My reading has led me to devise something of a series on Aural Development: Print Resources, Tech Resources, Resources for Early Development and finally, Auditory Processing: Information for Music Teachers. It is so vast that I am really just covering the tip of the iceberg currently and would like to further research some paths before I draw any conclusions worth sharing. It is a very broad topic when looking at auditory processing, how it works, what dysfunctions can be present and how we utilise different techniques in order to benefit our students’ musical education. I am still reading through much of the research. I want to learn more and gain more understanding to be a better teacher. Medical journals, text books, auditory processing diagnosis and management specialists and parents with children with auditory processing issues. Why? What happens after the first bar of music that they can’t remember the rest? How can I assist them to increase their aural memory and attention span? What is it specifically that is causing this issue? Rhythmic clapping is mostly ok, as long as it isn’t too long, but adding the melody to remember seems to short out their fuse. In particular this stems from a couple of students who struggle to remember simple short phrases (think 2 bars of 4/4) to sing back. Singing and aural development has always been a part of my teaching but I feel the need to do some further research and find some more tools to work with some specific students. Can you isolate the different instruments in your ear? Can you sing along with the violins? The basses? The flutes? The clarinets? Now listen to some classical piano music.Recently I have been considering the ways I develop aural skills with my students and other alternatives that may be available. Identifying different instruments and parts: Listen to some classical orchestral or chamber music. Ask yourself whether the cadences sound final, or are left unresolved. Listen to the ends of each section the final chords of a section are called the cadence. Now try identifying the changes in chords - it helps to listen to the lowest instruments or the left hand of the piano. Keys, chords, and cadences: While listening to your classical music recordings, try to tell whether the overall key is minor (sad sounding) or major (happy sounding). Can you find the notes of the main, singable melody on the piano? Can you find the second note by ear, on your first try? Listen to the first few seconds of any music recording in your collection. Intervals and melodic training: Have your piano teacher or a friend play middle C, and then another key on the piano. General musical knowledge: How extensive is your collection of classical music? If you hear a classical piece at random, can you tell what era the piece was composed in? Can you tell who the composer is? Can you describe the texture, structure, character, style, and emotional quality of the piece? Here are some elements of aural training that your classical piano teacher may introduce to you. It’s at this point that we can achieve the highest possible degree of musicianship. When we can stop thinking about the score, the notes, the piano keys, and focus only on the sounds we want to create, we can develop a more direct relationship between our inner musical voice and our instrument, the piano. The better trained our ears are, the better we will be able to listen to our own music as we play the piano. Music is also a language, and just as children learn to speak from hearing those around them, aural training in your piano lessons is just as important as learning to read music.Īural training consists of everything related to listening, from the very general practise of listening to music on a regular basis, to the very precise ability to identify individual elements - notes, intervals, chords, rhythms - in the music you are hearing. Music is sound, and the importance of listening and developing your ears cannot be overstated.
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