5: Aural Skills
- Page ID
- 310491
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)Aural skills (a.k.a. “ear training”) courses are linked to music theory courses on many college campuses. The theory/aural skills sequence generally takes four semesters and begins in the fall of the first year. Many schools offer some sort of fundamentals of music theory course in the first semester for those who are unable to pass a placement test in the summer prior to admission. You do not need to enroll in an advanced placement theory course to be successful with theory and aural skills in college. Those who do so or have been studying piano will certainly have an advantage, but it is not a necessity. There are many online resources available (see Appendix A) to help you get your ears ready for success!
- 5.1: Skills Practiced and Assessed in Aural Skills
- This page outlines the progression of aural skills education, emphasizing the increasing difficulty in tasks like reading, performing, error detection, and dictation. It discusses sightsinging and sightreading as essential skills for musicians to translate notation into sound and vice versa. The text draws parallels between learning music and language acquisition, stressing the importance of understanding musical theory through practical application.
- 5.2: Prepare Yourself!
- The page discusses the foundational aspects of learning music, comparing it to learning a language. It emphasizes the importance of auditory recognition and translation into written notation before entering a degree program. Key concepts covered include symbols of duration in rhythmic notation and understanding meter, with examples of duple and triple meter, as well as simple and compound divisions. Practical examples are provided to illustrate these concepts.
- 5.3: Counting Systems
- This page describes a variety of counting systems used in music education, including Gordon???s Music Learning Theory, Kod??ly, Orff, the Eastman system, and the traditional numbers method, as well as the Takadimi system. Each system focuses on different aspects of rhythm and beat, employing distinct teaching methods and syllables to facilitate learning. Switching between systems is encouraged for aspiring music teachers.
- 5.4: Symbols of Melody/Pitch Notation
- The page discusses the concepts of melody and pitch notation, focusing on the major scale in the key of C, solf??ge singing, chromatic scales, and interval recognition. It introduces the moveable do system, where ???do??? is the key note, and contrasts it with the fixed do system. It highlights the use of solf??ge syllables and hand signs to facilitate learning, mentioning notable educators like Gordon, Kod??ly, and Orff.