Teaching Music Reading

The music teacher has many responsibilities. Foremost among these are the tasks of teaching music performance skills and music reading. The development of both are essential to music responsiveness and music performance. Asmus (2004) stated, "Most music educators would agree that while such musical skills would be nice, the ability to perform from musical notation is paramount." Music teachers understand that music reading is essential for music performance. Yet, too often and when faced with regularly occurring performance requirements, music reading is sacrificed to rote learning.

The term literacy generally refers to the ability to communicate through the written word. Literacy also includes the concept of fluency within the specific language. Music, as a distinct language, is a form of communication. Fluency in music includes the ability to communicate through its language of tonal, rhythmic, and harmonic patterns. Music reading is a vital component of music literacy. The ability to read, interpret, understand, and perform musical notation is a fundamental means to lead our students to musical self-reliance. As music teachers we have the responsibility to make music reading part of our teaching.

The National Standards in Music, specifically in standard five (reading and notating music), urge the importance and centrality of music reading instruction across P-12 instruction. The National Standards for Arts Education stated as one of four standards, "They should be able to communicate proficiently in at least one art form, including the ability to define and solve artistic problems with insight, reason, and technical proficiency" (Mahlmann, 1994).

Musical notation, as a symbol system, is comparable to words in a language, such as English or Spanish, numbers in mathematics, or computer machine code. A well-planned and organized instructional process is essential in the teaching and learning of these systems. Crucial to this teaching/learning process is the development of a content sequence. Educators understand that such a sequence should begin with the basic foundational structure that can be built upon and expanded. Jerome Bruner's (1960) spiral curriculum provides a foundation for these concepts. The key element in this process is knowing what to teach, how to teach it, and when to teach it (Jordan-DeCarbo, 1997).

Gordon (1977) presented a logical procedure for teaching music literacy. He began with the basic understanding that one must learn to audiate-the cognitive process of internally hearing and attaching meaning to musical sounds. Gordon encouraged a sound-to-symbol process of teaching music reading. The four primary steps of this procedure are briefly summarized as follows:

• Rote presentation of short musical patterns: the student imitates each pattern. Through imitation and practice the student develops a familiarity with these patterns which become a part of the student's musical sound repertoire.
• Verbal labels: the association of the learned patterns with specific words. Solfege is used for melodic patterns. Gordon developed a similar system for rhythmic patterns (du for the quarter note, de for the eight note, etc.).
• Recognition of labeled sounds in previous patterns: the student now associates the labels with previously heard and performed sound patterns.
• Written notation: musical notes are introduced as symbols for learned sounds. The student reads, performs, writes, and creates with these notes.

The use of verbal labeling is an important component of the sound-to-symbol learning process. The melodic (solfege within the fixed or moveable do system) and rhythmic (du-de, ta-ti, or takadimi) verbal systems provide both visual and aural learning platforms. Once the student makes the association with the appropriate music notes, the verbal system is no longer necessary. It can, however, be continued as part of sight reading practice and skill development.

When planning a content sequence for music reading, the music teacher can follow Barbara McLain's (2008) suggested steps to mastering musical skills and knowledge:

• Use digestible chunks (do not give students too much at one time).
• Present these chunks in a logical sequence.
• Reinforce everything (drill and practice each chunk, check the transfer, e.g., try it in a new setting).
• Provide feedback (react to each student response/performance; try to improve and motivate each student with feedback).
• Teaching music reading can begin at the elementary general music level as part of the music learning activities supplemented with instructional activities in movement, singing, playing instruments, improvising, creating, and listening to music. Music reading skill development should continue through middle and high school music ensemble study. Subsequent columns will address teaching techniques that can incorporate music reading techniques.

Works Cited

Asmus, E. P., Jr. 2004. Commentary: Music teaching and music literacy. Journal of Music Teacher Education 13(2). doi:10.1177/10570837040130020102.
Barbara McLain's Web Site Page, "Teaching music reading - the importance of sequence," http://www.professoraloha.com/355F08/355F08/teachingreading.html.
Bruner, Jerome. The Process of Education. Cambridge: Harvard University Press, 1960.
Gordon, E. E. Learning Sequence and Patterns in Music. Chicago: GIA Publications, 1977.
Jordan-DeCarbo, J. (1997). A sound-to-symbol approach to learning music. Music Educators Journal 84, 34-37.
Mahlmann, J. (1994). National standards for arts education: What every young American should know and be able to do in the arts. Music Educators National Conference Publication Sales.
National Standards for Music (1994). National Association for Music Education. http://www.nafme.org.