Journal articles: '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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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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Pasternak, Anetta, and Anna Januszewska. "The importance of Emil Jaques-Dalcroze’s solfeggio to the development of musicality and creative skills in the 1st-3rd-graders of an elementary music school in the light of the authors’ research." Konteksty Kształcenia Muzycznego 7, no. 1(11) (December 31, 2020): 57–78. http://dx.doi.org/10.5604/01.3001.0014.6468.

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The authors of the article present findings of their own pilot study regarding the use of Emil Jaques-Dalcroze’s solfeggio in the development of musicality and creative skills in the 1st-3rd-graders of an elementary music school. The experiment was carried out in the elementary music school in Sucha Beskidzka, based on an original school curriculum encompassing the subjects of “eurhythmics” and “aural training” taught integrally. The aim of the study was to determine efficiency of aural training taught in line with Dalcroze’s method. The research procedure involved the authors’ original test of musical skills, checking the level of tonal sense development, intonation, sense of timing, as well as musical memory, aural-motor coordination, movement expression and creative skills. It aimed to answer the question regarding the extent to which Dalcroze’s exercises, integrating aural, vocal and motor activities, can develop a pupil’s acuity of noticing musical phenomena and improve their musical competences.

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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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Asif Siddiqui, Amina, and Asfia Naseem. "AURAL REHABILITATION OF HEARING LOSS IN ECTODERMAL DYSPLASIA." Pakistan Journal of Rehabilitation 3, no. 1 (January 10, 2014): 19–21. http://dx.doi.org/10.36283/pjr.zu.3.1/007.

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The purpose of the study was to investigate effects of Ectodermal Dysplasia(ED) on an individual’s listening and communication skills; and suggest a suitable habilitation regimen. A case study was conducted to determine the impact of the genetic condition and management approach required for it, at the clinical setting of College of Speech, Language and Hearing Sciences (CSLHS), Ziauddin University, in 2013 over a year. The subject, a 5-year old girl, diagnosed with Hypohydriotic Ectodermal Dysplasia and congenital, Profound Sensorineural Hearing loss, received the Aural-Oral approach for management of listening and communication skills, based on principles of utilizing residual hearing for understanding spoken language, and developing verbal communication skills. The child was evaluated in January 2013 through informal parent-child, clinician-child interactions, and parents were interviewed for the case-history. Communication skills were screened via checklists, observation scales, whilst a norm-referenced measure of receptive-expressive language skills (Pre-school language scale), was administered on completion of a years speech therapy. The child showed remarkable improvement in communications skills within a year, progressing from language age of 12 months to 2;6 years. The Aural-Oral Approach proved to be an effective management option in Hypohydriotic Ectodermal Dysplasia; however, it would vary depending upon severity and type of the condition.

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Baskaran, M. "Aural-Oral Communicative Skills Among Yemeni Secondary Level Students." i-manager’s Journal on English Language Teaching 1, no. 1 (March 15, 2011): 58–63. http://dx.doi.org/10.26634/jelt.1.1.1353.

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Buonviri, Nathan O. "Three Music Education Majors’ Journeys Through Aural Skills 101." Journal of Music Teacher Education 25, no. 1 (October 23, 2014): 95–106. http://dx.doi.org/10.1177/1057083714552328.

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Chen, Chi Wai Jason. "Mobile learning: Using application Auralbook to learn aural skills." International Journal of Music Education 33, no. 2 (May 12, 2014): 244–59. http://dx.doi.org/10.1177/0255761414533308.

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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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Condaris, Christine. "Correlating Methods of Teaching Aural Skills with Individual Learning Styles." ATHENS JOURNAL OF HUMANITIES & ARTS 6, no. 1 (January 1, 2019): 1–14. http://dx.doi.org/10.30958/ajha.6-1-1.

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Hayward, Carol M., and Joyce Eastlund Gromko. "Relationships Among Music Sight-Reading and Technical Proficiency, Spatial Visualization, and Aural Discrimination." Journal of Research in Music Education 57, no. 1 (April 2009): 26–36. http://dx.doi.org/10.1177/0022429409332677.

