Differences in the Sight-Reading Teaching Methods of Malaysian and American Piano Teachers for Intermediate Piano Students

Differences in the Sight-Reading Teaching Methods of Malaysian and American Piano Teachers for Intermediate Piano Students

Avelleen Kate Albin¹, Chong Yew Yoong^2*

¹Irama Darling Music School

²Universiti Teknologi MARA

^*Corresponding Author

DOI: https://dx.doi.org/10.47772/IJRISS.2025.909000100

Received: 25 August 2025; Accepted: 04 September 2025; Published: 30 September 2025

ABSTRACT

The sight-reading teaching methods of Malaysian and American piano teachers towards intermediate piano student are diverse. This paper looks at case studies of teachers from Malaysia and America and discusses the various ways on how to help intermediate piano students develop their sightreading skills. While there has been articles and research papers dealing with sight-reading as a whole, there has not been much research specifically dealing with the sight-reading pedagogy in Malaysia and America. Intermediate music students, specifically teenage school students are chosen in this research as recipients of the sight-reading curriculum conducted by piano teachers between Malaysia and America. The objective of this study is to look at case studies to differentiate between the methods of teaching sight-reading by piano teachers in Malaysia and in America. Additionally, this study strives to investigate the importance of sight-reading and identify the solutions and difficulties faced by the intermediate piano students in Malaysia and in America. The researcher will highlight sight-reading skills among intermediate piano students in Malaysia and America, a pianist’s perception of sight-reading, sight-reading problems faced by intermediate piano students, sight reading development, techniques of improving sight-reading and recommended books available on the market. Conversely, the researcher utilizes the use of qualitative research methodology to gather secondary data such as collecting information’s from journals, articles and documentaries from books and official online library websites. The results of the study show some different styles of teaching sight-reading for the piano and provides some educational information for piano teachers. Methods such as the Yamaha, Suzuki, Dalcroze, Orff and Kodaly methods are discussed.

Keywords: Sight-reading, piano pedagogy, intermediate students, Yamaha, Dalcroze

INTRODUCTION

Introduction and Overview of the study

Sight reading has been one of the objectives of music programs in music schools since the beginning of the nineteenth century. On a side note, during the colonial era, singing schools were established to improve students’ singing and sight-reading as an effort of enhancing the congregational singing at worship services. (Davenport. 1992). Piano teachers play a significant role in providing their piano music students with the skill they need in sight-reading. According to Putra & Astuti (2019), “sightreading skill is the skill of reading music notation directly.” Sight-reading has been considered to be a prerequisite skill and outstanding ability especially among child performers (Lehmann, 2015). In addition to that, Lehmann (2015) also mentioned sight-reading as an activity where the musician is confronted with unfamiliar music and has to play through it at first sight, imitating as convincingly as possible, a rehearse performance with regard to tempo and expression. Sight-reading at present has become one of the most important skills needed for an instrumentalist especially in the performance level. However, the development of sight reading in Malaysian piano students is lacking compared to students in countries abroad. Therefore, this research aims to describe the difference in the teaching method of Malaysian piano teachers and American piano teachers for intermediate piano students.  

Problem statement  

The music teaching method between Malaysia and American music teachers towards piano music students in the intermediate level, varies. However, the level of sight-reading may be similar for both Malaysian and American students.

Of course, not everyone may have the same activity for sight-reading in mind. Different levels are amended to the curriculum in different countries. This may be due to different educational policies and development. Malaysia is a developing country; thus, music is very less exposed among Malaysian people as it is not considered an educational priority whereas in America, people are more exposed through music not only in schools but even in religious denominations. From the article “Examining creativity in teacher training: Perspectives from music education” written by McMillan (2012), the author states in Malaysia, some students learn individually (private lessons) whereas music in schools are only provided as a curricular study where all instruments such as the keyboard is taught. The main issue is the teachers who teach music are given other subjects to teach the children. Therefore, music education has not been seen as a priority by the parents or the Malaysian government. It can be seen that the number of intermediate piano students in secondary school with sight-reading skills in Malaysia’s curriculum is moderate compared to the intermediate piano students in America because students in America may be more exposed to different musical aspects in their life such as taking part in choir, singing to different music notation simultaneously. On the other hand, Malaysian students may be exposed in listening to pop music but not to music notation or score reading.  Based on technicality, the main problem faced by intermediate piano students is the inconsistency and inaccuracy of playing of the right and left hand (Cassidy, 2000) and musicality of the piece. (Parncutt & McPherson, 2002). On top of that, Fourie (2009) also mentions about is the complexity of the piano sight-reading process.

