Ear Training

The article describes an approach to the classification of chords in order to develop auditory probabilistic prediction of harmony. The proposed approach is intended for teaching children, starting from primary school age, but also students of various levels of training.
Keywords: harmony, solfeggio, auditory prediction, classification of chords

The Research on Satisfaction of the first-year students toward
the online teaching and learning in Ear Training class of College of Music,
Bansomdejchaopraya Rajabhat University aims to study the satisfaction
of first-year students towards online teaching and learning in Ear Training
class of College of Music, Bansomdejchaopraya Rajabhat University amid
the pandemic of the Coronavirus 2019, to understand the satisfaction in
4 aspects, namely 1) the teacher’s preparation for online teaching and
learning management. Objectives setting, 2) teaching quality and
teaching methods, 3) teaching measurement and evaluation, and 4)
media and programs selection for online teaching.
The results of the research were as follow: The researcher had
studied the satisfaction from a sample group of 91 first-year students
from 2 classes as follows: Ear Training and Ear Training 1. Both have different contents, skills, and learning outcomes for both courses.
According to the research for overall satisfaction toward online teaching
and learning management; it was found that the sample group of 29
students in Ear training class who are the Bachelor of Music students,
majoring in Western music, had the highest level of satisfaction with the
online learning model with an average of 4.51. While another sample
group of 62 students in Ear training class who are the Bachelor of
Education students in the western Music Education program had a high
level of satisfaction with the online learning, with an average of 4.33.

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.

Esta investigación llevada a cabo a lo largo de los dos últimos años analiza los quince programas online más utilizados a nivel mundial. Se han realizado todos y cada uno de los ejercicios que se proponen de la forma en la que se proponen y se han comparado con los que se realizan en una clase presencial de entrenamiento auditivo. Los resultados determinan cuál son sus ventajas y desventajas a la hora de formar un buen oído musical. Las conclusiones definen por qué no pueden ser un sustituto de un profesor especialista aunque si pueden ser un complemento muy útil.

In den Gehörbildungsunterricht an Musikhochschulen wird häufig auch interaktives Musizieren in irgendeiner Form einbezogen. Praktische Fertigkeiten können etwa mit Hilfe von Aufgabentypen wie Blattsingen und Blattspielen, Nachsingen und Nachspielen oder Spielen aus dem Gedächtnis in den Gruppenunterricht einfließen und im Rahmen einer systematischen Hörschulung kultiviert werden. Seit Beginn der Corona-Pandemie wurde der Unterricht zum großen Teil ins Netz verlagert und zumeist in Videokonferenzen erteilt, gelegentlich auch unterstützt durch Web-Tutorials und andere asynchrone E-Learning-Angebote; derartige Unterrichtsformen spielen in der Hochschullehre voraussichtlich auch weiterhin eine Rolle. Dabei stellt sich die Frage, ob und auf welche Weise das interaktive Musizieren, das in der Präsenzlehre bereits etabliert ist, auch im Online-Unterricht realisiert werden kann. Der Text skizziert einige Möglichkeiten, wie das virtuelle Klavierspiel in der digitalen Lehre eingesetzt werden kann – beispielsweise über ein MIDI-Keyboard, geteilten Computerton oder eine kollaborative OnScreen-Klaviatur.

This project investigates the aural and musicianship skills of students enrolled in a Bachelor of Jazz Studies Course, with the ultimate goal of improving their improvisation skills. At the core of the project is the idea that students consolidate their theoretical knowledge and link it with their aural skills when they use their voices in an ensemble, rather than relying on their instrumental skills. Participating students were surveyed to gain insight into their thoughts about the effect that the musicianship skills gained during class had on their improvisation skills. Data has been gathered regarding methods of ear training in current use in various jazz schools in Australia as well as surveying current theories of the importance of ear training in jazz education and the extant modes of delivery. Throughout the project repertoire was arranged especially for each group in accordance with the desired learning outcomes. The final result of the project is a syllabus for conducting the course, which is known as A Cappella Ear Training, including excerpts from the author’s arrangements and instructions for delivering the course content.

Traducción al castellano de este artículo que consiste en:
Hay afirmaciones que por mucho que se utilicen no responden a la realidad. Que no escuches un tipo de música no significa que no entiendas de qué va y que no cantes bien no es lo que determina que no tengas oído musical.

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.

