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Journal articles on the topic 'Music Theory/Ear Training'

Author: Grafiati

Published: 8 September 2021

Last updated: 29 July 2025

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1

Zhao, Luying. "Research on Application of Orff Teaching Method in Solfeggio Ear Training Class." Journal of Education and Educational Research 7, no. 2 (2024): 218–20. http://dx.doi.org/10.54097/b1x1vq53.

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Solfeggio and ear training is an important basic discipline to cultivate students' music accomplishment, which bears the responsibility of laying the foundation of students' music theory knowledge and cultivating students' music accomplishment. However, in the actual learning, the traditional solfeggio and ear training teaching method makes students easy to have a sense of boredom, resulting in lower learning efficiency, and cannot achieve the educational goal of improving music literacy. This paper aims to explore the effectiveness of Orff teaching method in improving children's musical abili

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2

Ardiningsih, Dini. "Pengembangan game kuis interaktif sebagai instrumen evaluasi formatif pada mata kuliah teori musik." Jurnal Inovasi Teknologi Pendidikan 6, no. 1 (2019): 92–103. http://dx.doi.org/10.21831/jitp.v6i1.17725.

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Penelitian ini bertujuan untuk menghasilkan sebuah game kuis interaktif sebagai instrumen evaluasi formatif pada mata kuliah teori musik dengan mengadaptasi sebuah game kuis The Impossible Quiz. Game kuis berisi pertanyaan dengan materi teori musik yang dilengkapi dengan ear training. Metode penelitian yang digunakan adalah metode Research and Development model ADDIE yaitu Analysis (analisis), Design (desain), Development (pengembangan), Implementation (implementasi) dan Evaluation (evaluasi). Penelitian dilakukan di Sekolah Tinggi Musik Bandung (STiMB). Kelayakan produk berdasarkan penilaian

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Pesek, Matevž, Lovro Suhadolnik, Peter Šavli, and Matija Marolt. "Motivating Students for Ear-Training with a Rhythmic Dictation Application." Applied Sciences 10, no. 19 (2020): 6781. http://dx.doi.org/10.3390/app10196781.

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We present the development and evaluation of a gamified rhythmic dictation application for music theory learning. The application was developed as a web application in the existing Troubadour platform for music ear training. The focus of the developed application was on user experience and engagement. With regards to the former, we developed a responsive and intuitive user interface; for the latter, we included several gamification elements and assessed the impact on the students’ engagement. We report on students’ experience analysis done through questionnaires and background data collected t

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Green, Edward. "Solfège, Ear Training, Rhythm, Dictation, and Music Theory: A Comprehensive Course." Music Educators Journal 92, no. 4 (2006): 19. http://dx.doi.org/10.2307/3401100.

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Wolf, Anna, and Reinhard Kopiez. "Development and Validation of the Musical Ear Training Assessment (META)." Journal of Research in Music Education 66, no. 1 (2018): 53–70. http://dx.doi.org/10.1177/0022429418754845.

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In the following study, we have developed an assessment instrument for the practice-dependent skill of analytical hearing following a strict test theoretical validation, resulting in the Musical Ear Training Assessment (META). By means of three pilot studies, a developmental study, and a validation study, we verified a one-dimensional test model using item response theory identifying the best 53 items to measure a person’s ear training and analytical hearing skill. For better application, two test versions with 10 and 25 items have been compiled (META-10 and META-25). Aside from psychometric t

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Salim, Michael Nagaku Milenn, and Hanhan Maulana. "Development of an Educational Training Game for Ear Sensitivity of Intervals." International Journal of Informatics, Information System and Computer Engineering (INJIISCOM) 4, no. 1 (2023): 89–100. http://dx.doi.org/10.34010/injiiscom.v4i1.9588.

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This study aims to build a game to help beginner musicians in the process of training ear sensitivity to intervals without involving the teacher in the training process. The software development uses the Multimedia Development Life Cycle (MDLC) method. A software is built in the form of a game that can train the ear's sensitivity to intervals, share knowledge related to intervals, randomize questions and validate answers without involving the teacher in the learning process. The average respondents' answers related to the application were positive. It can be concluded that the development of t

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Carter, Matthew K. "Are Popular Music Curricula Antiracist?: The CCNY Music Department as a Case Study." Journal of the Society for American Music 15, no. 4 (2021): 447–51. http://dx.doi.org/10.1017/s1752196321000316.

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In a recent virtual talk at the Hitchcock Institute for Studies in American Music, music theorist Philip Ewell considered how music educators and researchers might begin to “undo the exclusionist framework of our contemporary music academy.” Ewell's enterprise resonated with me not only as one who teaches undergraduate courses in music theory, history, performance, and ear training, but also as an instructor in a recently adopted Popular Music Studies program at the City College of New York (CCNY). The CCNY music department's shift in focus from a mostly white, mostly male, classical-based cur

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Spears, Amy, Danelle Larson, and Sarah Minette. "Informal music-making among piano bar musicians: Implications for bridging the gap in music education." Journal of Popular Music Education 4, no. 3 (2020): 371–88. http://dx.doi.org/10.1386/jpme_00019_1.