The problems that intermediate piano students face is dealt by 5 variables which are taken into consideration. The variables are as follows: The number of teaching years’ experience of the piano teachers;  music theory classes that were attended; the class level; and the area of major. The method that was used in the previous studies was the vertical and ensemble approach to sightreading. In conclusion, sight-reading has been significantly proportional to the area of duration with the instrumentalists having the highest mean gain. (Micheletti,1980) The researcher hopes that this comparative study will provide more useful information and  be beneficial to other individuals looking for future references.  

Research Objectives 

The objectives of the study are :

1. To differentiate the music teaching techniques of sight-reading by piano teachers in Malaysia and America.
2. To investigate the importance of sight-reading and identify the solutions and difficulties faced by the intermediate students in Malaysia and in America.

Research Question 

This study relates to a few questions that will be answered throughout this research paper. Questions that are as stated below :

1. What kind of music teaching strategies do piano music teachers in Malaysia and in America use in sight reading?
2. What is the difference between the piano sight-reading teaching strategies by piano teachers in Malaysia and in America?
3. What are the problems faced by piano students in the intermediate level in sight-reading from the teacher’s perspective?

Scope of the study

This study focuses on the different methods of teaching sight reading between Malaysian piano teachers and American piano teachers. The purpose of this research is to identify the differences in the teaching environment of music teachers in different countries as well as to identify solutions and difficulties faced by intermediate piano students. This study is however  limited to only two countries – Malaysia and America. The criteria level involved is only among piano teachers and intermediate piano students aged from 13 to 17 years old. Teachers are selected based on the criterion of being at least 25-60 years old and having 2-3 years or more of teaching experience. Other than learning about the music learning/teaching environment in both countries, this research will focus more on the teaching method for  advancing sight-reading skills in the intermediate level.

Significance of the study 

The researcher believes that this study will be beneficial to the following groups of people:

The Music Teachers: As teachers who want the best for their students, self-assurance is established as students are given effective education and sight reading improves. There is no denying that cultures in different countries may affect how students learn sight reading as a skill, but they will be more aware of its benefits and accept them. The quality of teaching may improve among the teachers by providing better quality lessons with the use of these strategies.

Students and learners: Any improvement in music technical skills can pave the way for producing better learning and discipline in students. Students will learn and gain better understanding in managing their own personal development.

Institutions: Insights gained in this study are beneficial to institutions through awareness of appropriate measures and skills to aid teachers in teaching efficiently and effectively.   

Study Limitations

Due to the nature of the research questions and the limited use of alternatives research tools, this research was based on largely qualitative research methods. The survey conducted in this research did not yield statistically significant results. Rather it was largely based on secondary data where the researcher relied for information provided by journals, articles and documentaries concerning the topic.

This research is also rather time-consuming as it takes up a lot of time to collect data since  information regarding the topic; The difference in the teaching method of  Malaysian and American teachers for piano students; is rather limited.

On top of that, this research may lead to inaccuracy as the data provided may be outdated by more than 5 or 10 years.              

LITERATURE REVIEW

Introduction

Sight-reading is a skill that is common to all music centres around the world, and it is commonly used in primary, secondary and university subject syllabuses. In this research, music sight-reading in the intermediate level is highlighted in Malaysia and in America. According to Abdullah (2021), it is said that most Malaysian music educators are strongly influenced by the legacy brought by the British but now it has slowly changed due to many Music Educators are mostly trained in America to have more knowledge and better understanding in music education processes. Chapter 2 will give a clearer and better understanding about sight-reading skill among intermediate piano students in Malaysia and America, pianist perception of sight-reading, sight-reading problems faced by intermediate piano students, sight-reading development, and  techniques for improving sight-reading skill.

Sight-reading skill among intermediate piano students in Malaysia and America

“Skill” is an ability or a talent in doing something in the form of verbal action, requires coordination of muscle movements. (Putra & Astuti, 2020). A few ways to prepare for sight-reading are preparatory exercise and simple phrases exercise. (Kuo, 2014).  It is also mentioned that optimal performance requires replaced concentration which is incompatible with experience certain emotions. (Juslin , 2009).