Міністерство освіти і науки України Міністерство культури України Харківський національний університет мистецтв імені І. П. Котляревського Кафедра теорії музики Н. БЕЛІЧЕНКО ЗАВДАННЯ З СОЛЬФЕДЖІО ТА ГАРМОНІЇ СЛУХОВИЙ ТА ГАРМОНІЧНИЙ АНАЛІЗ. ЛАДОВІ ДИКТАНТИ. МЕЛОДІЇ ДЛЯ ГАРМОНІЗАЦІЇ. ВПРАВИ НА ФОРТЕПІАНО Навчальний посібник для студентів виконавсько-музикознавчого факультету вищих навчальних закладів культури і мистецтв ІІІ-IV рівнів акредитації Напрям 0202 «Мистецтво» Спеціальність № 6.

Resumo: Este artigo sintetiza a avaliação de quatro métodos de rítmica utilizados na graduação em música das universidades estaduais de São Paulo, sendo eles: Starer (1969), Hindemith (1988), Hall (2005) e Gramani (2013). Inicialmente, contextualizamos o objeto de pesquisa, apresentando questões mais abrangentes a respeito da disciplina de Percepção Musical. Então, à luz de teorias e experimentos na área da cognição musical, analisamos as formulações dos autores no decorrer de seus métodos, e avaliamos de que forma são trabalhados elementos musicais como pulsação, acento, metro, e o agrupamento de padrões rítmicos. Demonstramos que os métodos se encaixam em um modelo de treinamento auditivo, fornecendo materiais para a prática repetida de solfejo de padrões rítmicos. Podemos concluir que os métodos avaliados não trabalham a percepção rítmica diretamente, pois não levam o aluno a desenvolver os processos perceptivos da forma como eles ocorrem na escuta e prática interpretativa real da música.
Palavras-chave: percepção musical, cognição, ritmo, treinamento auditivo, ensino superior.

Abstract: This paper summarizes the evaluation of four rhythmic methods used in undergraduate music courses from the state universities of São Paulo: Starer (1969), Hindemith (1988), Hall (2005) and Gramani (2013). Initially, we present broader issues regarding the discipline of Ear Training. Then, in the light of theories and experiments in the field of music cognition, we analyze the authors' statements in the course of their methods, and evaluate how musical elements such as beat, accent, meter, and grouping are presented. We show that the methods fit into an ear training model, providing materials for repeated practice of solfege. We can conclude that the evaluated methods do not approach rhythmic perception directly, since they do not lead the student to develop perceptual processes in the way they occur in real listening and music performance.

This paper offers a description and demonstration of the colored representation of the relative music scale as well as computer program for equal 29temperament. The author of this treatise proposes the model of the musical scale, expressing the reciprocal relationship of attraction and repulsion between the degrees of elevation on the musical scale. The model comprises 5, 7 and 12 different notes for every key, identical to the European and a number of Non-European musical systems of pitches; 17 different notes for every key, identical to the Arab-Iranian system; and 22 different notes, identical to the Indian system "sruti." This model, elaborated in all the keys, would give rise to a system of notes that is inordinately complicated. A necessary and sufficient condition for the problem would be a 29-tone temperament. A suitable keyboard is suggested. The nearby sounds are located at intervals of a fifth, a fact that corresponds to the greater proximity of fifth-interval sounds (the slightest interference of sound waves arises in contemporary resonance). As colours near to one another, we mean those that are next to each other in the spectrum. The author represents a spectrum of 12 colours, which should correspond to the chain of 12 fifths. This coloured chain is condensed into chromatic scale. After several years in which children have contact with coloured representations of a musical system (and a special notation board as well), they begin to have relative associations as regards the "coloured" pitch (short video).

Analysis in electroacoustics (Ea) is an aural necessity. We analyse to understand what we hear, but we also need trained ears in order to analyse, because analysis requires detailed content, which in Ea is available mostly in sonic forms (i.e. not in music scores). This interdependence of analysis and ear training has been the basis of Ea aural training courses at Concordia University in Montreal, which I have been developing for the past decade. These courses begin with an atomistic approach, which trains students in breaking aural stimuli into the smallest possible parts (aural atoms) and thus extracting more evidence for analysis from them. Once the students' ears become focused and detailed, the courses proceed with a synergistic analytical approach, aimed at training students to assemble and integrate aural atoms into synergetic structures—perceivable higher-level units that have properties that are different from those of their parts. This structuring process provides additional evidence from higher hierarchical levels of organization. Precision, detail, and organization thus come from a spiralling rigorous practice of ear training and analysis back and forth.

