The result of this study could encourage high school choral teachers to keep teaching the skills of solfege syllables and hand signs even students are disinterested and motivating becomes challenging. Using this knowledge, music education teachers can confidently and diligently persuade students to keep working on skills to achieve positive results. The study includes a discussion of the findings and conclusions.
A unique two-volume sight-singing method, with one edition designed for the junior high/middle school and a second edition for upper elementary/middle school treble voices. Voice parts are not duplicated, thereby ensuring reading independence. It's fun, exciting, logical and sequential. A great way to teach sight-singing.
Problem Statement: The purpose of this study is to identify whether a relationship exists between self-assessment and student achievement by implementing a standardized music literacy test and a sight-singing assessment in two 4th grade general music classes.
The purpose of this study was to determine if the implementation of Curwen Hand-Sings five days a week, focusing on pitch recognition and solfege syllables, would increase the proficiency of sight-singing for 9th-12th grade high school students in the general music classroom. During the treatment period, subjects were engaged in sight-singing five days a week. This included the completion of a minimum of three days exercises and one weekly sight-singing quiz. Subjects were given the Solon High School spring choral audition sight-singing assessment as a pretest before the treatment period began and gain as a posttest after the treatment period had concluded. Posttest scores of the treatment class were compared to the posttest scores of the comparison class who had not received the treatment. Weekly test scores from the treatment class were also compared to the weekly test scores from the comparison class. Subjects were given a survey three times during the 9-week treatment period to determine if an implementation dip had occurred in the attitude of students. Teacher anecdotal notes were kept to record the behavior, attitude and participation levels of each subject. The results of this study indicated there was an increase in sight-singing proficiency for all of the involved subjects. Further research should be done to determine if these results would be applicable to the general population.
This research project is designed to examine the effects that video recording and evaluation have on the high school choral music students' skill development of tone, dynamics, rhythm, and pitch and provide information about self-assessment as a directional learning tool for singers to increase student achievement through self-regulated learning. Research indicates the power of self-assessment as an evaluation in the classroom. It has provided educators with tools to implement effective self-assessment practices that promote performance and self-efficacy. This research project will define self-assessment, address what skills are being assessed, and specify the methods of assessment that will be implemented. Models of self-assessment and implementation methods for these assessments in the choral music classroom will give music educators practical examples.
Sing at First Sight is a sequential sight-singing curriculum for all choirs! This Level 2 book opens with a comprehensive Rhythm Review and Pitch Practice reinforcing the concepts studied in Sing at First Sight, Level 1. Each of the four units that follow features a helpful Getting Ready page, progressive Rhythm Readiness exercises, and thorough music-reading Lessons with practice Exercises, useful Hints, and motivating Challenge Exercises. Unit summary and assessment is easily achieved with choral excerpts from Alfred’s Choral Designs series, fun-filled Review games, and Evaluating Your Performance questions. Plus, Alfred has included a full-length Performance Piece to measure and celebrate your choir’s sight-singing progress, and then perform in concert. Includes: * Singing in Minor * Chromatics * 2-Part, 3-Part, and 4-Part Harmony * Major and Minor Intervals * Changing Meter * Sixteenth-Note Patterns