Rehearsal Activities Research Articles

FEATURES OF PROFESSIONAL TRAINING OF VOCAL ENSEMBLE LEADERS

The article considers the question of the peculiarities of professional training of bachelors of music art to lead a vocal ensemble. Insufficient coverage of this issue and the lack of appropriate methodological support in the modern system of training leaders of vocal ensembles has actualized the choice of topic. The purpose of this study is to analyze the specific features of the training of future leaders of vocal ensembles, to determine the main stages and methods of work on vocal works. To achieve this goal, the following tasks were set: to analyze the practical work of the head of the vocal ensemble, to describe the main stages of work on musical works. Scientific novelty lies in the development and characterization of the main stages of the vocal ensemble, namely: the preparatory stage, which includes the selection of repertoire, theoretical and practical analysis; technological stage, in the process of which the educational and rehearsal work on intonation, metro-rhythmic, artistic and performing difficulties in the vocal work, the development of vocal and ensemble skills; the final (artistic and creative) stage, aimed at creating a creative concept, a bright artistic and musical image, concert-educational and festival-competition activities. Note that during the training and rehearsal activities with the team it is important to practice vocal and technical skills, aimed at the systematic development of theoretical concepts and practical skills, principles, patterns that introduce participants to the process of creative improvement. These characteristics and properties of vocal work are aimed at developing artistic and creative, aesthetic and value attitude to creative activity. Thus, as a result of the study, the following conclusions were drawn: the future specialist, as the leader of the vocal ensemble must have natural abilities, sound theoretical and practical knowledge. Note that the development of certain stages of work on the work of art will contribute to the formation of professional competence of leaders of vocal ensembles, professional and creative growth of future professionals. The duration of the stages, the degree of detail in the work, the choice of methodological techniques will depend on the complexity of the work, the goals of performance, the level of mastery of vocal and technical skills, individual characteristics of performers. The ability of the leader to involve participants in joint vocal and creative activity will form in participants confidence in the forces, will increase selfestimation, will cause desire to self-expression, self-affirmation, realization of internal potential forces.

ПЕДАГОГИЧЕСКИЕ УСЛОВИЯ ФОРМИРОВАНИЯ ГОТОВНОСТИ БУДУЩЕГО ХОРЕОГРАФА К РЕПЕТИЦИОННОЙ ДЕЯТЕЛЬНОСТИ

The problem and purpose of the research lies in the specifics of substantiating the readiness of students-choreographers for rehearsal activities. The assessment of the elaboration of the proposed research topic in the scientific and methodological literature on the art of choreography and dance pedagogy is carried out. The aim is to identify and substantiate the pedagogical conditions for increasing the efficiency of developing the skills of rehearsal activity among studentschoreographers in the process of mastering choreographic disciplines at the university. The definition of “rehearsal activity or rehearsal component of choreographic activity” has been clarified. There are four main directions for the development of pedagogical conditions. A step-by-step algorithm for rehearsal activities has been developed, which formed the basis of the pedagogical conditions for the professional readiness of a student-choreographer.

Novice teachers’ perceptions of the use of rehearsals to support their learning of ambitious mathematics teaching

ABSTRACT While there is a broad evidence base about what constitutes effective mathematics teaching in schools, less is known about how to effectively prepare novice teachers to teach in these ways. This article reports on a project designed to support novice teachers to become “ambitious” mathematics teachers by utilising practice-based approaches involving cycles of rehearsals and in-the-moment coaching. Acknowledging the important role that student voice has in curriculum reforms, we sought novice teachers’ perceptions about the introduction of rehearsal activities. Novice teachers’ support for rehearsals for developing their mathematical pedagogical skills is presented alongside implications for instructional reforms within mathematics methods courses.

Applying the Science of Learning to Classroom Teaching: The Critical Importance of Aligning Learning with Testing

Applying the Science of Learning to Classroom Teaching: The Critical Importance of Aligning Learning with Testing

Impact of Cover, Copy, and Compare on fluency outcomes for students with disabilities and math deficits: A review of the literature

ABSTRACTFluency, a combination of response accuracy and speed, enables students to work efficiently through academic tasks. Students with disabilities and math deficits often struggle to learn math facts fluently. Although issues with fluency frequently coexist with a disability, problems gaining fluency also stem from a lack of practice and appropriate rehearsal activities routinely included in curricula. Absence of math fact fluency leads to future problems with higher level math curricula and tasks necessary for successful living and employment. Cover, Copy, and Compare (CCC), a self-managed intervention, has demonstrated promise toward increasing math facts fluency. The present literature review examines the implementation of CCC as a fluency intervention for students who have disabilities or who demonstrate skill deficits in math facts and its subsequent impact on such students' fluency outcomes. Results from the literature review indicate CCC increased fluency levels for all of the participants. The evidence suggests CCC interventions may help students acquire and practice diverse math content.

