Solfege

Motivated by Marshall McLuhan’s suggestion that advances in technology serve to alter sense perceptions, and that it is the role of artists to be aware of such changes, the author explores intersections and contrasts among five different approaches to the subject and practice of ear training in the context of sound recording technology, with attention to how these approaches serve to expand and challenge traditional ear training pedagogy and what these changes to tradition reveal about how sound recording technology has altered our sense perceptions.

ABSTRACT

Title: Research in Performance: Analysis of Five Trumpet Works
Author: Frederick A. Sienkiewicz
Research Area: Music
Guidance Committee Chair & Dept: Eric M. Berlin, Music
Guidance Committee Member & Dept: Nikki R. Stoia, Music

The academic tools provided by the undergraduate music curriculum here at the University of Massachusetts are  not mere academic exercises, separate from the practice of music-making, but an integral part of the process of preparing and performing. As part of preparing my Senior Recital, I chose to make an in-depth study to experience what this perspective on musical performance means to me as a performer.  For my recital and this exploration, I chose five of the central works of trumpet repertoire, "The Trumpet Shall Sound" (from Messiah) by G. F. Handel, Concerto for Trumpet in E-flat Major by Joseph Haydn, Legend by Georges Enesco, Sonata fur Trompete und Klavier by Paul Hindemith, and Variations on The Carnival of Venice by J. B. Arban.  In this paper, I discuss my own experience of the process of learning, studying, and performing each work, comment on the diverse tools I used to gain deeper insight, and present the applicable conclusions I've come to through my research and experience.  These conclusions, where appropriate, take the form of music-theoretic notes including harmonic, thematic, and formal analytic sketches, historical background, and/or a survey of available recordings. At every step of preparing this research, I was surprised at the new depth and interest, as both performer and listener, which I found through the richer understanding of the formal structures and historical context of each work.  It is now my conviction that this process of detailed and informed musical preparation is essential to my ability to be an effective performer and create great music.

Honors Project (499Y/P)

The purpose of this study was to describe the current state of sight-singing pedagogy in
choral ensembles at degree-granting institutions in the United States accredited by the National Association of Schools of Music. A survey of collegiate choral conductors was designed and distributed nationwide. In total, 33.3% (N = 363) of those invited to participate responded. Substantial data were collected from conductors who indicated they occasionally integrated a sight-singing system into their choral rehearsals for specific purposes (n = 137) and those who indicated they frequently used a sight-singing system as a key rehearsal tool (n = 114). In addition, interviews with three survey participants were conducted for a more in-depth examination of their unique philosophies and practices.

Survey data revealed that there was no significant difference between the number of
choral conductors who did not use or very rarely used a system for music-reading, those who occasionally integrated a sight-singing system into their rehearsals for specific purposes, and those for whom a sight-singing system was a key rehearsal tool that they used frequently. However, among respondents in the latter two categories who did not hold a degree in music education, there was a significant (p = .018) preference for occasional rather than frequent use of a sight-singing system. Among those who occasionally or frequently used a system there was a significant preference for movable-Do solfège for major-key tonal solmization (p < .001), movable-Do solfège (tonic is “La”) for minor-key tonal solmization (p = .001), and instrumental counting (“1-e-&-a 2”) for rhythmic solmization (p < .001). Among those who frequently used a system, the data showed a significant decline in both the number of days per week they provided sight-singing instruction at the beginning of term, at the middle of term, and at the end of term (p < .01) as well as between the number of minutes per rehearsal they provided sight-singing instruction during those three periods of the semester (p < .01). Among those who frequently used a system, choral literature being prepared for performance was the significant first-choice, selected by 88%, of materials used to teach sight-singing. Among the same participants, 14% individually assessed their students’ sight-singing, 44% sometimes did, and 43% did not.

