Relevant bibliographies by topics / Aural Skills

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

Academic literature on the topic 'Aural Skills'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Aural Skills"

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Hansen, Dee, and Sarah A. Milligan. "Aural Skills." Music Educators Journal 99, no. 2 (December 2012): 75–80. http://dx.doi.org/10.1177/0027432112462894.

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Tsabary, Eldad. "Which Aural Skills are Necessary for Composing, Performing and Understanding Electroacoustic Music, and to what Extent are they Teachable by Traditional Aural Training?" Organised Sound 14, no. 3 (December 2009): 299–309. http://dx.doi.org/10.1017/s1355771809990112.

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This paper reports a study that sought to discover the necessary aural skills for composing, performing, and understanding electroacoustic (EA) music and the extent of their teachability by traditional aural training according to an analysis of a mixed-method (qualitative/quantitative) questionnaire completed by a purposive sample of 15 experts in the field of electroacoustics. The participants evaluated a list of 50 potentially necessary aural skills, which were gathered from skills described in existing, but insufficiently applied, aural training systems and theoretical methods related to aural perception in EA, and provided additional skills they found necessary for EA. The survey revealed that the aural skills deemed the most necessary for EA by the participants were not regarded as sufficiently teachable by traditional aural training and the majority of the skills considered teachable by traditional aural training were not thought of as significantly necessary for the EA musician. Moreover, among the 50 skills listed in the questionnaire 56 per cent were deemed at least very necessary by the participants, with only 18 per cent of them viewed as sufficiently teachable by traditional aural training. The main implication of this study is a pressing need for further development, research, and experimental testing of aural training methods for EA.
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Sweetow, Robert W. "Aural Rehabilitation Builds Up Patients’ Communication Skills." Hearing Journal 68, no. 4 (April 2015): 8. http://dx.doi.org/10.1097/01.hj.0000464224.74169.ae.

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Royal, Matthew S. "Music Cognition and Aural Skills: A Review Essay on George Pratt's "Aural Awareness"." Music Perception 17, no. 1 (1999): 127–44. http://dx.doi.org/10.2307/40285815.

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Baig, Sana, Fareeha Javed, and Fasiha Altaf. "Unveiling Aural/Oral Skills in Grade VIII English Textbook." Global Regional Review V, no. II (June 30, 2020): 155–68. http://dx.doi.org/10.31703/grr.2020(v-ii).17.

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The present study aims to examine the incorporation of aural/oral skills in the Grade VIII English textbook prescribed by the Punjab textbook board (PTBB). The study was conducted in the light of a checklist based on the competencies and students' learning outcomes given in the National Curriculum for English (2006), Pakistan. The competencies intended to enable learners to become fluent in their speech. The study was qualitative, and a thematic analysis approach was used to analyze the data. The findings of the research revealed that contradictory scenario. The textbook understudy does not allow learners to improve their aural/oral skills. The aural/oral competency was seen in some proportion. Still, reiteration was seen in the practice parts in which only dialogues were given repeatedly at the end of each unit of the textbook.
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Griswold, Harold E. "How to Teach Aural Skills with Electronic Tuners." Music Educators Journal 74, no. 5 (January 1988): 49–51. http://dx.doi.org/10.2307/3397983.

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Klonoski, Edward. "Improving Dictation as an Aural-Skills Instructional Tool." Music Educators Journal 93, no. 1 (September 2006): 54. http://dx.doi.org/10.2307/3693431.

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Pomerleau Turcotte, Justine, Maria Teresa Moreno Sala, and Francis Dubé. "Factors Influencing Technology Use in Aural Skills Lessons." Revue musicale OICRM 4, no. 1 (June 26, 2017): 1–16. http://dx.doi.org/10.7202/1040297ar.

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In North America, aural skills (as) are usually taught to children during the instrumental music lessons. While learning musical dictation and sight-singing can be difficult for some learners, the use of appropriate technological tools could facilitate the process. However, the use of information and communication technologies (ict) by music teachers in aural skills instruction to children have not been documented. An online survey was conducted in the Province of Quebec (Canada) in order to answer the following questions: 1) To what extent do instrumental music teachers use ict when teaching as to children between 6 and 12 years old?; 2) Are the teachers’ socio-demographic characteristics, as training and perception of as teaching linked to the use and the frequency of use of ict? The results show that the use of ict to teach as is still relatively uncommon. Furthermore, it would be negatively correlated with age, competence felt during training and perceived competence to teach as. Finally, it appears that a smaller proportion of piano teachers and women use ict, or use them less often. A better understanding of the teachers’ perception of technology could help develop more adapted resources.
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Stanley V. Kleppinger. "Practical and Philosophical Reflections Regarding Aural Skills Assessment." Indiana Theory Review 33, no. 1-2 (2017): 153. http://dx.doi.org/10.2979/inditheorevi.33.1-2.06.

