Relevant bibliographies by topics / Aural music theory

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Aural music theory'

Author: Grafiati
Published: 4 June 2021
Last updated: 13 February 2022

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Journal articles on the topic "Aural music theory"

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Grey, Alyssa. "Improving Students’ Aural Skills on the AP Music Theory Exam." Music Educators Journal 107, no. 3 (March 2021): 47–53. http://dx.doi.org/10.1177/0027432121994658.

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In the past six years, more than 40,000 students have failed the AP Music Theory Exam. Students have struggled especially when sight-singing or taking melodic dictation in compound meter and minor tonality. Research has shown that students can improve these specific aural skills through learning pitch and rhythm patterns, improvisation activities, and learning from musical literature. This article includes research-based practical applications for helping students improve their aural skills for the AP Music Theory Exam.
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Paney, Andrew S., and Nathan O. Buonviri. "Teaching Melodic Dictation in Advanced Placement Music Theory." Journal of Research in Music Education 61, no. 4 (November 20, 2013): 396–414. http://dx.doi.org/10.1177/0022429413508411.

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In this study approaches to teaching melodic dictation skills used by Advanced Placement (AP) Music Theory teachers were examined. Twelve high school teachers from four states were interviewed. Four themes emerged from the interview transcripts: cognitive frameworks, processing strategies, rhythm, and course design. Participants generally confirmed established understandings of aural skills pedagogy, particularly in areas of pattern instruction, connecting aural and written theory, connecting sight-singing and dictation, incorporating scale degree function, targeting melodic “bookends,” focusing on the big picture, sequencing curricula, and incorporating familiar melodies. Unique to the findings of this study were participants’ positive attitudes toward a standardized test and their concern for the students’ psychological barriers inherent in learning aural skills. A general indifference to rhythm counting systems and a common acknowledgment of students’ difficulties with rhythmic notation also were found. Recommendations for further research include a large-scale survey of melodic dictation strategies taught by AP Music Theory teachers, empirical investigation of the efficacy of specific counting systems, comparison of students’ reported dictation strategies and their success with dictation on the AP exam, and exploration of the influence of psychological fortitude on the dictation process.
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Lehmann, Andreas C. "Using Admission Assessments to Predict Final Grades in a College Music Program." Journal of Research in Music Education 62, no. 3 (August 26, 2014): 245–58. http://dx.doi.org/10.1177/0022429414542654.

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Entrance examinations and auditions are common admission procedures for college music programs, yet few researchers have attempted to look at the long-term predictive validity of such selection processes. In this study, archival data from 93 student records of a German music academy were used to predict development of musicianship skills over the course of a 4-year program. Audition grades for the principal instrument, aural skills, and basic knowledge of music theory were correlated with similar data available for the final exams. Final high school grades also were available. Results indicated moderate correlations between entrance and final grades for aural skills ( r = .69) and music theory (.45). Piano majors did better at aural skills and music theory than other candidates. A positive influence of keyboard proficiency also was found for the nonpiano majors. The correlation between initial and final grade on the principal instrument was dependent on the instrument category: piano (.64), followed by voice (.55), winds (.24), and strings (.05). Stronger academic performance prior to college was associated with superior performance in academic subjects in college, whereas no influence was found for academic strength on students’ principal instrument performance.
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Palmer, C. Michael. "Instrumental Jazz Improvisation Development." Journal of Research in Music Education 64, no. 3 (August 23, 2016): 360–78. http://dx.doi.org/10.1177/0022429416664897.

