The aural development process is governed by the attitude of the teacher, student, the time factor, methodology employed and materials available. This process and the aforementioned contributing factors are explored within the context of the current requirements of the aural and practical musicianship examination syllabi of The Royal Schools of Music, Trinity College and UNISA. Suitable methods are explored which should develop skills enabling the student to deal with sounds and their corresponding symbols, first in isolation then within a musical context with attention to the curriculum, musical skills and personal development of the student within a positive learning situation. Four main areas of development are isolated i.e. rhythm, pitch, harmony and critical ear skills. A suitable development programme is presented in each area focusing on systematic skill development. / Musicology / M.Mus. (Musicology)

The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students. / Music Education / Accompanied by two .wmv files: 1) Audio-OnlyTest.wmv. 2) Audio-VisualTest.wmv.

Thesis (MMus (Music)) -- Stellenbosch University, 2010. / ENGLISH ABSTRACT: The purpose of the present study is twofold: I. In the first instance, it is aimed at promoting a better acquaintance with and a deeper understanding of the generally less well-known solmisation systems that have emerged within the oriental music sphere. In this regard a general definition of solmisation is provided, followed by a historic overview of indigenous solmisation systems that have been developed in China, Korea, Japan, India, Indonesia and the Arab world, thereby also confirming the status of solmisation as a truly global phenomenon. II. The second objective of the study was to investigate the current use of solmisation, and the Tonic Sol-fa system in particular, in aural training at South African universities. In order to achieve this, an inquiry was conducted by means of a survey which consisted of (a) a survey questionnaire that was sent to designers/instructors/coordinators of aural training modules at relevant South African universities and (b) additional correspondence that was subsequently undertaken with some of these respondents. This was done with the aim of obtaining information regarding the following: (1) the extent to which solmisation is still being employed in this context; (2) which solmisation systems or alternative approaches to solmisation are being used; (3) what the respondents’ personal motivations are for employing or not employing solmisation; (4) what instruction material is being utilised in either regard; and (5) what the respondents’ personal views are regarding the use of solmisation in aural training. The outcome of the survey confirmed that solmisation, and the Tonic Sol-fa system in particular, is still actively being used in aural training at South African universities, while at the same time providing some insight into the general application thereof in this context. On the whole, the survey also affirmed the continued relevance of solmisation, and the Tonic Sol-fa system in particular, both in the broader South African context and specifically within the context of aural training at South African universities, showing that solmisation continues to be regarded as a valuable aid in the instruction of aural training by the majority of the designers/instructors/coordinators of aural training modules that participated in the survey. / AFRIKAANSE OPSOMMING: Die doel van die onderhawige studie is tweeledig van aard: I. In die eerste plek is dit gemik op die bevordering van beter vertroudheid met en ’n grondiger begrip van die oor die algemeen minder bekende solmisasiestelsels wat binne die konteks van oosterse musiek na vore getree het. In hierdie verband word daar ’n algemene omskrywing van solmisasie voorsien, gevolg deur ’n historiese oorsig oor inheemse solmisasiestelsels wat ontwikkel is in China, Korea, Japan, Indië, Indonesië en die Arabiese wêreld, en word die status van solmisasie as ’n wesenlik wêreldwye verskynsel dan ook daardeur bevestig. II. Die tweede doelwit van die studie was om ondersoek in te stel na die huidige gebruik van solmisasie, en die Tonic Sol-fa stelsel in besonder, in gehooropleiding aan Suid-Afrikaanse universiteite. Om dit te bewerkstellig, is ’n ondersoek uitgevoer deur middel van ’n opname wat bestaan het uit (a) ’n opnamevraelys wat gestuur is aan opstellers/dosente/koördineerders van gehoorlopleidingsmodules aan relevante Suid-Afrikaanse universiteite en (b) bykomende korrespondensie wat daaropvolgend onderneem is met van hierdie respondente. Dit is gedoen met die doel om inligting te bekom rakende die volgende: (1) die mate waarin solmisasie nog binne hierdie konteks gebruik word; (2) watter solmisasiestelsels of alternatiewe benaderings vir solmisasie gebruik word; (3) wat die respondente se persoonlike motiverings is vir die gebruik van solmisasie al dan nie; (4) watter onderrigmateriaal daar in beide gevalle gebruik word; en (5) wat die respondente se persoonlike sieninge is ten opsigte van die gebruik van solmisasie in gehooropleiding. Die uitslag van die opname het bevestig dat solmisasie, en die Tonic Sol-fa stelsel in besonder, steeds aktief gebruik word in gehooropleiding aan Suid-Afrikaanse universiteite, en het terselfdertyd insig gebied in die algemene aanwending daarvan binne hierdie konteks. In sy geheel het die uitslag van die opname dan ook die voortgesette relevansie van solmisasie, en die Tonic Sol-fa stelsel in besonder, in die breër Suid-Afrikaanse konteks sowel as spesifiek binne die konteks van gehooropleiding aan Suid-Afrikaanse universiteite bevestig, en het dit aangetoon dat solmisasie steeds as ’n waardevolle hulpmiddel in die onderrig van gehooropleiding beskou word deur die meeste van die opstellers/dosente/koördineerders van gehoorlopleidingsmodules wat aan die opname deelgeneem het.

