Sight-reading music

By way of a review of research literature, the paper addresses this question: What factors and instructional strategies have previous researchers identified that contribute to secondary instrumental music students’ development of sight-reading performance skills?  The review includes studies from the last four decades that examine common errors in sight-reading, skills and attributes which correlate with sight-reading ability, the strategies used by successful sight-readers, and instructional strategies for helping students to develop and improve their sight-reading skill.  The literature base on sight-reading is random and scattered with no prevalent theories; included in the review are two meta-analyses which provide a helpful overview of the literature and summary of best teaching practices.  The paper aims to synthesize the findings of each study, bringing to light the factors and strategies that have been shown to facilitate and improve sight-reading skill development in secondary instrumental music students.

As inúmeras situações em que o violão pode desempenhar como ferramenta de transmissão e apropriação musical denota a idiossincrática relação deste com a identidade brasileira. Sob a perspectiva do ensino coletivo, esse é um dos instrumentos mais procurados por iniciantes. Um desses espaços de ensino é a Oficina de violão por partitura, oferecido pela Escola de Música da Universidade Federal da Bahia. O presente artigo pretende fazer uma discussão a partir de relato de experiência docente e resultados da pesquisa de mestrado que dissertou, essencialmente, sobre estratégias de ensino e aprendizagem da leitura à primeira vista no ensino de violão. Percebemos, dentre outras coisas, que o desenvolvimento dessa habilidade somado a utilização de arranjos de músicas populares podem ser eficientes na contextualização do ensino e busca da independência do aluno.

Este estudo tem como foco de investigação o processo de aquisição e desenvolvimento da leitura à primeira vista ao piano, em uma perspectiva acadêmica e profissional. Visa discutir a sua relevância, bem como as estratégias e recursos para a aquisição e o desenvolvimento dessa habilidade. Para a conceituação da terminologia e discussão dos critérios de avaliação de uma boa leitura à primeira vista parte-se de uma revisão de literatura, acrescida de depoimentos de pianistas especialistas atuantes na área de correpetição e de testemunhos acerca do uso da leitura à primeira vista ao longo da história da música. O domínio de escalas, arpejos e dedilhado, o estímulo visual provocado pela partitura, suas reações motoras, o domínio espacial do teclado, o reconhecimento de padrões e unidades e a compreensão rítmica são descritos como fatores relevantes e estratégias para a leitura à primeira vista. A observação e a ação direta com alunos dos cursos de piano da Universidade Federal do Rio de Janeiro serviram como aplicação das estratégias básicas de aprendizado da leitura à primeira vista ao piano. Os resultados verificados são apresentados, descritos e interpretados ao final desta dissertação.

TEXTBOOK EXCERPT (under the tab Description,):
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This is the first book of the NOTUS PIANO COURSE.

ABOUT THE PUBLICATION

For whom?
The NOTUS PIANO FOUNDATION Textbook has been compiled for the layperson in the field of music. It starts from absolutely zero knowledge of music and piano. The book is used during the first 3 to 4 months of self-study or teacher-guided study.
The book is suitable for ages 12 and up but it is aimed primarily at the adult and senior beginner. This is reflected in the layout and no-frills didactic strategy. You can preview the book (under the DESCRIPTION TAB) here: https://notus.world/en/products/par007-piano-foundation-textbook/
The study of this book is also required for people who have already experimented a little with the complex conventional music notation and have doubts about it: firstly, to phase out their knowledge of conventional music notation and secondly to build their knowledge of the new NOTUS Music Notation.
Focus
The focus in the NOTUS PIANO FOUNDATION Textbook is on learning how to read ALL the notes of the piano keyboard and play ALL the corresponding piano keys. This is done through 134 exercises and short pieces for beginners. NOTUS piano courses are characterized by their smooth and steady evolution. By the end of the first 3 to 4 months, you’ll be playing pieces that are at least two years ahead of the pieces typically learned by the four-month mark using conventional notation.
Whereas, in conventional courses, piano practice during the entire first year is limited to the middle of the piano (approximately 21 white piano keys), NOTUS learners start familiarizing themselves with the entire piano keyboard from the very first lesson. By the end of the NOTUS PIANO FOUNDATION Textbook – that is, after 3 to 4 months – NOTUS learners have control of the entire 88-key piano keyboard and, as such, ALL the notes of this entire keyboard. This makes a significant difference compared with conventional piano lessons, and this in turn has a positive follow-on effect on subsequent study. The NOTUS PIANO FOUNDATION Textbook is an extremely solid music foundation on which to build further.
Final Goal
The specific focus of the NOTUS PIANO FOUNDATION Textbook is for the learner to master the reading of the pitch of all the notes so that this does not form an obstacle to subsequent study, i.e. PIANO TEXTBook 1 and onwards. Indeed, being able to read all the notes is highly encouraging as one progresses toward new pieces and musical knowledge, not to mention improved piano technique. By removing the stumbling block of reading music (a typical pitfall of conventional notation), the NOTUS learner makes very smooth progress, without added performance stress. With NOTUS, the introductory phase of training offers, in other words, precisely what piano training should: the relaxed enjoyment of lessons, progress and playing, coupled with the appreciation of the value of specific exercises. The NOTUS approach to teaching focuses on stress-free, natural mastery of music notation and piano, not on being able to play a few memorized pieces, as is so often the case in conventional courses targeting young people and adults alike.
VIEW A SELECTION OF PAGES, including contents and index (under the DESCRIPTION tab)

Integrated Music theory:
• octave group, octave group number, octave segment;
• tones and notes C, Cs/Df, D, Ds/Ef, E, F, Fs/Gf, G, Gs/Af, A, As/Bf, B;
• double or half note value relationship, till 1/8 note and rest, beam;
• time value rest sign;
• dotted whole, half and quarter note;
• finger numbers and theit use and interpretation;
• tempo and metronome, metronome value;
• the concepts beat, pulse, accent, measure, measure line;
• the time signatures four-four, three-four and two-four, and main accent and weak accent;
• tie;
• slur and phrase mark;
• basic dynamics with abbreviations and NOTUS restyled wedges;
• basic concepts of intervals: melodic, harmonic, ascending, descending, prime, second, third, fourth, fifth, sixth, seventh, octave and their visual relationship through notes on the staff and between the piano keys;
• some basic information about chords: consonant, dissonant, tertian triad, tonic, broken chord and of naming chords;
• NOTUS signs for immediate repeat, repeat of a whole measure, repeat of a rhythmic unit;
• fermata;
• staccato sign, marcato sign and accent sign;
• notation by hand of NOTUS;
• chromatic and diatonic division of the octave;;
• FLAT- and SHARPnotehead;
• the concept ‘enharmonic’;
• ostinato;
• informative: damper pedal.

Composers in PIANO FOUNDATION Textbook:
Barók, Gurlitt, Rövenstrunck, Kirby-Mason, Sartorio, Burgmüller, Wilton, Hook, Baumfelder, Beethoven, Köhler, Stravinsky, Strauss, Oesten.

