Music Literacy

The aim of this article is to provide a theoretical frame of reference for Music Performance Anxiety (MPA) and Emotional Intelligence (EI) through an investigation of existing theories concerning the two constructs. The most prominent approaches to the development of MPA are discussed, followed by the different theories concerning EI. Tangential points between MPA and EI are then highlighted. The article is underpinned by the hypothesis that EI is a cognitive-positive way of processing emotions and that it can be used to the advantage of musicians. While the progress of the EI paradigm has been impressive, much remains to be explored. M.P. Jansen van Rensburg University of the Free State M. Viljoen and A.A. Grobler 30 November 2005

The purpose of this study was to describe the current state of sight-singing pedagogy in
choral ensembles at degree-granting institutions in the United States accredited by the National Association of Schools of Music. A survey of collegiate choral conductors was designed and distributed nationwide. In total, 33.3% (N = 363) of those invited to participate responded. Substantial data were collected from conductors who indicated they occasionally integrated a sight-singing system into their choral rehearsals for specific purposes (n = 137) and those who indicated they frequently used a sight-singing system as a key rehearsal tool (n = 114). In addition, interviews with three survey participants were conducted for a more in-depth examination of their unique philosophies and practices.

Survey data revealed that there was no significant difference between the number of
choral conductors who did not use or very rarely used a system for music-reading, those who occasionally integrated a sight-singing system into their rehearsals for specific purposes, and those for whom a sight-singing system was a key rehearsal tool that they used frequently. However, among respondents in the latter two categories who did not hold a degree in music education, there was a significant (p = .018) preference for occasional rather than frequent use of a sight-singing system. Among those who occasionally or frequently used a system there was a significant preference for movable-Do solfège for major-key tonal solmization (p < .001), movable-Do solfège (tonic is “La”) for minor-key tonal solmization (p = .001), and instrumental counting (“1-e-&-a 2”) for rhythmic solmization (p < .001). Among those who frequently used a system, the data showed a significant decline in both the number of days per week they provided sight-singing instruction at the beginning of term, at the middle of term, and at the end of term (p < .01) as well as between the number of minutes per rehearsal they provided sight-singing instruction during those three periods of the semester (p < .01). Among those who frequently used a system, choral literature being prepared for performance was the significant first-choice, selected by 88%, of materials used to teach sight-singing. Among the same participants, 14% individually assessed their students’ sight-singing, 44% sometimes did, and 43% did not.

For conductors who frequently used a system, the most important perceived benefit of
doing so was enabling their choirs to learn music faster. The attitude statements about which conductors agreed most strongly were that sight-singing ability is an important skill for all collegiate choral singers and that sight-singing ability should be a prerequisite for auditioned collegiate choral ensembles. Conductors who occasionally used a system agreed significantly more strongly with the latter statement than those who frequently did (p < .04), while conductors who frequently used a system agreed significantly more strongly with the statement that students generally enjoy instructional time devoted to sight-singing than those who occasionally did (p < .001). Music educators felt significantly stronger that empowering their students for lifelong music-making and improving performances were benefits of systematic sight-singing instruction than non-music educators did.

Conductors contacted for interviews emphasized the importance of fostering choral
rehearsal cultures in which complete musicianship and musical literacy are valued and provided philosophical and practical reasons for doing so. They outlined possible challenges to instituting choral sight-singing at the collegiate level as well as potential solutions to those difficulties. They also discussed the effects of sight-singing instruction on relationships with music theory and music education faculty.