Effect of Rehearsal Modality on Knowledge Retention in Surgical Trainees: A Pilot Study

The operating room is an exciting learning environment. With growing curriculum limitations and increasing complexity of care, existing education opportunities need to be optimized. Rehearsal has benefits for surgeon performance in the operating room, but its role for enhancing operative learning remains unclear. This pilot study aimed to differentiate the effects of physical rehearsal (PR) and cognitive rehearsal (CR) modalities on surgical trainee technical knowledge retention. Participants took part in a 2-day (sequential Fridays), instructed operative workshop performing midline laparotomy, splenectomy, left nephrectomy, and hand-sewn, side-to-side small bowel anastomosis (SBA). Participants were randomized to 10 minutes of either a (PR; n = 5) or (CR; n = 5) activity each day before operating. PR consisted of practicing SBA on a felt bowel model. CR entailed viewing narrated operative footage detailing the steps of SBA. Participants' technical knowledge of all procedures was assessed at 1 and 12 weeks postworkshop using a 31-question test. Animal operative suites at an academic medical center. A total of 10 general surgery postgraduate year 1 interns participated in the workshop; all completed the study. Participants had similar levels of operative exposure at the time of study participation. At 1-week postworkshop, mean assessment scores for CR were higher than PR (Mean ± Standard Deviation) (CR = 24.7 ± 1.6 vs. PR = 21.8 ± 1.7, p = 0.02). After 12 weeks, there was no difference in mean scores (CR = 23.3 ± 2 vs. PR = 21.7 ± 1.8, p = 0.22). Knowledge decay for the 12-week period was similar between groups (CR = -1.4 ± 1.6 vs. PR = -0.1 ± 2.4, p = 0.36). Study participants performed better on SBA-related questions than unrelated questions (laparotomy, splenectomy, and nephrectomy) at 1-week (related = 81.5% ± 11.3 vs. unrelated = 71.9% ± 6.6, p = 0.03) and 12 weeks (related = 81% ± 13.1 vs. unrelated = 68.6% ± 8.8, p = 0.02). This pilot data suggests the modality of the rehearsal activity may not significantly effect surgical learners' technical knowledge retention. Participants did score higher on questions related to the rehearsal topic, indicating a potential supplementary role for rehearsal activities.

Popular music pedagogy: Band rehearsals at British universities

There has been little published pedagogical research on popular music group rehearsing. This study explores the perceptions of tutors and student pop/rock bands about the rehearsals in which they were involved as a part of their university music course. The participants were 10 tutors and 16 bands from eight British tertiary institutions. Analysis of participants’ interview responses suggested their perceptions could be grouped into three over-arching categories: operational mechanics of rehearsing; rehearsing activities; and group dynamics in the rehearsal. These categories, comprising a master list of 12 themes, are used to provide a basis for establishing 12 pedagogical guidelines for tutors involved in undergraduate pop/rock band rehearsal activities. Abstracted from the research are two illustrative pedagogical models, which are offered as suggestions for practice and further debate.

Peter Sellars's Merchant of Venice: A Retrospective Critique of Process

This article offers a dramaturg's perspective on the day-to-day rehearsal activities of the director Peter Sellars as he prepared his highly controversial production of Shakespeare's The Merchant of Venice at Chicago's Goodman Theatre in 1994. Because Sellars had conceptualized his production well before his arrival in Chicago, and because he was inaccessible prior to the first rehearsal, the usual pre-production collaboration could not take place. On one level the article is about the dramaturg being thrust into the thick of an unusual process and finding his role(s) along the way: as enquiring interlocutor asking questions to clarify the proceedings for self and for the audience, another as documenter. Sellars readily agreed that any other person's perceptions of his process are different from his own. My purpose here is to offer a dramaturg's-eye view of the working methods of one of contemporary theatre's most iconoclastic and innovative directors, along with some critical reflections on the process.

Time Use, Rehearsal Activity, and Student Off-Task Behavior during the Initial Minutes of High School Choral Rehearsals

In this study, the use of rehearsal time during the initial minutes (i.e., the warm-up time) of 33 high school choral rehearsals was examined. Student attentiveness was also investigated during initial rehearsal activities. Trained observers used interval observation techniques in collecting attentiveness, rehearsal activity, and time usage data. Interobserver agreement averaged .93 for off-task, .88 for activity coding, and .85 for rehearsal timing. Conductors averaged 43.45 elapsed seconds prior to the first verbal statement to begin and 14 minutes 19 seconds prior to rehearsal of literature. Time allotted to rehearsal activities was the following: sight-reading, 22.23%; vocal warm-up, 9.63%; getting ready, 6.75%; physical warm-up, 3.37%; literature instruction, 1.84%; and other activity, 1.46%. Off-task percentages were: getting ready, 26.14%; physical warm-up, 18.48%; other, 16.53%; literature instruction, 16.27%; vocal warm-up, 15.07%; and sight-reading, 9.22%. Results indicated that the highest percentages of off-task behavior occurred during activities requiring less singing and active participation. Off-task behavior seemed to be a function of the nature of the activity.

Cost effective variable acoustics for multipurpose halls: 51 Walden Street.

