STRATEGIES FOR WORKING WITH INACCURATE SINGERS

STRATEGIES FOR WORKING WITH INACCURATE SINGERS Illinois Music Education Conference Peoria, Illinois January 25, 2013 Julia Shaw Northwestern University jshaw@u.northwestern.edu

2! FACTORS AFFECTING ACCURATE SINGING Julia Shaw, 2013!

3 APPLICATIONS TO TEACHING PRACTICE: ANALYZING A COMMON APPROACH TO TEACHING STEP 1: TEACHER PROVIDES MODEL What type of model elicits the most accurate response? The model s voice quality affects accuracy of perception/production (Sims, Moore, & Kuhn, 1982; Small & McCachern, 1983). Children respond best to the child voice, followed by the female voice, followed by a male model in falsetto, followed by a male singing an octave lower (Green, 1987, 1990). It is recommended that males working with young, inexperienced singers model in falsetto rather than the fuller, natural male quality (Kramer, 1986; Montgomery, 1988; Price, Yarbrough, Jones, & Moore, 1994; Yarbrough, Morrison, Karrick, & Dunn, 1995). The model should be free of excessive vibrato (Yarbrough, Bowers, & Benson, 1992). Julia Shaw, 2013

4 STEP 2: STUDENT PERCEIVES AND DECODES What type of task is most conducive to student success? Patterns rather than individual pitches. o Children relate to syntax, or musical patterns, rather than memorizing individual pitches (Goetze et al., 1990; Gordon, 1989). o Students may match a pitch within the context of a pattern more readily than if the same pitch is presented as an isolated pitch (Jones, 1979). Text vs. Neutral Syllables o Although there may be theoretical reasons to think text might distract children from the singing process, research findings have not conclusively indicated that children learn most effectively without text (Gault, 2002; Goetze, 1986; Goetze, Cooper, & Brown, 1990; Guerrini, 2006; Levinowitz et al., 1998). A Cappella rather than accompanied singing o While research on the effect of the presence of accompaniment has presented conflicting results (Atterbury & Silcox, 1993; Guilbault, 2004; Petzold, 1969; Stauffer, 1986), substantial evidence suggests that children sing more accurately without than with accompaniment (Goetze et al., 1990). STEP 3: STUDENT IMITATES How can I set students up for success? Work to minimize or eliminate distractions in the environment. Children are more likely to sing in tune individually than in a group (Cooper, 1995; Goetze, 1986; Goetze et al., 1990; Goetze & Horii, 1989; Green, 1994; Rutkowski, 1996; Rutkowski & Miller, 2003a, 2003b). STEPS 4 AND 5: TEACHER PROVIDES FEEDBACK; FEEDBACK INFORMS STUDENT S FUTURE ATTEMPTS Which types of feedback are most meaningful? Encourage students to develop self-monitoring skills o Inattention to one s singing voice may result in a singing response which is similar to singing without auditory feedback (Goetze, 1986, p. 86). o Request student feedback before offering teacher feedback. o Discuss what was felt rather than what should have been felt (Bertaux, 1989). Provide aural, visual, and kinesthetic feedback (Apfelstadt, 1986a, 1986b; Welch, 1985; Welch, Howard, & Rush, 1989; Welch, Sergeant, & White, 1995) Successive approximation training : provide feedback that rewards gradual improvement (Dennis, 1975). Julia Shaw, 2013!

5 WHEN STUDENTS RESPOND INACCURATELY Julia Shaw, 2013

6 STRATEGIES TO ASSIST INACCURATE SINGERS Preparing the physical environment Work to reduce distractions Consider students physical placement in classroom. o Place inaccurate singers on outside edges near accurate singers. They will be able to hear both themselves and an accurate model, promoting self-monitoring. o Place two accurate singers together, rather than isolating single accurate singers between inaccurate singers. Finding the singing voice/accessing head voice In the early grades, design a lesson to explicitly teach different uses of the voice (speaking, singing, whispering, etc.). o Use a rhyme such as Engine, Engine Number 9 o Have students move to the beat in various ways, adding variety to the repetitions necessary to demonstrate each use of the voice. o For informal assessment, play a guessing game in which one student performs the rhyme using the voice as s/he chooses. Have the class guess which voice was used. Use vocal exploration exercises to help students experience the sensation of singing in head voice. o Sirens, sighs, etc. o Pretend to toss a football and follow it with the voice. o Use a slide whistle as a model. o Have students create shapes with pipe cleaners and follow the shapes with their singing voices. o Soul Train Work from the top of the range down. Select starting pitches for songs that are high enough to avoid chest voice. (c 2 to a 1 ) Developing Tonal Memory Echo sing melodic patterns Sing inside or outside on a cue given by teacher Provide audiation space to think pitches before singing Have children begin singing songs without giving the starting pitch Sinking ship game: Each time the students sing a melody, have them audiate a different word, absolute pitch name, or solfège syllable (e.g., This time, sing all the sols in your mind, but not aloud. ) Continue adding elements to inner hear until singers can audiate the entire melody. Then, have them sing the melody aloud again to check their accuracy. Julia Shaw, 2013!