A conundrum exists amongst a number of variables regarding the teaching of Music Literacy (MusLit) as prescribed in the South African Curriculum and Assessment Policy Statement (CAPS:2011) in South African Secondary Schools. These variables include available, but sometimes inadequate resources in the school education system, the individual circumstances of teachers and learners as well as ever-changing environments in schools – (both government and privately owned). In addition, music teachers have different points of view, as well as varying questions regarding the place and value of MusLit in the South African Music Education (MusEd) context. In the investigation and exploration of these variables, it becomes evident that the variables are interrelated and entangled, and are therefore depicted in this paper as a complex and multifaceted conundrum. 
The variables regarding MusLit education, as described in recent research, (Yu & Leung, 2019; de Villiers, 2017; Rodger, 2014; Drummond, 2015; Chilisa, 2011; Vermeulen, 2009; Herbst et al., 2005, Klopper, 2005/4; Khulisa, 2002/3) are daunting, frustrating, and exhausting as well as promising and exciting. In this paper, the previously found variables will be explored and investigated, and presented systematically in Dr Kaoru Ishikawa’s Cause-and-Effect Diagram (1968), as adapted by Mirko et al. (2009) and Neyestani (2017). This Cause-and-Effect Diagram “is a prominent problem-solving tool” (Omachonu & Ross, 2004), that is often used to “investigate and analyse complex situations in a systematic way”. The rationale for this paper is to identify and understand these different variables, and to consequently structure it systematically in order to create a research instrument facilitating semi-structured interviews regarding MusLit Education. 
The essence of this study, as per Creswell & Plano-Clark (2011), lies in the definition of an exploratory sequential design as a research method. Firstly, variables salient to the phenomenon under investigation have to be articulated, and secondly a theory of framework has to be worked towards, enabling the researcher to “explore a phenomenon in depth” as well as “measure the prevalence of its dimensions”. This led the researcher to explore and investigate the variables in the MusLit conundrum, and to structure it in a diagram that will be utilised in the subsequent research project: to study the prevalence of the dimensions of the MusLit conundrum through a narrative inquisitive research approach.

Now that arts combined with arts integration teaching practices have become increasingly present in public school education, researchers are now exploring new ways to assess the impact of music and arts integration in 21 st century public schools. From this research, new " multiple literacy " assessment tools have emerged that are designed to measure the ability of students to engage in and reflect on performance assessment tasks that require combining literacy skills in music, math, and language arts. Results from three case studies reveal patterns of statistically significant association between music and other types of learning, suggesting that the understanding of fundamental literacy skills shared between music, the arts, and other academic areas optimizes learning in and through the arts for K-8 students.

Bireyin sosyal, duyuşsal ve psikomotor gelişiminde en etkili eğitim araçlarından biri de şüphesiz müzik eğitimidir. Günümüz eğitim anlayışında özgüveni yüksek, eleştirel düşünebilen, sosyal yönü güçlü,  kendini ifade edebilen, yaratıcı ve estetik duyarlılığa sahip bireylerin yetiştirilmesi amaçlanmaktadır. Yapılan araştırmanın amacı, Türkiye’deki üniversitelerin Eğitim Fakültelerinde öğrenim gören Okul Öncesi Eğitimi ve Sınıf Eğitimi öğretmen adaylarının müzik okuryazarlık düzeylerini tespit edebilecek geçerli ve güvenilir bir ölçme aracı geliştirmektir. Tarama modelinde yapılan araştırmanın örneklemini 2014-2015 eğitim öğretim yılında Ahi Evran Üniversitesi Eğitim Fakültesi Sınıf Eğitimi Anabilim Dalı’nın 4. sınıfında öğrenim gören 120 öğretmen adayı ile Okul Öncesi Eğitimi Anabilim Dalı’nın 4. sınıfında öğrenim gören 61 öğretmen adayı olmak üzere toplam 181 öğretmen adayı oluşturmaktadır. Başlangıçta 41 maddeden oluşan ve 5’li Likert tipinde hazırlanan ölçek, pilot uygulama sonucunda 32 madde ve 5 faktörden oluşan son şeklini almıştır. Bu faktörlerin isimleri, 1. Faktör, “Çocuk Şarkılarında Geçen Terimleri Tanıma ve Uygulama Becerisi”; 2. Faktör, “Şarkılarda Yöntem-Teknik Bilgisi ve Kullanma Becerisi”; 3. Faktör, “Müziksel Algı ve Sesini Kullanma Becerisi”  4. Faktör, “Eğitsel Müzik Dağarcığına Yönelik Bilgi”; 5. Faktör “Orff Yöntem Bilgisi ve Orff Çalgıları Uygulama Becerisi” şeklindedir. Bu faktörlerin her birinin güvenilirlik katsayısı sırasıyla, 0.852, 0.815, 0.785, 0.713 ve 0.859 şeklindedir.  “Müzik Okuryazarlığı Ölçeği”nin Cronbach Alpha güvenilirlik katsayısı ise 0.904 olarak tespit edilmiştir. 

Anahtar Kelimeler:  Müzik, müzik eğitimi, müzik öğretimi, müzik okuryazarlığı, müzik okuryazarlığı ölçeği.