This dissertation looks at the strategies for teaching music theory to dyslexic contemporary music students in higher education to help them decode it. Through looking at secondary research, it became clear that the majority of suggested methods for teaching dyslexics were aimed towards primary/secondary education, or not music theory related. In order to assess whether these methods were also appropriate for teaching dyslexics to decode music theory, primary research was carried out in the form of interviews to two professors in the field of dyslexia and music in higher education. Based on the secondary research and interview analyses, the conclusion reached is that these methods are indeed appropriate for teaching dyslexic contemporary music students in higher education to decode music theory. The primary research also provided more higher education and contemporary music specific techniques for teaching dyslexic students to understand music theory.

PAR DANILO BOGO HIVER 2013 i REMERCIEMENTS Je tiens à remercier sincèrement mon directeur de recherche, Peter McCutcheon, pour m'avoir appuyé et encouragé tout au long des mes études doctorales. Je remercie également ma codirectrice, Isabelle Héroux. Son regard, sa rigueur, son suivi ainsi que sa compréhension et sa patience m'ont été très précieux. Je la remercie également pour son engagement dans cette recherche. Un merci tout particulier à Tidiane Seri-Gnoleba et Anne-Marie Leclerc pour la révision linguistique. Je tiens aussi à exprimer ma reconnaissance à mes élèves qui ont collaboré et inspiré cette recherche. Je voudrais exprimer ma gratitude à mes parents qui m'ont apporté, malgré la distance, un appui inconditionnel et un support moral précieux. Enfin, je remercie ma conjointe Duany Parpinelli pour son soutien, sa compréhension et son amour. Muito Obrigado ! ii

RESUMEN
Este trabajo de investigación trata sobre la Creación de ejercitación de lectura para la enseñanza de la guitarra clásica basada en la obra didáctica de William Leavitt en el marco de la carrera "Intérprete Musical" del Departamento de Música de la Universidad Nacional de San Juan.
Durante el Trabajo de Campo fue necesario realizar definiciones de hecho o ajustar el alcance de las presentadas en el Marco Teórico, lo cual me permitió describir, clasificar y ponderar la ejercitación.
Por ello se realizó una labor descriptiva acerca de los saberes propios de la lectura en guitarra clásica, y de los factores musicales y mecánicos que parametralizan la dificultad de la ejercitación.
He procurado trasladar lo aprendido a diseños de ejercitación en cuatro categorías: Sintaxis, Melodía, Armonía y Ritmo. Cada ejercicio se ajusta a los contenidos y recursos de las asignaturas instrumentales de la carrera Intérprete Musical y va acompañado de un criterio para su organización y archivo. Esto último es significativo porque constituye un humilde aporte que permite al docente la sistematización de la ejercitación conocida y proporciona diseños sencillos para crear ejercitación nueva.

ABSTRACT
This research deals with the Creation of guitar reading and sight-reading exercises for classical guitar based on William Leavitt’s didactic output inside the educational framework of the “Intérprete Musical” career of the Departamento de Música at the Universidad Nacional de San Juan.
During the Fieldwork it was necessary to make some new definitions or adjusting the ones presented in the Theoretical Framework, after which I could describe, classify and ponder the exercises.
That´s why it was made a descriptive work on the classical guitar reading inside knowledge, and on those musical and mechanical factors that determine the greater difficulty for any guitar reading exercise.
I have transferred what I have learned into exercise designs in these four categories: Syntax, Melody, Harmony and Rhythm. Each exercise is consistent with the content and resources of instrumental subjects from the “Intérprete Musical” career and they are accompanied by an organizational and filing criteria. The latter is significant because it is a humble contribution that allows teachers to systematize the already known exercises thus providing simple designs to create new exercises.

A leitura à primeira vista de uma partitura acontece quando o intérprete a executa sem preparação ou estudo prévios, com a necessidade de expressar a sua ideia musical de forma fluente e convincente. Muitos estudantes de piano não estão aptos para ler algo à primeira vista no mesmo nível em que tocam seu repertório. A proficiência na leitura à primeira vista não é uma habilidade unitária. Deve ser considerada uma coleção de " subcompetências " que podem ser estudadas separadamente. A leitura à primeira vista pode ser desenvolvida. Para tanto, são propostas quatro estratégias básicas para a aquisição ou desenvolvimento dessa habilidade.

Sight-reading is an important skill for professional musicians, especially those who devote themselves to a career in classical music performance. This ability is strongly associated with musical accompaniment activities. Usually, classical guitarists are poor sight-readers, but a significant part of them, who invests quite some time preparing memorized performances, believes sight-reading improvement is not a priority since their focus is not playing in musical ensembles. One negative consequence of this issue for classical guitarists’ musical lifecourse is the disability to work with short deadlines because they must memorize the musical piece before playing it. Nevertheless, various strategies and activities could be presented to them in order to improve their instrumental learning and increase their professional opportunities. This communication is about the first results of a Ph.D. research project that aims to investigate the effectiveness of a training program to improve the sight-reading skill of classical guitarists.

Este projeto de investigação foca a análise das diversas problemáticas no domínio da redução para piano suscitadas por linguagens e por obras emblemáticas do repertório musical contemporâneo. O estudo teve como principal objetivo compreender realizar uma redução para piano, tendo como base os estudos que se debruçam sobre questões de orquestração, transcrição, acompanhamento, bem como inúmeros exemplos de reduções existentes. São realizados estudos sobre as diferenças entre redução e transcrição para piano, sobre os critérios de escolha de material musical, sobre a reorquestração da conteúdo nas reduções, sobre a problemática de execução das reduções ao piano, sobre questões de leitura à primeira vista e, finalmente, sobre aspetos de apresentação. O conteúdo de investigação é dividido de acordo com três especificidades das reduções para piano. Como exemplo de cada uma delas foram realizadas novas reduções das seguintes obras: Concerto da Camera col Violoncello Obbligato de Lopes-Graça; Pli selon pli de Boulez e ópera Lady Sarashina de Eötvös. A génese destas obras e os procedimentos necessários à sua redução foram também objeto de estudo nesta dissertação. Todas as reduções foram apresentadas publicamente e preparadas para edição. O estudo aqui realizado pretende contribuir para a melhoria do conhecimento sobre as reduções para piano, procurando definir ou ajudar à compreensão das soluções viáveis pianisticamente e facilmente aplicáveis na prática. This research project focuses on the analysis of various problems in the field of piano reduction that are caused by languages and emblematic works of contemporary repertoire. This work aims to understand how to make a piano reduction and is based on studies that address various issues in orchestration, transcription, accompaniment and numerous examples of existing piano reductions. Studies were made on the difference between piano reduction and transcription, on the selection criteria of musical material, on re-orchestration of content in piano reduction, and on issues related with performance of reduction at the piano, sight-reading and aspects of score presentation. The content of this research is divided into three specifications of piano reductions. For each section an example was done of each of these works: Lopes-Graça´s Concerto da Camera col Violoncello Obbligato; Boulez´s Pli selon pli and Eötvös´s opera Lady Sarashina. The genesis of these works and their related process of reduction was also studied in this dissertation. All reductions were prepared for edition and presentation to the public. This study aims to contribute to the knowledge on piano reduction, seeking for viable pianistic solutions which can be easily applied in practice.