7 Create Opportunities for Solo Singing Create a psychologically safe space for solo singing Begin with volunteers Build into games to reduce pressure (microphone prop, ball game, singing games with solo opportunities, etc.) Build into class routines: collecting materials, dismissal, etc. Call and response songs: progress from a larger group (e.g. half of the class) singing the call, to a small ensemble, to volunteer soloists. Invite different individuals to sing each phrase Do not necessarily announce solo singing activities in advance Assign solos in repertoire as late as possible. Have volunteers sing the solos on a rotating basis. Strategies for Older Beginners Many of the same concepts are helpful for older and younger beginners. Tailor the language you employ to meet the older beginners level of sophistication. It is crucial to find opportunities to work with students individually. Continue to provide instruction and feedback emphasizing a variety of learning modalities (aural, visual, kinesthetic). Create brainteasers to appeal to older students (e.g. sinking ship). Approach the work playfully and provide distractions to keep older students from overthinking. Older beginners might become frustrated more easily with slower progress. Remind them to be patient and persistent. Compare the process to learning to ride a bike or drive a car. Julia Shaw, 2013

8 BIBLIOGRAPHY Aaron, J. C. (1990). A study of the effects of vocal coordination instruction on the pitch accuracy, range, pitch discrimination, and tonal memory of inaccurate singers. (Doctoral dissertation). Retrieved from ProQuest Dissertations & Theses database. (AAT 9103179) Apfelstadt, H. (1983). An investigation of the effects of melodic perception instruction on the pitch discrimination and vocal accuracy of kindergarten children. (Doctoral dissertation). Retrieved from ProQuest Dissertations & Theses database. (AAT 8316194) Apfelstadt, H. (1984). Effects of melodic perception instruction on pitch discrimination and vocal accuracy of kindergarten children. Journal of Research in Music Education, 32(1), 15. Apfelstadt, H. (1986a). Learning modality: A potential clue in the search for vocal accuracy. Update: Applications of Research in Music Education, 4(3), 4-6. Apfelstadt, H. (1986b). Melodic perception instruction- what is its effect upon pitch discrimination and vocal accuracy among kindergarten children? Update: Applications of Research in Music Education, 4(2), 6-8. Apfelstadt, H. (1988). What Makes Children Sing Well? Update: Applications of Research in Music Education, 7(1), 27. Atterbury, B. W., & Silcox, L. (1993). The effect of piano accompaniment on kindergartners' developmental singing ability. Journal of Research in Music Education, 41(1), 40-47. Bertaux, B. (1989). Teaching children of all ages to use the singing voice, and how to work with out of tune singers. In D. L. Walters & C. C. Taggert (Eds.), Readings in music learning theory (pp. 92-104). Chicago, IL: G.I.A. Publications. Bradshaw, E., & McHenry, M. A. (2005). Pitch discrimination and pitch matching abilities of adults who sing inaccurately. Journal of Voice, 19(3), 431-439. Cooper, N. A. (1995). Children's singing accuracy as a function of grade level, gender, and individual versus unison singing. Journal of Research in Music Education, 43(3), 222-231. Demorest, S. M. (2001). Pitch-matching performance of junior high boys: A comparison of perception and production. Bulletin of the Council for Research in Music Education, 151, 63-70. Demorest, S. M., & Clements, A. (2007). Factors influencing the pitch-matching of junior high boys. Journal of Research in Music Education, 55(3), 190-203. Dennis, C. C. (1975). The conditioning of a pitch response using uncertain singers. In C. K. Madsen, R. D. Greer & C. H. Madsen (Eds.), Research in music behavior: Modifying music behavior in the classroom (pp. 139-150). New York, NY: Teachers College Press. Gault, B. (2002). Effects of pedagogical approach, presence/absence of text, and developmental music aptitude on the song performance accuracy of kindergarten and first-grade students. Bulletin of the Council for Research in Music Education, 152, 54-63. Geringer, J. M. (1983). The relationship of pitch-matching and pitch-discrimination abilities of preschool and fourth-grade students. Journal of Research in Music Education, 31(2), 93-99. Goetze, M. (1986). Factors affecting accuracy in children's singing. (Doctoral dissertation). Retrieved from ProQuest Dissertations & Theses database. (AAT 8528488) Goetze, M., Cooper, N., & Brown, C. J. (1990). Recent research on singing in the general music classroom. Bulletin of the Council for Research in Music Education, 104, 16-37. Goetze, M., & Horii, Y. (1989). A comparison of the pitch accuracy of group and individual singing in young children. Bulletin of the Council for Research in Music Education, 99, 57-73. Gordon, E. E. (1989). Learning sequences in music. Chicago, IL: G.I.A. Publications. Julia Shaw, 2013!