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The purpose of this exploratory study was to examine the role aural imitation ability, jazz theory knowledge, and personal background variables play in the development of jazz improvisation achievement. Participants ( N = 70) included 26 high school and 44 college instrumentalists with varying degrees of jazz improvisation experience. Data were collected using four researcher-designed instruments: (a) Participant Improvisation Experience Survey (PIES), (b) Improvisation Achievement Performance Measure (IAPM), (c) Aural Imitation Measure (AIM), and (d) the Jazz Theory Measure (JTM). Results indicate that aural imitation ability and technical facility are fundamental skills supporting jazz improvisation achievement. Other contributing factors include improvisation experience, jazz experience, practicing improvisation, perceived self-confidence, self-assessment, and jazz theory knowledge. Further analysis of results led to improvisation being viewed from a developmental perspective and achievement levels being distinguished on a developmental continuum (i.e., novice, intermediate, advanced) based on performance evaluations within musical categories (i.e., rhythm/time feel, harmony, melody/rhythmic development, style, expressivity, and creativity).
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May, Lissa F. "Factors and Abilities Influencing Achievement in Instrumental Jazz Improvisation." Journal of Research in Music Education 51, no. 3 (October 2003): 245–58. http://dx.doi.org/10.2307/3345377.

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The primary purposes of this study were to identify factors underlying instrumental jazz improvisation achievement and to examine the extent to which knowledge of jazz theory, aural skills, aural imitation, and selected background variables predict achievement in instrumental jazz improvisation. Subjects were 73 undergraduate wind players enrolled in college jazz ensembles at five midwestern universities in the United States. Results indicated that objective measurement of instrumental jazz improvisation is possible on expressive as well as technical dimensions. Factor analysis revealed only one factor, suggesting that instrumental jazz improvisation is a single construct. Stepwise multiple regression revealed self evaluation of improvisation as the single best predictor of achievement in instrumental jazz improvisation with aural imitation ability as the second best predictor.
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Buonviri, Nathan O., and Andrew S. Paney. "Technology use in high school aural skills instruction." International Journal of Music Education 38, no. 3 (March 1, 2020): 431–40. http://dx.doi.org/10.1177/0255761420909917.

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In this study, we investigated the use of digital technology for aural skills instruction in Advanced Placement Music Theory (APMT) classes in the United States. Our research questions focused on which technologies teachers use for aural skills, how they incorporate them, and what influences their decisions to use them. We created, piloted, and distributed a survey electronically to a stratified sample by state of 866 instructors. Participants who completed the survey ( N = 317, response rate = 36%) were current APMT teachers representing 48 states. Of the 91% of respondents who used digital technologies for teaching aural skills, 93% used websites, 47% used software programs, and 38% used mobile apps. Participants incorporated technology for student practice outside class (93%) and during class (78%), and to present new material during class (55%). Of those who did not use technologies ( n = 29), 41% cited lack of funds and 34% cited lack of class time. Participants noted that technology can provide extra practice for students and customization for their needs, but that students’ lack of access and limitations of the programs may temper these benefits. Implications for pedagogical practice and music teacher training are discussed.
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Paney, Andrew S., and Nathan O. Buonviri. "Developing Melodic Dictation Pedagogy: A Survey of College Theory Instructors." Update: Applications of Research in Music Education 36, no. 1 (February 13, 2017): 51–58. http://dx.doi.org/10.1177/8755123316686815.

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The purpose of this study was to identify pedagogical approaches to melodic dictation used by college music theory instructors at National Association of Schools of Music accredited institutions. Instructors ( N = 270) from 45 states responded to an online survey targeting melodic dictation instruction in their freshman theory courses. Results indicated that instructors: Chose pitch systems that emphasized scale degree function and rhythm systems that emphasized the meter, acknowledged the difficulty of compound meter for students, and advocated listening to a dictation completely before beginning to write. Respondents also listed the textbooks, software programs, and Web sites they used to supplement instruction and the types of music they chose for dictation assessments. Their replies to free-response questions highlighted several challenges of teaching dictation and aural skills in general. Knowledge of these instructional trends could be helpful when evaluating K–12 music curricula, especially for students who plan to major in music in college. The results of this study may benefit both college instructors and K–12 music educators in that their students face similar challenges and seek corresponding solutions.
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Findlay-Walsh, Iain. "Virtual auditory reality." SoundEffects - An Interdisciplinary Journal of Sound and Sound Experience 10, no. 1 (January 15, 2021): 71–90. http://dx.doi.org/10.7146/se.v10i1.124199.

