Developing Elementary Harmonic Ear Training Exercises for Music Majors : An Approach Based on Root Motion Theory and Drill Technique
คำสำคัญ:
Ear Training Exercises, Root Motion Theory, Drill Techniqueบทคัดย่อ
นักการศึกษาด้านดนตรีให้การยอมรับว่า แบบฝึกการฟังฮาร์โมนี้ เป็นหัวใจสําคัญสําหรับความ สําเร็จด้านดนตรี เพื่อพัฒนาทักษะการฟังแก่นักศึกษาอย่างมีคุณภาพ และนําไปใช้ให้เกิดประโยชน์สูงสุด หลักสูตรการสอน แบบฝึกหัดการฟังฮาร์โมนีจะประสบความสําเร็จได้ดี ต้องสอนควบคู่ไปกับวิชาทฤษฎี ดนตรี แต่ในปัจจุบันหลักสูตรการสอนดนตรี ให้ความสําคัญน้อยกับการสอน แบบฝึกหัดการฟังฮาร์โมนี จึงส่งผลกระทบทําให้นักศึกษามีปัญหาด้านการฟังทางเดินคอร์ด การศึกษาวิจัยครั้งนี้ ผู้ศึกษาวิจัยมีวัตถุประสงค์เพื่อสร้างแบบฝึกหัดการฟังพื้นฐานทางเดินคอร์ด สําหรับนักศึกษาดนตรีโดยอิงทฤษฎีรูทโมชั่นและแบบฝึกหัดทําซ้ํา แล้วทดสอบว่านักศึกษาได้มีการพัฒนาขึ้นด้านการฟังฮาร์โมนี ผู้ศึกษาวิจัยได้ทดสอบแบบฝึกหัดดังกล่าวกับกลุ่มทดลองคือ นักศึกษาเอกดนตรี 17 คน ผล การศึกษาวิจัยพบว่า ค่าคะแนนเฉลี่ยจากแบบทดสอบก่อนการทดลองคือ 64.82% ค่าคะแนนเฉลี่ยจากแบบ ทดสอบหลังการทดลองคือ 85.36% แสดงให้เห็นถึงการพัฒนาของกลุ่มทดลอง ซึ่งได้ค่าคะแนนเฉลี่ยสูงขึ้น 20.54%.
เอกสารอ้างอิง
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2. Alvarez, M. (1980). A comparison of scalar and root harmonic aural perception techniques. Journal of research in music education, 229-235.
3. Benward, a. k. (1990). Ear training: A technique for listening. Dubuque: W.C. Brown.
4. Benward, B. (1969). Teacher's dictation manual in ear training. Iowa: W. C. Brown.
5. Bowman, D. (1993). Aural matters: A student's guide to aural perception at advanced level. London: Schott.
6. Costa-Giomo, E. (1994). Recognition of chord changes by 4 and 5 year old American and Argentine children. Journal of music education, p. 68-85.
7. Deutsch, M. (1971). A study of two approaches of ear training for elementary school children. Journal of Research in Music Education Vol. 19, p. 234-237.
8. Funk, C. H. (1975). An investigation with pedagogical implication into the perception of roots in trichords. Dissertation Indiana University .
9. Hofstetter, F. T. (1978). Computer-based recognitionof perceptual patterns in harmonic dictation exercises. Journal of Research in Music Education, p.111-119.
10. Hopkins. (2002). The Effects of Computer-Based Expository and Discovery Methods of Instruction on Aural Recognition of music concepts. Journal of Research in Music Education, p.131-144.
11. Howard, P. (1994). Sound investments. The musical times, p.467-475.
12. Killam, R. N. (1975). Interval recognition: identification of harmonic and melodic intervals. Journal of music theory. p.212-234.
13. Klonoski, E. (2006). Improving dictation as an aural-skills instructional tool. Music Educators Journal Vol. 93,p. 54-59.
