![]() It’s not hard to hear that the last note creates melodic tension and an expectation: the scale is not finished. The student works on recognizing both ascending and descending melodic intervals, as well as harmonic intervals, the simultaneous sounding of two notes, as in the following example: ![]() Intervals have both a size and quality, for example, a major third. A musical interval is the distance between any two pitches. The first aural skill that a student usually works on is interval recognition. We also consider sight singing as an element of ear training. ![]() The study of ear training is usually divided into several different categories which are similar to the ones we study in music rudiments: intervals, scale types, triads, seventh chords, harmonic dictation, and melodic dictation. You can try it with the musical example above, as well as the ones that follow. If you wanted to get started training your relative pitch, a powerful but simple technique is to simply start singing back what you hear. In fact, anyone who listens to music and can hear the difference between higher and lower notes, has relative pitch – that is to say, everyone. Any music student can train their relative pitch. Relative pitch is our ability to discern the relative distance between notes, as well as the quality of different types of musical elements like scales and chords. Instead, most musicians develop their relative pitch. This skill seems to develop naturally especially with piano and string players who start their practice around the age of five or six, but for students that start music later in life, perfect pitch is an extremely difficult skill to learn. Some musicians develop what is called perfect pitch: the ability to accurately hear and identify pitches by name instantaneously. Conservatories, colleges and universities usually require students to take ear training courses as part of their music programs. In ear training we are developing our inner ear, the ability to accurately hear and identify musical elements in our head while reading, listening to, and thinking about music. Apart from students’ and musicians’ views on training and singing, aspects considered include the role of improvisation, memorisation and notation, examinations, absolute pitch and the affinity with language, all of which have a part to play in the debate about the importance of aural.Ear training is an integral component of our musical studies. Many related issues are touched upon as part of the research for this project, and these emerge as relevant topics in the discussion of aural. The subject is investigated particularly in the light of the current socio-educational background of the past fifty years, which has greatly influenced the participation of music and the study and development of musicianship. By way of the discussion of four empirical studies, two main areas are investigated: firstly, the relationship between university music students’ aural ability and their overall success on a music degree programme, and, secondly, the views of music students and professional musicians about aural and its relevance to their career are analysed. This book assesses the relevance of aural in a university music degree and as a preparation for the professional career of a classical musician. Research indicates that aural skills are vital in developing musical expertise, yet the precise nature of those skills and the emphasis placed upon them in educational contexts merit closer attention and exploration.
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