For conductors who frequently used a system, the most important perceived benefit of
doing so was enabling their choirs to learn music faster. The attitude statements about which conductors agreed most strongly were that sight-singing ability is an important skill for all collegiate choral singers and that sight-singing ability should be a prerequisite for auditioned collegiate choral ensembles. Conductors who occasionally used a system agreed significantly more strongly with the latter statement than those who frequently did (p < .04), while conductors who frequently used a system agreed significantly more strongly with the statement that students generally enjoy instructional time devoted to sight-singing than those who occasionally did (p < .001). Music educators felt significantly stronger that empowering their students for lifelong music-making and improving performances were benefits of systematic sight-singing instruction than non-music educators did.

Conductors contacted for interviews emphasized the importance of fostering choral
rehearsal cultures in which complete musicianship and musical literacy are valued and provided philosophical and practical reasons for doing so. They outlined possible challenges to instituting choral sight-singing at the collegiate level as well as potential solutions to those difficulties. They also discussed the effects of sight-singing instruction on relationships with music theory and music education faculty.

This article discusses the state of music theory in late-nineteenth- and early-twentieth-century Japan, where musicians were invested in finding ways to map theories of traditional Japanese music and those of European tonality onto each other. By focusing on two theorists from the late nineteenth century (Isawa Shūji and Uehara Rokushirō) and one from soon after World War II (Koizumi Fumio), I demonstrate the coexistence of many contradictory ways of analyzing much of the music that came out of this period and afterward. My analysis of their various types of mapping draws out the cultural implications and goals that lie behind their strategies, which reflect the different ways in which they were hoping to situate Japanese music in a wider global context, whether as part of nineteenth-century nation-building or postwar reemergence.

Through analysis of several pieces written between the early twentieth and early twenty-first centuries, I suggest that the most effective lens is one that freely borrows elements from various theorists and traditions to create analyses that are as hybridized as the pieces themselves. Examples are drawn from a wide variety of genres—children’s songs, wartime soldiers’ songs, enka (nostalgic popular music), and film music—to demonstrate the wide reach of these hybridized tonal systems. By extension, analogous models could also be applied to musical traditions elsewhere in the world that blend Western tonal and non-Western elements.

A percepção musical pode considerar tanto os aspectos fisicos da vibração dos sons quanto os complexos processos cognitivos de identificação e significação de eventos sonoros que possam ser semanticamente considerados como música. O processo cognitivo da percepção musical acontece a partir da internalização, em tempo real, das informações apresentadas e sua articulação com informações existentes na memória que atua tanto no registro de novas informações quanto no resgate de informações internalizadas. A abordagem tradicional do ensino de percepção centrado no conteúdo musical pressupõe que o aluno seja capaz de transcrever ditados musicais. No entanto, a abordagem da percepção musical, enquanto processo cognitivo complexo, deve outras possibilidades de atividades e observar os diferentes tipos de memória que atuam de diversas maneiras durante os processos de identificação e decodificação musical. Cada tipo de memória apresenta características específicas de funcionamento e cada tipo de memória pode contribuir para a formação de habilidades que auxiliam nas tarefas de reconhecimento e transcrição musical. A partir da análise dos tipos de memórias envolvidos no processo e suas articulações com os processos de imitação é possível direcionar as práticas de percepção musical realizadas em atividades pedagógicas. O processo cognitivo da percepção musical acontece estruturado pelas maneiras como a memória atua no registro e processamento das informações auditivas. A abordagem da percepção musical como processo cognitivo aceita que a memória pode atuar de diversas maneiras durante o processo de identificação e notação musical. O processo de estudo da percepção é tradicionalmente abordado a partir do funcionamento das memórias de curto e longo prazo. No entanto, propostas mais recentes de funcionamento da memória (Baddley, 1994; Rizzolatti, 1994) oferecem possibilidades de expansão nas formas de abordagem deste processo. O funcionamento da memória apresenta diversos aspectos que influenciam na retenção e codificação das informações musicais e testes de percepção são muitas vezes baseados na memorização inicial de trechos musicais para o posterior processamento, compreensão e transcrição das informações musicais. Neste processo faz-se necessário a estruturação de ferramentas de articulação que permitam a transformação de estímulos sonoros em informações musicais. A relação entre percepção e o solfejo é um fator decisivo para a associação entre o som ouvido externamente e o som compreendido internamente. No entanto, em várias situações de ensino, existe uma dicotomia entre solfejo e percepção que prejudica o

