Richard Laprise

Pedagogy of Music Theory

Material Comparison Paper 2
A comparison of the 4th edition of "Music for Sight Singing" by Thomas
Benjamin and the 7th edition of "Music for Sight Singing" by
Robert Ottman provides two approaches to teaching aural skills and sightsinging. Each book covers similar topics, ranging in scope from the most
basic rhythmic and melodic content to advanced 20th century techniques, but
their function within a classroom will likely not be the same. Although no
intended grade level is mentioned, both texts require some
fundamental prerequisite knowledge of music theory, including reading basic
rhythms, and major and minor scales and key signatures.
An investigation of Benjamin's text uncovers
content arranged sequentially from basic rhythms and pitch patterns to
20th century techniques including quartal harmonies,
polyrhythms and polymeters. The overall sequence is structured to take 23 years of study depending on the education program. Although it is not
advised by the author, Benjamin notes that the sequence of chapters can be
altered in order to better fit a curriculum; however, a change in order
might cause some examples to have concepts foreign to the students. In
addition, since there is little to no explanation of new concepts in this text,
Benjamin highly recommends using this book in conjunction with his ear
training and theory texts. This is further reinforced with references to the
accompanying CD to the ear training book and the
encouragement of analyzing sight-singing examples, which can be used as a
supplement to the author's analysis book. Even though Benjamin does not
make it convenient, the merging of analysis and ear training aligns with
Rogers' thoughts.
Each chapter of the Benjamin text begins with what the author calls
"preliminary exercises." These exercises address the concept for that chapter
in isolation in a drill format. Some chapters offer suggestions to aid in
success, but most rely on an educator to teach and assess content. In
conflicting statements, Benjamin states that these exercises should be

mastered before moving on, but, later in the preface, says they can be
skipped as needed. The preliminary exercises are then followed by examples
composed by the contributing authors, which highlight the concept of
the specific chapter. They claim that these examples are musical and
stylistically diverse, but serve as a way to control the difficulty level of the
music before having students sing music from our historical literature. Music
from the literature is provided as separate chapters throughout the book
to supply real musical examples that incorporate several concepts learned in
the preceding chapters. This helps to give some balance between exercises
and real music as described by Rogers. Also consistent with Rogers, and
used extensively in the Ottman text as well, is Benjamin's use of duets,
rounds, and canons.
Although the overall sequencing in the Benjamin text progresses
appropriately in regards to complexity, the pacing seems
inappropriate. Looking first at rhythm and meter, the first chapter does not
use any meters in their examples and rhythms are strictly one or two
pulse durations. If this text is intended to be a companion to the author's
other theory text, then the assumption should be made that the students do
not need over 100 exercises that do not have a meter. The second chapter
introduces simple meters but dividing the beat does not occur until chapter
four. By chapter five, the students are already dividing the beat into fourths
and adding ties and dotted rhythms in the sixth chapter. The pacing in these
important fundamental building chapters could have been more even so that
the first few chapters would not move so slowly and the chapters leading up
to chapter six would be less overwhelming. After chapter six, the pacing of
rhythmic aspects are appropriately paced with only one new concept per
chapter interspersed throughout the remainder of the book.
Benjamin begins melodic content with major scales and stepwise
patterns in the first chapter and gives an exaggerated amount of exercises
for its relative simplicity. An interval approach to sight-singing is prevalent
throughout the text, beginning with the introduction of 3rds and 4ths and the
many exercises that drill these intervals. All other intervals are addressed in a
similar manner. The pacing of melodic context is accelerated quickly in
chapter three when intervals of a 5th and 6th are introduced along with skips