The purpose of this meta-analysis was to determine whether experimentally tested sightreading interventions positively influenced sightreading ability. A meta-analysis was conducted with 92 quasi-experimental research studies on sightreading (124 individual analyses) to determine the overall effect size of treatment and to examine how the effect size was influenced by treatment type, sightreading mode (sightreading/sightsinging), age and experience of sight reader, type of sightreading test, and other study design elements. The analysis revealed a small overall effect size for treatment (d = −0.18, 95% CI [−0.24, −0.11]). Of the moderator variables, only treatment-type was significant, with treatments categorized as “Aural Training,” “Controlled Reading,” “Creative Activities,” and “Singing/Solfege” significantly and positively affecting sightreading. There was a moderately strong within-group effect size (d = −0.48, 95% CI [−0.56, −0.40]), indicating that sightreading generally improved pre- to posttest for both control and treatment groups.

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ABOUT THE PUBLICATION

Contains 264 pages and hundreds of diagrams and eight score transcriptions of varying length and difficulty for the following instrumentations: solo cello, solo guitar, solo piano and saxophone quartet.

The NOTUS HANDBOOK is the NOTUS bible, describing in detail all the innovations and corrections with regard to conventional music notation. The end goal of all these changes has always been to offer a much easier and quicker to learn music notation. In each case, the ‘why’ of the innovation or correction is explained, accompanied by a clarification of the weaknesses of conventional music notation in terms of uniformity, clarity and their negative influence on music pedagogy and didactics.
Then, of course, follow the explanation of which correction/innovation NOTUS has been applied, how it is applied, and how the weaknesses of conventional notation are thus overcome. All these questions and answers are accompanied by clear comparative diagrams and small practical examples of the notations and their new NOTUS solutions.

Scattered throughout the chapters are eight transcriptions of scores for piano, solo cello, saxophone quartet and guitar, ranging from simple to more complex (even contemporary). These examples always include the conventional score as well as the NOTUS score on the adjacent page to facilitate comparison.
Here we would like to note, for the sake of clarity, that the NOTUS HANDBOOK is not a course for learning any kind of instrument or a course in music theory. Although the latter is addressed in five Appendices, these Appendices serve only to demonstrate that NOTUS is 100% embedded in existing general music theory. It is only the approach and practical examples that change when music theory is clarified using NOTUS.

The contents of the handbook are divided into four parts and seven appendices. The first part describes the historical-philosophical context of the need for innovation and the place and importance of contemporary visual communication in music notation. After this important introductory section, all the changes NOTUS makes to conventional notation are described in detail over three major sections.

PART A
Part A describes the new way of constructing the NOTUS stave using the octave anchor and octave segments. Also covered described in this section are some changes with regard to note and rest signs, the NOTUS tie and the simple new way to notate semitones and keys. This section is concluded with an overview of the NOTUS key signature.

PART B
Part B first describes all the new repeat signs in NOTUS, which are divided into two groups: immediate and delayed repeats. This is followed by the notation of tuplets, a new family of fermatas, a new way of notating tremolo and vibrato, and some minor changes with respect to dynamics and articulation marks.

PART C
Part C describes the unified notation of harmonics for all instruments capable of producing harmonics, some new signs for glissando, and new signs for muting, dampening, and stopping instruments. Part C also contains a chapter on using the new NOTUS interval legend for transposing. Part C concludes with the notation of quarter and three-quarter tones.

SEVEN APPENDICES
Finally there are seven appendices: five covering music theory clarified using NOTUS Music Notation, an appendix on the use of typography in NOTUS, and an appendix with instructions and blank staves for handwritten NOTUS notation.

The Handbook ends with a list of all the new signs, the bibliography, and the index.

Resumo: Dentre diversas questões pedagógicas do violão clássico legadas do modelo considerado "tradicional", uma das mais explícitas são as práticas tecnicistas que privilegiam processos mecânicos e de imitação na preparação da perfomance. Alternativas para a otimização desse aprendizado são as representações mentais e a leitura à primeira vista. Este artigo pretende discutir como a utilização de imagens mentais musicais pode auxiliar no processo de ensino e aprendizagem e no desenvolvimento da leitura à primeira vista do violonista.

O presente artigo visa relatar uma experiência vivenciada na Oficina de Música Irmã Rosa, localizada no povoado Robalo, em Aracaju. Trata-se da realização de um minicurso cujo foco foi a importância da leitura de partitura e sua aplicabilidade ao violão. Além da exposição das informações do presente campo, este estudo busca discutir as possibilidades de adaptação de conteúdos em contextos fora do ensino de música em regime regular e a sua aplicação na vida dos estudantes. Neste sentido, procuramos descrever o processo de elaboração do minicurso, que envolveu a elaboração de um arranjo da música Buscai Primeiro, de M. Frankreich, e sua realização. Acreditamos ter obtido um aproveitamento significativo desta vivência, especialmente no que compete à nossa formação docente, percebendo-se a relevância de um planejamento que leve em consideração o público alvo em suas particularidades.

Palavras-chave: ensino, violão, leitura de partitura.
Introdução

Ricardo Arôxa Universidade Federal da Paraíba [email protected] Resumo: O presente trabalho faz parte de uma pesquisa de mestrado em Educação musical e objetiva refletir sobre os fatores que interferem na fluidez da leitura à primeira vista do violonista, tais como o idiomatismo do instrumento, a habilidade em si dentre outros, relacionados à formação do violonista. Para tanto, utilizarei a partitura como padrão de escrita, e pretendo trazer para a discussão autores da literatura ligados à psicologia musical, educação musical, pedagogia do violão, e minha experiência como instrumentista e professor. Percebeu-se que algumas práticas "conservatoriais" ainda exercem influência sobre esse contexto, dificultando com isso o processo de ensino e aprendizagem da leitura à primeira vista do violonista.

The current internship report concludes the module of Supervised Practice of Teaching – a professional internship that belongs to the Masters’ program of the course Music Education from the University of Minho. This internship took place during the academic year 2016-2017 in the Conservatory of Music Calouste Gulbenkian of Braga, in the disciplinary groups M24 – Instrument, Violin; and M32 – Instrumental Ensemble. The Project on which the Pedagogical Intervention was based, was realised with pupils of different stages of the Portuguese Educational System: Three pupils from “1° ciclo”3 until “3° ciclo” and two from upper school. Tests of sight reading (initial and final) were made, and the results compared with those from another group of five pupils (control group) for methodology evaluation purposes. The main task of the Project was to approach the practice of orchestral excerpts in violin lessons, and with it to develop sight reading to bring the work of orchestral excerpts to the classroom, as a pedagogical practice. This has shown valuable benefits to the development of sight reading as well to other skills, increasing the range of known repertoire and maturity leading to greater musical experience. Various data collection tools were used, such as interviews with students, recordings, interviews with the cooperating teacher and also with experts in the field. The interest of violin teachers in applying this practice in their classes was also investigated. Through the results obtained it was possible to observe that the Project contributed to an important development of sight reading skills of these students and to a better understanding and exploration of excerpts from the orchestral symphonic repertoire, as well as to an awareness of the pertinence of the introduction of this type of work in violin lessons.

Piano for Beginners: Top 5 Tips for Learning to Play the Piano

Have you always wanted to learn how to play the piano but have been unsure of where to start? Here are a few basics if you are somebody who would like to learn how to play.