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This article examines popular music listening in light of recent research in auditory perception and spatial experience, record production, and virtual reality, while considering parallel developments in digital pop music production practice. The discussion begins by considering theories of listening and embodiment by Brandon LaBelle, Eric Clarke, Salomè Voegelin and Linda Salter, examining relations between listening subjects and aural environments, conceptualising listening as a process of environmental ‘inhabiting’, and considering auditory experience as the real-time construction of ‘reality’. These ideas are discussed in relation to recent research on popular music production and perception, with a focus on matters of spatial sound design, the virtual ‘staging’ of music performances and performing bodies, digital editing methods and effects, and on shifting relations between musical spatiality, singer-persona, audio technologies, and listener. Writings on music and virtual space by Martin Knakkergaard, Allan Moore, Ragnhild Brøvig-Hanssen & Anne Danielsen, Denis Smalley, Dale Chapman, Kodwo Eshun and Holger Schulze are discussed, before being related to conceptions of VR sound and user experience by Jaron Lanier, Rolf Nordahl & Niels Nilsson, Mel Slater, Tom Garner and Frances Dyson. This critical framework informs three short aural analyses of digital pop tracks released during the last 10 years - Titanium (Guetta & Sia 2010), Ultralight Beam (West 2016) and 2099 (Charli XCX 2019) - presented in the form of autoethnographic ‘listening notes’. Through this discussion on personal popular music listening and virtual spatiality, a theory of pop listening as embodied inhabiting of simulated narrative space, or virtual story-world, with reference to ‘aural-dominant realities’ (Salter), ‘sonic possible worlds’ (Voegelin), and ‘sonic fictions’ (Eshun), is developed. By examining personal music listening in relation to VR user experience, this study proposes listening to pop music in the 21st century as a mode of immersive, embodied ‘storyliving’, or ‘storydoing’ (Allen & Tucker).
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Larrieu, Maxence. "A Consideration of the Code of Computer Music as Writing, and Some Thinking on Analytical Theories." Organised Sound 24, no. 3 (November 29, 2019): 319–28. http://dx.doi.org/10.1017/s1355771819000384.

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This article focuses on the analysis of computer music, that is, music which uses programming languages so that what the listener hears is the result of computer code. One key point in this article is that this music exists with some writing, that is, the computer code. I note that this key point has not been addressed in the latest theories for analysing computer music. Indeed, we often see this music as part of the electroacoustic field, where the audio signal is essential, and where we usually read that those musics are non-written music. After an introduction on this topic, in the second section I will make a distinction between ‘before the signal’ and ‘from the signal’ to organise the theories to analyse electroacoustic music. In the third section, I will focus on computer music and I will show the historical difficulty in considering ‘code’ in musical analysis, mainly with an important exchange between two pioneers, Marco Stroppa and Jean-Claude Risset. In the fourth section I will explain with Jean-Claude Risset and Horacio Vaggione the specificity of computer music: this music is written. Finally, I will look into a recent analysis theory, the Interactive Aural Analysis by Michael Clarke, which seems to fit with the latter specificity.
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Moreno, Jairo. "The Exhaustion of Authenticity: Biopolitical Aural Regimes and American Popular Music." American Literary History 31, no. 2 (2019): 336–46. http://dx.doi.org/10.1093/alh/ajz013.

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Abstract Jeffrey T. Nealon proposes that “twenty-first-century American biopolitical subjectivity” has as its “overarching logic” an arrangement in which being for something signifies a content-less affirmation: “I’m not like everyone else.” For Nealon, this “excorporative” logic grows out of, coincides with, and exhausts rock music’s discourses of authenticity from the second half of the twentieth century. Today, an endlessly interconnected network emerges in which old forms of cultural “individualism” become ever-interchangeable modes of “hip commodity consumption,” indexing a neoliberal regime that renders “everybody” into “prosumers” (producers-consumers). This review-essay considers the extent and limits of this proposal, querying Nealon’s understanding of listening and aurality and indicating the challenges presented by bypassing the mesopolitical in an effort to outline the macropolitics of consumption and the micropolitics of individuality.
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Dissertations / Theses on the topic "Aural music theory"

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Brent, Timothy. "A Two-Semester Course Sequence for Jazz Ear-Training with Application for Vocal Improvisation." Scholarly Repository, 2008. http://scholarlyrepository.miami.edu/oa_dissertations/110.