14. Kodaly, Z. (1963). Three hundred thirthy-five elementary exercises edited with annotations by Percy M. Young. London: Boosey&Hawkes.
15. Kohs, E. (1980). Needs and problems in the teaching of undergraduate music theory. Music Theory Spectrum Vol. 2, p.135-142.
16. Kolosick, B. a. (1990). Ear training: a technique for listening.
17. Larson, R. (1977). Relationships between Melodic Error Detection, Melodic Dictation, and Melodic Sight Singing. Journal of Research in Music Education, p.264-271.
18. Laughlin. (2001). The use of notated and aural exercises as a pedagogigal procedures. Texas, Texas.
19. Lehrdahl. (2001). Tonal pitch place. Oxford: Oxford University Press.
20. Levin, R. a. (1988). Sight Siningn and Ear Training Through Literature. New York: prentice-Hall.
21. Levitin, D. (2006). This is your brain on music. London: Penguin books.
22. Marcio, B. (2003). Guided Discovery Tutoring and Schoenberg's Harmony Teaching Method: an Investigation. Retrieved from www.gsd.ime.usp.br/2005/papers.
23. Martinez, M. (1999). The Role of Repetition in Aural Identification of Harmonic Sequences. p.141 .
24. Meeus. (2000). Théorie des vecteurs harmoniques et théorie néo-riemannienne. Paris: Université de Paris Sorbonne.
25. _____. (2000). Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions. Music Theory Online.
26. Piston. (1978). Harmony. New York: W. W. Norton & Company.
27. Potter, G (1990). Identifying successfull dictation strategies. Journal of Music Theory Pedagogy. 4 No.1, p.63-71.
28. Rameau. (1726). Nouveau système de musique théorique. Paris: Ballard.
29. _____. (1722). Traité de l'harmonie. Paris: Ballard.
30. Rodgers, M. (1984). Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies. Illinois: Southern Illinois University Press.
31. Salisbury, D. (1988). Effective Drill and Practice Strategies. Instructional designs for microcomputer courseware (32).
32. Salzer, F. (1962). Structural Hearing. New York: Dover.
33. Schenker. (1906). Harmonielehre. Translated by Elisabeth Mann Borgese. Chicago: University Chicago Press.
34. Schoenberg. (1967). Fundamentals of Musical Composition. London: Faber and Faber. Schoenberg. (1911). Theory of Harmony. Berkeley: University of California Press.
35. Schoenberg, A. (1954). Structural Functions of Harmony. New York: W. W. Norton & Company.
36. Thostenson, M. S. (1967). The Study and Evaluation of Certain Problems in Ear Training Related to Achievement in Sight Singing and Dicatation. Bulletin of the Council for Research in Music Education, p.14-35.
37. Tymoczko. (2000). A grammar for Elementary Tonal Harmony. Princeton University.
2. Alvarez, M. (1980). A comparison of scalar and root harmonic aural perception techniques. Journal of research in music education, 229-235.
3. Benward, a. k. (1990). Ear training: A technique for listening. Dubuque: W.C. Brown.
4. Benward, B. (1969). Teacher's dictation manual in ear training. Iowa: W. C. Brown.
5. Bowman, D. (1993). Aural matters: A student's guide to aural perception at advanced level. London: Schott.
6. Costa-Giomo, E. (1994). Recognition of chord changes by 4 and 5 year old American and Argentine children. Journal of music education, p. 68-85.
7. Deutsch, M. (1971). A study of two approaches of ear training for elementary school children. Journal of Research in Music Education Vol. 19, p. 234-237.
8. Funk, C. H. (1975). An investigation with pedagogical implication into the perception of roots in trichords. Dissertation Indiana University .
9. Hofstetter, F. T. (1978). Computer-based recognitionof perceptual patterns in harmonic dictation exercises. Journal of Research in Music Education, p.111-119.