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The purpose of this study was to examine predictors of music sight-reading ability. The authors hypothesized that speed and accuracy of music sight-reading would be predicted by a combination of aural pattern discrimination, spatial-temporal reasoning, and technical proficiency. Participants ( N = 70) were wind players in concert bands at a medium-sized university in the Midwest. In a regression analysis with music sight-reading as the criterion variable, aural-spatial patterning and technical proficiency explained 51% of the variance, F = 37.34, p < .0001. These results support previous research that suggested that auditory, visual, spatial, and kinesthetic activations occur in coordination when wind players sight-read music notation. The results of the regression analysis suggested that although aural-spatial skills and technical proficiency skills were orthogonal, or separate, they both were essential to the complex task of sight-reading.

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Rana, Kesh, and Karna Rana. "Teaching and testing of English listening and speaking in secondary schools in Nepal: Pretend for praxis?" Journal of NELTA 24, no. 1-2 (November 30, 2019): 17–32. http://dx.doi.org/10.3126/nelta.v24i1-2.27678.

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Secondary English course requires testing of four skills: listening, speaking, reading and writing independently. Secondary Education Examination (SEE) board conducts a written examination, which includes reading and writing skills, through different centres and English teachers are responsible to test students’ listening and speaking tests in their own schools and submit grades to District Education Office. Semi-structured interviews with secondary English teachers in private schools and school graduates investigated how the teachers practice listening and speaking skills in the classrooms and administer aural-oral tests. Findings indicate that private schools in the capital city have mandated English-only for communication in school premises with an expectation to develop students’ English language proficiency. Teachers focused on centre-based written examination and less emphasised the teaching and testing of listening and speaking skills. Teachers’ random assessment of students’ aural-oral skills without formal tests supported in declining the teaching of these skills. This article suggests that for realizing the examination effective, sustainable system needs to be developed for teachers to teach all language skills equitably.

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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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Reifinger, James L. "Teaching Pitch Notation–Reading Skills." General Music Today 33, no. 3 (December 7, 2019): 21–28. http://dx.doi.org/10.1177/1048371319891419.

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The teaching of music-reading skills has been cited as a neglected area of music education needing improvement. Music reading is the process of translating notation into sounds. Producing the notated sounds by singing, more specifically referred to as sight-singing, is especially demanding because it requires the individual to first mentally construct aural images of the sounds, an essential process that is challenging to teach and assess. This article describes a series of activities for teaching music-reading skills in general music or choir, focusing mainly on reading and singing pitch notation, though many of the ideas could also be used to teach rhythm reading. The activities are sequential, are easy to implement, and allow for the assessment of skill acquisition at various stages of development.

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Fournier, Guillaume, Maria Teresa Moreno Sala, Francis Dubé, and Susan O’Neill. "Cognitive strategies in sight-singing: The development of an inventory for aural skills pedagogy." Psychology of Music 47, no. 2 (December 13, 2017): 270–83. http://dx.doi.org/10.1177/0305735617745149.

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This research aimed to identify, describe and categorize cognitive strategies related to sight-singing within aural skills education. Using a constant comparative method, we carried out a thematic content analysis using NVivo to categorize strategies in a broad range of sources, including six interviews, five scientific publications, two professional books, and two ear-training manuals. Findings revealed 72 cognitive strategies grouped into four main categories and 14 subcategories: reading mechanisms (pitch decoding, pattern building, validation), sight-singing (preparation, performance), reading skills acquisition (musical vocabulary enrichment, symbolic associations, internalization, rehearsal techniques) and learning support (self-regulation, attention, time management, motivation, stress). Our cognitive strategy inventory provides a new framework for the study of cognitive strategies in aural skills research, and offers new insights for teachers who implement explicit cognitive strategies within their sight-singing pedagogy.

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Ferris, Dana. "Students' Views of Academic Aural/Oral Skills: A Comparative Needs Analysis." TESOL Quarterly 32, no. 2 (1998): 289. http://dx.doi.org/10.2307/3587585.

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Woody, Robert H. "Explaining Expressive Performance: Component Cognitive Skills in an Aural Modeling Task." Journal of Research in Music Education 51, no. 1 (April 2003): 51–63. http://dx.doi.org/10.2307/3345648.