Solmization systems are usually used as mediation tools during the learning process. The way each person associates sounds and note names will be very important for their mastering of the musical language. Each solmization system was elaborated focusing on different aspects of music reading and performance. The Extended Fix-Do system was elaborated based on the analysis of the facts of interference on the various modern solmization systems. There were criteria used for the research of aspects that would permit a synthesis of
the mains aspects of the fix-do and moveable-do systems.

Усавршавањем дигиталних алата, мобилних телефона, таблета и других облика ин-формационих технологија, отворен је један нов спектар могућности иновирања предмета који припадају науци о музици, како у основним и средњим музичким школама, тако и у општеобразовним школама. Међутим, на нашим просторима још увек не постоји њи-хова озбиљнија примена. Доношењем новог Правилника о плану и програму наставе и учења за основно музичко образовање и васпитање, у оквиру предмета Солфеђо издваја се развој савремених технологија у контексту стварања културе коришћења савремених технологија код ученика и наставника употребом апликација, интернета, паметних таб-ли, таблета и сл. Исти је случај и са новим правилницима о програмима наставе и учења основног образовања и васпитања и предмета Музичка култура. Успостављањем новог, дигиталног смера наставе, отворило се питање избора дигиталних алата који би били у употреби. Циљ рада је представљање конкретних мобилних апликација и практичних примера њихове употребе у самом наставном процесу предмета солфеђо и музичка кул-тура у основној, односно основној музичкој школи.

/With  the  advancement  of  digital  tools,  mobile  phones,  tablets  and  other  forms  of  information  technology,  a  new  array  of  possibilities  for  innovation  in  school  subjects  regarding  the  study  of  music  has  opened up  in  primary  and  secondary  music  schools,  as  well  as  in  general  education  schools.  However,  they  are  still not  being  applied  with  a  higher  degree  of  seriousness  within  our  field.  The  adoption  of  the  new  Regulation on  the  curriculum  for  primary  music  education  within  the  subject  of  solfege  highlights  the  development  of modern  technologies  in  the  context  of  the  creation  of  a  culture  of  the  usage  of  modern  technologies  such  as applications,  the  internet,  smart  boards,  tablets  and  the  like  by  students  and  teachers.  The  case  is  the  same with  the  new  regulations  regarding  the  curriculum  of  primary  school  music  education.  With  the  establishment  of  a  new,  digital  direction  of  teaching,  the  question  of  the  selection  of  the  digital  tools  to  be  used  has opened  up.  The  aim  of  this  paper  is  to  present  specific  mobile  (music)  applications  and  practical  examples of  their  use  in  the  teaching  process  of  the  subject  of  solfege  and  music  in  primary  music  school  and  general education primary schools.

