Comments on: Syllables without pitch? http://mieatnec.org/blog/2007/12/syllables-without-pitch/ News and Stories from Artist-Teacher-Scholars Sun, 18 Dec 2011 19:41:25 +0000 hourly 1 http://wordpress.org/?v=3.3 By: realtv500 http://mieatnec.org/blog/2007/12/syllables-without-pitch/comment-page-1/#comment-2432 realtv500 Wed, 19 Dec 2007 07:47:26 +0000 http://mieatnec.org/blog/2007/12/12/syllables-without-pitch/#comment-2432 I believe I have mentioned this to Professor Scripp: about the entire syllable system of music. As myself being a musician, it is almost involuntary to know solfege syllable. To me, it is a language; if this language was established with some other syllables or even different sound, we would have been in a different situation. When words are sung in a song, sometime it is difficult to sing the right pitch with the words; it is questionable if the solfege has a solid foundation to help student/musicians to realize where the note lies and where the note does not. I believe I have mentioned this to Professor Scripp: about the entire syllable system of music. As myself being a musician, it is almost involuntary to know solfege syllable. To me, it is a language; if this language was established with some other syllables or even different sound, we would have been in a different situation.

When words are sung in a song, sometime it is difficult to sing the right pitch with the words; it is questionable if the solfege has a solid foundation to help student/musicians to realize where the note lies and where the note does not.

]]> By: greg http://mieatnec.org/blog/2007/12/syllables-without-pitch/comment-page-1/#comment-2427 greg Tue, 18 Dec 2007 18:38:51 +0000 http://mieatnec.org/blog/2007/12/12/syllables-without-pitch/#comment-2427 I learned solfege on the moveable do system. I found this system helpful when a piece of music stayed in one key (ie. no modulations, tonicizations, etc.). But I generally find the fixed do system more useful because in most pieces of music, the key areas DO change. It is also much easier to sight-sing atonal music with the fixed do system because do is always do, no matter what. Do any of you sight-sing atonal music with solfege syllables? If so, do you find it helpful? I learned solfege on the moveable do system. I found this system helpful when a piece of music stayed in one key (ie. no modulations, tonicizations, etc.). But I generally find the fixed do system more useful because in most pieces of music, the key areas DO change. It is also much easier to sight-sing atonal music with the fixed do system because do is always do, no matter what. Do any of you sight-sing atonal music with solfege syllables? If so, do you find it helpful?

]]> By: mayjoshua http://mieatnec.org/blog/2007/12/syllables-without-pitch/comment-page-1/#comment-2417 mayjoshua Tue, 18 Dec 2007 01:37:10 +0000 http://mieatnec.org/blog/2007/12/12/syllables-without-pitch/#comment-2417 I think there are many institutions that teach movable "do". I found the fixed "do" system to be very helpful, but I have many friends that find it very difficult to switch to after learning movable. It would be an interesting study to see the problems in transition between the two systems. How would they differ in approach to teaching the opposite system? Wat would be the benefit/how do teachers work toward a unified system? Which system works best for the student? I think there are many institutions that teach movable “do”. I found the fixed “do” system to be very helpful, but I have many friends that find it very difficult to switch to after learning movable. It would be an interesting study to see the problems in transition between the two systems. How would they differ in approach to teaching the opposite system? Wat would be the benefit/how do teachers work toward a unified system? Which system works best for the student?

]]> By: agreen http://mieatnec.org/blog/2007/12/syllables-without-pitch/comment-page-1/#comment-2399 agreen Fri, 14 Dec 2007 05:53:31 +0000 http://mieatnec.org/blog/2007/12/12/syllables-without-pitch/#comment-2399 Thank you for your comment. The problem with teaching two methods is that one basically cancels out the other. It is like studying "Koto" from two different people, or learning how to read music with the normal staff notation, then learning how to read it in another notation, like klavarscribo. The first case would never happen, but in the second case, one method would be preferred and focused upon, just like in solfege. I guess for some Americans, they grow up using "moveable do" and it works because they are learning easy, tonal pieces. Then, in college when the switch is made, they find out that "fixed do" is more universally practical. I have to look into this, but I think it is rare for an American college or university with a music program, or a conservatory to use "moveable do". Lastly, I think Kodaly may have another way of viewing Solfege. Certainly other cultures do. In India, the syllables are "sa-ri-ga-ma-pa-dha-ni." But they have over 800 different scale types... Thank you for your comment. The problem with teaching two methods is that one basically cancels out the other. It is like studying “Koto” from two different people, or learning how to read music with the normal staff notation, then learning how to read it in another notation, like klavarscribo. The first case would never happen, but in the second case, one method would be preferred and focused upon, just like in solfege.

I guess for some Americans, they grow up using “moveable do” and it works because they are learning easy, tonal pieces. Then, in college when the switch is made, they find out that “fixed do” is more universally practical. I have to look into this, but I think it is rare for an American college or university with a music program, or a conservatory to use “moveable do”.

Lastly, I think Kodaly may have another way of viewing Solfege. Certainly other cultures do. In India, the syllables are “sa-ri-ga-ma-pa-dha-ni.” But they have over 800 different scale types…

]]> By: miss_mari http://mieatnec.org/blog/2007/12/syllables-without-pitch/comment-page-1/#comment-2396 miss_mari Thu, 13 Dec 2007 23:36:52 +0000 http://mieatnec.org/blog/2007/12/12/syllables-without-pitch/#comment-2396 What I'm curious about is whether anyone would ever take the time perhaps to teach those students with pitch problems one solfege method to help them improve it and then switch them to the second method to incorporate another aspect of sight-singing. Either way, I feel your analysis is very thorough. I would also be curious if anyone has proposed another method of teaching sight-singing exercises to students. What I’m curious about is whether anyone would ever take the time perhaps to teach those students with pitch problems one solfege method to help them improve it and then switch them to the second method to incorporate another aspect of sight-singing. Either way, I feel your analysis is very thorough. I would also be curious if anyone has proposed another method of teaching sight-singing exercises to students.

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