The reliance on the content and order of a music theory curriculum is perhaps most explicit in The Musician’s Guide to Aural Skills ( Murphy et al. Typical music theory topic sequence mapped to recent music theory (left) and aural skills (right) texts In it, 99% of respondents reported engaging in sight singing and dictation in their aural skills courses only two other, closely related tasks were reported by more than 50% of respondents, error detection (61%) and conducting (60.63%) ( 2017, 209).Įxample 1. The overwhelming preeminence of these tasks is reflected in a recent core curriculum survey conducted by Murphy and McConville.
#AURAL THEORY MANUAL#
Chapters in Merritt 2016, for example, are based around “melodies for performance” and dictations Horvit, Koozin, and Nelson 2013 is dedicated entirely to dictation Rogers and Ottman 2019 is focused mainly on sight singing and Karpinski and Kram 2017 is a sight-singing anthology, while the instructor’s manual for Karpinski 2017b gives answers only for its dictations. While textbooks have made admirable strides towards including diverse activities from improvisation to keyboard exercises, virtually all are still focused primarily on sight reading and dictation. The standard approach to organizing an aural skills class is the result of filtering the content and order of a standard music theory curriculum through the two standard aural skills tasks of sight reading and dictation. Other proposals take a more measured approach to integrating perceptual skills with otherwise traditional curricula.Ĭopyright © 2021 Society for Music Theory The more radical proposals call for redesigning aural skills classes to focus on perceptual skills and relocating knowledge-mediated listening to the music theory classroom. Finally, I consider the current state of aural skills instruction and suggest a number of curricular revisions. I propose that a skill is “truly aural” to the extent that it engages working memory with minimal knowledge-based mediation.
A pilot study suggests that focusing on bass lines and schemata may make our harmonic dictation training more relevant to perception.
I examine harmonic dictation as a case study, demonstrating that the system of roman-numeral/inversion-symbol labels can interfere with our ability to determine what exactly students are hearing and can distract students from more directly perceptual goals. 1 lit.KEYWORDS: aural skills, pedagogy, cognition, perception, working memory, attentional control, curriculum, harmonyĪBSTRACT: I argue that current models of aural skills instruction are too strongly linked to music theory curricula. a DSGVO Name _gid Provider Google LLC Retention period Permanent cookie (24 hours) Third country transfer USA guarantee: standard contractual clauses pursuant to Art.
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