The pattern of acquisition of speech- and music-related skills during early stages of human infancy provides insight into the origins of language and music. Indiscriminate until shortly after birth, babies start gradually developing acoustic features in their vocalizations, as well as accompanying behaviors that make it possible to distinguish their attempts to speak from their attempts to sing. Comparative analysis of tonal organization of children's original (non-imitative) vocalizations in their developmental succession throughout the first 3 years of life casts light on several important acoustic features. These features play an important role in the separation of music from verbal skills and shaping the primordial music system the infant uses to address his/her musical needs.
Much of the existing scholarship commits a fundamental error by interpreting the earliest forms of human speech and music in terms of "adult" state of their mastery, regarding children's communication as a sort of "defective" imitation of adults' models. Moreover, such models are significantly biased towards Western classical music and Indo-European languages, which despite their cultural importance in the modern world, nevertheless, constitute only a small fraction of typology of tonal musical and phonological verbal organization. A much more comprehensive approach towards children's music and speech has been developed by Lev Vygotsky and his circle: Alexander Luria, Aleksei Leontyev, Alexander Zaporozhets, Peter Galperin, as well as Boris Teplov. They and their followers regarded children's speech and music as reflecting a child's own peculiar method of thinking. The Vygotskian approach shares much in common with that of Piaget and the neo-Piagetians, but offers an alternative framework for explanation of the dichotomy between language and music—based on the methodology of intonation theory by Boleslav Yavorsky and Boris Asafyev. This theory was implemented in the state program of obligatory education within all territories of the former USSR; it had passed deep scrutiny throughout many years of administration over a massive population, which resulted in creation of a special discipline of ear development that theoretically and practically dealt with the development of "musical hearing" as distinguished from "verbal hearing" throughout childhood. Unfortunately, much of this literature is unknown to Western developmental specialists. This chapter covers this gap, familiarizing English-speaking scholars with the unique perspective on early musical and verbal development by Soviet and modern Russian ear-training specialists, with special attention to the issue of absolute pitch.
Advances in the methodology of intonational analysis made possible an adequate description and deeper understanding of the principles that govern tonal organization of non-Western types of music—including those that are based on timbre rather than pitch. This approach can be effectively applied to the analysis of both, ethnological and developmental data—to identify the common patterns of ontogenetic and phylogenetic development.

Si la principal característica de la sociedad moderna tardocapitalista es la aceleración (Rosa, 2017;2019), ella es en tanto se acelera la producción y circulación no solamente de bienes de consumo, sino también de certezas. Esta es la matriz que estimula la «cultura 24/7» y lo insomne (Westerkamp, 2015), así como la alienación y los vínculos no resonantes con el mundo (Rosa, 2019). En este sentido, las academias de formación artística, particularmente las instituciones de formación superior en música de la Argentina, por estar insertas en una sociedad moderna tardocapitalista, no escapan a estas características. En particular, las currículas de entrenamiento auditivo, guiando la audición del estudiante a atender y encontrar certezas en lo escuchado, si bien consideran la dimensión sensible de quien escucha, no la incluyen necesariamente en el proceso de enseñanza aprendizaje, causando muchas veces una desconexión entre quien escucha y lo escuchado.
A partir de los aportes de Westerkamp y Rosa, y en diálogo con mi experiencia docente en el campo, este trabajo propone pensar los lineamientos generales de un paradigma sensible para la enseñanza del entrenamiento auditivo. Tal paradigma emplaza en el centro de interés de las actividades al interrogar las condiciones de emergencia, producción, enseñanza y aprendizaje del conocimiento tanto sensible como proposicional puesto en acción al involucrarse con lo sonoro. Se propone pensar una formación no a partir sino «desde y con lo sensible», realizando la descripción de los lineamientos generales, el diseño de un dispositivo didáctico específico para su puesta en acción, y el raconto de dos experiencias realizadas.

Palabras clave: sensibilidad - entrenamiento auditivo - resonancia.

Nesta pesquisa serão investigadas atividades de percepção musical e de treinamento auditivo, focando sua prática e resultados. Estas serão fundamentadas a partir de premissas da psicologia e da cognição musical de modo a refletir sobre as possibilidades de tornarem-se uma prática mais abrangente em relação ao desenvolvimento geral do músico. O material investigado será recolhido de livros de psicologia cognitiva musical e métodos práticos de percepção musical. Será realizado um trabalho de campo onde serão pesquisadas atividades que tenham a finalidade de averiguar a possibilidade de inserção de premissas e propostas da psicologia cognitiva musical no campo da percepção musical, a fim de fornecer material para reflexão de novas formas de abordagem para o estudo e a prática nesta área. Espera-se contribuir, assim, para um desenvolvimento real no entendimento do discurso musical a partir de uma percepção clara, organizada e consciente dos seus elementos musicais.

Contribución a la mesa redonda "La Educación Auditiva, hoy" en el Congreso CEIMUS II.

