scholarly journals Review of Evan Jones, Matthew Shaftel, and Juan Chattah, Aural Skills in Context: A Comprehensive Approach to Sight Singing, Ear Training, Harmony, and Improvisation (Oxford, 2014)

2015 ◽  
Vol 21 (1) ◽  
Author(s):  
Hali A. Fieldman
Keyword(s):  
Comprehensive Approach ◽  
Aural Skills ◽  
Sight Singing ◽  
Ear Training

scholarly journals MODERN APPROACHES TO TEACHING SIGHT SINGING AND EAR TRAINING

2021 ◽  
pp. 083
Author(s):  
Nico Schüler
Keyword(s):  
College Level ◽  
Aural Skills ◽  
Sight Singing ◽  
Teaching Approaches ◽  
Approaches To Teaching ◽  
Ear Training ◽  
The Past ◽  
Technological Tools ◽  
Difficult Subjects ◽  
Better Than

Sight singing and ear training are difficult subjects to teach. Over the past decade, however, many new technological tools were developed that support educational endeavors. Several of those tools, SmartMusic, SingSnap, EarTrainer (MusicDictation.app), and YouTube, were used at the beginning college-level aural skills courses to enhance sight singing and ear training instruction, especially in the context of enhancing audiation skills. This article summarizes their use within aural skills courses and present experimental and anecdotal evidence of increased sight singing and ear training skills. More specifically, experimental (test) data as well as anecdotal (essay) evidence showed that (1) students were much higher motivated to complete exercises compared to ‘traditional’ aural skills exercises, (2) in a shorter period of time, students performed much better than in ‘traditional’ exercises of at least the same difficulty, (3) the students’ audiation abilities increased much more as a result of the exercises, compared to ‘traditional’ exercises, and (4) students showed a greater increase in solfege proficiency, compared to ‘traditional’ exercises. The teaching approaches we have discussed also led to a greater independence from in-person instruction.

Cognitive strategies in sight-singing: The development of an inventory for aural skills pedagogy

2017 ◽  
Vol 47 (2) ◽  
pp. 270-283 ◽  
Author(s):  
Guillaume Fournier ◽  
Maria Teresa Moreno Sala ◽  
Francis Dubé ◽  
Susan O’Neill
Keyword(s):  
Time Management ◽  
Comparative Method ◽  
Self Regulation ◽  
Cognitive Strategies ◽  
Aural Skills ◽  
Skills Acquisition ◽  
Sight Singing ◽  
Scientific Publications ◽  
Constant Comparative Method ◽  
Skills Education

This research aimed to identify, describe and categorize cognitive strategies related to sight-singing within aural skills education. Using a constant comparative method, we carried out a thematic content analysis using NVivo to categorize strategies in a broad range of sources, including six interviews, five scientific publications, two professional books, and two ear-training manuals. Findings revealed 72 cognitive strategies grouped into four main categories and 14 subcategories: reading mechanisms (pitch decoding, pattern building, validation), sight-singing (preparation, performance), reading skills acquisition (musical vocabulary enrichment, symbolic associations, internalization, rehearsal techniques) and learning support (self-regulation, attention, time management, motivation, stress). Our cognitive strategy inventory provides a new framework for the study of cognitive strategies in aural skills research, and offers new insights for teachers who implement explicit cognitive strategies within their sight-singing pedagogy.

scholarly journals Study of an Interactive System of Sight-Singing and Ear-Training

2017 ◽  
Vol 05 (09) ◽  
pp. 67-78
Author(s):  
Qian Lin ◽  
Shan-Ji Chen ◽  
Wei Jiang ◽  
Guo-Qing Jia
Keyword(s):  
Interactive System ◽  
Sight Singing ◽  
Ear Training

scholarly journals Iconography, Nomenclature, and Sound: Building a Musical Database

2020 ◽  
Vol 7 ◽  
Author(s):  
Cynthia I. Gonzales
Keyword(s):  
Visual Representation ◽  
Curricular Reform ◽  
Aural Skills ◽  
Sight Singing ◽  
Musical Sound ◽  
The Third ◽  
Human Touch ◽  
Music Iconography ◽  
Human Eyes ◽  
Labeling System

Musicians who possess functional sight singing and dictation skills have unified into a single entity three discrete bodies of knowledge about music: iconography, nomenclature, and sound. Iconography refers to the visual representation of music. By nomenclature, I mean any labeling system for pitch, rhythm, and harmony. The third component—musical sound—is abstract, being invisible to human eyes and intangible to human touch. In this essay, I suggest approaches to unifying iconography, nomenclature, and sound into a "musical database," as well as propose a curricular reform in which aural skills precedes courses in written theory.

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