According to an article in by Espeland (2003) entitled “Music Curricular in Malaysia”, the music syllabus teaches how it affects people, physically, mentally, and emotionally and has different functions with different meanings. The music curriculum set in Malaysia was established back in

1972 and was introduced as an elective subject for Lower Certificate of Education and the Malaysian Certificate of Education examinations, which is very important for public examinations taken by all Malaysian students throughout their 11 years old schooling. Thus, because of this, job opportunities as a music teacher were open to educate the children and to be implemented as given by the government. The content for music classes is prepared, distributed, and regulated by the Ministry of Education to the music teachers in the form of sequential lessons recorded on cassette tapes with accompanying textbooks and work sheets. In 1988, teachers were then being exposed to an interesting approach through music with the Kodaly method and Orff. Since many Malaysia was conquered by the British era back then, the legacy teaching of British was still incorporated.

Therefore, some music teachers find more exposure. But the only difference between Malaysia and

England is, Malaysia learns most of their traditional music and other cultural fare that is present in Kuala Lumpur and elsewhere whereas England focuses more to workshops and the center or source of the development of music through technicality. (Abdullah. 2021).

Sight-reading development based on the piano teacher’s perception 

It is said that “sight reading provides the music teacher with a broad range of benefits leading the professional development and a good reputation among the students.” (Adamyan. 2020). One of the benefits is, learning to sight-read helps students or teachers to develop quick recognition of keys and tonality, rhythm, and common patterns of beats. It also helps the student to learn to keep going even when they make mistakes, and work music out for themselves, which makes learning new pieces quicker and easier.  

Based on an article entitled “Preview, perception and motor skill in piano sight-reading”, an experiment was conducted based on the piano teacher’s perception between skilled readers and less skilled readers in an overall performance. Both participants demonstrated similar, limited tempo responses to the responses to structural distinction in experimental materials. The end result confirmed that those who have the skill of sight-reading are faster and better in their performance.

On the other hand, based on terms of motor skills, participants who have better sight-reading are better at unrehearsed output and non- visually monitored performance  compared to those who lack the skill. (Evans, 2008)

Sight-reading problems face by intermediate piano students in Malaysia and in America According to Cassidy (2000), “the right hand was more accurate and consistent than was the left hand, made less improvement on all tasks, and was slightly more accurate on the harmonization tasks than the sight-reading tasks. The left hand made noticeable gain in accuracy on all tasks and was more accurate on the easier tasks than on the more difficult ones.”

It is also said that the major main reason for the problem is the complexity of the piano sight-reading process. (Fourie. 2009). When a student must sight-read the piece for the first time and is unfamiliar, they are not able to recognize easily as it is written lyric on a piece. Therefore, the pianist or piano student will have a difficult time to play or slower to read the notes written in the score.  Common problems faced by students are pitches, articulations, dynamics, expression, and rhythms. (Lehmann & McArthur. 2002.)

Sight-reading development 

This section talks more about the development techniques in sight-reading by the intermediate piano secondary schools. Based on Kuo (2012) “students who develop better sight-reading skills will learn new music faster, improve accuracy on the instrument, and increase their level of self-confidence.” Being able to sight-read is a valuable skill because it enables the students to explore new pieces with increased confidence. Good sight-reading skills offer the satisfaction of independent musical discovery, as notation on the page is more readily transformed into sound.

According to an article “Music Curricular in Malaysia”, Music subject is an important part of people that affects the mind and soul that can influence in the development of a person’s identity.

The knowledge we get from music increases the opportunity for other individuals to participate in a variety of cultural social life. (Espeland. 2003)

Other than that, according to Evans (2008), sight-reading is said to be a complex combination of skills and many other studies has been proven that having this skill results in significant variation in performance and those with less skilled readers will overcome many limiting skill developments.

Techniques for improving sight-reading

Experienced piano teachers are an eye opener for students to do better in the future. The lack of techniques in sight-reading is a disadvantage at any performance level, especially in the University level. According to Kuo (2012), “sight-reading has a lot to do with the body movement, kinesthetic sense, music pattern recognition, sight-reading strategies in different level, and music resources for instructors.” Sight – reading should not be a burden but should be fun. The motivation in one’s mind should drive the student to keep on going and eventually will find themselves ahead from where they started. Other than that, learning the piano should have a more enjoyable teaching environment rather than focusing on every note.

