Throughout much of the 20th century, the Western classical vocal aesthetic dominated tertiary singing training in the Republic of Ireland. At the turn of the 21st century, and reflecting similar movements internationally, Irish institutions, examining boards and private teaching studios diversified to include musical theatre and popular styles of…

This study investigated choral singers' comfort level using computer technology for vocal sight-reading assessment. High school choral singers (N = 138) attending a summer music camp completed a computer-based sight-reading assessment and accompanying pre- and posttest surveys on their musical backgrounds and perceptions about technology. A large…

At its most basic level, sight-reading can be defined as the production of accurate pitch and rhythm from a previously unseen musical score. For vocalists, sight-reading principally involves the production of pitches by determining their relationship within a tonal framework. The ability to mentally conceive tonal function and convert it into…

The ultimate goal for many choral directors is to develop independent musicians within the ensemble. The ability to sing a series of pitches and rhythms at first sight is widely understood to be a fundamental building block of independent musicianship. Yet sight-reading is not simply a holistic skill. There are separate components of…

The purpose of this study was to test the efficacy of teaching sight-singing to novice, vocal music readers using a structured instructional model through an asynchronous format. Sight-singing literature is inconclusive on definitively best systems, resulting in educators using a variety of methods in the classroom. Research has shown however that…

Between 2006 and 2012, 9% of all middle school choral entries in the Texas University Interscholastic League (UIL) Concert and Sight Reading Contest consisted of mixed choirs (N = 842) (Texas UIL, 2012a). Middle school mixed choirs pose unique pedagogical problems for directors. One such challenge lies in the determination of whether to perform…

Singing music at sight is a complex skill, requiring the singer to perform pitch and rhythm simultaneously. Previous research has identified difficulty levels for pitch and rhythm skills individually but not in combination. In this study, the author sought to determine the relationship between pitch and rhythm tasks occurring concurrently. High…

This article reports on the feasibility of using the assessment criteria for solfege proposed by Davidson, Scripp, and Meyaard as a way to assess a group of Brazilian undergraduate students. The experiment was carried out in 2003, with 16 first-year students in a variety of majors, each with different levels of previous music experience. The…

Musical sight-reading, or sight-playing, is defined as "the ability to play music from a printed score or part for the first time without benefit of practice." While this is the most strict definition of the term, also known as "prima vista" (at first sight), some use the term "sight-reading" even if some rehearsal…

Purpose: In this research, it is observed that if solfeggio syllables, consonants, and vowels are spoken properly, voice intensity (accent), duration, pitch (high pitch-low pitch) and intonation (the ability to carry a musical voice) related to proper pitch level. In this study, it is observed that rhythmic structures do not form without…

Discusses the development of music education in public schools between 1885 and 1905. Describes teacher preparation, certification, the use of music supervisors, instructional methodologies used during the period. Reports the results of four national surveys conducted between 1885 and 1900. (AEM)

This study was designed to determine a pitch skill hierarchy for string sight-reading, to determine the effects of key on string sight-reading achievement, and to determine the validity of a tonal pattern system as a measurement of melodic sight-reading skill for string players. High school string students (n = 94) obtained a mean score of 27.28…

The author, the director of the Index of New Musical Notation, was asked to explain what has been happening and to define some of the symbols used in both vocal and instrumental scores. His first article covers the problems of notation and new symbols for vocal music. (Editor/RK)

A music course of instruction in junior chorus, to develop students' performance skills individually and in ensemble, is described. A prerequisite for pupils is the ability to read music. Outlined are: the course description; enrollment guidelines; study objectives; course content; procedures; resources for pupils and teachers; and the assessment.…

There are tricks that individuals can use in vocal and instrumental classes to create the illusion of music reading for the unsuspecting teacher. Typical ways in which music reading can appear to be occurring are described, and four suggestions for promoting independent study during group reading exercises are presented. (RM)