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Making hands sing: Vocal-to-motor t...

Fatone, Gina Andrea.

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Making hands sing: Vocal-to-motor transfer to melody within classical Scottish highland bagpiping and selected Asian instrumental traditions in North America.

Record Type:	Language materials, printed : Monograph/item
Title/Author:	Making hands sing: Vocal-to-motor transfer to melody within classical Scottish highland bagpiping and selected Asian instrumental traditions in North America./
Author:	Fatone, Gina Andrea.
Description:	395 p.
Notes:	Chair: Helen Rees.
Contained By:	Dissertation Abstracts International63-07A.
Subject:	Education, Music. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3059597
ISBN:	0493752684

Making hands sing: Vocal-to-motor transfer to melody within classical Scottish highland bagpiping and selected Asian instrumental traditions in North America.
Fatone, Gina Andrea.

Making hands sing: Vocal-to-motor transfer to melody within classical Scottish highland bagpiping and selected Asian instrumental traditions in North America. - 395 p.

Chair: Helen Rees.

Thesis (Ph.D.)--University of California, Los Angeles, 2002.

The purpose of this cross-disciplinary study is to examine the nature and efficacy of vocal-to-motor transfer of melody (VMT) within instrumental music pedagogy. In VMT, which may be described as a cross-modal learning process, vocal renditions of music to be played on the instrument are learned through student-vocalization prior to/concurrent with the development of motor skills for instrumental transference. Melodies are encoded by means of a vocable inventory, which may consist of purely symbolic syllables, or vocables bearing varying degrees of isomorphic resemblance (along several dimensions) to intended instrumental sounds. Reasons for the effectiveness of this learning process are examined ethnographically through the perceptions of its practitioners within selected traditions in North America as well as through the application of materials from disciplines outside music (including cognitive science, evolutionary theory, and embodiment theory). The ethnographic portion of the study includes several field project components: (1) a personal learning experience within one tradition (<italic>canntaireachd</italic>, a form of vocal notation used by Scottish Highland bagpipers to teach the classical repertoire called <italic>pìobaireachd</italic>), (2) observation and experience of <italic>pìobaireachd</italic> instruction within the Scottish stronghold of Atlantic Canada, and (3) case study documentation of VMT within two Asian traditions taught in the United States (Japanese <italic> gagaku</italic> and North Indian instrumental music). The results indicate that there is clear ethnographic support for existing empirical data regarding the role of auditory feedback mechanisms and other mental representations of music (including imagined singing and imagined hearing) that may play a role in VMT. In addition, this study considers vocal-motor transfer as an embodied form of cross-modal learning, and, based on evolutionary theories of language, speculates that an evolutionary interaction between vocal and manual gesture may also play a role in the efficacy of VMT. Further dialogue between musicians and researchers within the disciplines of cognitive science is clearly needed to illuminate this topic. Overall, this study contributes to an understanding of the nature of musical instruction and how the mind processes information in the pedagogical process—issues of importance to ethnomusicology and other fields of research.

ISBN: 0493752684Subjects--Topical Terms:

1017808
Education, Music.

Making hands sing: Vocal-to-motor transfer to melody within classical Scottish highland bagpiping and selected Asian instrumental traditions in North America.
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035 $a (UnM)AAI3059597
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100 1 $a Fatone, Gina Andrea. $3 1250482
245 1 0 $a Making hands sing: Vocal-to-motor transfer to melody within classical Scottish highland bagpiping and selected Asian instrumental traditions in North America.
300 $a 395 p.
500 $a Chair: Helen Rees.
500 $a Source: Dissertation Abstracts International, Volume: 63-07, Section: A, page: 2407.
502 $a Thesis (Ph.D.)--University of California, Los Angeles, 2002.
520 $a The purpose of this cross-disciplinary study is to examine the nature and efficacy of vocal-to-motor transfer of melody (VMT) within instrumental music pedagogy. In VMT, which may be described as a cross-modal learning process, vocal renditions of music to be played on the instrument are learned through student-vocalization prior to/concurrent with the development of motor skills for instrumental transference. Melodies are encoded by means of a vocable inventory, which may consist of purely symbolic syllables, or vocables bearing varying degrees of isomorphic resemblance (along several dimensions) to intended instrumental sounds. Reasons for the effectiveness of this learning process are examined ethnographically through the perceptions of its practitioners within selected traditions in North America as well as through the application of materials from disciplines outside music (including cognitive science, evolutionary theory, and embodiment theory). The ethnographic portion of the study includes several field project components: (1) a personal learning experience within one tradition (<italic>canntaireachd</italic>, a form of vocal notation used by Scottish Highland bagpipers to teach the classical repertoire called <italic>pìobaireachd</italic>), (2) observation and experience of <italic>pìobaireachd</italic> instruction within the Scottish stronghold of Atlantic Canada, and (3) case study documentation of VMT within two Asian traditions taught in the United States (Japanese <italic> gagaku</italic> and North Indian instrumental music). The results indicate that there is clear ethnographic support for existing empirical data regarding the role of auditory feedback mechanisms and other mental representations of music (including imagined singing and imagined hearing) that may play a role in VMT. In addition, this study considers vocal-motor transfer as an embodied form of cross-modal learning, and, based on evolutionary theories of language, speculates that an evolutionary interaction between vocal and manual gesture may also play a role in the efficacy of VMT. Further dialogue between musicians and researchers within the disciplines of cognitive science is clearly needed to illuminate this topic. Overall, this study contributes to an understanding of the nature of musical instruction and how the mind processes information in the pedagogical process—issues of importance to ethnomusicology and other fields of research.
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