1. Cameron M. Watkins University of Florida

2.  Singing used as a pedagogical tool in instrumental music  Has been well documented in past research.  Successfully used to improve Intonation Pitch accuracy Phrasing Performance achievement.  Not widely used in instrumental lessons

3.  Measure growth in ability to improve: Intonation Pitch Accuracy Phrasing Performance Achievement  Gather personal experiences and comfort level with singing in an instrumental setting

4. Method Books  Examples of aural based method books are The Individualized Instructor (Froseth, 1970) Do it! Play in Band (Froseth, 1997) Jump Right In: The Instrumental Series (Grunow, Gordon & Azzara, 2001)  Methods contain musical notation in conjunction with expression and audiation

5. Intonation  Morrison Conducted two experiments using tuning pitches and melody Students were provided tuning pitch in both experiments Second experiment included verbal instruction Morrison found that verbal instruction of “performing ‘in tune’” performed the melody with a higher accuracy rather than simply “the note provided for tuning”

6. Intonation  Jones Used vocalization in instrumental music classes to discriminate the differences between sharp and flat Significant results (p<.05) showing a growth in ability to discern pitch

7. Intonation  Coveyduck Used etudes to provide singing instruction to improve intonation Background questionnaire showed students had a great deal of sing experience, proving the study to not be significant

8. Intonation  Bennett Used humming, referred to as “simple vocalization” Discover if humming could improve intonation in instrumental band students Result showed that no improvement Treatment was only administered for 4 periods Decided that further study would be needed

9. Performance Qualities  Bloedel Beery 14 week study period to see if students could improve expression in music through singing provided etudes Performance test was administered and no significant results were found in intonation or phrasing; however, music expression scores (p=.0363) favorable in treatment group

10. Performance Qualities  Bernard Tonal Training on the melodic ear and performance achievement through singing Performance test was administered as well however Bernard suggested that the use of vocalization improves the melodic ear without negatively affecting performance

11. Performance Qualities  Wolbers Similar to Berhard, focused on daily singing Use of solfege syllables Instructed students to play like we would sing Students show a significant improvement in performance qualities as it referred to playing instruments in ensemble setting

12. Performance Qualities  Krubsack 5 week study period to see if students could improve expression in music through singing provided etudes Performance test was administered and music expression scores (p<.05) were favorable in treatment group

13. Vocalization/Audiation  Schlacks Examined the effect of vocalization on pitch accuracy in high school students Used three experimental groups with voice, instrument, and instrument/voice. Post test scores showed higher scores in the group that received interval training on both instrument and voice

14. Vocalization/Audiation  Garofalo Stated in his book – Improving Intonation in Band and Orchestra Performance- “singing is a natural occurance…will aid in intonation…and the concept of instruments sound that is formed within the musicians head.” Audiation can provide instrumental students with a better concept of tone and intonation

15. Vocalization/Audiation  Gordon Book entitled Music Learning Theory defines audiation as “hearing and comprehending in one’s mind the sound of music which is not or may never have been present.” Gordon also lists 6 stages of audiation in his book.

16. Summery  A majority of the for mentioned studies resulted in the use of vocalization and singing in instrumental music instruction is effective.  Many teachers do not use it due to their comfort level and ability, however studies show successful use in the instrumental classroom.

17.  Gather qualitative and quantitative showing what impact choral singing has in the band program  Provide a high school band class with pedagogical approaches to the improvement of intonation and performance achievement

18.  Research Questions: 1. Over time, what impact does singing have on individual and ensemble intonation? 2. How will students apply knowledge gained to their individual and ensemble playing? 3. What concepts of choral singing are transferable to instrumental concepts? 4. What concepts are NOT transferable to instrumental concepts?

19.  Participants  Procedure

20. Participants  Participants will include high school band students  South Carolina, referred to as High School H.  Participants age will vary between 14 and 18,  Participants experience will be between 1-4 years  For the purposes of this study, the participants have been pre-selected Control (25 participants) Experimental (32 participants)  Selection was based on audition, class availability and schedule.  Participants will be a heterogeneous mixture of instrumentation, experience and age,  Will provide a true testament of overall effectiveness of the experimental treatment

21. Procedures  Study will take place during 4 th Quarter 9 weeks/45 school days  First day Consent form  Day 2-5 Intonation Chart as “pre-test”  Day 6 Questionnaire as “pre-test”  Day 7-9 Bach Chorale  Notes, rhythms, phrasing, dynamics, structure and practices

22. Intonation Chart

23. Procedures  Control Group – Day 10-40 Continue the process without treatment Will apply similar concepts of instruction to  Chorale  Concert Repertoire

24. Procedures  Experimental Group  Day 10-13 Syllable “ah” on Unison Pitch F/Bb using piano  Day 14-16 Syllable “ah” on split pitches F/Bb using piano to begin, gradually removing aid

25. Procedures  Experimental Group  Day 17-20 Syllable “ah” on Major Scales C-F-Bb-Eb-Ab-Db  Day 21-24 Syllable “ah” on Major Scales G-D-A-E-B-F#

26. Procedures  Experimental Group  Day 25-28 Syllable “ah” on Bach Chorale/Concert Repertoire Begin using piano, gradually removing aid  Day 29-30 Solfege Syllables on All Major Scales Do-Re-Mi-Fa-Sol-La-Ti-Do

27. Procedures  Experimental Group  Day 31-33 Solfege Syllables on Bach Chorale/Concert Repertoire Begin using piano, gradually removing aid  Day 34-40 Continue to develop singing process and application on Concert Repertoire

28. Procedures  Control and Experimental Group  Day 41 Both Groups will complete same Questionnaire Serves as a “post-test” for experiences and comfort levels  Day 42-44 Both groups will complete the Intonation Chart as a “post-test” Will use the same protocol as “pre-test”

29. Procedures  Data Analysis  Day 45 Analysis will be compiled by the researcher