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• W2477242626 abstract "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 vocalized pitch is the focus of vocal sightreaders and largely determines their overall success at the sight-reading task. While rhythm plays a role in the sight-reading process, it is clear that rhythm is of secondary concern to vocal sightreaders (Henry, 2011). Vocalists focus on what to sing before they shift their attention to when to sing. Numerous pitch-reading systems exist, most notably moveable-do solfege, fixed-do solfege, and numbers. Traditionally, moveable-do solfege has been associated with Kodaly instruction and is the most frequently occurring pitch-reading system in the United States, while fixed-do solfege has been associated with Dalcroze instruction in the United States and has strong roots in the conservatory tradition of Europe. Numbers, an American adaptation of a moveable system, gained popularity among college programs interested in connecting sight-reading with chord structures in music theory. Winnick (1987) provides an overview of the various systems and some of the adaptations. Both Winnick and Smith (1987) recommend different versions of solmization/solfege. Although researchers have investigated the efficacy of particular sightreading systems (Demorest & May, 1995; Henry & Demorest, 1994; McClung, 2008), no clearly superior system of pitch reading has emerged. Through the development of the Vocal Sight-Reading Inventory (VSRI), Henry (2001) determined the difficulty level of 28 discrete pitch skills occurring within tonal music. The pitch skills were categorized as scalar, tonic, dominant, subdominant, cadential, modulatory, or chromatic. This identification system, though tonally-based, is compatible with any of the aforementioned sight-singing systems. Although initially Henry did not include the study of rhythmic tasks in the VSRI, subsequently, she categorized rhythmic skills as whole beat, multibeat, even division, uneven division, combination, and steady beat (2009). Ultimately, Henry investigated the interaction between pitch skill difficulty and rhythm skill difficulty, determining that all skills held their relative difficulty levels, but that pitch skills were given priority regardless of difficulty level (2011). A subsequent study by Alexander & Henry (2012) similarly sought to determine a pitch skill hierarchy for string players. In addition to establishing difficulty levels for string players on the" @default.
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• W2477242626 date "2013-01-01" @default.
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• W2477242626 title "The Effect of Key on Vocal Sight-Reading Achievement" @default.
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