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Recent research in music education has sought to bridge the gap between formal music-making and informal music-making done by many musicians who may have little or no formal musical training. Piano bar musicians fall under the category of musicians who may or may not have had formal musical training but are able to perform covers of a variety of pop songs for live and interactive audiences. Many of them also play multiple instruments. Participants we observed and interviewed in this qualitative study were eight piano bar musicians from various regions of the United States. Key findings include

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Lingjie, An. "Effectiveness Study of Applying Earmaster for Ear Training in Chinese University Students." International Journal of Sociologies and Anthropologies Science Reviews 5, no. 2 (2025): 29–38. https://doi.org/10.60027/ijsasr.2025.5514.

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Background and Aims: Although the use of technology integration in music education in China has gradually increased, there is still a lack of empirical evidence on the use of educational technology, particularly digital tools, in auditory training. Traditional auditory training methods, such as manual practice guided by a piano or teachers, had some educational value; however, in large-scale classroom settings, they were frequently hampered by individual differences, time constraints, and insufficient teaching resources, making it difficult to meet students' individualized learning needs, part

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Карасева, М. В. "Innovative Methodological Ways of Using Modern Electronic Devices for the Purpose of Ear Training and Music Fundamentals." Научный вестник Московской консерватории, no. 4(31) (December 21, 2017): 122–47. http://dx.doi.org/10.26176/mosconsv.2017.31.4.05.

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Статья продолжает тему методики использования аудиовизуальных возможностей современных мобильных устройств (в том числе компактных интерактивных проекторов и портативных систем) и их сочетания с традиционными формами работы на занятиях по сольфеджио и другим музыкально-теоретическим дисциплинам, начатую автором в предыдущей публикации («Научный вестник Московской консерватории», 2016, № 2). Автором найдены различные варианты сочетаний демонстрационных устройств с музыкальными мобильными приложениями — инструментами-симуляторами, нотными редакторами. Описаны примеры комбинирования электронных у

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Lin, Ziyong, André Werner, Ulman Lindenberger, Andreas M. Brandmaier, and Elisabeth Wenger. "Assessing Music Expertise." Music Perception 38, no. 4 (2021): 406–21. http://dx.doi.org/10.1525/mp.2021.38.4.406.

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We introduce the Berlin Gehoerbildung Scale (BGS), a multidimensional assessment of music expertise in amateur musicians and music professionals. The BGS is informed by music theory and uses a variety of testing methods in the ear-training tradition, with items covering four different dimensions of music expertise: (1) intervals and scales, (2) dictation, (3) chords and cadences, and (4) complex listening. We validated the test in a sample of amateur musicians, aspiring professional musicians, and students attending a highly competitive music conservatory (n = 59). Using structural equation mo

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Merchán Sánchez-Jara, Javier Félix, Sara González Gutiérrez, Javier Cruz Rodríguez, and Bohdan Syroyid Syroyid. "Artificial Intelligence-Assisted Music Education: A Critical Synthesis of Challenges and Opportunities." Education Sciences 14, no. 11 (2024): 1171. http://dx.doi.org/10.3390/educsci14111171.

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Artificial intelligence (AI) is a hot topic that presents new challenges and opportunities for the improvement of educational processes. The disruptive and transformative force of this new technological development implies the adaptation of educational ecosystems for its use and integration as a didactic and pedagogical resource. From this perspective, a systematic literature review has been conducted to analyze the didactic potential of generative AI tools in the field of promoting artistic creativity in music education. The research results confirm that the incorporation of AI in music educa

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Hakim, Genoveva Salazar, and Juan Camilo Vásquez Ocampo. "Categorías de análisis tímbrico orientadas al desarrollo auditivo: aproximación desde la espectromorfología y la cognición corporeizada." Percepta - Revista de Cognição Musical 9, no. 1 (2021): 11–18. http://dx.doi.org/10.34018/2318-891x.9(1)11-18.

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In our academic context, study of timbre as a structuring parameter is not a common content in subjects oriented to the development of listening skills (Ear Training, Music Gramatics), except in some analysis scenarios oriented to composition training. Smalley (1994) argues that musical timbre deals with the unfolding and shaping of the sound spectrum, which he summarizes in the term spectromorphology. This approach includes metaphorical terms such as space, movement, and growth, used to describe and analyze the listening experience of electroacoustic music and related instrumental music. Thes

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Karpinski, Gary S. "Reviews of Recent Textbooks in Theory and Musicianship. 3. Aural Skills: Introduction to Sightsinging and Ear Training . Bruce Benward, Maureen A. Carr, J. Timothy Kolosick. ; Basic Ear Training Skills . Robert W. Ottman, Paul E. Dworak. ; Aural Awareness: Principles and Practice . George Pratt." Music Theory Spectrum 15, no. 2 (1993): 241–56. http://dx.doi.org/10.1525/mts.1993.15.2.02a00070.