In addition, having students with good sight-reading skills helps them improve their professional musicianship. Based on Kuo (2014), some simple techniques that can be applied is chanting, identifying intervals and melodic contour, writing and keyboard reminding. Thus, students need to work with an experienced music teacher, and they are also required to practice different levels of pieces. On top of that, students are also trained in the mechanics of note and rhythm reading to help them keep in the original tempo. (Anderson, 1995).        

RESEARCH METHODOLOGY

Figure 3.1.1 Conceptual framework of the study

Methodology

Secondary Data 

For this study, the researcher utilizes the use of qualitative research methodology to gather secondary data to develop the comprehension of the findings from the researcher’s observation. Qualitative research is a research method that explores and understands the meaning that some individuals or groups of people think comes from social or human problems (Creswell, 2013). Qualitative research provides a complete description and analysis of the subject to the research subject, without limiting the scope of the research and the nature of the participant’s response (Collins & Hussey, 2003). Furthermore, this study gathers richer information from the ssecondary data which also includes journals, articles, and documentary from official online library websites.

Journals and Articles.

Findings or information from journals and articles is also used by the researcher to garner more information about the research topic especially about strategies in sightreading, problems face by students in sight-reading and latest studies about development of music in different countries.

Documentary recordings

Documentary recording YouTube videos of the background history and music learning in Malaysia and America is also one of the sources used by the researcher to complete this study.

Research Design

The study used is a qualitative case study where researchers could use techniques to explore in their own contexts. According to (Cherry, 2021) a case study is “an in-depth study of one person, group, or event.” An intensive analysis of an individual unit of a person or community. Through this process, the researchers were able to have an in-depth investigation about a particular situation, specifically about the difference of music teaching by piano teachers between intermediate level students in Malaysia and in America.

Sampling 

Sampling was not selected for this study. Instead, it uses secondary data such as collecting information from journals, articles and documentaries from books and official online library websites.

Data Collection

Secondary data. Researcher uses a qualitative data that includes research and readings through publications, official websites, books, and journal articles to get a better understanding and deeper information’s about the music curriculum in music schools in Malaysia and America.

A data analysis was also conducted through documentaries about the music teaching and learning environment in music schools between Malaysia and America. After gathering the data, the researcher will collect and organize the information that is relevant to the study to be used and come up with a conclusion.  As there were no face-to-face interviews conducted, the data collection follows internationally-approved ethics methodology. There were no conflicts of interest in the data collection.

Lastly, the researcher uses online access of google scholar and UiTM Library to find more supporting articles to strengthen the idea and facts given in this research paper.

Data Analysis 

All case information were gathered to analyse the collection of data. The researcher organized the data systematically so all recorded information can be retrieved and interpreted easily. The collection of the records for this study included all important information that was used in the case study. Data acquired from other journals and articles were compiled respectively with correct citations so all odds which would lead to confusion for readers would be prevented. The data collection that will be given though secondary data will be analysed and carefully interpreted to avoid overlaps and repetitions for the result of this study. 

A recording of questionnaires was recorded based on the investigation of the music preparation of elementary teachers. The research involves senior and individual test of sight-reading ability to each of the prospective elementary teachers. The results show that 68% completed the questionnaires and took the sight-reading test. In the questionnaire results, it shows that the average amount of training these seniors received is 4 hours and 2 hours to music for personal culture. On the other hand, questionnaires were also distributed to teachers teaching music in college, involves their experience and response with music syllabus in school. The results show that 58% enjoy teaching music in primary school and 37% indicated that they would enjoy teaching in intermediate grades. Music was then chosen for an elective but only a few students chose this elective because the average teachers in the institute have little musical background. (Francis. 1995)

On top of that, sight-reading was also implemented in the school to have a better understanding of playing and reading the score better. An investigation was carried out about the sight-reading skill within elementary students in Europe and it turns out that students have problems in rhythmic and pitch problems which were common to over 300 hymns (Boston University, thesis.