Denna studie är gjord på ämnet learning tracks, dvs auditiva instuderingsfiler för vokalmusik. Det finns ingen historisk forskning eller annan tidigare forskning på ämnet men man vet att det har förekommit som fenomen inom genren barbershop lika länge som den portabla kassettbandspelaren, och på senare år utvecklats mycket i och med internet samt möjligheten att spela in och editera musik på en hemdator. Angränsande forskning om spegelneuroner, inlärning på gehör och körmetodik har studerats som forskningsgrund och det sociokulturella perspektivet samt variationsteori är studiens teoretiska perspektiv. Syftet med studien är att undersöka vilka variationer i musikaliskt resultat samt i elevernas upplevelse av instudering som kan urskiljas kopplat till notbaserad instudering av körmusik, respektive instudering med hjälp av instuderingsfiler som komplement. Två testgrupper, en som fick jobba med instuderingsfiler som komplement till noter och en som bara fick instudera med noter, jobbademed ett stycke musik under fyra lektionspass som observerades och ljud spelades in för att kunna följa progressionen i instuderingen. En enkät till samtliga elever som deltog som frågade om deras upplevelse av instuderingen fylldes i direkt efter studiens avslut. Resultatet var tydligt, både utifrån testgruppernas musikaliska prestation och ifrån deras egen upplevelse av instuderingen, instuderingsfiler var för dem bättre än enbart noter. Resultatet går även att tydligt knyta an till den angränsande tidigare forskningen på ämnet. Även om studien är tydlig behövs det mer forskning inom detta område. / This study is on the subject of music learning tracks for learning a capella music. While there is no specific research on the subject yet it has been known as a phenomenon in the genre of barbershop harmony for as long as the tape recorder has been around, and has grown into a well-established business because of the internet and the possibilities of editing music on home computers. Earlier research in surrounding areas such as choir methodology, ear training and mirror neurons have laid the research ground for the study, and the theoretical perspectives which the data was analyzed through are the sociocultural perspective and variation theory. The purpose of this study is to explore variations in musical results and the pupils experience of learning that can be detected between a group that studies with learning tracks and a group that studies without learning tracks. The two groups were followed learning the same piece of music during four classes through observation and recording of sound. Directly following the last class, the students answered a survey about their experience of the learning process. The results were clear, both from the difference in musical results and from the answers in the survey, learning tracks are better for learning new music than just using sheet music. The results also connect to earlier research in surrounding areas, but even though the results of this study are clear more research is needed in this specific area.

El trabajo desarrollado en el presente documento consiste en el Proyecto Profesional “DESARROLLO DEL SENTIDO AUDITIVO PARA MÚSICOS ASPIRANTES MEDIANTE UN APLICATIVO MÓVIL IOS UTILIZANDO ARCHIVOS DE AUDIO Y REALIDAD AUMENTADA” el cual será nombrado como NODATRAINER (Nombre del aplicativo móvil iOS resultante). En los ámbitos estudiantiles de formación musical en el Perú existen vacíos teóricos y prácticos sobre el entrenamiento auditivo, habilidad vital para todo músico aspirante. El objetivo de este proyecto de tesis es complementar el estudio integral del alumno mediante lecciones interactivas y gratuitas en un aplicativo móvil iOS en el idioma español, iniciando por el aprendizaje de notas (notación musical), intervalos, para la adquisición y reforzamiento del oído tanto relativo como absoluto. Para llevar a cabo el proyecto, se han analizado los aplicativos actuales en el App Store, y las clases impartidas en Camerata Perú, alineado al repositorio académico de la UPC, así como consultadas las bases de datos OpenMusicLibrary y EBSCOHost. El aplicativo involucra desarrollo en plataforma iOS para los dispositivos iPhone y iPad, perfil e inicio de sesión de usuario, realizado mediante el servicio Firebase de Google. También, una sección exclusiva para venta de instrumentos musicales por empresas, así como personas naturales, y publicaciones de clases de música para impartir cursos a los que se encuentren interesados (clientes potenciales). Este aplicativo se encuentra publicado en el App Store de Apple de manera gratuita y diseñada para usabilidad del usuario. / The current paper consists in the professional project called "DEVELOPMENT OF THE AUDITORY SENSE FOR ASPIRING MUSICIANS THROUGH AN IOS MOBILE APP USING AUDIO FILES AND AUGMENTED REALITY", which will be also named as NODATRAINER (Name of the resultant iOS app). At the student levels of musical development in Peru, informal or formals, there are theorical and practical gaps about ear training, a vital skill for every aspiring musician. The goal of this thesis project is to complement the integral study of the student through free and interactive lessons in an iOS mobile application in the Spanish language, beginning by learning the notes (music notation), intervals, to reach the acquisition and reinforcement of both relative and absolute ear. In order to culminate the project, the current applications in the AppStore has been analyzed, along with the teachings at “Camerata Perú”, aligned with the academy repository at UPC, as well as the following data bases consulted “OpenMusicLibrary” and “EBSCOHost”. The app involves developing in the platform iOS for the iPhone and iPad device, a profile and login through the Firebase service by Google. Also, an exclusive section for musical instruments selling by formal and informal businesses or even natural persons, just like posting music classes to teach courses to those, who are interested (potential clients). This free app has been published in the Apple App Store and designed with user usability in mind. / Tesis

