Innovative Research on Solfeggio and Ear Training Teaching of Natural Artistic Conception Music

Solfeggio and ear training is the most important basic link in music education. Solfeggio and ear training education traditionally follows the mode of manual teaching with piano performance. With the progress of computer technology, more and more Solfeggio and ear training software began to appear, which not only had a certain impact on the traditional teaching, but also triggered the thinking and exploration of software application. Among them, Ear Master from Denmark is the most mainstream Solfeggio and ear training software in the current market. Because of its relatively perfect design and relatively powerful function, it has great application value in the current Solfeggio teaching practice. Although the subjective and objective deficiencies of Ear Master determine its role and positioning in teaching practice. The results show that Solfeggio and ear training can play a positive role as long as they are well used and follow certain principles. The research results can promote the development and improvement of traditional Solfeggio and ear training teaching.

Are Popular Music Curricula Antiracist?: The CCNY Music Department as a Case Study

In a recent virtual talk at the Hitchcock Institute for Studies in American Music, music theorist Philip Ewell considered how music educators and researchers might begin to “undo the exclusionist framework of our contemporary music academy.” Ewell's enterprise resonated with me not only as one who teaches undergraduate courses in music theory, history, performance, and ear training, but also as an instructor in a recently adopted Popular Music Studies program at the City College of New York (CCNY). The CCNY music department's shift in focus from a mostly white, mostly male, classical-based curriculum towards a more diverse and polystylistic repertory of popular music chips away at the exclusionist framework to which Ewell refers.

Music Teaching Reform in Colleges and Universities under the Background of the Development of Contemporary Music Discipline

Objectives: With the continuous progress of information technology, multimedia teaching forms with a large number of emerging educational technology development carry more audio-visual information, with rich pictures, demonstration images, audio-visual integration characteristics, which has been widely used in the process of music teaching in Colleges and universities. Methods: And it has gradually become the main teaching mode of music teaching in schools, and have been increasingly popular. Therefore, the development of modern music discipline and the reform of music teaching in schools are analyzed to find a suitable way for music teaching in schools, so as to gradually improve the development speed of music education in China. Results: The study based on digital audio related technology contained in CAT-based Solfeggio and ear training system provides an example to demonstrate the message mechanism. Audio feature extraction and matching technology are also discussed. Several types of audio feature extraction methods and their features are analyzed. Conclusion: The design of the whole framework and the realization of the core algorithm of Solfeggio and ear training learning assistant system are completed. Tests show that the algorithm can be well applied in the system, while making the system more flexible and scalable, and can be further extended.

An investigation of musical “boundary crossers”

With the intent of informing the practice of music teachers navigating “multi-musicality” in their classrooms, this qualitative study, employing case study and narrative research tools, investigates the experiences of three musical “boundary crossers”—professional musicians whose work traverses the popular–classical divide. Three questions guided the inquiry: (a) How do professional musicians describe the experience of boundary crossing from one musical domain to another? (b) What musical skills do these professionals find valuable for their work in various domains, and what skills have they acquired or adapted in crossing musical boundaries? and (c) How does working in one musical domain influence work in another? Each participant navigates the balance between and the integration of their classical and popular musicianship(s) differently. All acknowledge that classical training, although it may afford some advantages, also can be a hindrance for individuals pursuing the creation and performance of music in a popular domain. Findings point to the need for functional piano skills, practical application of ear training, and development of a musical value set that includes “focused simplicity.” The findings have implications for how preservice teachers develop musical versatility, enabling them to respond to students’ varied interests and needs.

COMPARATIVE ANALYSIS OF MOBILE EAR TRAINING APPLICATIONS

Ear training aims to ensure the development of individuals receiving music education. There are mobile applications which music students can do hearing studies. The aim of this research; it is determining the content of ear training applications that can be accessed on the internet and downloaded to mobile devices to make a comparative analysis. In the research, 11 mobile applications with 100 thousand or more users were analyzed in terms of Turkish support, courses and ear training studies. As a result of the analyzes made, it was determined that in some applications, interval, scale and chord subjects were explained. It is comprehended that theoretical studies such as setting up defining intervals, scales and chords are included in the applications where ear training are carried out.In some applications, interval, scale, chord vocalization and playing exercises are additionally included. In line with these results; it is suggested to develop a mobile application in which the topics are arranged according to a curriculum, the exercises support the lectures, and the Turkish support is included. Keywords: Music, ear training, mobile applications

Rethinking the Engagement of Ethnomusicologists with Performance and Applied Music Curricula

Music schools and conservatories in the United States and abroad focus primarily on training performers; one of the reasons ethnomusicologists have had such difficulty expanding their employment opportunities in such institutions is because they have not given enough thought to how they can productively contribute to performance curricula. The field of ethnomusicology has engaged creatively with many subdisciplines in the humanities and social sciences, of course. But while this focus has resulted in insightful publications, it has typically held little immediate relevance for performers. A surprising number of ethnomusicology programs do not encourage applied music-making of any sort as a required part of training in the discipline. In general, ethnomusicology does not dialogue sufficiently with applied music faculty or students. This chapter begins with reflection on what aspiring performers of the twenty-first century need to know in order to be professionally successful and continues with a consideration of how coursework offerings by ethnomusicologists can be retooled so as to contribute directly to the requirements of students in BM programs: to ear training, music theory, orchestration, junior and senior recitals, and so on. Lastly, the chapter covers an approach to teaching world music courses that focuses both on applied performance and on pressing contemporary issues (community outreach, social justice, financial exploitation, etc.) that link world traditions to other repertoires and make their relevance immediately apparent.

Cognitive-Emotional Music Listening Paradigm in Professional Music Education

Music education is an important factor of students’ development. The positive effect of music training is evident in all areas, from the intellectual, psychomotor to social and emotional ones, and therefore music classes in the music school should focus both on music making and on experience, understanding and evaluating music, as well as on expressing one’s own ideas, feelings and thoughts. In ear training classes it can be achieved through the area of music listening. Didactical initiatives of the 19th and 20th century contributed to the recognition of the advantages of the auditory approach, while technological innovations allowed the practical application of music listening. Although there are examples that point to fostering the emotional experience in music classes, music listening is still focused on giving assignments of cognitive type and learning about music components. Some exceptions pertain to the application of multimodality in music teaching using both musical and extra-musical areas. The paper is aimed at pointing to the value of the cognitive-emotional music listening and to the possibilities it opens in ear training classes. The cognitive-emotional music listening focuses on experiencing, understanding and appreciation of classical music aimed at shaping students’ worldview and improving their music competences. It can be achieved by the multimodal and interdisciplinary approach to a musical piece. Students learn about the musical-historical context of the emergence of a piece in a given time and circumstances, about the composing approach and the theoretical and harmony features of the work, they develop their musical and critical thinking, make music, and evaluate both music and their own achievements. Repeated listening to a musical piece or excerpts from it, observing and familiarizing with the piece from different perspectives and discussion about the piece and experience after listening make it possible to better understand the piece and its specifics, as well as to discover and improve one’s own self and accept others and the different.