Contiene una fundamentación y propuesta didáctica sobre análisis auditivo, definido como una actividad pedagógica de grupo guiada por el profesor, en la cual se analiza una obra musical a partir del reconocimiento auditivo de elementos analíticos relevantes, y no de la partitura, cambiando por lo tanto el enfoque tradicional sobre ésta. Esta actividad, integrada dentro de nuestro modelo pedagógico de análisis de partituras, puede servir de fase inicial del análisis o bien sustituir por completo al análisis realizado sobre partituras.

También se aportan datos empíricos sobre esta propuesta que provienen de un estudio realizado a raíz de un curso mongrafico en el Conservatorio de Monopoli (Italia).

Este informe es un resumen de la publicación "Analizar con el oído".

Texto de mi intervención en la Mesa Redonda "Tradición y renovación en la enseñanza musical" en el Congreso CEIMUS III (Barcelona, 2014).
A partir de la evolución del análisis musical (AM) y de su docencia, se plantea la necesidad de una renovación de la materia, basada en 6 parámetros de renovación.
Se establecen dos modelos didácticos diferentes. El primero plantea esta renovación en el marco de la asignatura tradicional de AM, centrada en el análisis de partituras, mientras que el segundo propone un marco pedagógico distinto para un análisis específicamente orientado a la interpretación (AOI).
A partir del primer modelo se desarrolla la propuesta de Análisis Auditivo, mediante el cual es posible, según los datos aportados, mejorar rápidamente el reconocimiento auditivo de elementos analíticamente significativos.
Finalmente se expone el desarrollo dell modelo AOI en el marco de una asignatura específica en el Conservatorio Superior de Música de Canarias.

Мозг оперирует временн ми объектами. Говоря о развитии чувства музыкального ритма у детей, необходимо помнить о том, что нет «музыкального ритма вообще», но есть ритм применительно к той или иной музыкальной культуре. Современный профессионально обученный академический музыкант заблуждается, если думает, что адекватно понимает ритм музыки ренессанса или даже раннего барокко. Тем более за пределами его понимания остаётся ритмическая организация раги, макама или различных африканских музыкальных культур, что, впрочем, очевидно.

Published in:
Proceedings of the International Society for Music Education, 33rd World Conference on Music Education, Baku (Azerbaijan), 15-20 July 2018, pp. 20-26. David Forrest (Ed.). – Published in Australia, 2018 (ISBN 978-0-6481219-3-0), 214 p.


Abstract:
The development of predictive listening abilities in a given music tradition is an important but, a commonly overlooked part of music education. This paper describes a methodology to help students cultivate music understanding by developing their predictive listening abilities. As an example, we will outline how one particular method develops predictive listening abilities by having children amass a tonal vocabulary (that is, learn tonal patterns) from most common patterns to less common, thereby systematically internalizing the statistics of the “language” of classical music, an idea generalizable to other music traditions.

This project investigates the aural and musicianship skills of students enrolled in a Bachelor of Jazz Studies Course, with the ultimate goal of improving their improvisation skills. At the core of the project is the idea that students consolidate their theoretical knowledge and link it with their aural skills when they use their voices in an ensemble, rather than relying on their instrumental skills. Participating students were surveyed to gain insight into their thoughts about the effect that the musicianship skills gained during class had on their improvisation skills. Data has been gathered regarding methods of ear training in current use in various jazz schools in Australia as well as surveying current theories of the importance of ear training in jazz education and the extant modes of delivery. Throughout the project repertoire was arranged especially for each group in accordance with the desired learning outcomes. The final result of the project is a syllabus for conducting t...

The present Dissertation focuses on the didactics of Music Analysis (MA)1, which is studied from different angles. MA developed extraordinarily during the XXth century and stablished itself as an autonomous discipline in higher education. Since the eighties, structuralist and specialzed approaches of traditional methodologies that had been developed up to that point gave way to a great broadening of the field which redefined "musical analysis" as such, and, in the opinions of some scholars, caused a crisis of the subject. New visions and interdisciplinary methodologies were created, as were the systematization of synthesis processes, psychological, semiotic and style analysis, as well as aural and performance-oriented analysis (POA). In any case, this renewal has had more consequences in the research fields as in the pedagogical one.