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A series of interviews were conducted with Professor Armen Donelian (New School University), Professor Frank Carlberg (New England Conservatory of Music), Professor Gary Keller (University of Miami), Professor Thom Mason (University of Southern California), and Dr. Stephen Prosser (The Berklee College of Music). A comparison and analysis of existing texts whose focus was jazz aural-skill development, in combination with the information gathered from the interviews, as well as the author's personal teaching experience, served as the basis for the creation of a two-semester course sequence for jazz ear-training with application for vocal improvisation. The major content areas found to be most critical for inclusion in the sequence include: rhythm, harmony, improvisation, transcription, dictation, chord progressions, jazz articulation, the blues, guide tones, modified numeric system for chord tone identification, and sight-reading (sight-singing). It is the author's intention that this course sequence help to codify a system of jazz aural-skill development at the college-level that may be implemented in both existing jazz ear-training courses and programs where jazz ear-training courses do not currently exist.
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Davison, Patrick Dru. "The Role of Self-Efficacy and Modeling in Improvisation: The Effects of Aural and Aural/Notated Modeling Conditions on Intermediate Instrumental Music Students' Improvisation Achievement." Thesis, connect to online resource, 2006. http://www.unt.edu/etd/all/Dec2006/Open/davison_patrick_dru/index.htm.

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Janssen, Brett Allen. "A preliminary comparative study of rhythm systems employed within the first-year college aural skills class." Diss., Kansas State University, 2017. http://hdl.handle.net/2097/35392.

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Doctor of Philosophy
Curriculum and Instruction Programs
Frederick Burrack
Phillip Payne
The purpose of this study was to discover whether differences exist in rhythm pattern achievement of the three rhythm systems Takadimi, 1 e & a, and 1 ta te ta in introductory level aural skills classrooms. Participants (N = 27) were first-level aural skills students in three Midwest colleges. Data were collected by implementing a demographics questionnaire to obtain a descriptive profile of the participants, Gordon’s (1989) Advanced Measures of Music Audiation (AMMA) test to obtain the music aptitude level of the participants, and a researcher-designed pretest and posttest. A significant difference was unable to be determined of rhythm pattern achievement between the three systems. However, results revealed improvement of rhythm reading between the pretest and posttest for all rhythm systems. A significant difference was unable to be determined in achievement between students with low and high aptitude following instruction in a particular rhythm system. The improvements in rhythm reading suggest that progress and achievement can be independent of using any of the three rhythm systems, but further investigation with a larger sample is recommended.
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Clavere, Lindsay Gray. "Fanny Hensel's Das Jahr: Emergent Meaning at the Intersection of Textual, Visual, and Aural Modalities." UKnowledge, 2019. https://uknowledge.uky.edu/music_etds/151.

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On Christmas Day in 1841, Fanny Hensel presented her husband with a Christmas gift—Das Jahr—a piano cycle comprised of twelve pieces, each one depicting a month of The Year. Not long thereafter, Fanny and husband Wilhelm would collaborate to create a Gesamtkunstwerk, reworking Das Jahr and expanding it by two additional expressions: vignettes drawn into the score by Wilhelm, and epigrams, snippets of poetry by master German poets. This dissertation seeks to answer the question: “What meaning is achieved by the intersection of the three modalities present in Das Jahr: textual (epigram), visual (vignette), and aural (music)?” The methodology considers the broader texts from which the epigrams are drawn in conjunction with Wilhelm’s vignettes and Hensel’s sonic landscape to arrive at an emergent meaning. An informed musical analysis drawing on formal considerations, contour, metaphor in music, topic theory, and harmonic function has been employed to arrive at the interpretation that will be presented. By analyzing these three modalities in conjunction with one another, a compelling narrative emerges, whereby the words of poets, the artwork of Wilhelm, and the aural world of Fanny conjoin to tell a story, one that relies upon the relationship between text, art, and music.
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Goodman, Todd William. "Part I--Night of the Living Dead, the operaPart II--How Music Sounds: A Comprehensive Guide to the Grammar of Music." Kent State University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=kent1501093066724373.