Piano vs. Keyboard
Piano
• Acoustic
• Weighted keys
• Traditional styles of music
• Tune at least twice a year
• Price: $2,000-$10,000

Keyboard
• Electric
• Lighter keys
• Traditional, modern styles of music
• Rhythm Bank
• Portable
• Price: $200-$1,000

You should base your decision on personal preference but I recommend purchasing a keyboard with weighted keys to start since they are cheaper and require little to no maintenance. This way if you decide the piano isn’t for you, you have invested little money into it. You can always upgrade later on.

Size Matters
First, you need to be familiar with the notes on a piano keyboard. A standard piano has 88 keys, however a digital piano can have as few as 25 keys. The notes range from A through G and become higher as you move to the right of the keyboard. I recommend a piano or keyboard with at least 61 or 76 keys as this will give you a broader range and allow room for growth.

Posture
Keep your neck aligned with your spine
Your ears should be above your shoulders, this will ensure that your neck is aligned with your spine and your head isn’t too far forward. It is important to keep a straight back so you do not develop a hunch or other back related problems.

Shoulders down and back
Ensure that your piano bench is the correct height, check that your elbows align with the keyboard, this will prevent your shoulders from tensing up and rounding.

Arch your fingers
This is important. Aside from your thumbs, your fingers should always be bent, not flat. This will protect your joints and allow you to move along the keyboard easily.

Feet flat on the floor
Your feet should be flat on the floor and not hanging. If your feet dangle, adjust your piano bench. If you use a foot pedal, make sure your heel is grounded on the floor and use the ball of your foot on the pedal.

Practice
To progress, practice 20-30 minutes a day at least 5 days a week. Practicing for 20 minutes a day is more effective than practicing for hours at a time because we can only absorb so much new information at once.

Set Goals
Set realistic goals for yourself, you will not become a pro overnight. It takes a lot of practice and dedication. Goals will keep you motivated and inspired. Your goal can simply be to practice every day or maybe there is a specific song you want to perfect. Figure out what it is you want to achieve and plan how you will achieve it.

Get Started Now
There’s no time like the present. One of the best ways to learn piano is by taking a course, which is how I learned. There are some great courses online that allow you to get started playing today on your own schedule. I personally had success with PianoForAll. They offer all their courses digitally, and on DVD, with several resources and eBooks included in the package. You learn all styles of piano, pop, blues, jazz, ballads, improvisation, and classical while learning to read music at the same time.

Check out my website to learn more https://ashleyzemla.wixsite.com/pianoforall

In this thesis, the practice of sight-reading is explored within the guitar universe. Envisaging contextualization, specialized bibliography about music reading in general was consulted, as well as that dedicated to specific issues about the instrument, sightreading methods, dissertations and thesis. Eight interviews were conducted aiming to access different approaches adopted by graduate professors active as professional guitarists. Sources created by means of the interviews, consulted bibliography and the author's experience as guitarist and teacher nourishes the final discussion, where aspects directly related to musical reading are explored. Such aspects include: notation, chamber music, classic period repertoire, inner-hearing, improvisation, idiomatic issues and instrumental teaching/learning. Data crossing from consulted sources revealed that musical reading difficulties on the guitar are related to idiomatic issues - mainly the fact that different places on the fingerboard can be used for the same pitch ("equíssonos" is the term used in Portuguese) - and to teaching practice which, aiming to build soloists' careers tends to focus on virtuoso repertoire and technical training. Among the eight professors interviewed, only three presented syllabi which included the development of sight-reading. This information validates previous findings by other authors: sight-reading skills on the guitar is "better said than done", that's to say, is more valued verbally than actually practiced. The reading component elements implicated by instrumental execution, namely, notated symbol, imagined sound, motor execution, sounding results, represent the content basis to chapter 4 and 5. Imaging sound in the inner- ear (audiation) is an important component of the reading process since it permits anticipating execution and confirming if it corresponds to the sound image which has been built internally. During interviews, improvisation proved to be an important aspect related to sight-reading practice, in the sense of reinforcement of the immediate relation established between sound image and motor execution. Finally, it has been observed that sight-reading skills, in the guitar context, is not imperative as it is for orchestral musicians or accompanists. However, sightreading optimizes decoding of a new score, assists pedagogical activity and imposes its value in chamber music context. Keywords: Sight-reading. Guitar's technique. Instrumental teaching and learning.

TEXTBOOK EXCERPT (under the tab 'DESCRIPTION'):
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The follow-up to the textbook NOTUS BEGINNER PIANO – MASTER THE PIANO KEYBOARD and ALL ITS NOTES! With 45 exercises, 45 short compositions and 5 four-handed duets, you will learn all about five-finger positions and playing in multiple octave groups using both hands. The ‘thumb under’ and ‘fingers over’ techniques will be covered thoroughly. Exercises are also given in holding notes while the other fingers play different notes, as well as holding with one finger and moving the thumb simultaneously.
The exercises and compositions are arranged in increasing levels of difficulty. New terminology and notation topics are clarified as needed throughout the exercises and compositions.

MUSIC THEORY and COMPOSERS

Integrated music theory.
The musical scores are peppered with three ‘music theory intermezzos’. The first intermezzo explains the NOTUS interval legend and the learning of intervals. The concepts of modes/keys/scales are explored in conjunction with a cursory introduction to the major and minor modes. The second music theory intermezzo explains tuplets and provides an opportunity to practice them. The third intermezzo is a small reference section that also discusses the different time signatures. Here the focus is on the practical aspect of identifying and playing the accents in the various time signatures. This third intermezzo ends with an overview of the articulation signs, including three new NOTUS signs.

Composers in PIANO TEXTBOOK 1.
Adler, Bartók, Berens, Bertini, Beyer, Brunner, Burgmüller, Chwatal, Clementi, Czerny, Gillock, Glushenko, Gnyesina, Goedicke, Gurlitt, Kabalevsky, Kókai, Kraft, Krieger, Lully, Martin (pseud. Agay), Mozart L., Orff, Philippe, Reinecke, Salutrinskaya, Sartorio, Satie, Schmitt, Schmoll, Shostakovich, Spindler and Teleman.

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The collection Enfantines contains nine pieces for beginners. Seven of them are two pages long. For a beginner, this already takes quite a bit of practice. One piece is even three pages long, while another is just one page. Although written for children as exercises with a nice musical balance, they are very suitable for the adult beginner, too. These pieces are a perfect addition to your repertoire once you have reached page 77 in the PIANO BEGINNER study book, at which point you will know all the white keys of the piano. See also the description at the bottom.

ABOUT THE PUBLICATION

Erik Satie, best known for his Gymnopédies and Gnossiennes, composed three collections of three pieces each in the fall of 1913. These pieces were actually intended to be learned and played by children.
These three volumes together are also known as the Enfantines. The nine pieces are as follows:
- Menus Propos Enfantins (October 10, 1913):
(1) – Le chant guerrier du Roi des Haricots
(2) – Ce que dit la petite Princesse des Tulipes
(3) – Valse du chocolat aux Amandes
• Enfantillages Pittoresques (22 oktober 1913)
(4) – Petit Prélude à la Journée
(5) – Berceuse
(6) – Marche du Grand Escalier
• Peccadilles Importunes (26 oktober 1913)
(7) – Etre jaloux de son camarade qui a une grosse tête
(8) – Lui manger sa tartine
(9) – Profiter de ce qu’il a des cors aux pieds pour lui prendre son cerceau
The pieces bear the unmistakable style of Satie's salon music but are nevertheless strongly narrative, illustrative, harmonious and melodic. As a result, the beginning pianist has a lot of room for personal interpretation, which results in a great deal of satisfaction and can even encourage experimentation.