The aim of this presentation is to integrate two narratological notions in the analysis of electroacoustic musics, not as metaphors, but as accurate ways of describing the listener’s apprehension of an acousmatic work. Those notions are “diegesis” and “focalization”. They follow the definition of narrativity given by Monika Fludernik in Towards a ‘natural’ narratology: “narrativity is therefore a function of narrative texts and centers on experientiality of an anthropomorphic nature”. It isn’t necessary that things happen, or that a story be told. Experientiality in itself builds narrativity. I use the term “agentization” as the perceptual process of defining an anthropomorphic being who experiences.
Studying diverse models for music reception (Kaltenecker, Schaeffer, Delalande, etc.) and space apprehension, I put forward three mains domains, linked to three ways of centering experientiality (“focalizations”): ego-centered, hetero-centered and extero-centered. By cross-referencing those with cognitive models, I distinguish between embodied, ecological and semiotic narrativization processes.
I then focus on ecological narrativization processes with the study of “diegetization” as the construction of a diegesis, a narrative world. The question of referentiality is linked to several typological models and arguments, always putting an emphasis on voice as a special case. Drawing a parallel with Kilpatrick’s adaptation of Bakhtin’s “chronotopes” for music, I propose to set apart a referential/contextual diegesis and an abstract/independent one.

Φίλιππα Γεννήθηκε στην Αθήνα. Αφού από παιδί υπήρξε μέλος της Επαγγελματικής "Παιδικής χορωδίας του Ι. Νούσια" (με δραστηριότητα στην Κρατική Τηλεόραση, ηχογραφήσεις και συμμετοχή σε Όπερες), αποφοίτησε αριστούχος από το Αρσάκειο και σπούδασε ΝΟΜΙΚΑ και ΚΟΙΝΩΝΙΟΛΟΓΙΑ στο Πανεπιστήμιο Αθηνών και στο "Πάντειο Πανεπιστήμιο μετά από κατατακτήριες εξετάσεις ως δεύτερες σπουδές και εισήθχη στο δεύτερο έτος τρίτη σε σειρά επιτυχίας. Μιλά αγγλικά και γαλλικά . Έχει ταξιδέψει πολύ σε όλη την Ευρώπη. Παρέμεινε για σχεδόν ένα χρόνο στην Ολλανδία στο αγγλόφωνο Τμήμα του φημισμένου Πανεπιστημίου της Β.Ολλανδίας "University of Groningen"/Faculty of Law/Erasmus" ως φοιτήτρια της Νομικής στο πλαίσιο του προγράμματος ανταλλαγής φοιτητών «ERASMUS» με υποτροφία από το I.K.Y. Ταυτόχρονα, είχε ήδη μελετήσει Κλασσικό πιάνο και όλα τα θεωρητικά μαθήματα (Αρμονία, Θεωρία και Ιστορία της Μουσικής, σολφέζ, Μορφολογία) και συνέχισε τις σπουδές της στο Κλασσικό -Σύγχρονοjazz τραγούδι και Φωνητικό αυτοσχεδιασμό (Vocal improvisation -scat singing οr "Scatting".

En el presente artículo se expone un estudio cuyo objetivo es detectar y analizar las dificultades que presentan los estudiantes al identificar auditivamente los intervalos armónicos musicales usando su estrategia habitual. Para llevar a cabo esta investigación se ha utilizado una metodología observacional. Una muestra intencionada de 29 alumnos (entre 11 y 15 años de edad) de lenguaje musical de primer curso de grado profesional pertenecientes al Conservatorio de Música de Girona accedieron voluntariamente a ser filmados en sesiones individuales durante la realización de un test auditivo formado por intervalos armónicos de 3m, 3M, 6m y 6M. Ante la presentación de cada uno de ellos, y de acuerdo con el procedimiento común utilizado por los participantes para realizar esta actividad, se formularon varias preguntas orales que requerían, asimismo, de una respuesta hablada y/o cantada. A partir de la observación de tales respuestas se detectó tanto el momento en que se producían los errores como el tipo de los mismos. El conocimiento de aquellos aspectos comúnmente más problemáticos que con frecuencia impiden o dificultan a los estudiantes efectuar con éxito esta tarea nos guió, posteriormente, en la elaboración de una propuesta de innovación didáctica que presentamos al final de este artículo con el nombre de «AIMHI» por sus siglas en inglés (Aural Identification of Musical Harmonic Intervals).

This article showcases a study that aims to detect and analyse the difficulties experienced by students when attempting to aurally identify musical harmonic intervals while using normal strategies. Observational methodology has been used in this investigation. A sample group of 29 music theory students (ranging from 11 to 15) in their first year of a six year professional course at the Music Conservatory of Girona (Spain), volunteered to be individually filmed whilst doing an aural test consisting of the harmonic intervals m3, M3, m6 and M6. Following the presentation of these harmonic intervals to the students and in accordance with the standard procedure used in the execution of this activity, they were asked several oral questions which required a spoken and/or a sung answer. By observing the types of answers they gave, it was possible to detect the exact moment when mistakes were made and the nature of these mistakes. An awareness of those most common and problematic aspects, which often impede or hinder students from being able to successfully carry out this task, has subsequently guided us through the creation of an innovative teaching proposal which we refer to as AIMHI (Aural Identification of Musical Harmonic Intervals) and which we will present at the end of this article.