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Rush, Matthew E. "An Analysis and Performance Guide for Anna Thorvaldsdottir's Aura for Three or Four Percussionists." Thesis, The University of Nebraska - Lincoln, 2018. http://pqdtopen.proquest.com/#viewpdf?dispub=10846156.

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This doctoral document and accompanying lecture recital seek to illuminate and bring clarity to aura (2011) for three percussionists and AURA (2015) for four percussionists by Icelandic composer Anna Thorvaldsdóttir. This composition is examined through a thorough musical and formal analysis to show that there is a guiding force to be found behind the sustained drones and complex bell themes of the piece. A performance guide to reduce the composition’s logistical and musical challenges is included in the hopes that it will shorten the learning curve for a new ensemble as they learn the piece. It is this author’s aim that this resource will make this composition accessible to a wider range of ensembles and thereby bring more exposure to the music of Anna Thorvaldsdóttir.

In addition, biographical information and a survey of the composer’s compositional process and style is included to increase the limited amount of scholarly research that currently exists on Dr. Thorvaldsdóttir and her works.

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Araújo, de Siqueira Matheus. "Listening to Vincent Moon: musical encounters and the cinematic diagram." Doctoral thesis, Universitat Pompeu Fabra, 2018. http://hdl.handle.net/10803/665066.

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This thesis confronts how, in Vincent Moon’s films, experience takes the spotlight in detriment of signification. I formulate that the director, rather than worrying about imbuing his films with an inherited sense, is instead searching that his work may express something unique each time it is encountered. To achieve this, his artistic practice is submitted through a set of procedures that are more in line with the field of sound than that of cinema. By transposing values that are deeply rooted into sound philosophy to film (particularly Listening by Jean-Luc Nancy), Moon’s work criticizes the predominant ocular-centric perspective where meaning and understanding is the ultimate goal. Questioning the implications of such a practice, I relate emerging studies related to sound with Deleuze’s Actual/Virtual circuit and Walter Benjamin’s auratic experience. I conclude by proposing that in Vincent Moon a new form of image surfaces, one that even though in its early stages, should be comprehended through its explosive capacity to deliver an experience and in its intrinsic transient and ephemeral nature—the encounter-image.
Esta tesis se enfrenta a cómo la experiencia es el centro de la atención en detrimento de la significación en las películas de Vincent Moon. Formulo que el director está buscando que su trabajo exprese algo único cada vez que se lo encuentre en vez de preocuparse por imbuir sus películas con un sentido. Para lograr esto, su práctica artística se somete a un conjunto de procedimientos que están más en línea con el campo del sonido que el del cine. Al transponer valores profundamente arraigados en la filosofía del sonido al cine (particularmente A la escucha de Jean-Luc Nancy), el trabajo de Moon critica la perspectiva ocular predominante donde el significado y la comprensión es el objetivo final. Al cuestionar las implicaciones de tal práctica, dialogo con estudios emergentes relacionados con el sonido con lo Actual y lo Virtual de Deleuze, además de la experiencia aurática de Walter Benjamin. Concluyo proponiendo que Vincent Moon propone una nueva forma de imagen, una que debe ser comprendida a través de su capacidad explosiva de ofrecer una experiencia de naturaleza intrínsecamente transitoria y efímera: la imagen-encuentro.
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Wieske, Mark E. "Issues Involved in the Acquisition of Atonal Aural Skills." 2009. https://scholarworks.umass.edu/theses/375.

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Walker, Carolyn A. "Intonation in the Aural-Skills Classroom." 2010. https://scholarworks.umass.edu/theses/483.

