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.

Electracy in Praxis: Pedagogical Relays for an Undergraduate Writing Curriculum

The paradigm shift from traditional print literacy to the postmodern fragmentation, nonlinearity, and multimodality of writing for the Internet is realized in Gregory L. Ulmer’s electracy theory. Ulmer’s open invitation to continually invent the theory has resulted in the proliferation of relays, or weak models, by electracy advocates for understanding and applying the theory. Most relays, however, remain theoretical rather than practical for the writing classroom, and electracy instruction remains rare, potentially hindering the theory’s development. In this dissertation, I address the gap in electracy praxis by adapting, developing, and remixing relays for a functional electracy curriculum with first-year writing students in the Virginia Community College System as the target audience. I review existing electracy relays, pedagogical applications, and assessment practices – Ulmer’s and those of electracy advocates – before introducing my own relays, which take the form of modules. My proposed relay modules are designed for adaptability with the goals of introducing digital natives to the logic of new media and guiding instructors to possible implementations of electracy. Each module contains a justification, core competencies and learning outcomes, optional readings, an assignment with supplemental exercises, and assessment criteria. My Playlist, Transduction, and (Sim)ulation relays follow sound backward curricular design principles and emphasize core hallmarks of electracy as juxtaposed alongside literacy. This dissertation encourages the instruction of new media in Ulmer’s postmodern apparatus in which student invention via the articulation of fragments from various semiotic modes stems from and results in new methodologies for and understandings of digital communication.