Singing in the Music Theory Lesson: A model for how singing can be used as an effective teaching tool for a practical approach to the subject of music theory
(2016)
author(s): Ewan Gibson
published in: KC Research Portal
Name: Ewan Gibson
Subject: Music Theory
Research Supervisor: Laszlo Némes
Title of Research: Singing in the Music Theory Lesson - A model for how singing can be used as an effective teaching tool for a practical approach to the subject of music theory
Abstract:
In a typical music theory programme, the act of singing is often confined to the single skill of sight-reading prima vista. My background as a school teacher has taught me that singing can be used in a variety of ways to help children to learn skills such as reading and aural skills and so my wish is to investigate ways in which singing can be used in a music theory lesson at a conservatoire level.
In the last few years at the Koninklijk Conservatorium (Royal Conservatoire of The Hague), the music theory department has been investigating ways in which skills can be transferred across disciplines. One change that has been made is that many music theory related subjects are now taught as a single subject. Teachers are now free to make connections where ever they are found. My own interest is on the use of singing as a tool to achieve these ends.
My own investigation, as show in this research paper, will show models of lessons that can be created where singing is used as a core part of the lesson. A range of skills can be developed and theoretical concepts understood when singing activities are sequenced well and taught carefully. The result will be a model for other teachers to use and adapt for their own teaching.
In addition, the result of the research has also produced a collection of vocal material for teachers to use in lesson in order to encourage singing with advise on how to use it within a lesson.
Biography
Ewan L. Gibson comes originally from Wales in the United Kingdom. His previous studies include Bachelor of Music (University of Exeter), Postgraduate Certificate of Education (Oxford Brookes University), and Master of Music (Royal Conservatoire of Scotland). He has worked in the field of music education as a teacher in schools and conservatoires. As a qualified school teacher, Ewan has taught in a variety of schools in the U.K. and in international schools in The Netherlands. These have included everything from pre-school to 18 years old. In addition, he has worked for the Royal Conservatoire of Scotland, The National Youth Choir of Scotland and the Royal Scottish National Orchestra as a musicianship teacher, choral conductor and singing teacher. He has also given many workshop shops to music teachers on the use of singing in schools and teaching music literacy skills to children.
Practical Solfège and Music Theory in Violin Education
(2016)
author(s): Eszter Viczian
published in: Research Catalogue
Nowadays, violin students in conservatoires often learn solfège and music theory by singing and using the piano. For some instruments it is difficult to apply the acquired knowledge because it needs to be ‘translated’ into a different context. The main goal of this study is to get more information of working with an approach where violin playing is integrated into the teaching of solfège and music theory.
At the beginning of the research a literature study was done to consider music learning theories and to analyse violin methods. Then an action research was conducted to take into account the ways in which solfège and music theory can be taught in a group violin lesson context. The lessons took place in the Young Talent Department at the Royal Conservatoire in The Hague among 7- to 17-year-old students. The action research consisted of three cycles.
The findings are that students in general had no difficulty with playing by ear and singing with relative sol-fa names. Results from the analysis of the transposition, note naming and writing exercises indicated that students’ knowledge of absolute pitch letter names and the tone- semitone relationships between neighbouring notes were not at the same level. During the evaluation process of students’ answers to these exercises, some violin and theory teachers presumed that the difficulties could emerge partly from the fact that in most violin schools the first note reading exercises are not in C major but in G, D or A major. Hence students easily get confused when they become familiar with some augmented notes (e. g. f sharp, c sharp, g sharp) before they learn how to play and read their natural versions.
My conclusions are that playing by ear and singing with relative sol-fa names can be good basis for teaching the connection between sound and notation. When introducing absolute pitch names it is advisable that violin and solfège teachers compose the content of the lessons together. Transposition exercises from the very early stages using just two-note melodies give good opportunities for applying knowledge into violin playing. For illustrating the tone- semitone relations between the notes Lego models can be used. Singing with ABC or sol-fa names while playing and subsequently notating these transposed notes gives a multimodal experience for students.
Between building foundational skills and instilling self-guided learning: Solfège pedagogy in higher music education
(2014)
author(s): Ida Vujović
published in: KC Research Portal
While in some educational systems solfège is taught systematically from a young age (whether in specialized music schools or in classroom music), in other countries it is a compulsory discipline only in professional education. In the latter case, students start learning solfège as teenagers or young adults but by that time they have already developed some of the solfège skills through years of playing an instrument. What these skills exactly are, and what overall musical knowledge students already have, differs from one student to another. Some are already familiar with certain chord progressions, some have general knowledge about keys and intervals, some have never sung before, and some can already play by ear on their instrument. Students themselves are not always aware of the level of their skills or may have the wrong impression about them. Teachers need time to obtain an objective picture of each student’s abilities. If the teacher wants to build on the students’ pre-knowledge, it can be difficult to decide exactly where to start and which route to take towards the goal. Starting at the level of basic skills makes this much longer and might demotivate students; starting at too high a level will unavoidably leave gaps in knowledge. Many music theory pedagogues choose to start “half way,” after first having systematized all the knowledge and skills that should already have been developed—which might turn out to be both too low and too high at the same time.
While there is much research in the domain of solfège issues in music psychology and there are many publications concerning classroom music, almost the only sources of information about solfège methodology for college-level students are solfège method books and textbooks. Conservatory students without previous solfège training are not problematized as a specific group of solfège-learners. In this article I am proposing that conservatory beginners are seen as a specific group of learners who are experienced and novice at the same time. I will point out and discuss several issues that are relevant to the design of the solfège method for this group, especially concerning the first months of learning where the foundation is being built. I will argue that learning solfège in general is a process with its own particularities, and that the awareness of these should be the starting point for the planning of the learning sequence. A solid foundation is seen as the requirement for any further learning, and the role of the teacher is crucial in developing or strengthening it in students. In this context the concepts such as preparation, readiness for learning, repetition, routine, challenge and independent learning are discussed.
Through a comparison of methods for children and adult beginners, I aim to explain some of the problems that are encountered in the solfège pedagogy.