Samantha Ragusin

MUSE 258/Voice Techniques

Citation
Sound Connections, Chapter 8
Don Ester 2010

Summary Outline
Humans process and synthesize rhythm and pitch in different regions of the brain. As a
result, the sequence through which melodic reading is presented is of the utmost
importance: students must first have mastered reading and notating rhythm and tonal
patterns. The melodic reading instructional sequence is as follows: reading of selected
prerequisite tonal and rhythm exercises, guided previewing of the focus exercise,
audiated practice reading of the focus exercise, vocalized reading of the focus exercise,
follow-up discussion regarding the focus exercise and the class’s success, and finally
the reading of the focus exercise at one or more pitch levels. Obviously, tonality and
meter must first be established. As students read, the instructor can build the students’
ability to “buffer” by covering up increasingly larger nits to force the students to read in
chunks and scan ahead. Melodic reading is also an opportunity to introduce other
notational symbols such as articulation, mapping, tempo, and dynamic symbols. Once
students have a basic ability at melodic reading, they can transfer this skill to repertoire.
Melodic notating, however, introduces the necessity of dual echo-translation of both
tonal and rhythm syllables together. This can be facilitated by having students practice
dual translation. It is important to realize that this process takes time and patience; as a
result, the prerequisite skills should be fully developed before this step is attempted.
Here again it is important to remember the importance of chunking and memory in
younger students. Beginning melodic notation should be short to facilitate the learning
and processing of melodic material.

Discussion
To many, the idea of melodic dictation is a daunting one. Even college students and
seasoned educators struggle with this, as it combines many different thought processes
and areas of the brain. When approached correctly, however, this task is completely
possible. Starting simply at isolating the rhythm and tonal aspects of a melodic dictation
can help focus students’ ears towards the task at hand. At first, it is very likely dual
translation will be a daunting struggle. It was most assuredly a struggle for many of my
peers at the collegiate level even with the simplest of melodies. If students have a strong
enough sound vocabulary and echo-translation ability, however, then simple melodic
dictation should be no issue. Here again, this content lends itself well to inclusion of
other pedagogies and approaches in the general music classroom. Movement, playing
of instruments, singing, and many other aspects of the elementary music class can be
utilized in teaching and reviewing melodic dictation. Figure 8.9 in Sound Connections
provides a sample of what could be done in combining the contents of this chapter and
other music pedagogies. Additionally, activities could be done to allow students to take
this content one step further, such as singing a melody that then should be transcribed
to recorder or keyboard instrument. The possibilities in connecting sound to sight and
vice versa are nearly endless. Additionally, students will have a creative outlet through
which to express themselves through improvisation. Even if a student does not feel
confident to take a tonal or rhythmic risk, they have a strong sound vocabulary upon
which to fall back. Figure 8.9 also shows how activities involving melodic dictation,
improvisation, and composition can include nearly all of the nine national standards.