Musiker müssen ihr Gehör ständig weiterentwickeln und schärfen. Es ist essentiell für Komponisten, Bühnenmusiker und Musikwissenschaftler, sowohl subkutane als auch offensichtliche Strukturen in der Musik so akkurat wie möglich wahrnehmen zu können. Daraus folgt, dass Gehörbildung eine zentrale Rolle im Lehrplan einer jeden akademischen Institution einnehmen sollte, die eine musikalische Ausbildung anbietet. Die konventionellen Methoden der Gehörbildung wie Melodie- und Rhythmusdiktat oder Stilanalyse reichen jedoch in vielen Fällen nicht aus, um die ganze Palette musikalischen Ausdrucks zeitgenössischer klassischer Werke zu erfassen. Deren Sprache basiert oft nicht nur auf Tonhöhe und Takt, sondern auf spektraler Wandlung und Beschaffenheit. Es besteht daher die dringende Notwendigkeit, sowohl die Rolle als auch die Methoden der Gehörbildung neu zu überdenken. Ein einzigartiges Beispiel einer neuen Herangehensweise findet sich in der französischen elektroakustischen Musik. Der Schriftsteller, Administrator und Komponist Pierre Schaeffer (1910–95) formulierte ein theoretisches System zur Kategorisierung und Beschreibung von Klängen, sein Programme de la Recherche Musicale. Schaeffers Klangmaterialien existierten als Aufnahmen, von denen viele studiotechnisch bearbeitet waren. Dies machte die unmittelbare visuelle Identifikation ihrer Klangquellen unmöglich. Die von Schaeffer entwickelte Methode verlangt daher die eingehende, rein gehörmäßige Untersuchung aller wahrnehmbaren Eigenschaften eines Klangs. Diese Vorgehensweise führt zwingend zu erhöhter Sensibilität gegenüber dem Ausdruckspotential klanglicher Qualitäten, beispielsweise dem allure oder grain – Charakteristiken, die von Komponisten oft übergangen werden. Schaeffers Herangehensweise beschränkt sich darin nicht nur auf das Tonstudio, sondern kann auch auf Vokal- und Instrumentalmusik angewandt werden. / All musicians must develop and refine their listening skills. It is essential for composers, performers and musicologists to perceive as accurately as possible the interaction between low-level and high-level structures in music. Consequently, aural training occupies a central position in the curriculum of all music schools. However, traditional aural skills such as melodic/rhythmic dictation and style analysis are not necessarily suitable to the demands of contemporary musical languages. Such languages are often based not solely on pitch and metre, but on spectral transformation and texture. There is, therefore, an urgent need to reconsider both the role and the methods of aural training in music education. A unique example of a new approach originated from French electroacoustic music. The writer, administrator and composer, Pierre Schaeffer (1910–95) formulated a theoretical framework for the classification and description of sounds. This is his Programme de la Recherche Musicale. Schaeffer’s sound material existed as recordings, many of which were transformed by studio techniques. As a result, visual corroboration of sound sources was impossible. Schaeffer’s method, therefore, demanded the scrupulous examination of all perceptible features of sound by aural perception alone. This process inevitably leads to a greater sensitivity to the musical potential of characteristics often ignored by composers such as allure and grain. Furthermore, Schaeffer’s systematic approach is not limited to the studio but can be applied to vocal and instrumental music.