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Klonoski, Edward. "Improving Dictation as an Aural-Skills Instructional Tool." Music Educators Journal 93, no. 1 (September 2006): 54–59. http://dx.doi.org/10.1177/002743210609300124.

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Dissertations / Theses on the topic "Aural Skills"

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Kurtz, Jaclyn. "An Aural Skills Handbook for Modal Music." Kent State University / OhioLINK, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=kent1406587993.

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Hornstein, Daniel L. (Daniel Lather). "Relationships Between Selected Musical Aural Discrimination Skills and a Multivariate Measure of Intellectual Skills." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331803/.

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This study attempted to explore the strength and nature of relationships between specific intellectual information processing skills included in a multi-dimensional model conceived by Guilford, and measured by Meeker's Structure of Intellect - Learning Abilities Test, and specific musical aural discrimination skills as measured by Gordon's Musical Aptitude Profile. Three research questions were posed, which involved determining the strength and the nature of the relationship between MAP melodic, rhythmic, and aesthetic discrimination abilities and the intellectual information processing skills comprising the SOI - LA. Both instruments were administered to 387 fourth, fifth, and sixth graders from schools in the Dallas area. After a pilot study established the feasibility of the study and reliability estimates of the test instruments, multiple regression analysis determined that 10% to 15% of the variance between intellectual information-processing skills and the individual musical aural discrimination abilities was in common (r = +.32 to r = +.39). It was further determined that only six specific SOI intellectual dimensions, all involving the skills of "Cognition" and "Evaluation", were significantly related to the musical aural discrimination abilities. Through the use of the Coefficient of Partial Correlation, the strength of each individual information-processing skill's unique contribution to that covariance was determined. The study indicated that "Semantic" mental information processing skills, involving the ability to recall an abstract meaning or procedure given an external stimulus, play an extremely important part within this relationship. Skills of a "Figural" nature, which involve comprehending either a physical object or an non-physical idea and separating it from other impinging stimuli also enter into the relationship, although not to so high an extent. Finally, it was observed that the dimensions involving an understanding of "Systems", those mental skills which deal with groupings of figures, symbols, or semantic relationships, also was important to the relationship.
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McNeil, Alison Fiona. "Aural skills and the performing musician : function, training and assessment." Thesis, University of Huddersfield, 2000. http://eprints.hud.ac.uk/id/eprint/4749/.

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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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Cribari, Paul Basilio. "A comparison of aural and aural-visual modeling on the development of executive and performance skills of beginning recorder students." Thesis, Boston University, 2014. https://hdl.handle.net/2144/10974.

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Thesis (D.M.A.)--Boston University
The purpose of this study was to compare the effects of aural and aural-visual modeling on the development o f executive and performance skills o f third-grade beginning recorder students. A secondary goal ofmy study was to determine whether music aptitude was a factor in students' responses to modeling condition. Two groups of students received instruction on the soprano recorder and heard musical examples modeled by the instructor. Modeling condition and music aptitude served as independent variables. Executive (i.e., posture, hand position, arm position, and finger position), performance (i.e., fmgerings, airstream, tonguing, rhythmic stability, and improvisation), and composite recorder skills served as the dependent variables. Before implementing the treatment phase, students completed Gordon' s Intermediate Measures ofMusic Audiation (IMMA) (1986a), and I randomly assigned pre-existing classes of third graders to either the aural or the aural-visual modeling treatment. In the aural modeling treatment, recorder instruction was conducted from the back of the classroom, where students were able to hear musical examples as they were performed, but were unable to watch as I manipulated the recorder. In the aural-visual modeling condition, recorder instruction was conducted from the front of the room, where students were able to hear musical examples as they were performed as well as see the teacher manipulate the instrument. At the end of approximately 5 months of treatment, I video recorded participants' executive and performance skills, which were analyzed by two external evaluators and me. Data were then subjected to Analysis ofVariance (ANOVA) to compare the effects of modeling condition and aptitude on the executive, performance, and composite recorder skills of students. There were no statistically significant differences between the executive skills (p =.75), performance skills (p = .46), or composite recorder skills (p = .49) of students in the aural and aural-visual treatments. There were no significant interactions between modeling condition and aptitude level. Music aptitude, however, was found to have a significant effect (p = .001) on the students' performance and composite recorder skills. I concluded that although neither modeling condition was significantly more effective in developing executive and performance skills of third-grade beginning recorder students, an understanding of a student's music aptitude level may prove useful in planning beginning recorder instruction.
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Tsabary, Eldad. "The aural skills acquisition process of undergraduate electroacoustic (EA) music majors in the context of a new aural learning method." Thesis, Boston University, 2013. https://hdl.handle.net/2144/12863.