Gelişen teknoloji sayesinde global ve geniş bir bilgi ağının oluşması ile akademinin tüm alanlarında olduğu gibi sanatın teorik alanı da son 20 yılda hiç olmadığı kadar hızlı bir değişime sahne olmaktadır. İnternet kullanımının yaygınlaşması ile iletişim hızlanmış, bilgiye erişim kolaylaşmış ve akademik kaynaklara erişim neredeyse sınırsız hale gelmiştir. Bununla beraber telif kapsamına girmeyen kaynakların varlığı ve internet üzerinden paylaşımı ile eğitimde fırsat eşitliği adına önemli bir gelişme sağlanmıştır. Bu koşulların oluştuğu bir dünyada, ülkemizdeki konservatuvarlarda da müzik teorisi eğitiminde dijital kaynakların ve araç- gereçlerinin kullanımının gerekliliği ve erişime kolaylığının bir ihtiyaç olduğu kanısındayım. Özellikle ilköğretim yaş guruplarına yapılan müzik teorisi eğitiminde dijital kaynakların algıyı kolaylaştırdığı, soyut olan teorik bilgilerin somutlaşmasına yardımcı olduğunu gözlemledim. Bu çalışma, ihtiyaçların belirlenmesi ve giderilmesine önerilerde bulunmayı hedeflemektedir.
With the help of a global and wide information network through developing technology, the field of music theory, like all academic fields, has been undergoing a most tremendous change so far since the past 20 years. The widespread internet usage has resulted in a faster communication, an easier access to information, and an almost limitless access to academic references. At the same time, the existence of references that are not subject to copyright, and their allocation through internet have caused an important development in terms of equal opportunity in education in a global perspective. I believe that in these conditions, the need to use digital reference and digital equipment and their accessibility in music theory education in Turkish conservatories are a necessity. I observed that the usage of digital resources in especially primary school age groups had simplified perception, and helped in the materialization of abstract theoretic information. This study aims at proposing a method of identifying and satisfying these needs. Keywords: Music theory, learners' needs, digital equipment, digital reference

U radu se apostrofira važnost auditivnoga pristupa u kontekstu glazbenoga obrazovanja te se ukazuje na mogućnosti spoznajno-emocionalnoga slušanja glazbe na nastavi solfeggia. Polazište slušanja predstavlja doživljaj glazbe te razumijevanje djela uz ciljane zadatke, ali i uz rasprave o doživljajima te o pobuđenim imaginacijama učenika. Glazbeni doživljaj, utvrđivanje i proširivanje znanja, kao i produbljivanje interesa za djelo, omogućuju se višemodalnim aktivnostima kojima učenici razvijaju muzikalno mišljenje, glazbene vještine, stječu teorijska i praktična znanja. Razvoj učenika s naglaskom na njegovu emocionalnu sastavnicu doprinijet će usmjeravanju unutarnjega senzibiliteta učenika na muzikalni doživljaj i kvalitetu muzikalnoga kazivanja, a time i izgradnju vlastitih estetskih kriterija, što može voditi prema boljemu razumijevanju i prihvaćanju umjetničke glazbe.

In Turkey, the musical hearing-reading-writing lesson that is based on classical western music has an important place in the institutions where mainly vocational music education is given. The solfege that is a great dimension of this lesson means vocalis-ing the notes on stave consonant to their frequency, time and rhythmic structure. Polyphonic solfege in solfege training of these institutions where musical education is given in Turkey is important as it includes polyphony, the most important component of classical western music, and gives students the polyphonic culture.

Türkiye’de, ağırlıklı olarak mesleki müzik eğitimi verilen kurumlarda, klasik batı müziğini temel alan müziksel işitme-okuma-yazma dersi önemli bir yer tutmaktadır. Bu dersin önemli bir boyutu olan solfej; porte üzerinde bulunan notaları; frekansı, süresi ve ritmik yapısına uyarak seslendirmektir. Türkiye’de müzik eğitimi verilen bu kurumlardaki solfej eğitiminde çoksesli solfej, klasik batı müziğinin en önemli unsuru olan çoksesliliği bünyesinde barındırıp öğrencilere çokseslilik kültürünü aşılaması bakımından önemlidir. Buradan hareketle, özellikle teksesli solfej eğitiminde yaygın bir biçimde kullanılan Albert Lavignac’ın Solfege Des Solfeges 1a, 2a, 1b, 2b, 2c ve 3a gibi kitaplarının yanı sıra aynı serinin çoksesli solfej eğitimi için yazılmış kitapları da mevcuttur. Bunlar; iki sesli, üç sesli ve dört sesli yapılarda oluşturulmuştur. Bu kitaplar; iki sesli solfejlerden oluşan 6a, 6b, 7a, 7b; üç sesli solfejlerden oluşan 8a, 8b ve dört sesli solfejlerden oluşan 9a, 9b olmak üzere bir seriyi teşkil etmektedir. Buradan hareketle araştırmanın temel problem durumu, Albert Lavignac tarafından hazırlanan 6a, 6b, 7a, 7b, 8a, 8b, 9a, 9b Solfege Des Solfeges kitaplarında yer alan iki sesli, üç sesli ve dört sesli solfej örneklerinin çeşitli parametrelere göre incelenmesidir. Araştırmanın temel problem durumundan yola çıkılarak, araştırmanın problem cümlesi; “Solfege Des Solfege serisinde yer alan çoksesli solfejlerin içerik durumları nasıldır?” biçiminde oluşturulmuştur. Buna göre; çoksesli solfejler; kitap adı, parti sayısı, majör-minör yapı, tonalite adı, anahtar kullanımı, ölçü birimi, hız terimi, ritmik kalıplar, ses sınırları ve ifade-nüans terimleri açısından analiz edilmiştir. Araştırmada, nitel araştırma desenlerinden içerik analizi kullanılmıştır. Her solfej, yukarıda belirtilen parametreler ölçüt alınarak içerik analizine tabi tutulmuştur. Elde edilen bulgular, frekans (f) ve yüzde (%) değerleri verilerek ifade edilmiştir. Araştırma sonuçlarına ilişkin frekans ve yüzde değerleri, tablolar ve grafikler ile görselleştirilerek sunulmuştur.