1949) The results show that 49% of the students were considered able to sight-read hymn tunes. Therefore, constant evaluation is needed for the music training program to achieve graduating students of the program of music preparation for the elementary teaching level. (Francis. 1995)

Research plan 

One of the most important aspects of producing a reputable and trustworthy study is ensuring the data integrity of the study. In fact, offering an exact and suitable interpretation of study data will result in precise and reliable research. This section deliberated the considerations that the researchers must remember and take into account. The study required collaboration with the participants; hence ethical reflections are very important to make the study transparent and truthful in terms of the participants’ responses. According to Chetty (2016), ethical considerations form a major element in research. The researcher needs to adhere to promote the aims of the research imparting authentic knowledge, truth, and prevention of error. Furthermore, following ethics enables scholars to deal collaborative approach towards their study with the assistance of their peers, mentors, and other contributors to the study.

The literature indicates that the boundaries of the relationship can become blurred as the research progresses and role confusion can lead to ethical concerns during the investigations (Speziale & Carpenter 2007). To avoid this, the researchers followed the set of ethical standards to ensure the participants’ well-being. Firstly is, scrupulousness and pellucidity. the information through reading from journals and articles will be dealt with total honesty and transparency. Thus, plagiarism of the findings or the result will be greatly avoided.

In conclusion, Michael (2021) argued that the concept of human rights refers to minimum standards for the way’s persons can expect to be treated by others, the concept of ethics refers to customary standards for the way’s persons should treat others. In other words, the researchers will be mindful of the ethical implications when managing the relationships that develop through the research. Nevertheless, the researcher will adhere to the promotion of the goals of the study with knowledge, truth, and avoidance of error.

DATA ANALYSIS AND FINDINGS

General overview

Sight-reading is a skill obtain be oneself to enhance in their technique in reading notes on the score fluently. Students in the beginner or advance level face the same problem but in different levels. For example, in the beginner level of children and adult, it would be hard for this level to catch up notes quickly with the correct rhythm as they just started their learning the notes. Unlike adult beginners, it would be faster for them to analyse notes better compare to the little ones but not in terms of rhythm. For children, they take time to get used with the notes, in time and with focus, the little ones can coop up with their way of reading notes. For intermediate students, their main problem would be rhythm and musicality. At this point, students can analyse notes faster but focusing so much on the notes has their way of losing their sense of rhythm and in a way that they forgot to enjoy the music. On the other hand, advance students have very good sense in notes and rhythm. The only difficult problem for them is the level of piece given to match their level.

Analysing the score before playing would be a faster way to do before playing the piece directly. There are a few methods that would help students, especially intermediate students, to improve their sight-reading skills. One of the methods to help intermediate piano students improve in their sight reading is by using these landmarks. When students are in their fixed positions, it will make it easier for them to play each piece, because as long as they stay in a certain position, they can play all the notes of the tunes. (Polly Carder. 1972) Reading finger numbers and playing within the fixed positions are much easier than trying to recognize notes on the staff and travel from note to note. However, relying too much on the use of fixed positions may cause students to avoid reading.

Instead, they rely on finger numbers.

Malaysian piano teacher’s perspective  

Since this research is limited secondary data and no interviews was conducted, the researcher conducts an observation through YouTube for more information regarding this subtopic. According to Jazer Lee (2023), a piano teacher, one of the problems faced by students in sight reading is the tendency to look at the hand fingerings more often compared to looking at the score. He mentioned that this action is time consuming. Other than that, he also states a few tips that would help the students sight – read the notes on the piano faster.

1. Feel the notes on the keys (3 black keys and 2 black keys)
2. Keep fingers close to the piano
3. Practice at a speed where students are able to strike the note 99% correctly
4. Scan ahead – Look through the whole thing
5. Focus on Patterns and structures

American piano teacher’s perspective

In America, students face a similar problem in sight-reading or reading scores directly.  According to Rob Laney (2022), a music instructor from Weaterland College, one of the few problems faced by piano students when sight-reading is, students are afraid of doing sight-reading. Other than that, students get panicked every time whenever they encounter a wrong note, incorrect rhythm and etcetera. In addition to that, students tend to overthink when doing the rhythm, pitch, and style at the same time. Furthermore, Laney (2022) also explained about how to overcome those problems. There are the few solutions given by the music instructor.

1. Plan ahead – think about the notes to come ; think where you are going to end at.
2. Don’t stop, keep going – always keep the rhythm going ; Pay attention to Rhythm, Pitch & Style (One at a time)
3. Look at the score for 5-1 seconds/ 8-4 measures and try again.
4. Be Disciplined

Summarization of methods and strategies used by piano teachers in Malaysia to help piano intermediate students in their piano sight-reading skills. 