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The goal of the thesis is to explain intonation perception and cognition, as well as the vocal mechanism and techniques, to help aural-skills instructors teach vocal intonation skills to students who struggle with intonation. The thesis explores comprehensive information on intonation perception and cognition and introduces basic vocal technique for an over-all understanding of the skills involved with accurate vocal intonation.
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Kobus, Angela Jean. "A remedial aural development programme for advanced music students." Diss., 1996. http://hdl.handle.net/10500/17108.

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The aural development process is governed by the attitude of the teacher, student, the time factor, methodology employed and materials available. This process and the aforementioned contributing factors are explored within the context of the current requirements of the aural and practical musicianship examination syllabi of The Royal Schools of Music, Trinity College and UNISA. Suitable methods are explored which should develop skills enabling the student to deal with sounds and their corresponding symbols, first in isolation then within a musical context with attention to the curriculum, musical skills and personal development of the student within a positive learning situation. Four main areas of development are isolated i.e. rhythm, pitch, harmony and critical ear skills. A suitable development programme is presented in each area focusing on systematic skill development.
Musicology
M.Mus. (Musicology)
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Books on the topic "Aural music theory"

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1962-, Murphy Paul, Clendinning Jane Piper, and Marvin Elizabeth West 1955-, eds. The musician's guide to aural skills. 2nd ed. New York: W. W. Norton, 2012.

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Thackray, Rupert Manfred. The seeing ear: Exercises in aural musicianship. Nedlands, W.A: CIRCME, School of Music, University of Western Australia, 1995.

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Thackray, Rupert Manfred. The hearing eye: An introduction to aural musicianship. [Nedlands, W.A.]: CIRCME, School of Music, University of Western Australia, 1994.

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Toft, Robert. Aural images of lost traditions: Sharps and flats in the sixteenth century. Toronto: University of Toronto Press, 1992.

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1936-, Caudharī Subhadrā, ed. Saṅgītaratnākara: "Sarasvatī" vyākhyā aura anuvādasahita. Naī Dillī: Rādhā Pablikeśana, 2000.

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Snodgrass, Jennifer. Teaching Music Theory. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.001.0001.

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Many innovative approaches to teaching are being used around the country, and there is an exciting energy about the scholarship of teaching and learning. But what is happening in the most effective music theory and aural skills classrooms? Based on 3 years of field study spanning 17 states, coupled with reflections from the author’s own teaching strategies, Teaching Music Theory: New Voices and Approaches highlights teaching approaches with substantial real-life examples from instructors across the country. The main premise of the text focuses on the question of “why.” Why do we assess in a particular way? Why are our curricula designed in a certain manner? Why should students master aural skills for their career as a performer, music educator, or music therapist? It is through the experiences shared in the text that many of these questions of “why” are answered. Along with answering some of the important questions of “why,” the book emphasizes topics such as classroom environment, undergraduate research and mentoring, assessment, and approaches to curriculum development. Teaching Music Theory: New Voices and Approaches is written in a conversational tone to provide a starting point of dialogue for students, new faculty members, and seasoned educators on any level. The pedagogical trends presented in this book provide a greater appreciation of outstanding teaching and thus an understanding of successful approaches in the classroom.
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Musician's Guide to Aural Skills: Sight-Singing. Norton & Company Limited, W. W., 2016.

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The Musician's Guide to Aural Skills: Ear Training. W.W. Norton, 2016.

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Phillips, Joel, Jane Piper Clendinning, and Elizabeth West Marvin. The Musician's Guide To Aural Skills. W. W. Norton & Company, 2005.

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The Musician's Guide to Aural Skills. W. W. Norton & Company, 2004.

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Book chapters on the topic "Aural music theory"

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Andrianopoulou, Monika. "Music theory." In Aural Education, 95–106. Routledge, 2019. http://dx.doi.org/10.4324/9780429289767-9.

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Snodgrass, Jennifer. "Pedagogy of Aural Skills." In Teaching Music Theory, 190–227. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.003.0007.

