THE EFFECT OF A PROGRAM OF PORTABLE ELECTRONIC PIANO KEYBOARD EXPERIENCE ON THE ACQUISITION OF SIGHT-SINGING SKILL IN THE NOVICE HIGH SCHOOL CHORUS

The problem was to determine whether a method of aural and visual vocal training that included a program of portable electronic piano keyboard experience would be more effective in teaching sight-singing skills to novice high school chorus students than a method that included only aural and visual vocal training. A sub-problem was to determine whether novice chorus students enjoyed playing electronic keyboards in chorus as a reinforcement experience in sight-singing training. Students were randomly assigned to two treatment groups, tested with the Musical Aptitude Profile, Tonal Imagery, part A, and then trained separately. The experimental group sang repetitions of melodic patterns and utilized techniques associated with the Kodály Method while simultaneously playing keyboard. The comparison group received a similar treatment without using keyboards. The students were pre- and post-tested in sight-singing using the Vocal Sight-Reading Inventory. Results of the Analysis of Covariance using MAP scores as the covariate revealed no significant difference (p<.05) between post-test scores of the two groups. Improvement was noted in 96% of students from pre-test to post-test regardless of grouping. The repeated measures ANOVA revealed a significant relationship (p<.006) between aptitude group and post-test score. High aptitude students in both groups were found to benefit more from the training than low aptitude students. High aptitude keyboard group students achieved an average gain score that was 8.67 points higher than the comparison group. Of the total experimental group, 92% enjoyed playing keyboards in chorus. It is recommended that future research be undertaken to study the use of keyboards with advanced high school choruses and with uncertain singers in the high school chorus. Research is also needed to develop graded, valid, and reliable sight-singing tests for use in high school chorus. Techniques of the Kodály Method should be further investigated for use in high school sight-singing training.

THE EFFECTIVENESS OF POINT-OF-VIEW VIDEO MODELING IN TEACHING SOCIAL INITIATION SKILLS TO CHILDREN WITH AUTISM SPECTRUM DISORDERS

Deficits in social communication and interaction have been identified as distinguishing impairments for individuals with an autism spectrum disorder (ASD). As a pivotal skill, the successful development of social communication and interaction in individuals with ASD is a lifelong objective. Point-of-view video modeling has the potential to address these deficits. This type of video involves filming the completion of a targeted skill or behavior from a first-person perspective. By presenting only what a person might see from his or her viewpoint, it has been identified to be more effective in limiting irrelevant stimuli by providing a clear frame of reference to facilitate imitation. The current study investigated the use of point-of-view video modeling in teaching social initiations (e.g., greetings). Using a multiple baseline across participants design, five kindergarten participants were taught social initiations using point-of-view video modeling and video priming. Immediately before and after viewing the entire point-of-view video model, the participants were evaluated on their social initiations with a trained, typically developing peer serving as a communication partner. Specifically, the social initiations involved participants’ abilities to shift their attention toward the peer who entered the classroom, maintain attention toward the peer, and engage in an appropriate social initiation (e.g., hi, hello). Both generalization and maintenance were tested. Overall, the data suggest point-of-view video modeling is an effective intervention for increasing social initiations in young students with ASD. However, retraining was necessary for acquisition of skills in the classroom environment. Generalization in novel environments and with a novel communication partner, and generalization to other social initiation skills was limited. Additionally, maintenance of gained social initiation skills only occurred in the intervention room. Despite the limitations of the study and variable results, there are a number of implications moving forward for both practitioners and future researchers examining point-of-view modeling and its potential impact on the social initiation skills of individuals with ASD.

