A Survey of Choral Ensemble Memorization Techniques

Transcription

1 Georgia Southern University Digital Southern Phi Kappa Phi Research Symposium A Survey of Choral Ensemble Memorization Techniques Margaret A. Alley Georgia Southern University, ma00008@georgiasouthern.edu Follow this and additional works at: Part of the Music Education Commons, Music Performance Commons, and the Music Practice Commons Recommended Citation Alley, Margaret A., "A Survey of Choral Ensemble Memorization Techniques" (2014). Phi Kappa Phi Research Symposium This presentation (open access) is brought to you for free and open access by the Programs and Conferences at Digital Commons@Georgia Southern. It has been accepted for inclusion in Phi Kappa Phi Research Symposium by an authorized administrator of Digital Commons@Georgia Southern. For more information, please contact digitalcommons@georgiasouthern.edu.

2 A Survey of Choral Ensemble Memorization Techniques Margaret Alley Masters of Music in Music Education Final Project Faculty Mentor: Dr. Laura Stambaugh Spring 2014

3 Why memorize? Practical We memorize all the time LGPE, competition requirements Performances Better musicianship Personal More connection between ensemble members and the message of the music Emotional communication Communication with the director/teacher and audience

4 What information on memorization is available? Types of memory Aural, Visual, Structural (Formal), Tactile, Kinesthetic Strategies Holistic, Segmented, Additive, Serial (Mishra, 2002; 2005; 2011) Expert Performers How they memorize and what strategies do they use Challenges and Strategies Generally anecdotal and instrumental Address what strategies help each type of memory

5 Notable Vocal and Choral Studies Ginsborg, 2004 and Ginsborg & Chaffin, 2007 What is more effective: learning words and music together or separate? Doeble, 2002 Collection of forum responses about memorizing choral music Original forum was specifically for foreign language This is the only choral memorization source I could find.

6 Purpose of the Current Study (1) To fill the gap in memorization literature about choral ensemble memorization techniques (2) To create a list of memorization techniques that can be used by choral directors and teachers at any level

7 Method Materials: Choral Ensemble Memorization Techniques Survey- 16 questions Paper and electronic format 73 potential participants at all levels of choral directing/teaching

8 Results Participants: n=14, 19.2% (out of 73) Q1-5 counties Q2-5 types of ensembles: Elementary school Middle school High school Community Church Q3- Range of years teaching: 1 year - 30 years

9 Results Q6- Do your ensembles memorize music for performances? Why? 11 replied yes 2 replied yes with exceptions 1 replied sometimes Communication and musicality Q9- On a scale of 1-5, how much music of performance music is memorized? Scale of 1 to 5 Total number of participants 1 (none) (all) 12

10 Results Q11: How and where is music memorized? Full Sectionals Individually ensemble in rehearsalin rehearsal in rehearsal Sectionals outside of rehearsal Individually outside of rehearsal Other

11 Results Q14: Most difficult Q15: Easiest 0% 4% 4% 4% Text 10% 5% 5% 26% 39% Pitch Rhythm Dynamics Articulation Enunciation All 25% 60% Text Pitch Rhythm Dynamics All 9% 9% All but dynamics

12 Results Q12- What memorization techniques are director-implemented? Q13- What memorization techniques are student-implemented?

13 Compiled Memorization Techniques Repetition Whole piece Sections (segments) of music 4 Step Process Learn the music Have music open but do not look unless necessary Close music Put music away and rely on director Text/Lyrics Discussion of text/lyrics Fill in the Blank Find the Error Copy the text/lyrics Word for word translation Outlines Numbering By form of the music Acronyms Guided by text Mnemonics Story Trigger Words By form of the music By different lyric phrases Call and Response Text or music Gestures by Director/Teacher Choreography By director/teacher By ensemble members Memory Quiz or Test

14 Implications for Choral Music Repetition is not the only memorization technique!! There are benefits to memorizing performance music for the ensemble members and the audience Varied techniques seem to be effective Different ensembles require different techniques

15 Future Research Needs Evaluate the efficiency of the techniques listed Increase the sample size to find more techniques or variations of techniques Look at differences in techniques between auditioned and non-auditioned choral ensembles Compare School schedules (block vs. 7-period) Block piece learning vs. mixed piece learning When is the optimal time to start memorizing (too early or too late)? Compare memorization techniques between new teachers and experienced teachers

16 Bricard, N., & Woods, S. M. (1978). Memory problems for musical performances. College Music Symposium, 18(2), Cutchin, A. (2006, Winter). Secrets to successful memorization. The Flutist Quarterly, Doebele, A. (2002, October 18). Basic skills for singers: Helping your choir to memorize music. Retrieved from Ford, J. (2013, July/August). Forget-me knots. Clavier Companion, 5(4), Ginsborg, J. (2002). Classical singers learning and memorizing a new song: An observational study. Psychology of Music, 30, doi: / Ginsborg, J. (2004). Singing by heart: Memorization strategies for the words and music of songs. In J. W. Davidson (Ed.), The music practitioner: Research for the music performer, teacher, and listener (pp ). England: Ashgate. Ginsborg, J., & Chaffin, R. (2011). Performance cues in singing: Evidence from practice and recall. In I. Deliége & J. W. Davidson (Eds.), Music and the mind: Essays in honor of John Sloboda (pp ). Oxford & New York: Oxford University Press. Ginsborg, J., & Sloboda, J. A. (2007). Singer s recall for the words and melody of a new, unaccompanied song. Psychology of Music, 35, doi: / Gordon, S. (2006). Techniques to develop secure memorization. In Mastering the art of performance: A primer for musicians (pp ). Oxford: Oxford University Press. Gordon, S. (2013, July/August). A choice to be made. Clavier Companion, 5(4), Hallam, S. (1997). The development of memorisation strategies in musicians: Implications for education. British Journal of Music Education, 14,

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19 Questions?? Please Margaret Alley