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There is no academic class where the students and faculty can participate in an active musical experience like the traditional aural skills course. There is a new trend in aural skills pedagogy in that effective teachers are moving away from the focus on just sight singing and dictation to a focus on musical literacy. Topics such as improvisation and error detection are now being taught in the traditional aural skills core, and students are asked to engage with music through contextual listening and creative music making. Traditional methods of solmization and rhythmic reading are still considered to be effective in the aural skills classroom; however, instructors are using these systems in new ways, along with audiation, to create a musical experience that encourages sound before sight.
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Snodgrass, Jennifer. "The Golden Circle." In Teaching Music Theory, 1–14. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.003.0001.

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Everyone knows what they do, but do they know why they do it? This chapter presents the model of the Golden Circle that encourages educators to ask the questions of “why” and “how” well before “what.” The circle also challenges instructors to think carefully about “why” they are implementing certain concepts and strategies in the classroom beyond what may have been previously taught or what is comfortable. Through a better understanding of the trends in the undergraduate theory and aural skills core curriculum and answering the challenging question of “Why do students need to study music theory and aural skills?,” instructors can begin to think about their goals and purposes in teaching today’s undergraduate students.
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"Aural Awareness and Music Theory Training." In Music Technology and Education, 63–74. Routledge, 2014. http://dx.doi.org/10.4324/9781315857862-5.

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Snodgrass, Jennifer. "Teaching Theory on the High School Level." In Teaching Music Theory, 90–124. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.003.0004.

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Only 90 days separate a high school senior from a college freshman sitting in an 8:00 a.m. music theory course. However, in most cases, there is very little interaction between high school teachers and college-level music theory and aural skills instructors. High school music teachers are reaching hundreds of students each day in ensembles and classes and may be one of the greatest resources in better understanding freshmen music majors. These outstanding high school teachers are also extremely effective educators who place emphasis on material that goes well beyond music making and performance, instead focusing on literacy and listening and teaching to the masses. There is much to be learned from their time management skills, emphasis on aural skills and listening, methods of assessment, and integration of ensemble literature that can immediately be transferred to the undergraduate music core.
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Romano, Charlene. "Accommodating Dyslexia in Aural Skills." In The Routledge Companion to Music Theory Pedagogy, 413–19. Routledge, 2020. http://dx.doi.org/10.4324/9780429505584-68.

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Piagentini, Susan M. "Adapting the Aural Skills Curriculum." In The Routledge Companion to Music Theory Pedagogy, 450–58. Routledge, 2020. http://dx.doi.org/10.4324/9780429505584-73.

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Lovell, Jeffrey. "Rethinking Integration in the Music Theory Curriculum." In The Routledge Companion to Aural Skills Pedagogy, 79–98. Routledge, 2021. http://dx.doi.org/10.4324/9780429276392-11.

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Jonker, Alexandrea. "Error Detection in Aural Skills Classes." In The Routledge Companion to Music Theory Pedagogy, 204–10. Routledge, 2020. http://dx.doi.org/10.4324/9780429505584-33.

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Snodgrass, Jennifer. "Why and How." In Teaching Music Theory, 15–49. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190879945.003.0002.

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Abstract:
Administrators and faculty around the country are working together to examine teaching approaches that better meet the needs of the 21st-century music student. These conversations have led to many institutions redesigning their curriculum. However, before any specific curricular decisions are made, the question of “why” changes are needed should be addressed and discussed. Based on several research studies, there are new trends in topics that are taught in both music theory and aural skills, and the ordering of material and the pace vary between institutions. There is no one-size-fits-all curriculum, and it is up to administrators and faculty to better understand the curriculum design that best fits the needs of individual students in their program.
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Conference papers on the topic "Aural music theory"

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Eramo, Giacomo, Alessandro Monno, Ernesto Mesto, Stefano Ferilli, and Mario De Tullio. "AURAL STRUCTURES: MUSIC AS A TOOL TO DESCRIBE CRYSTALS AND THEIR ORIGIN." In 10th International Conference on Education and New Learning Technologies. IATED, 2018. http://dx.doi.org/10.21125/edulearn.2018.1036.

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