Thesis (Ph. D.)--University of Missouri-Columbia, 1998. / Typescript. Vita. Includes bibliographical references (leaves 99-109). Also available on the Internet.

Thesis (Ph. D.)--University of Michigan, 1983. / Includes bibliographical references (leaves 219-225).

This study compared the effects from the use of aural and notated exercises as pedagogical procedures for teaching harmonic accuracy to beginning jazz improvisation students. The methods of pedagogy were identified from published pedagogic and historical sources, the results of oral and written traditions of jazz pedagogy. The performance objective was produced from a review of the related literature as a recognized and measurable characteristic of jazz improvisation. The purpose of this study was to compare measurements of harmonic accuracy, following the use of notated and aural exercises as experimental procedures of jazz improvisation pedagogy. A lesson plan, materials, curriculum and outline were developed followed by student recruitment and participation. A total of 20 student volunteers participated in the methods of pedagogy (aural or notation). Data collection consisted of a musical background questionnaire and pre and posttest performance recordings. Student recordings were evaluated by six judges using the “experimental performance evaluation measure.” Statistical analyses were conducted, including comparisons of pre to posttest effects between, and among the methods of pedagogy. Although all student participants performed mostly from notated music prior to this study, students who received the aural method of pedagogy produced greater improvement for all measurement items. While the aural method produced no differences between grade level, the notation method produced significantly lower scores for 9th graders compared to 12th graders; no other significant grade level differences were noted. Conclusions were that although many sources of pedagogy do not include aural exercises as the predominate activity, beginning improvisers who have more experience reading music than playing by ear, learn better from aural, than notated exercises.

This study dealt with the perception of dissonance by male, female, freshman and senior music majors. A test was devised which would show that there is a significant difference in dissonance perception between freshman versus senior and male versus female music majors, utilizing specific excerpts from the musical repertoire. Test item analysis was also employed to determine if a significant difference occurs in each excerpt. It was found that certain excerpts show a significant difference while the means of the combined groups do not. This phenomenon was because of relative uncertainty in response between dissonant ("four") and extremely dissonant ("five") excerpts. The conclusions of the study based upon the hypotheses were the following: 1. Four years in a university environment makes a significant difference in a music major's perception of dissonant sounds in music. 2. The sex of the music major causes no significant difference in the perception of dissonance. Male responses were consistent with female responses within the same class.

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No description available.

Denmark has a long tradition of teaching aural skills i.e. ear training and to educate ear training teachers. Books from Danish authors are still extensively being used within the Nordic countries. The function analysis system was introduced the same year in Denmark and Sweden, but Denmark has developed more terminology than its Swedish counterpart. The purpose of this study was to research how music majors are expressing themselves about newly introduced function analysis terminology and how they experience the use for the terminology in their profession as musicians. The study was made through a survey and a semi structured interview with six participants and the data was analysed according to the social cultural theory. The participants expressed themselves mainly positive about the new terminology and said it gave them a more nuanced picture of the harmony. They also found the new terminology useful for their profession as musicians. The results suggest that music majors would be interested in having a more comprehensive system as they use in Denmark and that teachers in aural training should consider incorporating this new terminology in their teaching.