FIVE-FINGER POSITION
These nine pieces are composed based on the five-finger position with beginners in mind. The principle adopted here is that each entire composition is written with five consecutive naturals (white keys) for each hand. Moreover, in the Enfantines, the notes of each hand follow one another such that the composition is based on ten consecutive naturals, one for each finger. The hands don't have to be moved at any point during the entire piece. They are therefore excellent finger reflex exercises. At the beginning of each composition, we have illustrated the position of the hands on the piano using a diagram of the piano keyboard, the player's hands and the staff (see the example pages below). This helps the beginner to start the pieces in the right way and also serves as a teaching aid.
Seven of the nine compositions are two pages long. Both pages are side by side. As a result, there is no need to turn pages while playing. One piece is one page long and one is three pages.
In this NOTUS edition, the original order of the nine compositions has been changed, arranging them instead from easy to difficult (with regard to beginner piano technique). This is justified in the introduction. Explanations are also given for the short phrases Satie notated between the staves. These phrases set the mood of the pieces and at the same time give some insight into the lives of children at the time (rich and poor).
Plus some supplementary guidelines for reading NOTUS Music Notation, for the few who come into contact with NOTUS for the first time through this publication.

This dissertation is part of the introduction to the NOTUS HANDBOOK and has been reproduced in its entirety.

She describes the difficulties in the age-old conventional music notation and the confirmation of these difficulties by leading theorists as well as composers and practicing musicians and why an innovation in the age-old music notation is urgently needed.
It discredits the way NOTUS responds from within the contemporary domain of 'visual communication' and why this answer is so different from other answers that have been proposed over the centuries. It ends with some contemporary social insights that are detrimental to the survival of the noted Western musical heritage if there is no change in musical notation that is in keeping with contemporary visual society.

This dissertation is followed by the table of contents of the NOTUS Music Notation Handbook.

Resumo: O violão é um dos instrumentos mais populares e possibilita diversas formas de performance musical. Isso se deve a fatores como sua dupla função como solista e acompanhador; sua capacidade de absorver aspectos de culturas eruditas e populares; utilização de diversas formas de notação; e sua portabilidade. O campo de atuação deste instrumentista exige uma formação que englobe o conhecimento de diversos gêneros musicais, aspectos históricos e estilísticos, técnica instrumental consistente e estratégias deliberadas para seu aprendizado. No ensino institucional voltado para o solista, a leitura à primeira vista de partitura se mostra uma ferramenta pedagógica promissora na preparação da performance e inserção do violonista em grupos de câmara. Todavia, sugerimos que o desenvolvimento desta habilidade não tem sido um quesito contemplado com frequência e importância na formação da maioria dos violonistas. A partir de reflexão bibliográfica e empírica, o presente trabalho se constitui em um recorte de pesquisa de mestrado em Educação Musical e objetiva discutir questões do ensino tutorial e institucionalizado de música, também conhecido como "modelo conservatorial", que influenciam no desenvolvimento da habilidade da leitura à primeira vista do violonista.

The purpose of this meta-analysis was to determine the extent of the overall relationship between previously tested variables and sight-reading. An exhaustive survey of the available research literature was conducted resulting in 92 research studies that reported correlations between sight-reading and another variable. Variables (n = 597) were grouped by construct (e.g., music aptitude, technical ability) and separate meta-analyses were conducted for each construct. Construct had a variable effect on sight-reading, with improvisational skills, ear-training ability, technical ability, and music knowledge correlating most closely with sight-reading, while attitude and personality were unrelated to sight-reading. Additionally, the study examined differences in effect size by type of publication (published study, unpublished thesis), the experience level of the sight-reader (elementary, secondary, college nonmusician, college musician), sight-reading mode (instrumental sight-reading, sight-singing), and type of sight-reading test. The few differences suggest future investigation of a developmental component to sight-reading is warranted. In general, music constructs that improve with practice correlated more strongly with sight-reading than did stable characteristics. These results support sight-reading being considered a music skill that improves with the musicality of the performer rather than a simple visuo-motor decoding process.

Mapeamento da sequência dos intervalos que existem no contexto da escala diatônica maior. Primeiro o intervalo deve ser identificado pelo grau da escala, depois os graus devem ser cantados com a identificação do intervalos. Após cantar tendo como referência o primeiro grau, serão cantados os intervalos tendo como referência o 2a grau, depois o 3o e assim por diante.

This series of Reaction Time experiments investigates how quickly notes can be read from a screen and immediately executed on a MIDI keyboard. This makes it possible to study pitch reading and motor coordination in considerable detail away from the customary confounds of rhythm reading or pulse entrainment. The first experiment found that reaction times were slower in extreme keys (3#, 4#, 3b, 4b), even for very experienced sight-readers, a large effect of clef in most individuals, and other results suggesting that, in this simple paradigm at least, reading notation presents more of a difficulty to execution than motor coordination. A second experiment found, in addition, an effect of order in which the notes were presented. A clarified form of notation was devised that disambig-uates visual confusion across key signatures, and to some extent across clefs. Initial results from an experiment to contrast traditional noteheads with the clearer ones found substantial improvements in both Reaction Time and accuracy for the clarified notation. The possible applications of improved notation to the wider field of piano playing are discussed.

This study explored the rationale for sight-singing instructional choices of chorus teachers at the middle school level and sought to determine teachers' commitment to teaching music literacy Three research questions formed the basis of the study: (1) what is the prevalence of sight-singing instruction in choral music classes, (2) what is the rationale for sight-singing instruction, (3) when do teachers first learn the sight-singing method they use. Members of a state music educators' association were asked to complete an online questionnaire. The majority of respondents self-reported the inclusion of sight-singing instruction for all their ensembles for a duration of five to fifteen minutes, which is similar to data previously reported in high school classrooms. When asked where they first learned the method they currently use, most teachers said that it was at the middle school level. The prevalence of this response indicates the life-long impression that early music learn...