Music theory teaching is traditionally based on lists of exercises and books that explain the musical elements. The critique of procedures and the search for new possibilities directed this search towards a new theoretical framework for teaching of music theory. The analysis was based on the work of Edwin Gordon and Keith Swanwick. The result was the development of a musical meaning spiral, in which processes and content could be developed based on the  transformation of theoretical elements.

The idea about the need for children's musical literacy appeared in the medieval period. Since then until the present day music educators and scholars are constantly dealing with the issue of how to achieve a successful musical literacy, in other words, how to musically literate children in a fast and simple way. Intense and long discussions resulted in the appearance of different approaches to mastering intonation and different methods of sight-singing. Some of these methods we presented in this paper. Since the acquisition of real musical literacy requires prolonged and intense exercise, this process achieves the most success in the professional schools of music in the solfeggio lessons. Otherwise, solfeggio is a subject that is organized precisely with the aim of establishing and developing intonation and rhythmic knowledge and skills.
Methods of sight-singing are usually distinguished by whether they are relative or absolute. In this paper, we described some of the relative methods: tonic-solfa, tonic-do method, numerical methods, system Jale of Richard Münnich, a functional approach of Miodrag Vasiljević, Kodály method and so-called functional method of Elly Bašić. The methods of absolute intonation were separated by absolute solmization, singing musical alphabet, The Tone-Words of Carl Eitz (Tonwort) and Solfeggio of Rudolf Matz.
Relative methods are easier than absolute, because with them better results are achieved at the very beginning of the work, and the skill of singing in various tonalities is developed faster. Benefits of the absolute methods are better singing atonal music, or tonal music which abounds  by chromaticism or frequent modulations, and better compliance with initial teaching instrument. Success in the process of acquiring musical literacy does not only depend on the method of sight-singing, but also if it is achieved systematically, with intense exercise and methodically appropriate manner.

Keywords:  musical literacy, approach to mastering intonation, appointment of notes, solfeggio, methods of relative intonation, methods of absolute intonation

Pervasive and resilient knowledge structures have shaped Aural Skills curricula, creating a profound systemic disconnect between formal education and culture. As a response to this problem, the curriculum at Frost School of Music strives for synthesis in many facets, aiming for the ideal Aural Skills course: an emancipatory hybrid that is culturally meaningful, aesthetically sound, and pedagogically revolutionary. This paper outlines the most important facets of the newly revamped Aural Skills curriculum.

MOURIM, Roberta. Método Prince: registros e análises da pedagogia de um mestre sem diploma. 2015. 177f. Dissertação (Mestrado em Música) – Programa de Pós-Graduação em Música, Centro de Letras e Artes, Universidade Federal do Estado do Rio de Janeiro.

