What's in a name? - The relation between pitch notation, note names and sight singing in different forms of pitch notation and in different ways of approaching pitch notation

Suzanne Konings

About this exposition

Sight singing is a part of almost every music theory curriculum in conservatoires. But one might ask oneself why lessons in sight singing are needed for students who can already read music notation? The answer usually is: to develop the aural imagination in relation to music notation. The way students have learned to read music notation in the first place did not develop this skill well enough then? Experiences in teaching made me think that we need functional note names (unique sound names) to be able to aurally understand pitch in staff notation, and that the absolute note names (unique pitch names) may be an instrumentally useful, but less effective step ‘in between’ in the process of aural imagination. From existing literature and recorded tests with students performing special designed scores I hope to learn more about connecting the inner hearing world to music notation in the most effective way.

type	research exposition
date	31/12/2014
published	26/11/2015
last modified	26/11/2015
status	published
share status	private
license	All rights reserved
url	https://www.researchcatalogue.net/view/114437/114438
doi	https://doi.org/10.22501/rc.114437
published in	Research Catalogue

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What's in a name? - The relation between pitch notation, note names and sight singing in different forms of pitch notation and in different ways of approaching pitch notation (2015)

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