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This study is an examination of musicians' expressive performances, in an aural modeling task, paying special attention to the skills of goal imaging and motor production. Twenty-five university musicians heard expressive piano excerpts preceded by expressionless “deadpan” versions to use as the bases of comparison. After giving imitative performances of each expressive model, subjects indicated the perceived dynamic and tempo contours of the model by drawing on a chart. Multiple regression analyses were used to explain the dynamic variations of subjects' expressive performances. A theoretical model designated “contextual goal image” consisted of (a) subjects' previous attempts at performing in a deadpan manner (indicating the expressive conventions automatically applied to the excerpts' musical contexts) and (b) their line drawings of what they perceived in the models. Overall, the contextual goal image model explained a large proportion of the variance in performance, indicating the importance of supplementing automatically applied performance conventions with an explicit goal performance plan.

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Edward G. Niedermaier and Kyle Adams. "The Day the Ear Stood Still: Aural Skills with a Theremin." Indiana Theory Review 33, no. 1-2 (2017): 133. http://dx.doi.org/10.2979/inditheorevi.33.1-2.05.

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Dalgleish, Mat. "Wiring the Ear: Instrumentality and Aural Primacy in and after David Tudor’s Unstable Circuits." Leonardo Music Journal 26 (December 2016): 73–74. http://dx.doi.org/10.1162/lmj_a_00966.

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Priest, Philip. "Putting Listening First: A Case of Priorities." British Journal of Music Education 10, no. 2 (July 1993): 103–10. http://dx.doi.org/10.1017/s026505170000156x.

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The encouragement of aural methods should be basic to any fostering of musical experiences and understanding. This basis has been lost in European formal music education largely because of the all-pervading influence of musical literacy. Efforts to retain some importance for the aural experience through examinations have mostly been unsuccessful. If music is primarily an aural experience, then it is this that should govern the work of teachers at all times. A case is presented for both class and instrumental teachers to recognise the importance of psychomotor skills and the value of imitative methods for all pupils, enabling improvisation on all instruments. The argument draws on some examples of teaching and learning from other cultures.

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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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May, William V. "Musical Style Preferences and Aural Discrimination Skills of Primary Grade School Children." Journal of Research in Music Education 33, no. 1 (1985): 7. http://dx.doi.org/10.2307/3344754.

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Kendall, Michael J. "Two Instructional Approaches to the Development of Aural and Instrumental Performance Skills." Journal of Research in Music Education 36, no. 4 (1988): 205. http://dx.doi.org/10.2307/3344874.

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Doerksen, Paul F. "Aural-Diagnostic and Prescriptive Skills of Preservice and Expert Instrumental Music Teachers." Journal of Research in Music Education 47, no. 1 (April 1999): 78–88. http://dx.doi.org/10.2307/3345830.

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This study is an investigation of the aural-diagnostic and prescriptive skills of preservice and expert instrumental music teachers. Specifically, the researcher sought to determine how the two groups compared with respect to evaluations for band performances of different music-difficulty and performance-quality levels. Subjects listened to an audiotape recording that comprised four types of performances: Difficult Music and Excellent Performance, Difficult Music and Average Performance, Moderate Music and Excellent Performance, and Moderate Music and Average Performance. For each performance type, subjects responded to four evaluative areas in the investigator-designed Aural-Diagnostic and Prescriptive Skills Test: performance-quality ratings of nine select music elements, rankings of the nine elements, diagnoses of performance problems associated with the weakest-ranked elements, and prescriptions of rehearsal solutions for the diagnosed performance problems. Results indicate that (a) regardless of performance types, preservice teachers rated Intonation lower than did expert teachers; (b) interactions exist among the four performance types for subjects' ratings of Tone Quality, Intonation, Articulation, and Dynamics; and (c) compared to preservice teachers, a higher proportion of expert teachers ranked Blend/Balance and Musical Interpretation as the weakest- performed music elements.

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Chu, Chi Nung. "Accessible Aural Skills Learning System with Scaffolding Strategy for the Learning Disabilities." International Journal of Rehabilitation Research 32 (August 2009): S53—S54. http://dx.doi.org/10.1097/00004356-200908001-00072.

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Domna, Avramidou, and Makrina Zafiri. "A Case Study of Two Groups of A1 Level Students in English." Education and Linguistics Research 4, no. 2 (November 4, 2018): 78. http://dx.doi.org/10.5296/elr.v4i2.13640.