10. Hopkins. (2002). The Effects of Computer-Based Expository and Discovery Methods of Instruction on Aural Recognition of music concepts. Journal of Research in Music Education, p.131-144.
11. Howard, P. (1994). Sound investments. The musical times, p.467-475.
12. Killam, R. N. (1975). Interval recognition: identification of harmonic and melodic intervals. Journal of music theory. p.212-234.
13. Klonoski, E. (2006). Improving dictation as an aural-skills instructional tool. Music Educators Journal Vol. 93,p. 54-59.
14. Kodaly, Z. (1963). Three hundred thirthy-five elementary exercises edited with annotations by Percy M. Young. London: Boosey&Hawkes.
15. Kohs, E. (1980). Needs and problems in the teaching of undergraduate music theory. Music Theory Spectrum Vol. 2, p.135-142.
16. Kolosick, B. a. (1990). Ear training: a technique for listening.
17. Larson, R. (1977). Relationships between Melodic Error Detection, Melodic Dictation, and Melodic Sight Singing. Journal of Research in Music Education, p.264-271.
18. Laughlin. (2001). The use of notated and aural exercises as a pedagogigal procedures. Texas, Texas.
19. Lehrdahl. (2001). Tonal pitch place. Oxford: Oxford University Press.
20. Levin, R. a. (1988). Sight Siningn and Ear Training Through Literature. New York: prentice-Hall.
21. Levitin, D. (2006). This is your brain on music. London: Penguin books.
22. Marcio, B. (2003). Guided Discovery Tutoring and Schoenberg's Harmony Teaching Method: an Investigation. Retrieved from www.gsd.ime.usp.br/2005/papers.
23. Martinez, M. (1999). The Role of Repetition in Aural Identification of Harmonic Sequences. p.141 .
24. Meeus. (2000). Théorie des vecteurs harmoniques et théorie néo-riemannienne. Paris: Université de Paris Sorbonne.
25. _____. (2000). Toward a Post-Schoenbergian Grammar of Tonal and Pre-tonal Harmonic Progressions. Music Theory Online.
26. Piston. (1978). Harmony. New York: W. W. Norton & Company.
27. Potter, G (1990). Identifying successfull dictation strategies. Journal of Music Theory Pedagogy. 4 No.1, p.63-71.
28. Rameau. (1726). Nouveau système de musique théorique. Paris: Ballard.
29. _____. (1722). Traité de l'harmonie. Paris: Ballard.
30. Rodgers, M. (1984). Teaching Approaches in Music Theory: An Overview of Pedagogical Philosophies. Illinois: Southern Illinois University Press.
31. Salisbury, D. (1988). Effective Drill and Practice Strategies. Instructional designs for microcomputer courseware (32).
32. Salzer, F. (1962). Structural Hearing. New York: Dover.
33. Schenker. (1906). Harmonielehre. Translated by Elisabeth Mann Borgese. Chicago: University Chicago Press.
34. Schoenberg. (1967). Fundamentals of Musical Composition. London: Faber and Faber. Schoenberg. (1911). Theory of Harmony. Berkeley: University of California Press.
35. Schoenberg, A. (1954). Structural Functions of Harmony. New York: W. W. Norton & Company.
36. Thostenson, M. S. (1967). The Study and Evaluation of Certain Problems in Ear Training Related to Achievement in Sight Singing and Dicatation. Bulletin of the Council for Research in Music Education, p.14-35.
37. Tymoczko. (2000). A grammar for Elementary Tonal Harmony. Princeton University.
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เผยแพร่แล้ว
07.08.2018
รูปแบบการอ้างอิง
Vandemoortele, Peter. 2018. “Developing Elementary Harmonic Ear Training Exercises for Music Majors : An Approach Based on Root Motion Theory and Drill Technique”. วารสารดนตรีรังสิต 4 (2):59-69. https://so06.tci-thaijo.org/index.php/rmj/article/view/138897.
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