This master thesis has the objective to analyse The Prince Method: Reading and ear-training — Rhythm (PMR) and the The Prince Method of Sound (PMS) to describe the ideal form to apply them, according to the author's pedagogy. Adamo Prince, the author, is also a musician, composer, arranger and teacher. The PMS is a manuscript book that has been used by Prince for thirty year to teach relative solfeggio. This research is justified by the studies shortage about the subject and the high popularity of Prince's methods in Brazil. To materialize the research, I use both experience reports and the analysis of Prince's manuscripts and textbooks. This thesis has an interdisciplinary feature, which should be highlighted. On the one hand, the purpose of the research requires musical and educational knowledge on the other hand it has some aspects of the History of The Present Time. According to René Rémond (2006), researches of that type can be a way to record and analyse the historical processes as they occur: and this is one characteristics of this work. In the same way, also in the historiography field, I use Michel de Certeau (1982), as theoretical background. But there are other points, like the Prince's place on the university musical field, which are approached by the sociology bias. In these cases I use Pierre Bourdieu (2004) (2006) (2007a) (2007b) as theoretical reference. With this thesis I expect to, at least, help the ones who want develop the musical perception, the sight-reading performance, the rhythm reading and the solfeggio by using the Prince's methods.

O estudo de acordes pode ser realizado por meio do solfejo. A atividade de cantar um arpejo para identificar as notas do acorde auxilia na identificação e fixação tanto das alturas quanto dos nomes das notas, e também dos intervalos que estão sendo cantados. A utilização da metodologia do Solfejo Fixo-ampliado permite um trabalho de convergência dos conhecimentos musicais, pois quando uma nota muda, seu nome também muda, e desta maneira, torna-se possível compreender as notas que fazem a diferença na classificação dos acordes. Foram elaborados três exercícios:

Mapeamento da sequência dos intervalos que existem no contexto da escala diatônica maior. Primeiro o intervalo deve ser identificado pelo grau da escala, depois os graus devem ser cantados com a identificação do intervalos. Após cantar tendo como referência o primeiro grau, serão cantados os intervalos tendo como referência o 2a grau, depois o 3o e assim por diante.

In this study, it has been examined that polyphonic solfege studies of cooperative learning based
on approach "Student Terms Achivement Divisions'' affect the success of the polyphonic solfege. In this research as
post-test and pre-test control group with full trial model has been applied. The sample of the study in the academic
year 2013-2014 consists of 22 people studying at İnönü University in Class 3. The implementation process covers a
10-week process. According to the method of straight expression have been applied to B the control group while
improved programme based on cooperative learning approach have been applied to the experimental group. As a tool
for data collection, reliability level .88 is calculated as Musical reading (solfege) performance test. Measurement and
evaluation have been carried out by three specialists. After examining the level of normality for analysis of
transactions related and unrelated samples t-tests were used. In addition, for calculating of the size of the impact,
Cohens' d formula has been applied. According to the results of the research, it has been reached to the conclusion that
applications to students based on cooperative learning approach has influenced on the success of the solfege
polyphonic positively and highly.
Keywords:cooperative learning, solfege, polyphonic solfege