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Thesis (D.M.A.)--Boston University
Electroacoustic (EA) musicians require aural skills that exist beyond tonality and meter; however, specialized ear training courses for EA music are rare in university and college music programs that offer EA studies (EaSt) in their curricula. Since 2005, this researcher has been developing and teaching EA aural training at a Canadian university in that was inspired by concepts from Auditory Scene Analysis (ASA) studies, primarily integration and segregation. In the 2009/10 academic year, the researcher conducted an action study with his intact EA aural training class of 25 first year undergraduate students majoring in EaSt for the purposes of better understanding and improving the students' aural skill acquisition process. and of refining the teaching and learning sequence. The action study was organized into four cycles of observation, critical reflection, and action, and focused on optimizing and autonomizing the skill acquisition process within the large, varied group. Actions were designed in response to critical reflection on emerging problems, evaluations of students' views about the process, their moods and attitudes, and measurements of students' achievements-with specific attention to eight EA-oriented skills and seven tonal and metric skills. Qualitative and quantitative data gathered from questionnaires, in-class surveys and tests, homework, and competence tests provided evidence of skill acquisition, primarily in loudness discrimination, timbral discrimination, tonal awareness, interval discrimination, meter discrimination, and descriptive ability. The most notable emerging problems in the skill acquisition process were related to the group's variety of ability levels, including imbalances in difficulty levels, in students' level of interest in the activities, and in the all-inclusive effectiveness of the training. The main transformational aspects of the action study were autonomization of the skill acquisition process at home through weekly reflective practice reports and developing a cooperative learning environment in the classroom through regular in-class discussion.
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Lochstampfor, Mark Lewis. "The effects of timbre on aural skills : an exploration of the attributes of timbre and spectral parsing for sounds used in aural training /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487685204968426.

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Buonviri, Nathan. "EFFECTS OF VISUAL PRESENTATION ON AURAL MEMORY FOR MELODIES." Diss., Temple University Libraries, 2010. http://cdm16002.contentdm.oclc.org/cdm/ref/collection/p245801coll10/id/215416.

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Music Education
Ph.D.
The purpose of this study was to determine how pitch and rhythm aspects of melodic memory are affected by aural distractions when melodic stimuli are presented both visually and aurally, as compared to aurally only. The rationale for this research is centered on the need for improved melodic memory skills of students taking melodic dictation, and the possibility that temporary visual imagery storage of target melodies might enhance those skills. The participants in this study were undergraduate and graduate music majors (n=41) at a large northeastern university. All participants had successfully completed the first two semesters of college-level music theory, and none had perfect pitch. Participants progressed through two self-contained experimental tests at the computer. Identical target melodies were presented: 1) aurally only on one test; and 2) aurally, with visual presentation of the matching notation, on the other test. After the target melody, a distraction melody sounded, during which time participants were to maintain the original target melody in memory. Participants then chose which of two aural options matched the original target, with a third choice of "neither." The incorrect answer choice in each item contained either a pitch or rhythm discrepancy. The 2x2 factorial design of this experiment was based on independent variables of test presentation format and answer discrepancy type. The dependent variable was experimental test scores. Each participant took both parts of both tests, yielding 164 total observations. Additional data were collected for exploratory analysis: the order in which each participant took the tests, the major instrument of each participant, and the educational status of each participant (undergraduate or graduate). Results of a 2x2 ANOVA revealed no significant differences in test scores, based on either test format or answer discrepancy type, and no interaction between the factors. The exploratory analyses revealed no significant differences in test scores, based on test order, major instrument, or student status. Results suggest that visual reinforcement of melodies does not affect aural memory for those melodies, in terms of either pitch or rhythm. Suggestions for further research include an aural-visual melodic memory test paired with a learning modalities survey, a longitudinal study of visual imagery applied to aural skills study, and a detailed survey of strategies used by successful and unsuccessful dictation students.
Temple University--Theses
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La, Reau Marcia Ann. "An auralization-based curriculum as a methodology for advanced aural skills training for wind band conductors /." The Ohio State University, 1989. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487672245899952.

