The Routledge Companion to Aural Skills Pedagogy

Before, In, and Beyond Higher Education
Routledge (Verlag)
  • erscheint ca. am 19. März 2021
  • |
  • 504 Seiten
E-Book | PDF ohne DRM | Systemvoraussetzungen
978-1-000-35745-5 (ISBN)

The Routledge Companion to Aural Skills Pedagogy offers a comprehensive survey of issues, practice, and current developments in the teaching of aural skills. The volume regards aural training as a lifelong skill that is engaged with before, during, and after university or conservatoire studies in music, central to the holistic training of the contemporary musician. With an international array of contributors, the volume captures diverse perspectives on aural-skills pedagogy, and enables conversation between different regions. It addresses key new developments such as the use of technology for aural training and the use of popular music. This book will be an essential resource and reference for all university and conservatoire instructors in aural skills, as well as students preparing for teaching careers in music.

  • Englisch
  • Milton
  • |
  • Großbritannien
Taylor & Francis Ltd
  • Für höhere Schule und Studium
221 schwarz-weiße Abbildungen, 162 schwarz-weiße Fotos, 53 schwarz-weiße Zeichnungen, 15 schwarz-weiße Tabellen
  • 23,70 MB
978-1-000-35745-5 (9781000357455)
weitere Ausgaben werden ermittelt

Paul Fleet is a Senior Lecturer at Newcastle University (UK) with research expertise in music theory, analysis, and practice.

Kent Cleland is Professor of Music Theory at the Baldwin Wallace University Conservatory of Music in Berea, Ohio (US).

1 The Terrain of Ear-Training across the Globe

Paul Fleet (Newcastle University, UK)

2 Aural Training Within an Integrated Approach to Musicianship Training.

Simon Parkin (Royal Northern College of Music, UK)

3 The Seeing Ear: Towards a Rationale for Dictation.

Gary Karpinski (UMass-Amherst, USA)

4 Attentional Control: A Perceptual Fundamental.

Tim Chenette (Utah State University, USA)

5 Developing an analytical ear through listening-led musical analysis.

Martin Scheuregger (Univ. of Lincoln, UK)

Development of Reading Skills:

6 Integration in the Aural Skills classroom.

Jeffrey Lovell (Lebanon Valley College, USA)

7 The Sing-and-Play.

Samantha Inman (Stephen F. Austin State Univ., USA)

8 Singing with Meaning: A Case Study in Aural-Skills-Training Curriculum

Design aimed at Improving Undergraduate-Performer Understanding of Pitch Function in Tonal Music.

Christopher Atkinson (Royal Academy of Music, UK)

9 Keyboard: A Constant Companion.

Peter Schubert & Justin Mariner (McGill University, Canada)

10 Pitch matching issues in the aural skills classroom.

Jennifer Beavers and Susan Olson (Univ. of Texas at San Antonio, USA)

11 Teaching Aural Awareness in Hong Kong Primary Schools: Use of Drama

Warm-up exercises.

Chi Ying Lam (Royal College of Music Hong Kong)

12 A Good Pair of Ears: Conceiving of and developing aural skills in popular

music education.

Bryden Stillie and Zack Moir (Edinburgh Napier Univ., UK)

13 The tortoise and the magic tree: strategies to develop comprehensive and

holistic music analytical listening skills through the use of "ghost texts."

Anri Herbst (University of Cape Town, South Africa)

14 Keeping it "real": A new aural methodology for the 21st century


Miranda Francis (Royal College of Music, UK)

15 Aural competencies: the electrician's screwdriver.

Christopher Price (Canterbury Christ Church Cathedral, UK)

16 Aural Skills and the University Music Undergraduate.

Colin Wright (Hull University, UK)

17 The Kodály Philosophy: Contemporary Interpretations and Practice.

James Cuskelley (University of Queensland, Australia)

18 Understanding and incorporating Kodaly.

Robin Harrison (Independent Professional, UK)

19 The Solfege of Émile Jaques-Dalcroze.

John Robert Stevenson (Institute for Jacques-Dalcroze Education, USA)

20 Harmonic Schemas in Aural Skills Classes.

Crystal Peebles (Ithaca College, USA)

21 Bending to Real Music: Harmonic Hearing in the Aural Skills Classroom.

Daniel Stevens, Philip Duker, and Jennifer Shafer, (Univ. of Delaware, USA)

22 Musical Analysis and the (Re)construction of a Habitus of Listening.

Jorge Costa, (Univ. of Porto, Portugal)

23 Do- and La-Based Minor Solfège: Towards Conceptual and

Interdisciplinary Reconciliation.

Nathan Lam (Massachusetts Institute of Technology, USA)

24 Starting points for teaching improvisation.

Jena Root (Youngstown State Univ., USA)

25 Understanding Melodic Dictation via Experimental Methods.

David Baker (Louisiana State University, USA)

26 Toward a New Pedagogy for Teaching the Reading of Atonal Melodies.

Kent Cleland (Baldwin Wallace Univ., USA)

27 Your Teacher Cares if You Listen! Teaching students to hear twelve-tone compositions without the score.

Jenine Brown (The Peabody Conservatory of the Johns Hopkins University, USA)

28 Technology Inside, Outside, and as the Aural Skills Classroom.

Trevor deClercq, (Middle Tennessee State Univ.) and Nathan Fleshner, Univ. of Tennessee, USA)

29 Audit: the development of a web-based practice tool for individual note recognition in consonant and dissonant piano chords.

Jonathan Pitkin (Royal College of Music, UK)

30 Clausula vera

Paul Fleet (Newcastle University, UK) and Kent Cleland (Baldwin Wallace Univ., USA)

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