In Les Gaietés du Conservatoire (1899), Albert Lavignac delighted his readers with anecdotes about Rossini and highlighted the deceased maestro’s amiable address to him as «ma grande clarinette». What was untold but no less personal and in fact illuminating is his benefit from the samedi soirs, where he once witnessed a performance of Rossini’s L’Amour à Pékin (1867). Hitherto unknown to Rossini studies is Lavignac’s compositional reception of what the late Rossini in an epistolary postscript referred to as «nouvelle gamme chinoise». Taking an unusual whole-tone configuration, Rossini’s scale was embedded in Lavignac’s solfège textbook (1877) and scrupulously disguised under as many as six different clefs. Their shared use of a harmonic sequence and, above all, Lavignac’s exercise title (Gamme chinoise) render the case of pastiche unmistakable. However, the Rossinian influence turned out to forge their subtly intertwined and unfavourable fate. No less than three scattered textual passages from the early twentieth century criticised Rossini and Lavignac directly or otherwise for the erroneous correspondence between the whole-tone scale and the Chinese scale (supposedly pentatonic instead of hexatonic in structure). The present study sheds light on the emergence of ‘gamme chinoise’ as a Rossinian notion and poses the thought-provoking question as to why the scale composed exclusively of whole tones could have reasonably been understood as a Chinese scale at the time. Reconstruction of the Parisian reception history regarding traditional Chinese music theory reveals distorted interpretations of the Chinese lülü 律呂 (not at all a practical six-note scale) as ‘gamme chinoise’ from Jean-Philippe Rameau (1760) to Georg Capellen (1910). Although there is no indication that Rossini possessed the scholarly interest or patience to figure out anything about Chinese music, the marked consonance of his scalic idiosyncrasy with that particular French misunderstanding of musical heritage from China serves to reorient our attention to the oft-evaded issue of chinoiserie. I suggest that, central to Rossini’s aesthetic of chinoiserie in the musical scale is a tendency of defamiliarisation typical not only of Rossini’s notorious sense of humour, but also European representations of such far-eastern locale as Pékin. As such, the whole-tone scale in fin-de-siècle Paris was tied to exoticism at least in part through the Rossinian notion entailing neither European diatonicism nor – rather deliberately – Chinese pentatonicism. Rossini, to borrow Wagner’s words from Eine Erinnerung an Rossini (1868), was «handed to the posterity» as explorer of a different Chinese-linked scale and important predecessor of French modernist composers.

Exercício para ser realizado com acompanhamento de áudio para exercitar a Associação Verbal entre número - sílaba de solfejo - intervalo. O objetivo é apresentar o som das notas três vezes, em três etapas de associação verbal. Na primeira, o estudante deve cantar com o número para fortalecer a associação entre o número e o grau da escala. Na segunda etapa, o estudante deve cantar as sílabas de solfejo de cada nota musical, para associar a sequência de notas dentro de Ré Maior com o método do solfejo fixo-ampliado. Na terceira etapa, as notas são cantadas enquanto intervalo para fechar o processo de associação. Desta maneira, os estudantes podem organizar mentalmente a estrutura das escalas e estabelecer a relação que acontece entre som e grau, som e nota ou som e intervalo.

Bu calismada, Turkiye’de konservatuvar ve muzik okullarinda egitim alan ogrencileri Turk Besleri’nin muzikleriyle tanistirabilme fikrinden hareket edilerek, ogrencilerin hemen hepsinin almakta oldugu solfej dersinin bu dusunceyi hayata gecirebilme adina uygun ortam saglayabilecegi dusunulmus ve Turk Besleri’nin yapitlarindan olusturulmus 20 parca iceren piyano eslikli solfej dagarcigi hazirlanmistir. Bu calismada 2.Bolum’de Turk Besleri’nden secilen yapitlara solfej dagarcigi acisindan yaklasim yontemi ve 3.Bolum’de secilen eserlerin solfej parcasi bicimine getirilme surecleri anlatilmis, 4.Bolum’de ise hazirlanan 20 solfej parcasinin notalari piyano esligiyle birlikte sunulmustur. Hazirlanan solfej parcalari piyano esligiyle birlikte 5 ogrenciyle okunarak ses kayitlari yapilmis ve bu kayitlar yapitlarin orijinallerini iceren Cd ile birlikte bu calismaya ek olarak sunulmustur.