Öz Piyanoda deşifre piyano eğitiminde ve piyano performansında önemli bir yere sahiptir. Konu birçok araştırmacı tarafından farklı açılardan incelenmiş, araştırılmıştır. Ülkemizde daha çok son yıllarda, ülkemiz dışında ise onlarca yıldır piyanoda deşifre ile ilişkili çalışmalar yapıldığı görülmektedir. Bu araştırmada ülkemizde ve yurt dışında, piyanoda deşifre konusu ile ilgili yapılmış akademik çalışmaların çok boyutlu olarak incelenmesi amaçlanmıştır. Araştırmada içerik analizinden yararlanılmıştır. Çalışmada incelenmek üzere; ülkemizde yapılmış ve ulaşılabilen 5 yüksek lisans tezi, 2 doktora tezi ve 7 makale ile yurt dışında yapılmış 11 makale belirlenmiştir. Yurt içinden 14, yurt dışından 11 ve toplamda 25 çalışma, 10 farklı boyutta incelenmiştir. Çalışmalar incelendiğinde; piyanoda deşifrenin geliştirilmesi konusunun daha fazla incelendiği, yurt içinde çoğunlukla müzik eğitimi anabilim dallarında görev yapan öğretim elemanlarının konuyla ilgili çalışmalar yaptığı, yurt dışında ise farklı alanlardan araştırmacıların da ilgili çalışmalar yaptığı görülmüştür. Piyanoda deşifre performansı ölçümlerinde öğrencilerin/deneklerin çalmaları için genellikle piyanoda deşifre ile ilişkili kitapların, başlangıç piyano metotlarının ve araştırmacılarca yazılmış eserlerin kullanıldığı görülmüştür. Yapılan incelemede, yurt dışındaki çalışmalarda profesyonel piyanistler üzerinde çalışmalar yapıldığı görülürken, ülkemizde yalnızca lise ve üniversite müzik öğrencileri üzerinde çalışmalar yapıldığı; yurt dışında psikoloji ya da tıp alanından araştırmacılar konuyla ilgili çalışmalar yaparken ülkemizde yalnızca müzik alanından araştırmacıların çalışmalar yapmaları dikkat çekmiştir.

This study explored the rationale for sight-singing instructional choices of chorus teachers at the middle school level and sought to determine teachers’ commitment to teaching music literacy. Three research questions formed the basis of the study: (1) what is the prevalence of sight-singing instruction in choral music classes, (2) what is the rationale for sight-singing instruction, (3) when do teachers first learn the sight-singing method they use. Members of a state music educators’ association were asked to complete an online questionnaire. The majority of respondents self-reported the inclusion of sight-singing instruction for all their ensembles for a duration of five to fifteen minutes, which is similar to data previously reported in high school classrooms. When asked where they first learned the method they currently use, most teachers said that it was at the middle school level. The prevalence of this response indicates the life-long impression that early music learning may have on future music educators, though few specified their middle school teacher as an influence on their current methods selection. The data indicates that respondents employed a variety of methods, and that movable Solfège was the most frequently cited primary method. eachers’ personal philosophies were determined to be more important than influences such as curriculum standards, festival requirements or previous methods professors.

A habilidade para ler á primeira tem sido considerada uma importante ferramenta para a prática do violonista, tendo em vista que possibilita o acesso a um número representativo de repertórios para o instrumento. Considerando os problemas que ainda permeia a formação do violonista, no que tange à leitura a primeira vista, este trabalho apresenta as bases conceituais e metodológicas de uma pesquisa que visa compreender estratégias de ensino deliberado para a leitura à primeira vista no violão, a partir da visão de cinco especialistas. O trabalho está embasado numa abordagem qualitativa de pesquisa, que concebe a entrevista semi-estruturada e a gravação em vídeo como os principais procedimentos de coleta de dados. A partir do estudo, acreditamos que será possível identificar conteúdos e dimensões pedagógicas que favoreçam a formação do violonista para lidar com a leitura à primeira vista, ampliando as discussões acerca da temática e refletindo sobre sua aplicabilidade na prática do instrumento.

The current job Market demands, increasingly, instrumentalists with skills and theoretical and practical knowledge in various styles and musical genres. This situation brings up new questions and concerns in music scientific research. From the dialogue between the subareas of Musical Education and Performance, emerges the subarea of Pedagogy of Musical Instrument that investigates tools and pedagogical practices inherent to the instrumentalists teaching and learning process. Its purpose is to make this context even more reflective and skillful in adapting to the different styles in which the instrument can communicate its musical art. In case of formal education in classical guitar – instrument the can appropriate and transmit music in its various ways – the practice of sight-reading becomes an issue facing the needs of this instrument that is essentially soloist. However, the increased participation of the guitar in chamber music groups has set the sight-reading as an important tool for the preparation of the performance. This work shows the importance of sight-reading in the classical guitarists’ formation process and aims to present, analyze and reflect on issues about teaching and learning of sight-reading in the classical guitarists’ formation process. The research methodology is based on a qualitative approach and uses bibliographic and documental research, semi-structured interviews with expert classical guitarists at the sight-reading such as Eduardo Fernández, Eduardo Meirinhos, Fábio Zanon, Mario Ulloa and Nícolas de Souza Barros. The theoretical background about Musical Cognition, Musical Education and Performance dialogues with the empirical background of the investigated expert guitarists. As a result of the research, we conclude that the classical guitar learning finds itself undergoing a conceptual and methodological transition process, but it can be improved by using several practices which can be embedded on guitarists’ routine in order to provide a more accurate and deliberate development of the sight-reading.

Resumo: A recente demanda de formar instrumentistas mais conscientes das competências necessárias para o mercado de trabalho exige deste, habilidades, e conhecimentos teórico e prático de vários estilos e gêneros, ao passo que estimula inquietudes em questões de pesquisa. A recente subárea de conhecimento denominada Pedagogia do instrumento emerge da necessidade de diálogo entre as subáreas da Educação musical e Performance, e investiga ferramentas e práticas pedagógicas inerentes ao seu ensino e aprendizagem. Sua finalidade é tornar este contexto mais reflexivo e hábil na adaptação com as diferentes facetas em que o instrumento pode comunicar sua arte. A prática da leitura à primeira vista no violão tem sido vista como problemática frente às necessidades desse instrumento essencialmente solista. Todavia, uma crescente demanda como camerista tem-na configurado como importante para a otimização da preparação da performance. O presente trabalho faz parte de uma pesquisa de mestrado em Educação Musical em conclusão, que estuda a importância da leitura à primeira vista na formação do violonista, tendo como base a escrita ortocrônica (partitura) e a scordatura (afinação) padrão deste instrumento. Tem como objetivo demonstrar recomendações de autores de métodos comerciais para a aquisição, prática e desenvolvimento dessa habilidade e como dialogam com a literatura acadêmica da área. Os métodos analisados evidenciaram uma preocupação pedagógica compatível com a importância dada pelas pesquisas científicas. Com isso espera-se que as recomendações desses métodos possam contribuir com eficácia para o aperfeiçoamento da leitura à primeira vista do violonista. Palavras-chave: Leitura à primeira vista; Violão; Estratégias de ensino e aprendizagem.

Poruszam badanie w zakresie psychologii poznawczej i muzyki, zatytułowane Silent Reading of Music and Texts; Eye Movements and Integrative Reading Mechanisms. Omawiane badanie można analizować w odniesieniu do podniesionych przez innych badaczy wątpliwości dotyczących wiarygodności stosowania okulografii. Punktem odniesienia krytyki są własne doświadczenia. Wysuwam zastrzeżeń o charakterze filozoficznym (egzystencjalnym) i opieram się na dziedzinach fenomenologii i filozofii techniki. W omawianym badaniu poruszono zagadnienia związane z relacjami między dwoma różnymi sposobami kodowania informacji, jak i związek poznawczy między przetwarzaniem muzyki w ciszy i języka. Najpierw przedstawiam omówienie badania wraz z komentarzami, a na koniec przedstawiam krytykę tego badania. Uważam, że to badanie, choć ważne, nie jest wystarczające dla zrozumienia zjawiska czytania zapisu muzycznego.
Słowa kluczowe: psychologia poznawcza, psychologia muzyki, okulografia, zapis muzyczny, czytania nut, egzystencjalizm, filozofia technik

On reading music notation. A critique of a select oculographic study.
This paper examines a study in cognitive psychology and music, which is entitled Silent Reading of Music and Texts; Eye Movements and Integrative Reading Mechanisms. This study can be analyzed with reference to questions raised by other researchers on the reliability of oculography. The point of reference for this critique lies in personal experience. I raise philosophical (existential) concerns and draw on the fields of phenomenology and the philosophy of technology. The discussed study addresses matters associated with the relationship between two different ways of encoding information, as well as the cognitive relationship between silent music processing and language. I first present a description of the study accompanied by some comments, and then a critique of the study. I argue that this study, although important, is not sufficient for understanding the phenomenon of reading musical notation.