Dass gerade im Fach Gehörbildung negative Stimmungslagen bei Studierenden besonders kontraproduktiv für die angestrebten Bildungsziele sind, ist bekannt. Motivierend ist das Wissen, mit Hilfe fachspezifischer Gehörbildung Fähigkeiten zu erwerben, die Hilfestellungen für die spätere Berufspraxis darstellen. Das Unterrichtsprojekt Fachspezifische Gehörbildung wurde an der Hochschule für Musik und Theater München praktisch erprobt. Es basiert auf einer intensiven, interdisziplinären und zeitaufwändigen Kooperation von Kolleginnen und Kollegen der künstlerischen Fächer, der Gehörbildung und der Musiktheorie. Exemplarisch werden ausgewählte Aspekte zur fachspezifischen Gehörbildung anhand der künstlerischen und pädagogischen Hauptfachstudiengänge Violine und Klavier vorgestellt. Vor diesem Hintergrund zeigt sich auch ein dringender Bedarf an Seminaren zur Didaktik der Gehörbildung im Instrumentalunterricht für die Studienpläne von Instrumental- und Gesangspädagogik-Studiengängen (IGP) an deutschen Musikhochschulen. Seit dem Jahr 2004, als dieser Vortrag beim 4. Kongress der Gesellschaft für Musiktheorie (HfMT Köln) zu hören war, ergaben sich auf hochschulpolitischer Ebene und in informationstechnologischer Hinsicht bedeutende Veränderungen. / It is common knowledge that a negative attitude from students is particularly counterproductive for the intended educational goals, particularly in the subject ear training. Yet it is motivating for students if one presents the advantages of specific ear training skills for professional practice. The educational project Fachspezifische Gehörbildung was tested out practically at the Hochschule für Musik und Theater München. The project is based on an intensive, interdisciplinary, time-consuming cooperation between colleagues in artistic fields, ear training, and music theory. Select aspects of field-specific ear training will be presented in the context of the artistic and pedagogical majors of violin and keyboard. Against this backdrop the dire need for seminars in Didactics of Ear Training in Instrumental Instruction in the curricula of instrumental and vocal pedagogy majors in German conservatories becomes apparent. Since 2004, when this article was presented at the Gesellschaft für Musiktheorie anual meeting in Köln, significant changes have taken place at the conservatory level and regarding information technology.

No description available.

Ein Großteil zeitgenössischer Musik und insbesondere solche, die sich nicht primär auf Tonhöhenrelationen stützt, findet zu wenig Platz im Gehörbildungsunterricht an Musik(hoch)schulen. Das liegt möglicherweise auch daran, dass es kaum methodische Zugänge oder Hilfestellungen dazu gibt. In diesem Artikel wird die Klangfeld-Transkriptionsmethode vorgestellt, mit der Musik zum Unterrichtsthema werden kann, die mit Geräuschen und anderen nicht tonhöhenbasierten Klangtexturen arbeitet. Die Methode geht davon aus, dass die Studierenden das Gehörte als akusmatisch rezipieren, dass sie also die Hervorbringung oder Erstellung der Klänge nicht auf Anhieb nachvollziehen können. Sie verbindet verschiedene Ansätze zum Umgang mit elektroakustischer Musik, musique concrète instrumentale und elektronischer Popmusik im Kontext des Transkribierens. Nach einer kurzen Übersicht über Lehrwerke zur Gehörbildung sowie einem Abriss verschiedener Analyseansätze zu nicht-notierter Musik werden drei Ausschnitte von Werken Amon Tobins und Helmut Lachenmanns mithilfe der Klangfeld-Transkriptionsmethode erläutert und abschließend auf ihr Potenzial hin ausgewertet. / A large part of contemporary music, especially music which is not primarily based on pitch, seems to be missing from current ear training classes in German music academies and music schools. One possible reason for this shortcoming could be the lack of methodological access or support. This article introduces the method of sound-field transcription, which makes music with a high degree of foley, noise, or other non-pitched features accessible for teaching in music classes. The method assumes that students receive aural material primarily acousmatically, not being able to identify the creation or production of the sounds at first hearing. It combines various approaches from different musical genres such as electroacoustic music, musique concrète instrumentale, and popular electronic music on the basis of musical transcriptions. After a short outline of ear training textbooks and various analytical approaches to non-notated music, three excerpts from works by Amon Tobin and Helmut Lachenmann are explicated by the method of sound-field transcription. By conclusion, these analyses are evaluated for their potential.

No description available.