Teaching Sight-Reading to Undergraduate Choral Ensemble Singers: Lessons from Successful Learners

This study was designed to investigate professional choral singers’ training, perceptions on the importance of sight-reading skill in their work, and thoughts on effective pedagogy for teaching sight-reading to undergraduate choral ensemble singers. Participants in this study (N=48) included self-selected professional singers and choral conductors from the Summer 2015 Oregon Bach Festival’s Berwick Chorus and conducting Master Class. Data were gathered from questionnaire responses and audio recorded focus group sessions. Focus group data showed that the majority of participants developed proficiency in their sight-reading skills from instrumental study, aural skills classes, and through on-the-job training at a church job or other professional choral singing employment. While participants brought up a number of important job skills, sightreading was listed as perhaps the single most important skill that a professional choral singer could develop. When reading music during the rehearsal process, the data revealed two main strategies that professional singers used to interpret the pitches in their musical line: an intervallic approach and a harmonic approach. Participants marked their scores systematically to identify problem spots and leave reminders to aid with future readings, such as marking intervals, solfege syllables, or rhythmic counts. Participants reported using a variety of skills other than score marking to try to accurately find their pitches, such as looking at other vocal or instrumental lines, looking ahead, and using knowledge about a musical style or time period to make more intuitive “guesses” when sight-reading. Participants described using additional approaches when sight-reading in an audition situation, including scanning for anchors or anomalies and positive self-talk. Singers learned these sight-reading techniques from a variety of sources. Participants had many different ideas about how best to teach sight-reading in the undergraduate choral ensemble rehearsal. The top response was that sight-reading needed to be practiced consistently in order for students to improve. Other responses included developing personal accountability, empowering students, combining different teaching methods, and discussing real-life applications of becoming strong sight-readers. There was discussion about the ultimate purpose of choir at the university level and whether it is to teach musicianship skills or produce excellent performances.

TEACHING AMERICAN CIVIL WAR MUSIC IDSTORY WITH MODERN EDITIONS OF PERIOD MUSIC FOR FULL CONCERT BAND

This dissertation explores a method of teaching the history of Civil War music and musicians through modern full-band editions of original brass band music. In the study of music history the period of the Civil War is rarely discussed, or at best, mentioned only if a student takes a specific course on the history of bands and happens to look deeply into the background of some of the early band pioneers such as Patrick Gilmore, who served in the Union Army as a bandmaster. The history of the musicians, bands, and music performed during the Civil War deserves study to provide a way for students and audiences to learn this history. This project includes lesson plans that can be used with the arrangements of the period music as well as select published music that is also representative of the period. Included with the historical information are four arrangements of original brass band music now scored for full concert band. Each arrangement includes a section scored for brass only with optional brass band parts. Historical information is provided on the Civil War period bands and how each side used them, on the composers of the music, and also on the individual compositions. The historical information can be used to supplement the lesson plans to teach the history, as well as for program notes for audiences. The research involved locating information on both Union and Confederate bands available in books, other dissertations, articles, and interviews with Civil War music historians. The original brass band music is scored for full band. This method will allow teachers and conductors to highlight this period of wind band history and to share it with both students and audiences. Included with this project are photos and video footage taken during a visit with the 1st Brigade Band of Watertown, Wisconsin, an historical organization dedicated to recreating the music and performances of an actual Civil War era band.

TEACHING HIGH SCHOOL STUDENTS THE BEST CHORAL REPERTOIRE FROM THE GREAT COMPOSERS: MASTERWORKS AVAILABLE FOR IMMEDIATE, FREE ACCESS FROM THE CHORAL PUBLIC DOMAIN LIBRARY

Studying the choral works of the great composers of the past is always a worthy endeavor. For those aspiring to create an excellent high school choral program, it is critical to a student's musical foundation and heritage. Choral educators who teach high school are often bombarded with the most recently published new choral works, when they have a trove of excellent pieces right at their fingertips through websites like the Choral Public Domain Library (CPDL), all available at no cost. This project will explore the pedagogical reasons why this canon of public domain choral music should be taught at the high school level. A thorough guide to CPDL and an anthology of 200 works available on CPDL will provide the conductor with resources for programming this music. Though choral music in the public domain is free to all, publishers still publish this music and adhere copyright claims. This can create mistrust of legitimate editions on CPDL; why are they available at no cost when publishers are claiming copyright on similar editions? These issues will be thoroughly discussed in this project. For any given work on CPDL, there may be multiple editions available on the site. Choosing the right edition requires knowledge about basic editorial principles, especially for works written during the Renaissance period. A detailed discussion of these principles will provide the conductor with the tools needed to choose the best edition for his or her ensemble.