Başlangıç Keman Eğitiminde Kulaktan Öğretimin Görsel ve İşitsel Reaksiyon Zamanına Etkisi

Yıl 2020, Cilt: 15 Sayı: 4, 258 - 277, 26.10.2020

Canan Fidan Erten , Şeyda Çilden

Öz

Bu çalışmanın amacı, başlangıç keman eğitiminde kulaktan öğretim yönteminin görsel ve işitsel reaksiyon zamanına etkisini ortaya koymaktır. Çalışmada, gerçek deneme modellerinden öntest-sontest kontrol gruplu model kullanılmıştır. Uygulama sürecinde Deney grubunda keman dersi kulaktan öğretim yöntemine dayalı notasız işlenmiş, Kontrol Grubunda notalı işlenmiştir. Ölçümler sonucu elde edilen verilerin analizinde SPSS Programı kullanılmıştır. Çalışmadan elde edilen bulgular istatistiksel olarak değerlendirildiğinde deney grubunun bütün değişkenlerine ilişkin reaksiyon zamanı ön test-son test puanları arasında istatistiksel olarak anlamlı bir fark saptanmıştır (p<0.5). Kontrol grubunun ise dominant el işitsel reaksiyon zamanı ön test–son test puanları arasında istatistiksel olarak anlamlı bir fark bulunmazken (p>0.5); diğer sekiz değişkene ilişkin ön test -son test puanları arasında istatistiksel olarak anlamlı bir fark saptanmıştır (p<0.5). Her iki grubun son testlerine bakıldığında sadece sol el görsel reaksiyon zamanına ilişkin puanlar arasında beklenenin aksine deney grubu lehine anlamlı bir fark bulunmuştur (p=.008).

Anahtar Kelimeler

Kulaktan Öğretim, Kulaktan Öğrenme, Kulaktan Çalma, Reaksiyon Süresi, Reaksiyon Zamanı