This article discusses the influence of cognitive psychology on the teaching-learning process of reading
music, aiming to improve sight-reading performance. Acknowledging the importance of automatic kinesthetic response
upon visual stimuli, the purpose of this article is to present some concepts from cognitive psychology that
may be used to facilitate the construction of automatisms able to be evoked while reading music. In this regard, it is
presented a cognitive architecture related to a musical reading task. Subsequently, we demonstrate the automatisms’
importance for reading and explore some practices influenced by cognitive psychology. Among the studied concepts
are types of knowledge, dual coding theory, metacognition, knowledge transfer and chunking. The conclusion shows
that better understanding one’s cognitive processes may affect teaching-learning strategies in music reading.

ABSTRACT
This article aims to report an experience in the Music Workshop Sister Rosa, located in the hamlet Robalo
in Aracaju. It is the realization of a short course which focused on the importance of reading the score and
its applicability to the guitar. In addition to the exposure of the information in this field, this study
discusses the opportunities for content adaptation in contexts outside of music education in the regular
system and its application in students&39; lives. Perceives this experience the importance of planning that
takes into account the target audience and its particularities, seeking a greater connection between the
content being presented and the reality of the students. It was found that a good use of the short course
by conducting evaluation activities.

KEYWORDS: EDUCATION – GUITAR-READING SCORE.

Music education in the western world often emphasizes musical literacy, the ability to read musical notation fluently. But this is not always an easy task – even for professional musicians. Which raises the question: Is there such a thing as musical dyslexia?

Resumo: A recente demanda de formar instrumentistas mais conscientes das competências necessárias para o mercado de trabalho exige deste, habilidades, e conhecimentos teórico e prático de vários estilos e gêneros, ao passo que estimula inquietudes em questões de pesquisa. A recente subárea de conhecimento denominada Pedagogia do instrumento emerge da necessidade de diálogo entre as subáreas da Educação musical e Performance, e investiga ferramentas e práticas pedagógicas inerentes ao seu ensino e aprendizagem. Sua finalidade é tornar este contexto mais reflexivo e hábil na adaptação com as diferentes facetas em que o instrumento pode comunicar sua arte. A prática da leitura à primeira vista no violão tem sido vista como problemática frente às necessidades desse instrumento essencialmente solista. Todavia, uma crescente demanda como camerista tem-na configurado como importante para a otimização da preparação da performance. O presente trabalho faz parte de uma pesquisa de mestrado em Educação Musical em conclusão, que estuda a importância da leitura à primeira vista na formação do violonista, tendo como base a escrita ortocrônica (partitura) e a scordatura (afinação) padrão deste instrumento. Tem como objetivo demonstrar recomendações de autores de métodos comerciais para a aquisição, prática e desenvolvimento dessa habilidade e como dialogam com a literatura acadêmica da área. Os métodos analisados evidenciaram uma preocupação pedagógica compatível com a importância dada pelas pesquisas científicas. Com isso espera-se que as recomendações desses métodos possam contribuir com eficácia para o aperfeiçoamento da leitura à primeira vista do violonista. Palavras-chave: Leitura à primeira vista; Violão; Estratégias de ensino e aprendizagem.

BUNDLE EXCERPT (under the tab 'Description',):
https://notus.world/en/products/par014-costanza-bissoli-12-piano-pieces-casa-12/

Bilingual edition: Dutch / English.
The 13 pieces (12 Pieces for Piano + Casa 12) are in increasing difficulty from late beginner to beginning advanced level. They have a semi-abstract lyrical character that is free to interpret and which for Costanza Bissoli is a necessary contribution of the pianist.

ABOUT THE PUBLICATION:

Costanza Bissoli is an Italian pianist/composer born in Verona (1967). She began her classical piano training at the age of fourteen. Her first compositions date back to her preparations for a classical test in eighth grade piano. For her, they were a counterpoint to the complexity of grandiose Western cultural music and the dedication and determination demanded by it. Costanza: “I discovered the thrill of notating my emotions in a way that was free yet anchored in classical principles.” She composes in a free style and often in ‘tempo rubato’. Her compositions are lyrical and at the same time poetic and dreamy.
The 12 pieces for piano in this NOTUS publication are presented in increasing levels of difficulty, from advanced-beginner to early-advanced level. A unique experience is offered by the freedom of interpretation Costanza leaves for each piece. For Costanza, this room for personal interpretation is an important and even essential aspect of her compositions.
In addition to these 12 pieces, the composition CASA 12, a lockdown elegy was created during the first lockdown period of the Covid-19 pandemic in spring 2020, during which Italy – and especially the region where Costanza lives and works – was severely affected. Costanza lost a dear family member in this period, which is what prompted the composition of Casa 12, a lockdown elegy.

To disentangle the cognitive processes involved in reading the pitch component of piano music, this research uses simple Reaction Time (RT) paradigms, and draws on task-switching and visual processing research. Participants were 44 pianists of widely varying age and competence. Pitches were shown three at a time and executed as fast as possible at a MIDI keyboard, with the key signature changed after 40-60 trials. A variety of specific factors could be quantified and contrasted, ranging from the cognitive 'switch-cost' of switching between clefs, to the extra processing time required when notes are presented in a different order. Large effects of clef and key signature persist in even the most accomplished professionals, adding 20% to response times at the very least, despite thousands of hours of practice. This paper tackles some of the questions about why this might be so. The extent to which overlapping, multivalent notation may obstruct both immediate execution and the longer-term learning process is discussed.

Mesleki müzik eğitiminde öğrencilere müziksel işitme, okuma
ve yazma (MİOY) dersleri kapsamında müziğin dili öğretilmeye
çalışılmaktadır. Bu derslerdeki kazanımlar müzik eğitimi için ön koşul
öğrenmeleri içerdiğinden ve diğer alan derslerine aktarılacağından MİOY
öğretimi müzik eğitiminin en önemli alanıdır. Sözlü bir müzik eserini ilk
görüşte müzik yazısına uygun olarak doğrudan sözleriyle çözümleyerek
seslendirebilme becerisi şeklinde tanımlanabilecek Deşifre Şarkı
Söyleme de MİOY öğretiminin müziksel okuma boyutuyla ilişkilidir.
Mesleki müzik eğitiminde müziksel okuryazarlığın en üst basamağı
sayılabilecek bu beceri müzik eğitimi alan her bireyin geliştirmesi
gereken bir beceridir.

