Although technique and natural talent are big factors in music performing, some music research suggests that a major skill needed for a developing music performer is the ability to sight-read (Paul), which is an important factor in acquiring and expanding music literacy (Gromko). However, music literacy is a compositional skill that requires many different abilities (Gromko, Lehmann & Ericsson).
In relation to studies on English literacy acquisition techniques, little research has been conducted on music literacy. In the research that has been done, it is shown that music literacy and sight-reading ability acquisition has not an exact pedagogical technique or theory (Hodges). Given this, a review that examines the research of variables and …show more content…
However, in that time, a concrete technique of teaching music literacy has yet to be discovered. Hodges studied many different teaching techniques used by music teachers that showed an overall high level of disagreement. He argued that there were opposing views on teaching strategies such as mnemonic devices, aural models, computerized drills, and composing activities (3-4). The strategies for teaching music literacy varied from teacher to teacher and had varying results.
One instructor did find a certain technique that Hodges reviewed useful, though. Brophy introduced his style of music literacy that teaches students through a process called guided composition. Guided composition helps students grasp an understanding of written music by having students compose their own works. This method was successful for Brophy because of its integration of many aspects of music literacy including rhythm identification, scale, phrases, and clef (15). This technique allows the instructor to observe progress over time by keeping each composition written and analyzing the difference in advancement which presents itself to be a very effective …show more content…
Gromko analyzed and experimented on the idea of the near-transfer theory, which suggests, in this case, that people who develop musically may also develop their spatial and kinesthetic skills as well. She discovered that performance abilities positively correlated with Iowa Test of Educational Development (ITED) Reading Comprehension, ITED Math Concepts, tonal audiation orientation, and spatial visualization and concluded that “sight-reading abilities can be predicted by a combination of cognitive abilities.” A music researcher team conducted a similar experiment to that of Gromko’s.
Lehmann and Ericsson looked at the “component skills” that are associated with keyboard performing and expert sight-reading. Lehmann and Ericsson considered variables such as accumulated hours of practice, professional knowledge and experience, recall, improvisation, and age. They concluded that accompanying experience and repertoire were positively correlated to sight-reading abilities. The number of years that a performer has performed did not correlate, however.
In relation to studies on English literacy acquisition techniques, little research has been conducted on music literacy. In the research that has been done, it is shown that music literacy and sight-reading ability acquisition has not an exact pedagogical technique or theory (Hodges). Given this, a review that examines the research of variables and …show more content…
However, in that time, a concrete technique of teaching music literacy has yet to be discovered. Hodges studied many different teaching techniques used by music teachers that showed an overall high level of disagreement. He argued that there were opposing views on teaching strategies such as mnemonic devices, aural models, computerized drills, and composing activities (3-4). The strategies for teaching music literacy varied from teacher to teacher and had varying results.
One instructor did find a certain technique that Hodges reviewed useful, though. Brophy introduced his style of music literacy that teaches students through a process called guided composition. Guided composition helps students grasp an understanding of written music by having students compose their own works. This method was successful for Brophy because of its integration of many aspects of music literacy including rhythm identification, scale, phrases, and clef (15). This technique allows the instructor to observe progress over time by keeping each composition written and analyzing the difference in advancement which presents itself to be a very effective …show more content…
Gromko analyzed and experimented on the idea of the near-transfer theory, which suggests, in this case, that people who develop musically may also develop their spatial and kinesthetic skills as well. She discovered that performance abilities positively correlated with Iowa Test of Educational Development (ITED) Reading Comprehension, ITED Math Concepts, tonal audiation orientation, and spatial visualization and concluded that “sight-reading abilities can be predicted by a combination of cognitive abilities.” A music researcher team conducted a similar experiment to that of Gromko’s.
Lehmann and Ericsson looked at the “component skills” that are associated with keyboard performing and expert sight-reading. Lehmann and Ericsson considered variables such as accumulated hours of practice, professional knowledge and experience, recall, improvisation, and age. They concluded that accompanying experience and repertoire were positively correlated to sight-reading abilities. The number of years that a performer has performed did not correlate, however.