Overview of methods and strategies for piano students in piano sight-reading 

There are many techniques or methods that are used in helping music students do better in their sight-reading skills.  Regardless of what instrument they use, there will always be a method for students to understand better in playing or singing their instrument well whether it’s on an exam day or accompanying a choir, singer, or instrumentalist. The researcher believes that developing this sight-reading skill will help one student get better in their playing and learn their song or piece faster. In Malaysia, there are 2 common methods that are frequently used in learning music which leads to the development of sight-reading as well.

Suzuki method

 The Suzuki teaching method was originally designed for teaching the piano to young children. It is a method for teaching young beginners to play instruments, and it emphasized listening, rote learning, and parental involvement. (K.Y. 2022).

In piano classes for piano students, teachers often encourage students to practice playing and to try and understand basic music theory (Roberson, 1987; Udtaisuk, 2005). This involves the reading notation (Thompson, 1936) and engaging of finger exercises (Couperin, 1717; Czerny & Bis`hop, 1848; Hanon, 1986).

The researcher believes that high-quality piano playing requires both physical and mental coordination. Many theories and teaching methods have addressed this issue, such as the sensorymotor approach to music learning that was developed by (Madeleine Carabo-Cone, 1969). As how the children are able to engage better in music, they need to understand that the music does not put students under stress, but it should be a fun and engaging activity.  To reduce the psychological stress on beginners and ensure they maintain their interest, beginners should be encouraged to develop their playing through attentive listening (Menghini, 2018). Furthermore, the Suzuki method aims to cultivate a general interest in performance and the aesthetic skills associated with music (Suzuki & Li, 2004). Therefore, teachers should use musical games with specific learning objectives to enable beginners to master the fundamentals of music through touch.  In a way, the teacher’s job is an important role to keep the momentum going for the children. Teachers should try to cultivate a positive attitude in their students (Keith, 2009); (6) students should gain experience by playing before learning to read musical notation (Henke, 2021; Eubanks, 2015)

Nowadays, international researchers are proposing the Suzuki teaching method as a way of teaching the piano to adult learners (Peak, 1998; Rivera, 2021; Robinson, 2014). The term “Suzuki method” refers to approaches to teaching piano derived from the Suzuki method. Whereas the term “conventional method” refers to the teaching method that prioritizes learning musical notation before playing. In terms of sight-reading, the pianists will have more spontaneity.

Yamaha method

The Yamaha piano course is a private lesson program that caters for beginner to advanced students of all ages.  Children are taught by highly qualified and passionate teachers and is provided with a curriculum that has been designed and developed by the Yamaha Music Foundation Japan which now, is taught to thousands of students throughout the world. One of the topics they learn includes sight-reading.

Yamaha provides a conducive place to study where students as young as 4 years old can learn the piano. This is because the Yamaha method, they do lots of group classes or lessons compare to individual lessons with the teacher. Therefore, skills like aural and sight-reading are quickly developed compared to students who learn individually with their piano teacher.

Summarization of methods and strategies used by piano teachers in America to help piano intermediate students in their piano sight-reading skills.

Introduction

Unlike Malaysia, American music or piano teachers uses different methods to help students in their sight-reading. In this research, the researcher finds three methods that could help the students improve their sight-reading skill which is reading music notation directly (Putra & Astuti, 2019).

Sight-reading in Dalcroze method

The word Dalcroze originated from a person named Emile Jaques-Dalcroze. This method involves three areas of study : solfege, aimed at developing an acute ear for sound: improvisation, for developing the capacity for free invention; and Eurhythmics. The main point is to give students a feeling for musical rhythm by means of bodily movement (Landis & Carder, 1990).

JaquesDalcroze (2014), who developed Eurhythmics, has also stated that rhythm is essential for understanding music. Jaques-Dalcroze’s model encourages students to gain an understanding of rhythm and tempo by listening to music (Tabuena, 2021). The primary goal of Eurhythmics was to strengthen students’ auditory skills to allow them to synthesize music and internalize their understanding (Findlay, 1995).  These are a few learning activities that the students will learn when doing the Dalcroze method :