Deşifre şarkı söyleme becerisi, müzisyenlere hem sınırlı bir zaman
diliminde yeni parçalar öğrenme ve öğrenilen bu parçalara eşlik edebilme
imkânı verir hem de onları kuram uygulamaktan çok sanat yapmaya ve
estetik düşünmeye yönlendirir, mekanik olmaktan kurtarır. Müzisyenlerin
ilk kez gördükleri bir eseri çalmadan ya da çalgı yardımı almadan içsel
olarak duymalarına; notaları ve müzik cümlelerini önceden tahmin
edebilmelerine katkıda bulunan bu beceri, çalgının teknik güçlüklerini
düşünmeden, müzisyenlerin tüm dikkatini müziksel ifadeye yöneltmesine
olanak verir. Böylece eserin deşifresinde, müziksel ifade ilk görüşte fark
edilir ve belleğe yerleştirilir. Birden fazla müziksel işlevi içeren deşifre
şarkı söyleme yeteneği müzisyenin kendine olan güvenini arttıran ve
onu özgür kılan bir beceridir.

Yurt dışında 1800’lü yıllardan bu yana deşifre şarkı söyleme
öğretimine yönelik çok sayıda yayımlanmış kaynak bulunmakta ve pek
çok yöntem başarılı bir şekilde uygulanmaktadır*1. Ancak ülkemizde bu alanda hiçbir uygulama ya da araştırma yapılmadığı gibi; MİOY (müziksel
işitme-okuma-yazma, solfej) dersleri kapsamında ele alınan deşifre
okuma becerisini geliştirmeye yönelik birkaç kaynak kitap dışında özgün
çalışmalar ya da kaynaklar da bulunmamaktadır **. Bununla birlikte
söz konusu derslerin (MİOY), çalgı eğitimi derslerinin ve ses eğitiminin
yer aldığı derslerin (şan, bireysel söyleme, toplu söyleme ve koro)
programlarında ise deşifre şarkı söylemeyi geliştirmeye yönelik sistemli
ve planlı hiçbir çalışmaya yer verilmemektedir.

Bu kitap, doktora çalışmaları ve sonucunda yazılan doktora tezini
oluşturan geniş kapsamlı bir araştırmanın konusuna ilişkin kuramsal
ve kavramsal zemini oluşturan bölümleri içermektedir. Deşifre şarkı
söyleme konusunda belli öneriler ve yeni düşünceler sunmak; müzikle
uğraşan her bireye, ilk kez gördükleri sözlü bir müzik eserini hazırlıksız
olarak seslendirme becerisi kazandırabilecek ya da var olan deşifre
becerilerini geliştirebilecek özgün bir öğretim metodu oluşturmak amacıyla gerçekleştirilen bu bilimsel çalışmada, araştırmanın kuramsal boyutunun oluşturulabilmesi için konuyla ilgili yerli ve yabancı kaynaklar taranmış ve konu uzmanlarının görüşlerinden büyük ölçüde yararlanılmıştır. Araştırma 2004-2009 yılları arasında yürütüldüğünden, çalışmanın, kaynak tarama aşamasında toplanan veriler, bu yıllar arasında erişilebilen verilerle sınırlıdır. Müziksel işitme, müziksel okuma (solfej), deşifre okuma (sightreading), deşifre şarkı söyleme (sight-singing), ses eğitimi, koro ve koro eğitimi üzerine yazılmış, yayımlanmış Türkçe ve İngilizce bildiriler, makaleler, kitaplar, yayınlanmış ya da yayınlanmamış araştırmalar ile ders programları ve internet sayfalarından elde edilen veriler bu kitabın içeriğini oluşturmaktadır. Tüm veriler kitap için yeniden gözden geçirilmiş ve düzenlenmiştir. Ayrıca, İngilizce yazılıp yayımlanmış sekiz adet Deşifre Şarkı Söyleme öğretim metodu ve internet üzerinden deşifre şarkı söyleme öğretimine yönelik bilgiler içeren internet sayfalarından elde edilen verilere de kitapta yer verilmiştir. Ancak kitabın içeriğini oluşturan ve gerekli olduğu
düşünülen; doktora tez çalışmasının kavramsal ve kuramsal boyutunu
oluşturan bölümler dışında, tezde yer alan deneysel çalışmalara, bulgulara ve geliştirilen öğretim metoduna bu kitapta yer verilmemiştir. Alanda “ilk” Türkçe kaynak olma özelliğini taşıyan söz konusu öğretim metodu da “Deşifre Şarkı Söyleme, 1. Kitap” adıyla yayına hazırlanmaktadır.
* Söz konusu yöntemlere kitabın ÜÇÜNCÜ BÖLÜM’ünde yer verilmiş ve internet taraması yoluyla ulaşılabilen İngilizce kaynakların listesi kitabın EKLER bölümünde sunulmuştur.
** Alanda yazılmış ilk ve tek Türkçe çalışma, bu kitaba zemin oluşturan doktora tezi ve bu tezden üretilen iki bilimsel makaledir.

Bu kitap, Türkiye’de müzik öğretmeni yetiştiren kurumların eğitim
programlarında yer almayan, müzik eğitiminde yeterince üzerinde
durulmayan ya da belli bir programa bağlı olmadan sistemsiz çalışmalar
ile yürütülen deşifre şarkı söyleme eğitimine dikkati çekmesi ve bu
alanda başvurulabilecek ilk kapsamlı Türkçe kaynak niteliğinde olması
açısından önem taşımaktadır. Ayrıca, bu kitabın ilgili alanda yapılabilecek
başka araştırmalara, yayınlara, eğitim-öğretim programlarına ve
uygulamalarına yol gösterip örnek olacağı da düşünülmektedir.

Kitabın birinci bölümünde konuya kısaca bir giriş yapılmış; tanımlar
ve kısaltmalar sunulmuş, ikinci bölümünde deşifre şarkı söyleme ile ilgili
kavramlara; deşifre şarkı söylemede gerekli temel bilgi ve becerilere;
deşifre şarkı söyleme kurallarına ilişkin açıklamalara, üçüncü bölümünde
ise deşifre şarkı söyleme eğitiminde kullanılan yöntemlere; ilgili araştırma ve yayınlara ve bu yayınlar arasından seçilen sekiz adet deşifre şarkı söyleme metodunu tanıtmaya yönelik açıklamalara yer verilmiştir.

Kitaba kaynak olan bilimsel araştırmanın her aşamasında, uzun
ve yorucu çalışma saatlerinde, ilgi ve yardımlarını esirgemeyerek
yanımda olan, bilgi ve deneyimlerini benimle paylaşan doktora tez
danışmanım Sayın Prof. Ülkü Özgür’e, Sayın Prof. Suna Çevi̇k’; eğitim
bilimleri alanında denetim, eleştiri, yönlendirme ve önerilerde bulunarak
desteklerini esirgemeyen Sayın Yrd. Doç. Dr. Ayşe Füsun Öksüzoğlu’na,
iyi bir eğitimci olma yolunda bana yön veren, eğitimime katkısı olan
birbirinden değerli tüm öğretmenlerime ve öğrencilerime bu vesile ile bir
kez daha teşekkür ederim.

Kitabın tüm müzik eğitimcilerine, müzik araştırmacılarına,
müzik eğitimi alan ve/veya müzikle ilgilenen bireylere
faydalı olması dileğiyle…

Sevan Nart
Ankara/2018