Intonation In Middle School

Music has an overwhelming positive impact on students PK-12. We see this positive impact on students in all levels of Education, even into college. At the elementary level, music teaches kids to begin to creatively think and expand their senses. It allows students to have a positive attitude towards learning. Music also teaches elementary students to recognize patterns and become better problem solvers. At the middle school age, music helps students understand the importance of teamwork. Music also helps middle school students with discipline because of the practice it takes to play a musical instrument. At the high school level, music can help students earn higher scores on the SAT and ACT. Music at the high school level can also give a reason for a student to stay in school. Band, choir, and Orchestra act as a home for students, and may be the

* ““95% percent of Americans believe that music is a key-component in a child’s well-rounded education, 80% percent of respondents agreed that music makes the participants smarter; 78% believe that learning a musical instrument helps students perform better in other subject areas; and 88% believe participation in music helps teach children discipline” (Hurley 3),” (par 1).

The researcher used three phases to collect data for this study. Phase 1 of the study was a small focus group of instrumental music educators from the Chicago Public Schools. The focus group served to guide the creation of the survey questionnaire. Phase 2 of the study was the survey, which included questions similar to research questions #1-4. 59% of the surveys that were sent out were successfully returned. Phase 3 of the study, interviews and observations, took place concurrently with Phase 2. Four instrumental music educators from the CPS received a pre-interview, a one-day observation, and a follow-up interview. During the observation, extensive field notes and ensemble recordings were obtained.

Our interactions with it, the changes that have transpired, and the way in which we pass on and instruct the next generation through music is extremely vital. Music education has frequently proven to be beneficial to the “subjects” involved, both students and their teachers. This type of classroom’s mission is to ultimately carry out a synchronized musical performance; in order to execute it correctly, adherence to the “division of labor” is crucial. Akin to formal writing, music has a set of “rules” for ordering components, such as chords, intervals, and notes. Each child is assigned an instrument and a piece to play as their “mediating artifact”. It is not necessarily always about how well a student plays that matters, but the constant use of different senses, muscles, and brainpower, that improves literacy development and may even expand the brain’s capacity for neural connections. In upper-level schooling, institutions with music programs have recorded higher test scores, graduation rates, and overall attendance, compared to those lacking art

For this study I expect the participation of at least 30 volunteers within the ages of 45-50 years (men and women) which are on-line students at graduate level at Southern New Hampshire University enrolled in a Research Methods course. Participants must not have any previous training in any musical instrument. This particular characteristic would be required for the reason that it has been found that people with such training could excel in the variable that is expected to be measured (recall). Participants will not receive compensation for their participation.

Of these students, most due participate in music related classes, and these classes help advocate self-expression, and cultural awareness. She claims that there are some hard of hearing students that have brains that are wired to be musicians, and so they have developed good listening skills. She then backs that statement up with saying that listening is a mental process, and that hearing is a physical process. “It is the function of the ear to collect auditory stimuli and deliver them to the brain – at which time the brain takes over and hearing becomes listening”. (Darrow 27) Therefore, a music class is a great place to exercise listening skills for these students. But she then goes on to say that teaching music just through listening could be a disadvantage for hard of hearing students. She claims most students with hearing losses learn best through being active with it, such as preforming, reading, and writing music. She believes there should be certain objectives for hard of hearing students. She says those objectives are, listening to music, singing, playing instruments, moving to music, creating music, and reading music. Darrow also recommends that teachers should use music that relates to the students strengths, and also allowing the students to feel stereo speakers or instruments to get the kinesthetic movement of a melody with their hand.

In 1992, McBride, Gill, Proops, Harrington, Gardiner, & Attwell conducted a study among classical symphony musicians. Sound level measurements during five rehearsals and two performances were taken. An audiometric questionnaire and hearing thresholds were measured by clinical pure tone audiometry. It was not noted whether hearing protection use was advised or recommended. This study concluded that there is a potential for occupational noise induced hearing loss within professional classical musicians. More recently, Jansen, Helleman, Dreschler, & de Laat (2009) investigated a different group of classical musicians using a larger audiological test battery including: a self-report questionnaire, measuring hearing thresholds, loudness perception, diplacusis, tinnitus, speech perception in noise, and otoacoustic emissions. It was concluded that most of the musicians tested had normal hearing but tinnitus, diplacusis, and hyperacusis were more prevalent among this group than what would be typically expected. Schmidt, Pedersen, Paarup, Christensen-Dalsgaard, Andersen, Poulsen, & Bælum (2014) also looked at hearing loss and sound exposure in the classical musician. By obtaining hearing thresholds and a self-reported questionnaire with instrument type and exposure included, it was concluded that NIHL will occur due to the sound exposure time and levels that symphony

school districts since 2008, [and the] first programs to go are often disciplines such as music” (Boyd). Unfortunately, as far as school boards are concerned, music/art classes are second tier classes. This notion that music courses are naturally second tier is simply unacceptable. Although it might not seem like a pressing issue, children that are not involved in music programs are missing out in many ways. Due to music’s numerous health and learning benefits, school music programs should be available to students throughout grades K-12.

Ear-training, “the ability to discern subtleties in pitch and timing,” (“Hearing the Music” par. 4) increases aptitude in children and adults when trying to learn a new language. Musicians are better able to pick out these changing subtleties in speech and tones than non-musicians. This skill, when applied to the learning disabled, improves speech comprehension (“Hearing the Music” par. 4).

An important characteristic of sound-before-sight called audiation supports the idea of incorporating aural pedagogy into the band room. Gordon (1984) defines audiation as “the ability to see printed music and hear it inside one’s head” (Haston, 2010, p. 12). A few researchers share similar viewpoints regarding audition in musicians. MacKnight (1975) states, “In order to read tones effectively, the reader must recall an aural referent from what he sees in notational form. Possession of aural-visual skill is an indication of the reader’s ability to organize and conceptualize melodic sounds” (p. 25). Similarly, Petzold states, “Students who can play by ear can instantly and subconsciously translate symbols into sound and action more efficiently

I plan to focus on highlighting a couple of studies that focus on the correlation between musical performance and expression. One study in particular, will focus on each individual playing short monophonic pieces, that are possibly well-known by the individual, a piece they had previously learned, or a piece that they have performed / learned by ear. This particular study focuses on using the following instruments: violin, flute, saxophone, electric guitar, singing voice, guitar rock band, synthesizer and percussive instruments. I will provide the results of each study and include some of my own personal

“A well taught consecutive music educational programs not just results in music discovering that has inborn quality; it additionally allows understudies to tune in, respond, see, touch, and move. Direction in music aptitudes, thankfulness, and hypothesis additionally gives an abundance of learning systems that improve youngsters' dissecting, combining, and assessing abilities. Understudies figure out how to process data and exchange information through these solid, active, and subjective encounters.”

After decades of research that support the positive effects of music on cognition and academic success, debates involving which purpose of teaching music is more important have risen. While one music

The repetitive nature of the exercises means that the sounds and actions join forces in the subconscious. Only when this has been achieved should the learner bring the skills into their conscious mind and at this time he/she should be able to apply their skills to reading and pitching music.

The most important factor under physiological instrument is the voice, which includes how to breathe, speak, project and control the many powers that one can control with his voice. Furthermore, another main factor to be considered is the physiological instrument. This instrument is used to control ones physical relaxation, muscular control, economy of action, and expressive rhythms and movement patterns. All these help the character maintain an act or hold stage throughout an entire performance. Imagination and surprise are very important weapons or power for an actor. Helping the actor to bring reality and spontaneity to the stage.