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This study attempts to examine differentiated instruction and its implications in the teaching of oracy skills to young EFL learners. Within this aim, the EFL educational context investigated upon, was a private language centre in Greece where differentiated teaching approaches were applied to enhance students’ oral and aural skills through the implementation of a task-based pedagogical intervention. Two groups of monolingual Greek students, were tested in English through a pre-test, which was of an A1 level, according to the Common European Framework of Reference for Languages (CEFR). There was a sample of eight students (N=8) in the control group and eight students (N=8) in the experimental group. The control group was taught through a conventional coursebook-based syllabus, whereas the experimental group was taught through differentiated instruction. The comparison between the two groups revealed that the performance achieved by the students of the experimental group was significantly higher. The results, of this research, suggest that the pedagogical intervention used in the experimental group aided the development of students’ oral and aural skills.

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Chappell, Elizabeth. "Research-to-Resource: The Importance of Aural Learning in the Strings Classroom." Update: Applications of Research in Music Education 38, no. 3 (February 24, 2020): 5–8. http://dx.doi.org/10.1177/8755123320908687.

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String musicians put a high priority on ear training in order to be successful on their instruments. Research suggests that delaying music reading to teach by ear does not negatively affect sight-reading performance in the long term, may improve music literacy skills, and also may improve student perceptions of accomplishment. The pedagogy of learning by ear, which is distinctly different than learning by rote, may be unfamiliar to many string teachers, regardless of their experience in the classroom. The purpose of this research-to-resource article is to provide string teachers with strategies to teach repertoire by ear with the intention of strengthening students’ aural acuity, problem-solving skills, and knowledge of the fingerboard.

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Lumbreras, Mauricio, and Jaime Sánchez. "3D Aural Interactive Hyperstories for Blind Children." International Journal of Virtual Reality 4, no. 1 (January 1, 1999): 18–26. http://dx.doi.org/10.20870/ijvr.1999.4.1.2661.

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Interactive stories are commonly used for learning and entertainment purposes and enhance the development of several perceptual and cognitive skills. These experiences are not very common among blind children because most computer games and electronic toys do not have accessible sound interfaces. This study introduces the idea of interactive hyperstories performed in a 3D acoustic virtual world. The hyperstory model enables us to build an application to help blind children to enrich their early world experiences through exploration of interactive virtual worlds by using 3D aural representations of the space. We have produced AudioDoom, an interactive model-based software for blind children. The prototype was qualitatively and quantitatively field-tested with several blind children in a Chilean school setting. Our preliminary results indicate that when acousticbased entertainment applications are carefully applied with an appropriate methodology they can be used without visual cues. We also found that spatial sound experiences can create spatial navigable structures in the minds of blind children. Methodology and usability evaluation procedures and results appeared to be critical to the efectiveness of interactive Hyperstories performed in a 3D acoustic virtual world.

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Harrison, Carole S., Edward P. Asmus, and Richard T. Serpe. "Effects of Musical Aptitude, Academic Ability, Music Experience, and Motivation on Aural Skills." Journal of Research in Music Education 42, no. 2 (1994): 131. http://dx.doi.org/10.2307/3345497.

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Sheldon, Deborah A. "Effects of Contextual Sight-Singing and Aural Skills Training on Error-Detection Abilities." Journal of Research in Music Education 46, no. 3 (October 1998): 384–95. http://dx.doi.org/10.2307/3345550.

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Rathgeber, Jesse. "Hear, listen, play: how to free your students' aural, improvisation and performance skills." Music Education Research 17, no. 1 (December 3, 2014): 121–23. http://dx.doi.org/10.1080/14613808.2014.979579.

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Buonviri, Nathan O. "Effects of Two Approaches to Rhythmic Dictation." Journal of Research in Music Education 68, no. 4 (August 14, 2020): 469–81. http://dx.doi.org/10.1177/0022429420946308.