Solfege, the notes in a certain systematic order, according to the rhythm and frequency, is an act of musical reading.Nowadays, many solfeggio teaching methods are applied. Moveable do solfege teaching method is one of them.This system is a solfege teaching method using all the melodies that have the tonal structures, the sounds of do major and la minor sequences. In traditional Turkish Art Music solfege applications, there is no systematic method of teaching. Although many of these applications are the same as the names of note, frequencies are different. In this regard, there is a method similarity between the method of movable do solfege and the solfege studies of Traditional Turkish Art Music In the study, various aspects of this relationship have been determined.
Key Words : Solfege, Movable do Solfege Method, The Traditional Turkish Art Music, Solfege studies of The Traditional Turkish Art Music

Resumo
Esta Tese procura elucidar o impacto local e internacional do “Muzico e Moderno Systema para Solfejar sem Confuzão”, método escrito em 1776 por Luís Álvares Pinto, músico pernambucano do século XVIII. A importância do método não se encontra somente no fato de este ser um texto brasileiro ainda não estudado, mas especialmente em seu conteúdo, que de acordo com pesquisas recentes, é o primeiro tratado em língua portuguesa a defender a prática um novo sistema de solfejo, baseado no heptacorde, também conhecido como “solfejo francês”. A primeira descrição conhecida do solfejo heptacordal francês, por um teórico luso-brasileiro, está presente na “Escola de Canto de Órgão” escrita pelo Padre Caetano de Melo de Jesus em 1759, sendo que o mesmo advoga pela manutenção do sistema hexacordal aretino. Apenas dois anos após, em 1761, Álvares Pinto defende o sistema francês em sua “Arte de Solfejar”, primeiro método escrito pelo músico pernambucano e localizado na Biblioteca Nacional de Portugal. Foi somente em 1778 que o solfejo francês foi mencionado por um teórico português, no tratado “O Eclesiástico Instruído“ de Frei Bernardo da Conceição. O “Muzico e Moderno Systema” representa uma revisão ampliada do conteúdo da breve “Arte de Solfejar”, descrevendo o seu método a partir de Observações amplas e complexas, fundamentadas em autores dos séculos XVII e XVIII, especialmente Sebastien de Brossard. No decorrer desta pesquisa iremos analisar o método do “Muzico e Moderno Systema”, relacionando seu conteúdo com a teoria luso-brasileira da segunda metade do século XVIII e com os teóricos citados por Álvares Pinto. A divisão didática dos exemplos musicais, presentes ao fim de seu método, será estudada com o objetivo de demonstrar o sistema proposto por Álvares Pinto na sua prática, incluindo os “Divertimentos Harmônicos”, pequenos motetos polifônicos a três e quatro vozes.


This thesis aims at elucidating the local and international impact of “Muzico e Moderno Systema para Solfejar sem Confuzão”, method written in 1776 by Luís Álvares Pinto, a eighteenth century musician born in Pernambuco, Brazil. The importance of this method is not only the fact that it remains practically unstudied, but especially in its content, which according to recent researches, is the first theoretical music text to defend the practice of a new solmization system, based on the heptachord, also known as French solmization. The first known description of the French heptachordal solmization, by a Portuguese-Brazilian theorist was found in “Escola de Canto de Órgão”, written by the Brazilian priest Caetano de Mello de Jesus, in 1759, although he still supports maintaining the hexachordal system of Guido of Arezzo. Only two years later, in 1761, Álvares Pinto defends the French system in the “Arte de Sofejar”, first method written by the Brazilian musician and located in the Portuguese National Library. It eas only in 1778 that this French solmization was first mentioned by a Portuguese music theorist, in the treatise “O Eclesiástico Instruído” by Friar Bernardo da Conceição. The “Muzico e Moderno Systema” is a expanded revision of the content present in the brief method “Arte de Solfejar”, describing its system with large and complex Observations, based on authors of the seventeenth and eighteenth centuries, especially Sebastien de Brossard. During this research we will examine Álvares Pinto’s method, looking for its relation with others eighteenth century Portuguese-Brazilian authors, and naturally the ones mentioned by Álvares Pinto in the “Muzico e Moderno Systema”. The didactic order of the musical examples, present at the end of the method, will be studied in order to demonstrate how the system proposed by Álvares Pinto works in practice, including the “Divertimentos Harmônicos”, five small polyphonic motets for three and four voices.