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Dvornikova, Olga, Sergey Dvornikov, and Andrey Privalov. "Model for developing the creativity based on the psychological training result." Ergodesign, no. 4 (November 18, 2022): 307–14. http://dx.doi.org/10.30987/2658-4026-2022-4-307-314.

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Based on the theory of Markov processes used to describe the learning processes of cognitive systems, a probabilistic model is developed that describes the nature of developing individuals’ creative abilities based on the psychological training results. The stages of developing the theory of creativity are considered, from the standpoint of displaying each person’s creative abilities and intellectual characteristics. The indicators used to evaluate the level of creativity, as well as the reasons and factors that constrain the demonstration of its creative abilities within the framework of the

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Pesek, Matevž, Franc Klavž, Peter Šavli, and Matija Marolt. "Online and In-Class Evaluation of a Music Theory E-Learning Platform." Applied Sciences 12, no. 14 (2022): 7296. http://dx.doi.org/10.3390/app12147296.

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This paper presents a new version and a three-month evaluation of the Troubadour platform—an open-source music theory ear training platform. Through interviews with teachers, we gathered the most-needed features which would aid their use of the platform. In the new version of the Troubadour platform, we implemented different types of interaction, including class management, re-occurring homework and challenges. Previous research has shown a significant improvement in the students’ performance while using the platform. However, the short time span of the previous experiments has not shown wheth

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Tarwiyah, Tuti. "ECE Music Courses in Higher Education: Rhythmic Learning Based on Local Culture Through the Solfeggio Technique." JPUD - Jurnal Pendidikan Usia Dini 17, no. 1 (2023): 134–43. http://dx.doi.org/10.21009/jpud.171.10.

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The lack of learning techniques used by teachers in teaching music in early childhood, especially rhythmic learning, in general teachers only teach rhythm by explaining the value of notes, not using singing, and not connecting it with singing. The purpose of this research is to describe the effectiveness of rhythmic learning using cultural-based solfeggio techniques through lecture assignments. The research method used is descriptive qualitative with an emphasis on exploration. Data collection was taken from the results of the learning value of the rhythmic ensemble which lasted for four meeti

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Sveshchynska, Natalia. "PECULIARITIES OF THE CONCERT MASTER ACTIVITY OF THE FUTURE TEACHER OF MUSIC ART." Academic Notes Series Pedagogical Science 1, no. 192 (2021): 129–32. http://dx.doi.org/10.36550/2415-7988-2021-1-192-129-132.

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The article analyzes the question of the peculiarities of concertmaster activity of future teachers of music art in the process of learning in the class of accompaniment and improvisation and in further practical activities. The author identifies the constituent structural elements in the training of pianist-accompanist in higher educational institutions of art, which is manifested in various aspects of the activities of future professionals. The field of activity for a musician-performer is concertmaster's work, which by its specificity requires from the specialist not only the possession of

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Valiquet, Patrick. "Animating the Object: Marcelle Deschênes and acousmatic education in Quebec." Organised Sound 22, no. 3 (2017): 385–93. http://dx.doi.org/10.1017/s1355771817000553.

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This article examines the early reception of Pierre Schaeffer’s theoretical work in Quebec through the teaching of Marcelle Deschênes, principal author of the first electroacoustic theory and ear training curricula at both Université Laval and Université de Montréal. An account of Deschênes’s educational career is provided, along with remarks on the contents of her early courses in Morpho-typology and her listening workshops for children, using newly excavated primary material from her private archives. While existing scholarship presumes that Schaefferian thinking arrived in Quebec with the ‘

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Li, Shu. "Intelligent Construction of University Music Education Teaching System Based on Artificial Intelligence Technology." Journal of Electrical Systems 20, no. 3s (2024): 530–39. http://dx.doi.org/10.52783/jes.1326.

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The university music education teaching system plays a vital role in nurturing aspiring musicians and music enthusiasts by providing a comprehensive framework for musical learning and development. This system typically encompasses a diverse range of courses, workshops, and performance opportunities designed to cultivate students' musical talents, theoretical knowledge, and practical skills. Through a combination of classroom instruction, ensemble rehearsals, private lessons, and hands-on experiences, students receive a well-rounded musical education that covers various genres, styles, and trad

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Carlier, Alexis, Sébastien Dandrifosse, Benjamin Dumont, and Benoît Mercatoris. "Wheat Ear Segmentation Based on a Multisensor System and Superpixel Classification." Plant Phenomics 2022 (January 28, 2022): 1–10. http://dx.doi.org/10.34133/2022/9841985.