In this article, Pieter Verstraete focuses on ‘auditory distress’ as a constitutive aspect of listening to the extent that it bears a new perspective on sound experiences in contemporary performance practice. As a departure point, he contends that sound is always distressing, however pleasurable the experience may be. He finds subsequent support for this claim in R. Murray Schafer’s Tuning of the World, and in Roland Barthes and Roland Havas’s chapter “Écoute”, which both appeared in 1977. Despite their different angles and objectives, both texts claim for an understanding of sound as spatially transgressing certain acoustic horizons, hearing thresholds and subjective boundaries, as the ear cannot be closed off at will. Therefore, we have produced psychological and cognitive mechanisms to deal with the continuous intervention of sound. In a rather throw-away remark in his book The Concept of Music (1990), Robin Maconie suggests in a similar vein that the activity of listening and hearing consists of keeping unwanted intensities at bay. Such drastic explanations of the workings of the ear made Hillel Schwartz to conclude in her chapter “The Indefensible Ear: A History” (2003) that the ear’s accumulative susceptibility and its lingering breakdown are the epitomes of our modern hearing culture. As such, our increasingly noisy soundscapes in the theatre and outside call for an awareness of our listening competences.

By bringing together such novel perspectives on sound and by contextualizing the historical validity of these claims, Verstraete maps out a conceptual framework to discuss the performative role of sound in relation to present-day cultures and politics of listening. He discusses the ramifications of this framework by means of a case study: The Wooster Group’s recent music drama interpretation of Francesco Cavalli’s La Didone (2007-2009). In this performance, the musical spaces of Cavalli’s original dramma per musica are complemented by the sound-effects of blips and beeps and disembodied voices from Mario Bava’s science-fiction film Terrore Nello Spazio (aka Planet of the Vampires from 1965). The continuous juxtaposition of these two diegetic worlds and respective narratives creates a schizophonic perspective that urges the listener to create new connections, a new synthesis between the sounds, texts and images in an attempt to ‘perceive it all’: a global or evenly hovering attention. Yet the auditory distress constantly disrupts the evident mechanisms that would compensate the auditory distress. As such, the constant split in looking and listening (acousmatization) stresses the unframeability of sound and the necessity of the spectator to position oneself through her or his modes of listening, constantly shifting the attention. In this way, La Didone highlights the effects of auditory distress, causing awareness for the attitudes and regimes in listening that give salience, coherence, meaning and relative ‘closure’ to our fragmented experiences, ultimately filtered by our auditory imagination as the basis of these mechanisms. This awareness, in turn, gives rise to a mode of relating and positioning of the spectator as listening subject.

Hence, the proposed conceptual framework aims to offer a new perspective on the listener in contemporary theatre performances. In particular, it explains how the spectator as listener feels a desire to relate to sounds or music within the context of theatre’s hypermedial mechanisms, offering him occasional flashes of awareness about his responsibility as a listening subject. The spectator’s urge to respond to the auditory distress and the theatre’s promise to provide resolution in this desire precisely constitute the performative power of sound in the theatre. Ultimately, with the help of the case study, the conceptual framework aims to anchor the discussion of sound in contemporary (music) theatre within the comprehensive though much contested space of aurality. Verstraete concludes with a proposal to relate the still ill-defined notion of aurality to an understanding of listening as a foremost discursive practice.

This project investigates the aural and musicianship skills of students enrolled in a Bachelor of Jazz Studies Course, with the ultimate goal of improving their improvisation skills. At the core of the project is the idea that students consolidate their theoretical knowledge and link it with their aural skills when they use their voices in an ensemble, rather than relying on their instrumental skills. Participating students were surveyed to gain insight into their thoughts about the effect that the musicianship skills gained during class had on their improvisation skills. Data has been gathered regarding methods of ear training in current use in various jazz schools in Australia as well as surveying current theories of the importance of ear training in jazz education and the extant modes of delivery. Throughout the project repertoire was arranged especially for each group in accordance with the desired learning outcomes. The final result of the project is a syllabus for conducting t...

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:

This article discusses an issue, concerning musical theory and in particular music pedagogy. As working, the terms reflection and reflection activity were used and their positive practical application was indicated. This, of course, leads to didactics. It was proposed as an attempt for psychological practical and applied analysis of a specific education practice – solfegging with piano self-accompaniment. The author of this article is motivated by the concept of pointing new aspects to the work forms and methods for the music ear education in the solfege training.