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The purpose of this study was to investigate the effects of two listening strategies on rhythmic dictation scores. In a within-subjects design, 54 undergraduate music majors completed two-measure rhythmic dictations under each of three conditions: (a) no prescribed approach, (b) required listening before writing, and (c) required writing while listening. The first condition gauged participants’ baseline preference for the approach of the second or third condition. Repeated-measures t tests revealed a significant difference in test scores between the second and third conditions but no significant difference as a function of participants’ preferred strategy. Results suggest that some amount of simultaneous sketching may be helpful to students as they take dictation of rhythms, a common task in aural skills development both in and of itself and as a first phase of melodic dictation. Aural skills instructors should consider the potential benefits of sketching as an anchoring activity during dictation and discuss strategies explicitly with students. Helping high school and college students see how and why various strategies for dictation may be appropriate for particular task parameters can help them integrate component skills of listening, comprehension, and notation most effectively.

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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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Tsabary, Eldad, Danielle Savage, David Ogborn, Christine Beckett, Andrea Szigetvári, Jamie Beverley, Luis N. Del Angel, Jasmine Leblond-Chartrand, and Spencer Park. "Inner Ear: A tool for individualizing sound-focused aural skill acquisition." Journal of Music, Technology and Education 12, no. 3 (December 1, 2019): 261–78. http://dx.doi.org/10.1386/jmte_00010_1.

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Inner Ear is a browser-based aural training software designed to improve and better understand the process and means through which students acquire sound-focused aural skills. Its ongoing development follows educational principles established through years of research with undergraduate music students who major in electroacoustic studies, beginning in 2005. It provides users with ongoing detailed feedback about their performance, areas that need additional work, and an accessible notepad for students to record their insights during practice. It collects data on users’ performance and settings that can later be analysed and shared with their instructor. The design of Inner Ear follows insights that emerged in students’ feedback, provided mostly in home practice reports. Primary among these insights are the needs for individualizable practice environments, diversified exercises, speedy and informative feedback and progress evaluation methods.

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Massery, Laurie, and Claudio Fuentes. "The Use of Videoconferencing and Unprescribed Conversation for Listening Comprehension in L2 Spanish." International Journal of Computer-Assisted Language Learning and Teaching 10, no. 3 (July 2020): 1–15. http://dx.doi.org/10.4018/ijcallt.2020070101.

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The following research investigates the effect that unprescribed1 conversation with native speakers of the target language had on learners' L2 listening comprehension skills at the beginning (n=21) and advanced intermediate levels of Spanish (n=27). Treatment groups completed two-thirty-minute conversations with native speakers via videoconferencing throughout the semester, while the control groups carried out unilateral oral exams using the Canvas course management system. Data was collected using the Avant Stamp Test, an online testing program that is based on the national standards outlined by the American Council on the Teaching of Foreign Language (i.e., ACTFL). The results of the study revealed that learners at the Intermediate I (InterI) level significantly improved as a result of the oral interactions, while the Intermediate II learners (InterII)—who possessed more developed grammatical and lexical skills, as well as overall experience in L2 than their Intermediate I level counterparts—did not significantly improve as a result of the treatment. Although many of the studies in this area of inquiry emphasize the need for guided instruction, explicit strategy and lexical recognition in aural development, it is argued here that unprescribed conversation with native speakers—a much less contrived and more authentic approach to aural acquisition—can also significantly improve listening ability in L2. Therefore, with the present study, the authors contribute to current literature in Second Language Acquisition that centers on aural development and the role of native speaker interaction in learners' auditory growth.

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Furby, Victoria J. "The Effects of Peer Tutoring on the Aural Skills Performance of Undergraduate Music Majors." Update: Applications of Research in Music Education 34, no. 3 (October 31, 2014): 33–39. http://dx.doi.org/10.1177/8755123314556547.

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Hunter, Eric J., Brian B. Monson, and Doug W. Montequin. "Relations Between the Voice and the Ear With Clinical Implications." Perspectives on Voice and Voice Disorders 20, no. 3 (November 2010): 96–104. http://dx.doi.org/10.1044/vvd20.3.96.

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The ear and the vocal mechanism are closely tied. We develop our voice and speech skills with constant aural feedback by making on-line changes in our acoustic output based on our self-perceived acoustic output. The efficacy of the human voice in communicating messages and ideas to others is inevitably dependent upon the human auditory system (of both the listener and the talker). Thus, a basic understanding of the relation of these two mechanisms is fundamental to an accurate assessment of potential vocal issues. The authors will review and discuss some of the relationships between the voice and the ear, the environmental factors that can affect aural feedback in a clinical setting, and the significance of this discussion to the speech-language pathologist.