1. Rhythmic movement
2. Solfege

• Improvisation

1. Eurythmics in Special Education

Sight-reading in Kodaly method

This method is inspired by Zoltan Kodaly. The main concepts that are applied into the Kodaly method are the rhythmic and melodic, key signatures, meter signatures, and other theoretical symbols. This method is more to singing, recognizing the keys using solfege so students are able to identify the key and rhythm by chanting to experience the pulse. (Carder, 1972). One of the recommended books in learning Kodaly method in piano note reading is by using Pianoforte method book piano. This book includes full of engaging and fun songs and exercises that students enjoy. It also consists Intervallic and aural approach to reading music using the ‘Moveable Do Solfa’ and Kodaly principles. Next, this book also helps in the development of piano technique using the ear to create sound on the piano, learns scales and teaches fingerings, the Circle of Fifths and how to read in each key signature. The researcher believes that with constant practice using this method book will encourage the students to develop in their sight-reading skills. According to Zukouvv (2012).

“Training does develop various aspects of sight-reading and the additional sight-reading activities enhance post-test performance.”

Sight-reading in Orff method

Orff comes from the name Carl Orff. The Orff-Schulwerk Approach suggests that rhythm is the most important skill when it comes to learning a musical instrument (Shamrock, 1986). This method helps with the musicality of the children when learning music. In terms of sight-reading, the researcher believes that this method will help students treat music as a basic language and believes that every child learns by a gentle and friendly approach. Therefore, teachers should encourage beginners to learn music through rhythm.   

CONCLUSION

The differences in the teaching method of sight-reading by piano teachers in Malaysia and America is avery interesting topic to study as it provides pedagogy methods with a chance for not only teachers but students to learn various types of methods to improve sight reading. Additionally, studying and analysing this topic can help us to identify the mistakes easily done by students and pick which method is suitable for our students or ourselves in sight-reading regardless of what level we are in.

The researcher believes that every teacher has their own way of teaching this skill. This paper shared some insights and ideas that will be helpful in terms of teaching piano sight-reading skills.  Each music teacher’s style is varied from the other and some methods might foreshadow the other teachers or future teachers. To prepare a piano student’s preparation for exam, the students need to focus and analyse based on the time signature, key signature, tempo, and hand position they need to be at on the piano keys.

As the researcher demonstrated the methods used by piano teachers in Malaysia and America, this study will be helpful to music teachers specifically piano teachers and piano students with knowledge of teaching as well as analytic learning. Nonetheless more research should be done to explore various teaching methods, especially where the students and teachers are living in a more advanced technological era. The researcher believes that more articles or journals about sight reading should be published for students and teachers to read, observe, and experiment new ways of dealing with sight reading problems faced by piano students.            