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.

Most of us have a textbook notion of tonal-harmonic function, yet most of us cannot hear and readily identify harmonic function in real time except in the most predictable and slow moving contexts. The first stage in developing tonal hearing is to identify with the drone-being able to distinguish the root, the 8ve above the root, the fifth, the major third, and the minor third. This is actually more difficult than one might think, especially for 'spectrally rich' sounds which contain prominent fifths and thirds so to speak, as harmonics. The second stage is to develop an intimate awareness of 1/2 step resolutions to drone tones. Here we speak of dominants, or higher fifths, and subdominants, or lower fifths. Given drone tones, or most

Los diferentes recursos y actividades con los que cuenta el campus virtual de UCM suponen una importante herramienta para mejorar en el alumnado su capacidad de apreciación del hecho sonoro. El recurso “Página” del campus virtual permite la integración de plataformas como Educaplay y la aplicación de metodologías activas destinadas a la práctica de la audición musical. También se ha comprobado el correcto funcionamiento de las listas de reproducción de Spotify que permiten al alumno del Grado en Musicología compaginar la lectura y estudio de materiales teóricos con la audición de obras representativas de un determinado período sin necesidad de salir de la plataforma, pudiendo compaginar el control sobre la escucha y la guía de audición en una misma ventana. Las pruebas realizadas en la asignatura Informática Musical, con la elaboración de test en los que se han insertado archivos de audio, han conseguido unos buenos resultados contribuyendo a una mejor asimilación de los conceptos teóricos y acelerando la curva del aprendizaje.

Эта статья была написана более 20 лет назад, но не смогла найти издателя, который опубликовал бы ее по-русски. Причиной было наличие цветных иллюстраций, без которых я эту статью публиковать не хотел. Впервые статья была представлена музыкальной общественности понемецки в виде доклада на симпозиуме «Musikalische Früherziehung in Wien» 15-16 ноября 1991 г. в Вене. Участники симпозиума пожелали получить копию текста, который был организаторами симпозиума размножен в количестве экземпляров, соответствующем числу участников. Сборник материалов симпозиума опубликован не был (только тезисы), тем не менее распространение текста среди участников можно считать фактической публикацией. Первая бумажная публикация состоялась через год на итальянском языке в журнале «Be Quadro» [1]. В 1994 году на всемирной конференции ИСМЕ в Тампе (США) тот же текст, но уже на английском, был также распространен организаторами конференции среди участников. Я не предлагал его в качестве доклада (тема доклада была другой), но послал немецкой отборочной комиссии, чтобы получить рекомендацию для участия в конференции, что в то время было необходимо в случае первого участия в конференциях ИСМЕ. Отборочная комиссия сочла возможным размножить текст. Так состоялась неофициальная публикация этого текста на английском. Лишь в 2008 году состоялась полноценная публикация этого текста по-английски в материалах другой конференции ИСМЕ .

There seems to be quite a bit of confusion as to what constitutes having 'a good ear', and when it comes to jazz improvisation it is essential to have an outstanding musical ear. Perhaps some of these concepts will help clarify what is meant by ear training.

The development of listening skills is a crucial component of musical training at any level. Such development is often done through dictation, a process by which students put into notation elements of music that they hear. Through my recent work with college-level music students I have developed a new approach to dictation founded on the practice of peer performance: students performing music for each other in a guided, active listening environment. The introduction of this technique into a number of different theory and aural skills courses that I teach has resulted in improved student engagement and faster progress toward listening-specific learning outcomes including identification of pulse groupings and meter, tonic pitch recognition and relative relationships, and harmonic and cadential identification. This poster presents evidence of this method's success, including practical and written exam outcomes, sample lesson plans with corresponding student performance recordings, and written feedback from students in several different courses. One section addresses challenges I have faced in attempting to incorporate peer performance into my classes and how I have worked to overcome these challenges. For example, how to make the process of peer-driven dictation equitable? How to choose suitable repertoire? How best to allocate time for these activities? How to relate this process to specific topics within a course? Another section presents conclusions about why this method has been effective and how I am now working to expand the role of peer performance in the teaching of theory and aural skills.

Here I propose a theoretical model and a practical method of predictive music comprehension and its development in children two years of age and up. The elements of music speech and their connections are learned in special sequence from less probable to more probable. The more often an element appears in classical and modern music, as well as appropriate styles of folklore, the more probable it is. The program presupposes lessons held weekly or twice a week. The program is tested in one-on-one lessons, in groups with 3-8 children, as well as larger groups.

