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Comparison of a visual and an aural ...

Haston, Warren A.

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Comparison of a visual and an aural approach to beginning wind instrument instruction.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Comparison of a visual and an aural approach to beginning wind instrument instruction./
作者:	Haston, Warren A.
面頁冊數:	266 p.
附註:	Source: Dissertation Abstracts International, Volume: 65-05, Section: A, page: 1711.
Contained By:	Dissertation Abstracts International65-05A.
標題:	Education, Music. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3132535
ISBN:	0496797751

Comparison of a visual and an aural approach to beginning wind instrument instruction.
Haston, Warren A.

Comparison of a visual and an aural approach to beginning wind instrument instruction. - 266 p.

Source: Dissertation Abstracts International, Volume: 65-05, Section: A, page: 1711.

Thesis (Ph.D.)--Northwestern University, 2004.

Learning to play a wind instrument is a daunting task. When students learn to read music first, it places a visual emphasis on musical performance instead of an aural emphasis (Kohut, 1973; Schleuter, 1997; McPherson, 1993; Wilkinson, 2000). Students come to the first lesson with aural knowledge and musical intuitions instilled informally by enculturation. It is possible that teaching with a visual emphasis is not as efficient as teaching with an aural emphasis, because it fails to capitalize on these intuitions. A sound-before-sight approach is based on Bruner's (1966) three types of knowledge representation: enactive, iconic, and symbolic. According to Bruner, learning is more efficient and permanent when it follows this hierarchy. Student's make sounds, learn to interpret musical icons, and create music using symbols.

ISBN: 0496797751Subjects--Topical Terms:

1017808
Education, Music.

Comparison of a visual and an aural approach to beginning wind instrument instruction.
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245 1 0 $a Comparison of a visual and an aural approach to beginning wind instrument instruction.
300 $a 266 p.
500 $a Source: Dissertation Abstracts International, Volume: 65-05, Section: A, page: 1711.
500 $a Adviser: Maud A. Hickey.
502 $a Thesis (Ph.D.)--Northwestern University, 2004.
520 $a Learning to play a wind instrument is a daunting task. When students learn to read music first, it places a visual emphasis on musical performance instead of an aural emphasis (Kohut, 1973; Schleuter, 1997; McPherson, 1993; Wilkinson, 2000). Students come to the first lesson with aural knowledge and musical intuitions instilled informally by enculturation. It is possible that teaching with a visual emphasis is not as efficient as teaching with an aural emphasis, because it fails to capitalize on these intuitions. A sound-before-sight approach is based on Bruner's (1966) three types of knowledge representation: enactive, iconic, and symbolic. According to Bruner, learning is more efficient and permanent when it follows this hierarchy. Student's make sounds, learn to interpret musical icons, and create music using symbols.
520 $a The purpose of this study was to assess the effectiveness of teaching beginning wind instrumentalists using a sound-before-sight (aural) approach that was designed to foster the connections between eyes, ears, and fingers, and capitalize on students' musical intuitions. Twenty fourth-grade beginning band students received one hour of weekly instruction for 15 weeks. One group was taught with an aural/modeling emphasis (singing while fingering their instruments, play-by-ear activities, call and response, and playing from printed music), and the other with a visual emphasis (playing only from printed music). To control for the lack of opportunity for random assignment, groups were compared and found to be similar on three independent variables: Musical Aptitude Profile pretest scores, frequency of voluntary singing, and prior formal instrumental music training.
520 $a Posttests were the Watkins Farnum Performance Scale and the performance of a prepared piece. T-tests of group mean scores showed that the aural/modeling group scored higher on both posttests, though not significantly. Aural/modeling students without any prior musical training scored the highest overall, followed by visual students with prior training. The Pearson product-moment coefficient of correlation reflected a significant (p < .01) and positive relationship between posttest scores. It is clear that teaching with an aural/modeling emphasis does not hamper students' music performance skills, and may in fact aid them.
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