09:00 - 10:45 : Symposium - Musical Literacies

Lead author	Tiija Rinta
Institution/organisation	Institute of Education, London
Co-author(s)
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Title	An exploration of children's understanding of different types of music

Abstract

There is a considerable lack of research in the field of musical understanding including how children understand music. Investigation into musical understanding may assist in improving the design of the music curriculum and in assisting in making connections between the processes behind musical development and other developmental domains. The aim of this study was to investigate how children understand music using non-verbal techniques. Such an approach was adopted to see if it might elucidate aspects that are unreachable through verbal means. Eighteen 10-year-olds participated in the study. Listening tasks with three different types of music were used as the stimuli: classical/ film music, jazz music and popular music. The children were asked to listen to each piece, reflect on their listening experience and to draw something which characterized their understanding of the music. The three types of music were understood differently by children. There were distinct differences between the drawings produces for each musical style. Classical/film music was represented by concrete objects; jazz music was represented by abstract objects and popular music was represented by images associated with the music. In conclusion, drawing was found to be a useful non-verbal tool for investigating children's musical understanding.

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Lead author	Sue Bishop
Institution/organisation	Institute of Education, London
Co-author(s)
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Title	How do experienced orchestral musicians learn challenging rhythms?

Abstract

This investigation is preliminary to a larger study of the acquisition of rhythm skills which is relevant to instrumental teachers and their pupils. Although many strategies for learning complex rhythms are well known to musicians little formal investigation has been made into this aspect of musical training. The aim of this study was to identify and analyse the multiplicity of strategies implemented by experienced musicians when tackling complex rhythmic patterns. Within this context, rhythm is defined as the realisation of printed music as sound in time. Data collection involved a semi-structured interview undertaken individually and recorded for analysis. The sample was drawn from a population of amateur and professional musicians, ranging from those who were self-taught to those with conservatoire training. Data were quantitative and qualitative. The pilot study confirmed that musicians employ a wide range of strategies when tackling complex rhythms. These are discussed in relation to early musical experiences, learning from specific role models, and instrument-specific repertoire. The study will highlight the rhythmic skills which benefit experienced musicians and should also give some indication of how these skills have been learned. Awareness of these factors may facilitate the development of a systematic and structured approach to teaching rhythm to students of Western orchestral instruments. The study will have profound implications for music educationalists, their pupils and musicians generally.

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Lead author	Su Ching Hsiuh and Susan Hallam
Institution/organisation	Institute of Education, London
Co-author(s)
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Title	The relationships between sight-reading, memorisation and improvisation in those with expertise in different musical genres

Abstract

Sight-reading, memorisation of music, and improvisation would appear to require different combinations of high level musical skills which are sufficiently well practised to have become automated. The aim of this study was to investigate how novice and expert musicians from classical and jazz musical backgrounds learned to improvise in individual and group contexts. Twenty musicians, classical and jazz who were learning to improvise in individual and group contexts carried out three tasks sight-reading; memorising; and improvising. The results suggested that sight-reading skills and practice strategies were significant in learning to improvise in both familiar and unfamiliar genres. The transfer of generic specific skills was greater in learning to improvise when playing in familiar genres. The expert classical musicians showed higher ability in sight-reading which suggested that the increased amount of time spent in processing visual material was associated with an increasing expertise in sight-reading skills.

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Lead author	Elinor Tolfree and Susan Hallam
Institution/organisation	Institute of Education, London
Co-author(s)
Institution(s)/organisations
Title	Young people's uses of and responses to music in their everyday lives

Abstract

While there has been an increasing interest in research exploring the uses of and responses to music in people's everyday lives, much of this research has focused on adults. There has been relatively little research with young people. This research examines the importance of music in the lives of young people aged 9-17. Thirty eight children divided into two age groups, 9-12 and 13-17 were interviewed to establish the role of music in their everyday lives. Four main themes emerged from the data relating to emotions and moods, identity and friendship, playing an instrument, and homework. The largest category related to music and moods and demonstrated that these young people used music to change moods, to relax, to reminisce, for comfort, and when they were sad, angry, or bored, or for enjoyment. Music also played a role in their friendships and developing identity. Playing an instrument gave them a sense of achievement and confidence and a means of communication, although it also could lead to frustration when they were unable to attain their aims. Music was also used when they were doing homework to help concentration. Overall, the data suggest that young people use music in very similar ways to adults.