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Cardany, Audrey Berger. "Using English Language Arts to Teach a Song." General Music Today 30, no. 2 (October 27, 2016): 18–24. http://dx.doi.org/10.1177/1048371316671362.

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Music and reading domains require similar auditory processing skills. Students employ these skills when learning a new song through an oral/aural or rote-teaching approach. In this article, I review literature on the effectiveness of immersion and phrase-by-phrase approaches for teaching a song with or without words. Then, using an amusing analogy, I suggest a process for using the English language arts to teach a song using a rote approach. Two lessons are described that include prompts to aid teachers in analyzing songs to teach music through language.

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Bicas, Rafaela da Silva, Laura Mochiatti Guijo, and Eliane Maria Carrit Delgado-Pinheiro. "Oral communication and auditory skills of hearing impaired children and adolescents and the speech therapy rehabilitation process." Revista CEFAC 19, no. 4 (August 2017): 465–74. http://dx.doi.org/10.1590/1982-0216201719412516.

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ABSTRACT Purpose: to analyze auditory and oral communication behaviors in a group of children and adolescents, users of cochlear implants and to establish a relationship with factors that interfere with aural rehabilitation. Methods: participants were 13 children or adolescents with profound bilateral sensorineural hearing loss. Standardized procedures were applied to check: the auditory and oral communication behaviors of participants and their relationships with the child's age at diagnosis period; the interval between diagnosis and intervention, adaptation onset of the cochlear implant; the hearing age and aural rehabilitation period. Results: statistically significant data were found to correlate the interval between diagnosis and intervention with the scores in the evaluation procedures of oral communication. Conclusion: there was a significant impact on the development of oral communication when the period elapsed between the diagnosis and intervention was analyzed, in such way that the faster the intervention time, the better the results. It was also evident that the earlier the beginning of the use of cochlear implants, the greater the hearing age, and the longer the rehabilitation period, the better the scores in the procedures that evaluated auditory and verbal development.

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Varvarigou, Maria. "Group Playing by Ear in Higher Education: the processes that support imitation, invention and group improvisation." British Journal of Music Education 34, no. 3 (October 17, 2017): 291–304. http://dx.doi.org/10.1017/s0265051717000109.

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This article explores how group playing by ear (GEP) through imitation of recorded material and opportunities for inventive work during peer interaction was used to support first year undergraduate western classical music students’ aural, group creativity and improvisation skills. The framework that emerged from the analysis of the data describes two routes taken by the students, whilst progressing from GEP to group improvisation and it is compared to Priest's (1989) model on playing by ear through imitation and invention. The article concludes with suggestion on how these two routes could be used to scaffold the development of western classical musicians’ improvisation skills.

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Suprapto, Nadi, and Chih-Hsiung Ku. "Investigating University Students’ Preferences to Science Communication Skills: A Case of Prospective Science Teacher in Indonesia." International Education Studies 9, no. 8 (July 26, 2016): 19. http://dx.doi.org/10.5539/ies.v9n8p19.

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The purpose of this study was to investigate Indonesian university students’ preferences to science communication skills. Data collected from 251 students who were majoring in science education program. The Learning Preferences to Science Communication (LPSC) questionnaire was developed with Indonesian language and validated through an exploratory factor analysis (EFA) of participants’ responses. The differences between student levels were also explored for their significance using ANOVA test in order to draw a clear line among different learning preferences. The results indicated that, first, the instrument used in this study had satisfactory in validity and reliability. The construct validities of the LPSC were vary from .48 and .83 and explained 64.54% of the variance. Overall, the Cronbach alpha coefficient of the instrument was .91. Second, university students as prospective teacher in junior and freshman level performed higher preference in visual (V) and aural (A) than others. Moreover, senior student depicted higher confident in read or write (R/W) than junior and sophomore level. However, university student in sophomore level performed less confident in both visual and aural. Third, the results also showed the significant intra-relationships among dimensions of learning preferences. The implications delineated contribute to the improvement of science teacher education program in Indonesia.

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Journal articles on the topic 'Aural Skills'

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