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Doerksen, Paul Frederic. "A study of the aural-diagnostic and prescriptive skills of preservice and expert instrumental music teachers /." The Ohio State University, 1994. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487850665557913.

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Books on the topic "Aural Skills"

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Merritt, Justin, and David Castro. Comprehensive Aural Skills. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814.

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Bailey, Wayne. Aural skills for conductors. Mountain View, Calif: Mayfield Pub. Co., 1992.

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Cleland, Kent D., and Mary Dobrea-Grindahl. Developing Musicianship through Aural Skills. Edited by Kent D. Cleland and Mary Dobrea-Grindahl. Third edition. | New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429020230.

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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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Frank, Pialorsi, ed. Advanced listening comprehension: Developing aural and notetaking skills. 3rd ed. Boston, Mass: Thomson Heinle, 2005.

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Dunkel, Patricia. Advanced listening comprehension: Developing aural and notetaking skills. 2nd ed. Pacific Grove: Heinle & Heinle Publishers, 1996.

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Mason, Thom David. The art of hearing: Aural skills for improvisers. [Los Angeles, CA]: Music LTD, 1995.

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May, William Vernon. Musical style preferences and aural discrimination skills of primary grade school children. Ann Arbor, Michigan: University Microfilms International, 1985.

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Cleland, Kent D. Developing musicianship through aural skills: A holisitic approach to sight singing and ear training. New York: Routledge, 2010.

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Mary, Dobrea-Grindahl, ed. Developing musicianship through aural skills: A holisitic approach to sight singing and ear training. New York: Routledge, 2010.

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Book chapters on the topic "Aural Skills"

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Merritt, Justin, and David Castro. "Compound Meters, Advanced Beat Patterns." In Comprehensive Aural Skills, 52–56. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814-10.

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Merritt, Justin, and David Castro. "Asymmetrical and Mixed Meters." In Comprehensive Aural Skills, 57–62. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814-11.

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Merritt, Justin, and David Castro. "Steps within the Major Scale." In Comprehensive Aural Skills, 65–73. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814-13.

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Merritt, Justin, and David Castro. "Steps within the Minor Scale." In Comprehensive Aural Skills, 74–80. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814-14.

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Merritt, Justin, and David Castro. "Leaps within the Tonic Triad (Major and Minor)." In Comprehensive Aural Skills, 81–88. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814-15.

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Merritt, Justin, and David Castro. "Leaps within the Dominant (Seventh) and vii°." In Comprehensive Aural Skills, 89–97. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814-16.

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Merritt, Justin, and David Castro. "Further Diatonic Leaps." In Comprehensive Aural Skills, 98–106. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814-17.

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Merritt, Justin, and David Castro. "Stepwise Chromatic Tones." In Comprehensive Aural Skills, 107–14. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814-18.

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Merritt, Justin, and David Castro. "Motion to the Dominant." In Comprehensive Aural Skills, 115–23. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814-19.

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Merritt, Justin, and David Castro. "Introduction to Simple Meters." In Comprehensive Aural Skills, 3–8. Second edition. | New York: Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9780429275814-2.

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Conference papers on the topic "Aural Skills"

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Uchida, Rika. "Aural Skills Pedagogy: Harmonic Dictation for Students with Absolute Pitch." In 2nd International Conference on Research in Teaching and Education. Acavent, 2020. http://dx.doi.org/10.33422/2nd.rteconf.2020.03.45.

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Uchida, Rika. "Aural Skills Pedagogy: Harmonic Dictation for Students with Absolute Pitch." In 2nd International Conference on Research in Teaching and Education. Acavent, 2020. http://dx.doi.org/10.33422/2nd.rteconf.2020.03.45.

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Reports on the topic "Aural Skills"

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Knowledge and Skills Required for the Practice of Audiologic/Aural Rehabilitation. Rockville, MD: American Speech-Language-Hearing Association, 2001. http://dx.doi.org/10.1044/policy.ks2001-00216.

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