REFERENCES

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9. Davenport, L. G. (1992). American instruction in Sight-Singing: Then and Now. The Bulletin Of Historical Research in Music Education, 13(2), 90-111. doi : https://www.jstor.org/stable/40212686
10. David Evans. 2008. Preview, Perception and Motor Skill in Piano Sight-reading. Doi : https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.489658
11. Ella Fourie. 2009. “The processing of music notation: some implications for piano sight-reading.” Doi : https://www.tandfonline.com/doi/abs/12989/18121000409486685
12. Gerber, C. L. (2008). Ear training and music reading methods used by Philip C. Hayden: Music literacy through rhythm forms (Order No. 3361167). Available from ProQuest Dissertations & Theses Global. (304528793). https://ezaccess.library.uitm.edu.my/login?qurl=https%3 A% 2F%2Fwww. proquest.com%2Fdis sertations–theses%2Fear–training–music–reading–methods–used–philipc%2 Fdocview%2F304528793%2Fse–2%3Faccountid%3D42518
13. HAYASE, T. (2006). A COMPARISON OF AKIRA MIYOSHI’S MIYOSHI PIANO METHOD WITH NANCY AND RANDALL FABER’S PIANO ADVENTURES BASED ON ROYAL AMERICAN CONSERVATORY EXAMINATION (RACE) [Doctoral dissertation, University of Cincinnati]. OhioLINK Electronic        Theses             and      Dissertations   http://rave.ohiolink.edu/etdc/view?acc_num=ucin1156562709
14. Houghton, S. I. (2018). Finding the Right Note: The Strategy Use of Eighth Grade Choral Students During Vocal Sight-Reading (Order No. 10823549). Available from ProQuest Dissertations & Theses Global. (2077069090). https://ezaccess.library.uitm.edu.my/login?qurl=https%3 A%2F%2F www. proquest.com%2Fdis sertations–theses%2Ffinding–right–note–strategy–use–eighthgrade%2Fdocview%2 F2077069090 %2Fse–2%3Faccountid%3D42518
15. Hughes, R. F., Jr. (2020). Relationships between the Rhythm Sight-Reading Strategies and Sensory Learning Styles of Florida All-State Musicians: A Verbal Protocol Analysis (Order No. 27667058). Available from ProQuest Dissertations & Theses Global. (2336362353). https://ezaccess.library.uitm.edu.my/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fdis sertations–theses%2Frelationships–between–rhythm–sightreading%2Fdocview%2F2336362353%2Fse–2%3Faccountid%3D42518
16. Jan McMillan. 2012. “Examining creativity in teacher training: Perspectives from music education.” Doi : https://ejournal.upsi.edu.my/index.php/JRPPTTE/article/view/143/96
17. Johami Abdullah. 2021. Music Education in Malaysia: An Overview. Sight reading curriculum in Malaysia. Doi : https://opencommons.uconn.edu/cgi/viewcontent.cgi?article=1645&context=vrme
18. Kuo, Ming Hui. 2012. “Strategies and methods for improving sight-reading.” Theses and Dissertations – Music. Doi : https://uknowledge.uky.edu/music_etds/6
19. Kuo, Yu Fan. 2014. “A Content Analysis of Piano Functional Skills in Faber’s Piano Adventure Basic Method.” Doi : https://openaccess.library.uitm.edu.my/Record/ndltd–TW102NTNT0247001
20. Lars-Olov Lundqvist, Fredrik Carlsson & Per Hilmersson & Patrick N. Juslin. 2009. “Emotional responses to music : Experience, expression, physiology.” Doi : file:///C:/Users/user/ Downloads/Emotionalresponsestomusic_experienceexpressionandphysiolo gyLundqvistetal.2009.pdf
21. Lee, S. (2010). Productive piano practice: A comparative survey of selected Korean and American practice techniques (Order No. 3410634). Available from ProQuest Dissertations & Theses Global. (506309871).https://ezaccess.library.uitm.edu.my/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fdis sertations–theses%2Fproductive–piano–practice–comparativesurvey%2Fdocview%2 F506309871 %2Fse–2%3Faccountid%3D42518
22. Magne Espeland. 2003. Doi : https://www.divaorg/smash/get/diva2:1007445/FULLTEXT01.pdf
23. Micheletti, L. H. 1980. An Assessment of the vertical method and the ensemble approach for teaching sight-reading to secondary class piano students. University of Miami.
24. Parente, T. J. (2011). “Phases of learning” and flow experience as instructional strategies for beginning students of college class piano (Order No. 3492903). Available from ProQuest Dissertations & Theses Global. (919554349). https://ezaccess.library.uitm.edu.my/login? qurl=https%3A %2 F%2Fwww.proquest.com%2Fdis sertations–theses%2Fphases–learning–flow–experience–asinstructional %2Fdocview%2F919554349%2Fse–2%3Faccountid%3D42518
25. Parncutt, R., & McPherson, G. (Eds.). (2002). The science and psychology of music performance: Creative strategies for teaching and learning. Oxford University Press.
26. Polly Carder. (1972). THE ECLECTIC CURRICULUM IN AMERICAN MUSIC EDUCATION. The National Association for Music Education,
27. Putra, Z. A. W., & Astuti, K. S. (2019). Increasing sight-reading ability through implementation of the Super Sight-Reading Secrets programme. In 21st Century Innovation in Music Education (pp. 186-190). Routledge.
28. Steven L. Betts, Jane W. Cassidy. 2000. “Development of harmonization and sight-reading skills among university class piano students.” Doi : https://journals.sagepub.com/doi/abs/10.2307/3345573
29. Thompson, S., & Lehmann, A. C. (2015). SIGHT-READING AND IMPROVISING MUSIC. Musical excellence: Strategies and techniques to enhance performance, 143.
30. Yeom, H. (2015). Melody, Rhythm, and Note Reading in the Suzuki Piano School (Order No. 1588168). Available from ProQuest Dissertations & Theses Global. (1682047712). https://ezaccess. library.uitm. edu.my/login?qurl=https%3A%2F%2Fwww.proquest.com%2Fdissertations–theses%2Fmelody–rhythm–note–reading–i–suzuki–pianoschool%2Fdocview%2 F1682047712 %2Fse–2%3Faccountid %3 D42518