Kaynakça

• Baker, D. and Green, L., (2013). Ear Playing and Aural Development in the Instrumental Lesson: Results from a “Case-Control” Experiment. Research Studies in Music Education, 35(2):141–159.
• Barthelemy, S. and Boulinguez, P., (2001). Manual Reaction Time Asymmetries in Human Subjects: The Role of Movement Planning and Attention. Neuroscience Letters. 15(1–2):41-44.
• Barthelemy, S. and Boulinguez, P., (2002). Orienting Visuospatial Attention Generates Manual Reaction Time Asymmetries in Target Detection and Pointing. Behaviovural Brain Research. 133(1):109-116.
• Bernhard, H.C., (2004). The Effects of Tonal Training on The Melodic Ear Playing and Sight Reading Achievement of Beginning Wind İnstrumentalists. Contributions to Music Education, 31(1):91-107.
• Bernhard, H.C., (2006). The Long-Term Effect of Tonal Training on Melodic Ear Playing Achievement of Beginning Wind Instrumentalists. Journal of Band Research, 42(1):70-79.
• Boulinguez, P. and Barthélémy, S., (2000). Influence of the movement Parameter to be Controlled on Manual RT Asymmetries in Right-Handers. Brain and Cognition, 44(3):653-661.
• Brown, T.W., (1990). An Investigation of the Effectiveness of a Piano Course in Playing By Ear and Aural Skills Development for College Students. Doctoral Dissertation, University of Illinois at Urban a-Champaign.
• Büyükipekci, S., (2010). Bayan Voleybolcularda Reaksiyon Zamanı, Çeviklik ve Anaerobik Performanstaki Değişimlerin Sezon Süresince İncelenmesi. Yüksek Lisans Tezi, Selçuk Üniversitesi Sağlık Bilimleri Enstitüsü, Konya.
• Fincher, B.J., (1986). The effects of Playing the Melody by Rote During the Prestudy Procedure Upon Sight Reading Skill Development of Beginning Class Piano Students. Bulletin of the Council for Research in Music Education No. 86, Early and Middle Childhood Research in Music Education. Winter, 1986, 86-90.
• Ganong, W.F., (2001). Review of Medical Physiology. San Francisco: McGraw –Hill.
• Gibson, C., Folley, B.S., and Park, S., (2009). Enhanced Divergent Thinking and Creativity in Musicians: A Behavioral and Near-İnfrared Spectroscopy Study. Brain and Cognition, 69(1):162–169.
• Gordon, E., (2003). Learning Sequences in Music: Skill, Content and Patterns. Chicago: GIA.
• Karasar, N., (2013). Bilimsel Araştırma Yöntemi. Ankara: Nobel.
• Kodaly, Z. and Bonis, F., (1974). The Selected Writings of Zoltan Kodaly. Boosey & Hawkes.
• Landry, S., Page, S., and Champoux, F., (2016). The Effect of Musical Training On Multisensory Reaction Times. https://eoa.umontreal.ca/wpcontent/uploads/sites/32/nouvelle2016_01_landrySimon.pdf adresinden erilişmiştir.
• Löfgren, K., (2013). Normality Test Using SPSS how to Check Whether Data Are Normally Distributed. https://www.youtube.com/watch?v=IiedOyglLn0 adresinden erişilmiştir.
• Luce, J.R., (1965). Sight-reading and Ear-Playing Abilities Related To the Training and Backgtound Of Instrumental Music Students. Doctoral Dissertation, University of Nebraska.
• Magill, R.A., (1989). Motor Learninig Concepts and Applications. Boston: McGrawHill.
• Markovich, V.A., (1985). An Investigation of the Effects of Matching Timbre and Training on Melodic Ear-to-Hand Coordination of College Music Majors. Doctoral Dissertation, University of Michigan, USA.
• McPherson, G.E., (1995). The Assessment of Musical Performance: Development and Validation of Five New Measures. Psychology of Music, 23(2):142-161.
• McPherson, G. and Gabrielsson, A., (2002). From Sound to Sign. In R. Parncutt, & G. McPherson (Eds.), The Science and Psychology of Musical Performance: Creative strategies for music teaching and learning (pp:99–115). UK:Oxford University.
• Musco, A.M., (2006). The Effects of Learning Songs by Ear in Multiple Keys on Pitch Accuracy and Attitudes of Band Students (Aural Transposition). Doktora Tezi, Oregon State University School of Music and Dance, USA.
• Özal, K., (2007). Suzuki Metodu. Ankara: Müzik Eğitimi.
• Priest, P., (1989). Playing by Ear: Its Nature and Application to Instrumental Learning. British Journal of Music Education, 6(2):173-191.
• Quarrier, N.F, (2013). Musicians are Athletes Too. Journal of Yoga & Physical Therapy. 3(3). Doi: 10.4172/2157-7595.1000141.
• Sperti, J., (1970). Adaptation of Certain Aspects of the Suzuki Method to the Teaching of the Clarinet: An Experimental Investigation Testing Comparative Effectiveness of Two Different Pedagogical Methodologies. Doctoral Dissertation, New York University, New York.
• Ömeroğlu, E., Ersoy, Ö., Tezel Şahin, F., Kandır, A. ve Turla, A., (2003). Müziğin Okul Öncesi Eğitimde Kullanılması. Ankara: Kök Yayıncılık.
• Thompson, W.B., (1985). Sources of Individual Differences in Music Sight-Reading Skill. Doctoral Dissertation, University of Missouri The Faculty of the Graduate School, Columbia.
• Varvarigou, M., (2014). ‘Play it by ear’–teachers' Responses to Ear-Playing Tasks During One-to-One Instrumental Lessons. Music Education Research, 16(4):471-484.
• Waters, A.J., Townsend, E., and Underwood, G., (1998). Expertise in Musical Sight Reading: a Study of Piyanists. British Journal of Psychology, 89(1):123-149.
• Wilder, M.S., (1989). An Investigation of the Relationship between Melodic Ear-to-Hand Coordination and Written and Aural Theory Skills within an Undergraduate Music Theory Context. Doctoral Dissertation, University of Michigan, USA.
• Woody, R.H. and Lehmann, A.C., (2010). Student Musicians’ Ear-Playing Ability as a Function of Vernacular Music Experiences. Journal of Research in Music Education, 58(2):101-115.
• Yağışan, N., (2002). Farklı Bir Alanın Profesyonel Sporcuları: Müzisyenler. Gazi Eğitim Fakültesi Dergisi, 22(1):183-194.
• Yağışan, N., (2008). Keman Çalmanın Biyomekanik Analizi. Ankara: Eğitim.
• Kosinkski, J., (2009). Literature Review on Reaction Time. Clemson University. Erişim tarihi: 01.02.2018 http://www.cognaction.org/cogs105/readings/clemson.rt.pdf.