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10 Richner, S. S. (1976). The effect of classroom and remedial methods of music instruction on the ability of inaccurate singers in the third, fourth, and fifth grades to reproduce pitches. (Doctoral dissertation). Retrieved from ProQuest Dissertations & Theses database. (AAT 7619898) Rutkowski, J. (1986). The effect of restricted song range on kindergarten children's use of singing voice. (Doctoral dissertation). Retrieved from ProQuest Dissertations & Theses database. (AAT 8619357) Rutkowski, J. (1996). The effectiveness of individual/small-group singing activities on kindergartners' use of singing voice and developmental music aptitude. Journal of Research in Music Education, 44(4), 353-368. Rutkowski, J., & Miller, M. S. (2003a). The effect of teacher feedback and modeling on first graders' use of singing voice and developmental music aptitude. Bulletin of the Council for Research in Music Education, 156, 1-10. Rutkowski, J., & Miller, M. S. (2003b). A longitudinal study of elementary children's acquisition of their singing voices. Update: Applications of Research in Music Education, 22(1), 5. Sims, W. L., Moore, R. S., & Kuhn, T. L. (1982). Effects of female and male vocal stimuli, tonal pattern length, and age on vocal pitch-matching abilities of young children from England and the United States. Psychology of Music(Special Issue: Proceedings of the IX International Seminar on Research in Music Education), 104-108. Small, A. R., & McCachern, F. L. (1983). The effect of male and female vocal modeling on pitchmatching accuracy of first-grade children. Journal of Research in Music Education, 31(3), 227-233. Stauffer, S. L. (1986). An investigation of the effects of melodic and harmonic context on the development of singing ability in primary grade children. (Doctoral dissertation). Retrieved from ProQuest Dissertations & Theses database. (AAT 8520992) Watts, C., Moore, R., & McCaghren, K. (2005). The relationship between vocal pitch-matching skills and pitch discrimination skills in untrained accurate and inaccurate singers. Journal of Voice, 19(4), 534-543. Welch, G. F. (1985). Variability of practice and knowledge of results as factors in learning to sing in tune. Bulletin of the Council for Research in Music Education, 85, 238-247. Welch, G. F., Howard, D., & Rush, C. (1989). Real-time visual feedback in the development of vocal pitch accuracy in singing. Psychology of Music, 17(2), 3-18. Welch, G. F., Sergeant, D. C., & White, P. J. (1995). The singing competencies of five-year-old developing singers. Bulletin of the Council for Research in Music Education, 85, 155-162. Yarbrough, C., Bowers, J., & Benson, W. (1992). The effect of vibrato on the pitch-matching accuracy of certain and uncertain singers. Journal of Research in Music Education, 40(1), 30-38. Yarbrough, C., Green, G., Benson, W., & Bowers, J. (1991). Inaccurate singers: An exploratory study of variables affecting pitch-matching. Bulletin of the Council for Research in Music Education, 107, 23-34. Yarbrough, C., Morrison, S., Karrick, B., & Dunn, D. (1995). The effect of male falsetto on the pitch-matching accuracy of uncertain boy singers, grades K-8. Update: Applications of Research in Music Education, 14(1), 4-10.! Julia Shaw, 2013!