Thesis (M.Sc.)--University of Stellenbosch, 2005. / ENGLISH ABSTRACT: Current technological development has a strong impact on education. Students normally have free access to computers and the internet. Computer-based instruction is more frequently available in classrooms and reinforces the traditional educational systems. The purpose of this study was to determine whether a computer-based program, Auralia 2.1, can be used effectively in the Music Certificate Course of the University Stellenbosch. Due to limited time during lessons as well as time-constraints for individual practising by the students, the researcher investigated the efficacy of Auralia 2.1 for use in the classroom. Students are able to practise individually during lessons as well as on their own. The problem to find a peer to practise aural training is therefore avoided as the computer fulfills this function. The researcher administered Auralia 2.1 on a group of eight Certificate students from the University Stellenbosch. The evaluation period consisted of two semesters of fourteen weeks each. The researcher used the traditional method of aural training in the first semester and she used Auralia 2.1-sessions in the second semester. The researcher compared the two semesters to each other to ensure the integrity of the results of the research. The researcher systematically held record of observations as well as the progress of the students. Questionnaires were completed and interviews were held as part of the evaluation process. Suggestions are made in this thesis on how Auralia 2.1 can be used effectively for educational aims. / AFRIKAANSE OPSOMMING: Die hedendaagse ontwikkeling in tegnologie het ‘n sterk invloed op opvoeding. Studente het oor die algemeen vrye toegang tot rekenaars en die internet. Rekenaargesteunde onderrig kom toenemend in klaskamers voor en word ter versterking van die tradisionele onderwysstelsel gebruik. Die doelstelling van hierdie navorsing was om te bepaal of ‘n rekenaargesteunde onderrigprogram, naamlik Auralia 2.1, effektief benut kan word in die musiekoorbruggingsprogram (Sertifikaatkursus) van die Universiteit Stellenbosch. Weens beperkte klastyd en ‘n gebrek by Sertifikaatstudente aan noodsaaklike tyd vir gehooropleidingsoefeninge, het die navorser ondersoek ingestel na die effektiwiteit van Auralia 2.1, vir gebruik in die klas. Die studente kon met behulp van die rekenaar individueel tydens asook buite klastyd oefen. Probleme om ‘n “oefenmaat” vir gehoor te vind is dus uitgeskakel aangesien die rekenaar daardie funksie vervul het. Die navorser het die program Auralia 2.1 op ‘n groep van agt Sertifikaatstudente van die Universiteit Stellenbosch toegepas. Die evaluering het oor twee semesters van veertien weke elk gestrek. Die navorser het in die eerste semester ‘n tradisionele metode van gehooropleiding gevolg en in die tweede semester het sy gebruik gemaak van Auralia 2.1-sessies. Die navorser het die twee semesters met mekaar vergelyk om sodoende die integriteit van die navorsingsresultate te verseker. Daar is tydens die navorser se studie sistematies verslag van die waarnemings en die studente se vordering gehou. Vraelyste is voltooi en onderhoude gevoer as deel van die evalueringsproses. In hierdie tesis word daar ook voorstelle gemaak oor hoe Auralia 2.1 effektief gebruik kan word vir opvoedkundige doeleindes.

I det här arbetet har jag undersökt hur fiollärare med förankring i folkmusiken undervisar samt vilka eventuella områden som de lägger vikt vid och varför. Jag valde att göra en kvalitativ intervju med fem informanter. Mitt mål var att välja fiollärare med utbildning från musikhögskola, men för övrigt med så varierande bakgrund som möjligt. Jag har ställt intervjusvaren mot några klassiska fiolmetoder. Jag har inte kommit fram till några nya perspektiv eller infallsvinklar i folkmusikundervisningen. Jag ser istället likheter mellan informanternas undervisning och de klassiska metoderna. Momentens syfte kan dock variera. I folkmusikundervisningen används gehörsundervisning i alla åldrar. Informanterna tycker det är viktigt att eleverna tycker det är kul att spela fiol och musicera och att man lättare når fram till musicerandet om man utgå från gehöret. / In this study, I will examine how violin teachers with roots in folk music teach, and if there are any areas which they prioritize and why. I chose to make a qualitative interview with five interviewees. My goal was to choose violin teachers who had studied at a colleges of music, but also with as varied a background as possible. I have set interview responses against some classical violin methods. I have not reached any new perspective or angles in folk music teaching. Instead, I see similarities between the interviewees’ teaching and the classical methods. The aim for the methods may vary. In folk music, ear training is used among all ages. The interviewees think it is important that students enjoy playing the violin and to make music. It is easier to understand and grasp the music if you begin with ear training.

A conditional discrimination training procedure was used to establish stimulus-stimulus relations that might lead to the emergence of relations that define playing by ear. The participants were four college students. Overall, the results varied across participants. Of the 3 participants who received Training 1 (hear-note-name/select-key), all 3 participants acquired that relation. Out of those 3 participants, 2 participants showed emergence of the hear-see-key-pressed/say-note-name relation after Training 1. Of the 3 participants who received Training 2, (hear-note-name/select-tone), 2 participants acquired that relation for at least one set. Out of those 3 participants, 1 participant showed emergence of the hear-tone/say-note-name relation. One out of three participants was successful in correctly playing a sequence of four notes by ear at the end of the study. One participant did not complete the study due to availability conflicts. The overall results can suggest that the relations used in this study should be taken into account when training someone to play by ear. However, the current data do not allow us to conclude whether it is necessary to teach or test all of these relations in order to teach playing by ear.