As jazz study has become an established branch of the tertiary music landscape, disquiet has arisen in some quarters about the 'mechanical' way in which improvisation is taught. This study examined the ways in which singing in an a cappella harmony group affected the improvisational abilities of tertiary level jazz students. Over three semesters, students participated in a method developed by the author known as 'A cappella Ear Training' (AET). AET was used to test the author's assumption that learning to sing in harmony with other voices and without recourse to the mechanics of any instrument would improve the ability of the students to internalize the theoretical information with which they were being presented in all areas of the course. The research used a qualitative approach, and drew on data generated through participant-observation and interview techniques. Students were observed throughout the course, with the author making field notes on the practice of...

Analysis in electroacoustics (Ea) is an aural necessity. We analyse to understand what we hear, but we also need trained ears in order to analyse, because analysis requires detailed content, which in Ea is available mostly in sonic forms (i.e. not in music scores). This interdependence of analysis and ear training has been the basis of Ea aural training courses at Concordia University in Montreal, which I have been developing for the past decade. These courses begin with an atomistic approach, which trains students in breaking aural stimuli into the smallest possible parts (aural atoms) and thus extracting more evidence for analysis from them. Once the students’ ears become focused and detailed, the courses proceed with a synergistic analytical approach, aimed at training students to assemble and integrate aural atoms into synergetic structures – perceivable higher-level units that have properties that are different from those of their parts. This structuring process provides additi...

. The development of predictive listening abilities in a given music tradition is an important but commonly overlooked part of music education. This paper describes a methodology to help students cultivate music understanding by developing their predictive listening abilities. As an example, we will outline how one particular method develops predictive listening abilities by having children amass a tonal vocabulary (that is, learn tonal patterns) from most common patterns to less common, thereby systematically internalizing the statistics of the “language” of classical music, an idea generalizable to other music traditions.

Развитие способности к прогнозирующему восприятию внутри данной музыкальной традиции является важной, но обычно упускаемой частью музыкального образования. В этом документе описывается методология, помогающая учащимся развивать понимание музыки через прогнозирующее восприятие. В качестве примера мы рассмотрим, как один частный метод развивает способность к прогнозирующему восприятию музыки, помогая детям наращивать интонационный словарь от наиболее распространенных оборотов до менее распространенных, тем самым систематически интериоризируя статистику «языка» классической музыки. Эта идея может быть обобщена для других музыкальных традиций.

(Español) Este escrito tiene como propósito examinar el solfeo dentro de los currículos oficiales de licenciaturas en música de Brasil, con enfoque especial en los estados de la región Centro-Oeste. La metodología de trabajo siguió una perspectiva de análisis documental, de naturaleza experimental, visto que fue el primer acercamiento al tema en mi investigación doctoral. Después de verificar demográficamente los currículos, el manuscrito analiza los títulos de las asignaturas y sus respectivos resúmenes. Verifiqué que el solfeo es concebido dentro de tres diferentes categorías: introductoria, disciplinaria e integral; siendo que el integral es el más frecuente. Además, hay una tendencia en redactar apenas un resumen de asignatura que se emplea de manera reiterada en todas las materias de solfeo, pese a las diferencias de enfoque de formación, siendo que eventualmente son descritos los contenidos trabajados en cada semestre. Las conclusiones aquí descritas pueden ser usadas para alimentar la discusión sobre la función y la concepción del solfeo en el diseño de planes y programas de estudio, especialmente a nivel superior.

(English) Abstract: This paper has the aim of examining music theory courses within the official curricula of Brazilian undergraduate music courses, focusing on the states of Centro-Oeste region. The methodology adopted followed the documents analysis perspective, with an experimental nature, because this was my first attempt to get closer to the thematic in my doctoral thesis. After demographically verify the curricula, this manuscript analyzes the names and syllabus of each course. I verified that sight singing is conceived in three different ways: introductory, disciplinary and holistic. The holistic conception seems to be the more frequent one. Furthermore, I also noticed a trend of writing just one syllabus that is employed throughout all sight singing courses in the same institution, disregarding differences in training focus, but describing the contents that should be worked each academic term. The conclusions made can be used to improve discussion about the function and conception of sight singing in the design of the curriculum, especially in higher education levels.

In this article, Pieter Verstraete discusses the structures of perception as demonstrated by the installations of Ann Veronica Janssens on the occasion of a retrospective of her work, entitled Serendipity, at Wiels in Brussels. He discusses three significant mechanisms in this work: remanence of light, interference of sound, and a sense of the individual through the body in relation to abstract space.