51 Walden Street is a small multipurpose hall in Concord, Massachussets that serves for drama, symphony orchestra, concert band, and various other performance and rehearsal activities. As in many halls designed for a wide range of uses, limited passive variable acoustic provisions had been implemented with qualified success. However, recent measurements of the resulting acoustical conditions indicated that better acoustics required considerably more variability than possible using these simple techniques, which included varying the amount and positioning of sound absorption and reflecting surfaces within the hall. More complex passive variability, such as varying the room volume, was judged as not feasible because of the obvious architectural and cost limitations typically faced by community arts organizations. An experiment was carried out using a novel digitally controlled electroacoustic system to vary selected acoustical parameters, including reverberation time, early decay time, and clarity. Working with the major tenant groups during a season of rehearsals and performances, it was possible to correlate their judgments with objective acoustical measures. The flexibility and ease of electronically adjusting these parameters, as well as several new measures described, offered the opportunity to study their subjective significance efficiently.

Standardized Testing as an Interactional Phenomenon

This is a study of the social organization of standardized testing as an interactional activity. From the outset of an examination, parties engage in co-orientational and rehearsal activities that show an interactional bedrock to the testing activity. Furthermore, the three-part instructional sequence that previous researchers identified in other learning environments is adapted to testing situations. Detailed variations in the three components of a test-item sequence-testing prompts, replies, and acknowledgments-show that each component is assembled in the socially organized interaction between the tester and the testee. Contrary to the stimulus-response model of the testing relationship, the authors confirm previous investigations which suggested that test scores are collaborative productions and explore the implications of this finding for aggregate-level research on bias in mental testing.

再生に及ぼす検査予期とリハーサル方略の効果 同時呈示事態での検討

The present experiment was carried out to examine the effects of verbal instruction of rehearsal strategy and test expectancy of final recall on immediate and final recall, in the situation of simultaneous presentation of items. Subjects' spontaneous rehearsal activities were also explored by means of a revised version of questionnaire regarding rehearsal substrategies. Ninety undergraduates participated in this experiment. The resulting data indicated performance under the associative rehearsal instruction was better than that of rote rehearsal instruction in final recall, but was not in immediate recall. In both immediate and final tests, there was no difference of performance between subjects instructed to rehearse repetitively and spontaneously. The effect of test expectancy was found in final recall, and was interpreted to be owing to frequent use of substrategies relating imagery and intra-list association from the result of questionnaire.

Producing Marat/Sade: theater in a psychiatric hospital.

When a drama group in a small private psychiatric hospital decided to present Marat/Sade, a play about inmates in an insane asylum, some patients and many staff members reacted negatively. However, the drama group carried out its usual rehearsal activities, including improvisations, theater games, and exercises to work out characters' backgrounds, motivations, and feelings. The set and costumes were designed through elaborate improvisations during rehearsals. The group had to overcome various problems in producing the play, but they were no worse than those encountered in previous productions. The director believes that a hospital theater must have the same high standards as a good theater in any setting and that patients' drama groups can handle any aspect of theater.

Incidental paired-associate learning as a function of interstimulus interval

In Experiment I, pairs of CVC trigrams were presented as “distracting stimuli” in the context of a probability learning task. The interstimulus interval (ISI), or time between stimulus and response members of each pair, was 1, 2, 4, or 7 sec. for different groups of 20 S s. Amount of incidental learning of the CVC pairs, as measured by facilitation of subsequent intentional learning of the same pairs, was a decreasing function of the ISI. Experiment II replicated this finding in a within- S design. These data are contrary to the results of previous studies investigating paired-associate (PA) learning under intentional practice conditions. It appears that PA learning obeys the law of contiguity only under practice conditions which minimize covert rehearsal and mediation activities in the S .

Positive forgetting: The noninterference of Items intentionally forgotten

Efficient remembering is clearly related to efficient forgetting: information no longer needed must be prevented from interfering proactively with the handling of new information. This paper reports three paired-associate probe experiments designed to assess whether Ss could take advantage of a signal to forget some or all of the pairs presented prior to the signal. As it turns out, the effects of a forget signal are considerable: to-be-forgotten pairs do not inferfere at all with the recall of to-be-remembered pairs. A theory of intentional forgetting is proposed that assumes Ss (a) organize the remember items into a grouping that functionally separates them from the forget items and (b) devote all rehearsal activities following the forget instruction to the remember items.

Rehearsal effectiveness as a function of similarity of rehearsal activities to a paired-associate task

Rehearsal conditions were compared which varied in their degree of similarity to a task of learning paired associates. From greater to lesser similarity the conditions were: Stimulus Present, Blank List, Color Guessing, and Joke Reading. A comparison group continued directly into the criterion trials. Higher degrees of rehearsal similarity resulted in superior performances on the first recall trial after rehearsal. Learning performances on additional criterion trials were not influenced beyond the residual effects of the first recall. A preliminary experiment provided evidence that covert rehearsal to a continued presentation of stimuli is as beneficial as overt rehearsal.