within a major tonic triad. By chapter three, students are already

singing arpeggiated tonic and dominant seventh chords with singing
examples that present potential difficulty. Unfortunately, minor keys are
ignored until chapter six, meaning connections have to be made to previous
chapters involving I, IV, V(7) harmonies, tonic triads, and the intervals
already addressed.
Overall, the Benjamin text is not an effective text for teachers that rely
on the information in text books to help teach topics. If this book is used in
conjunction with the author's other books on theory and ear training, as
suggested, then the "Music for Sight Singing" text might increase in
value and effectiveness. This flaw of providing a lack of theory context is
most evident in the chapter titled "Decorative Chromaticism." They
acknowledge that these chromatic tones should be connected to theory, but
do not provide any description or function for the different chromatic tones
being addressed. The Ottman text, on the other hand, does provide these
details. Another interesting flaw involves the chapter focusing on alto clef.
Although this text has a wealth of exercises and examples, less than a
quarter of the examples in the alto clef chapter were written in alto
clef -- an odd oversight for a book in its 4th edition. Unfortunately,
the Ottman treats alto and tenor clef in a similar way, and all but
abandons them in future chapters.
The Benjamin text does provide ample opportunities to sing real
music as advocated by Karpinski and other leading pedagogues. At first
glance, it appears that the "self-composed" melodies by the contributing
authors are the main sources of sight-singing, but upon further review, it is
clear that these examples are used to build on concepts before presenting
numerous excerpts from real compositions. Chapters devoted to real
compositions are provided at the end of every few chapters making them an
appropriate review of the concepts presented earlier. This text also does a
thorough job of introducing 20th century techniques, but does not provide the
vast amount of real music examples as the Ottman does on this topic.
The Ottman text is generally more effective in presenting material
within a chapter in a simple-to-complex fashion. Each chapter focuses on one
rhythmic aspect and one melodic aspect at a time and breaks these aspects

into sections to further isolate new concepts. Ottman provides brief written
descriptions of the concepts being addressed followed by numerous
examples. Echoing Rogers' idea that ear training is a process, Ottman makes
clear that new exercises and examples should be challenging
but not frustrating for the students. This is clear in the multiple chapters
towards the end of the book which focus on complex rhythms
but refrain from introducing new melodic content. Within the 1,300 sightsinging examples from real music, Ottman encourages observing dynamics,
accents, articulations, slurs, repeats, tempos and other markings when
performing. This approach has been supported by Rogers, Karpinski, and
others.
The chapters are categorized into four parts, which create a spiral
curriculum design for the entire book. As mentioned, each chapter focuses on
one concept or multiple concepts that are closely related at a time (for
example, V/V is introduced in the same chapter as modulations to
V), allowing for a pacing that is largely determined by the instructor. The
spiral design is evident in the presentation of rhythms and meters as they
build in complexity and from previously learned concepts. Melodic content
also follows a spiral design by developing a firm foundation of stepwise
motion, small leaps, function of the tonic triad building all the way to
serialism and other 20th century techniques.
The 7th edition provides a greater number of rhythmic exercises and
expands upon the post-tonal section of the book compared to
previous editions. Of greatest significance is the addition of improvisation
exercises in each chapter allowing opportunities for students to create and
reach a deeper level of higher order thinking. It is clear from the descriptions
of topics that sol-fege is the preferred method by the author, but any system
can be used. Intervals are used throughout the book but it is unclear if the
author intends intervals to be used just to explain a new topic or if it should
be a method of hearing and singing. This ambiguity allows for the teacher of
the course to decide the approach that they feel is best.
Although the text makes clear that some fundamental knowledge of
music theory and notation is needed, a brief review is offered at the
beginning. The first chapter focuses solely on rhythmic values

ranging from half of a beat to multiple beats in length in simple meter.

Several counting systems are suggested such as the Gordon system and
the Eastman 1e&a system, but Ottman does not commit to one system
throughout the text. What is advocated by both Ottman and Benjamin, and
supported by Rogers, Karpinski, and White, is conducting with all sightsinging examples. The second chapter adds stepwise melodic content in a
major key and offers strategies for sight-singing. Strategies for singing new
concepts are included throughout the book and can likely supplement
the teacher's approach. Creative scaffolding is used in the initial melodic
sight-singing examples by providing visual cues as to where Do is on the staff
or what the starting syllable is if it does not start on Do. This is quickly taken
away and only used in this chapter to ensure that students do not become
dependent on it.
An interesting omission from both the Ottman and Benjamin texts
is arpeggiated chord progressions. Although both make reference to implied
harmony and use melodies that outline triadic harmony, an aural sense of
harmony is only given through the use of duets, part singing and examples
with keyboard accompaniment found in the Benjamin text. Karpinksi would
argue that singing chord progressions are a vital part of students gaining an
aural sense of harmony and harmonic motion.
Although both books have a similar scope and could be used effectively
by a teacher, in comparison, the Ottman text is more effective based on the
predictable pacing, spiral curriculum design, and the provided introductions
and strategies for each chapter. The overall layout of the Ottman functions
more like a text book while the Benjamin resembles an anthology of only
excerpts, exercises, and examples. The introductions and strategies in
the Ottman give the reader a better understanding of the pedagogical
methods used and the approach to each topic, providing a better experience
for both the teacher and student.