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The automatic segmentation of ears in wheat canopy images is an important step to measure ear density or extract relevant plant traits separately for the different organs. Recent deep learning algorithms appear as promising tools to accurately detect ears in a wide diversity of conditions. However, they remain complicated to implement and necessitate a huge training database. This paper is aimed at proposing an easy and quick to train and robust alternative to segment wheat ears from heading to maturity growth stage. The tested method was based on superpixel classification exploiting features

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Gong, Liang, Xiaofeng Du, Kai Zhu, et al. "Panicle-3D: Efficient Phenotyping Tool for Precise Semantic Segmentation of Rice Panicle Point Cloud." Plant Phenomics 2021 (December 23, 2021): 1–9. http://dx.doi.org/10.34133/2021/9838929.

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The automated measurement of crop phenotypic parameters is of great significance to the quantitative study of crop growth. The segmentation and classification of crop point cloud help to realize the automation of crop phenotypic parameter measurement. At present, crop spike-shaped point cloud segmentation has problems such as fewer samples, uneven distribution of point clouds, occlusion of stem and spike, disorderly arrangement of point clouds, and lack of targeted network models. The traditional clustering method can realize the segmentation of the plant organ point cloud with relatively inde

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Serdaroglu, Emine. "Ear Training Made Easy: Using IOS Based Applications to Assist Ear Training in Children." European Journal of Social Science Education and Research 5, no. 3 (2018): 202–9. http://dx.doi.org/10.2478/ejser-2018-0071.

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Abstract It is an inevitable reality that in all developed countries and in most developing countries, smart phones and tablets are an indispensable part of most children’s lives. There are many discussions and heated arguments on the negative and positive effects of digital technology on the development of children. In this paper, accepting the fact that this technology is a part of most children’s daily lives, it will be questioned whether this technology may be used to reinforce certain components of music education in general classroom and especially in private music studios. In conservato

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Serdaroglu, Emine. "Ear Training Made Easy: Using IOS Based Applications to Assist Ear Training in Children." European Journal of Social Science Education and Research 8, no. 2 (2021): 18–31. https://doi.org/10.26417/9wkb8x74.

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It is an inevitable reality that in all developed countries and in most developing countries, smart phones and tablets are an indispensable part of most children’s lives. There are many discussions and heated arguments on the negative and positive effects of digital technology on the development of children. In this paper, accepting the fact that this technology is a part of most children’s daily lives, it will be questioned whether this technology may be used to reinforce certain components of music education in general classroom and especially in private music studios. In conservatories and

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Folio, Cynthia, and Michael L. Friedmann. "Ear Training for Twentieth-Century Music." Journal of Music Theory 36, no. 2 (1992): 383. http://dx.doi.org/10.2307/843935.

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Adriaan, Josias Tuwondai, and Suryati Suryati. "Pembelajaran Ear Training Berbasis Teknologi dalam Meningkatkan Musikalitas." PROMUSIKA 11, no. 1 (2023): 50–64. http://dx.doi.org/10.24821/promusika.v11i1.8961.

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Ear training atau aural skills adalah latihan keterampilan untuk mengidentifikasi nada melalui kegiatan mendengarkan musik. Penerapan keterampilan ini biasannya dilakukan dengan cara dikte musik secara lisan atau tertulis. Sedangkan teknologi berupa seperangkat komputer atau laptop dengan aplikasi software yang telah dirancang khusus untuk pembelajaran ear training di Program Studi Penyajian Musik FSP ISI Yogyakarta. Media teknologi ini digunakan untuk membantu dosen dalam menyampaikan materi ajar dalam kelas pembelajaran ear training. Penelitian ini bertujuan, pertama, menemukan formulasi tep

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Bogdanova, Milena. "Reflection in the Elementary Music Ear Training." International Journal of Literature and Arts 3, no. 5 (2015): 14. http://dx.doi.org/10.11648/j.ijla.s.2015030501.12.

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Wang, Lin. "The Skill Training of Reading Music in the Teaching of Solfeggio and Ear Training in the New Media Environment." Applied Bionics and Biomechanics 2022 (March 19, 2022): 1–11. http://dx.doi.org/10.1155/2022/8209861.

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Culture is a powerful spiritual force rooted in the hearts of the Chinese people and guides the direction of the Chinese people. Sight singing and ear training are playing an increasingly important role as an important means of music teaching. The article is aimed at studying the latest application progress of music reading skills in audiovisual ear training in the new media environment. This paper proposes the interactive application of music reading skills that integrate new media to realize the interactive communication between man and machine. The experimental results of this paper show th

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Huf, P. A., S. P. Parker, M. P. Corbo, and K. M. Stevens. "Effect of Music Training on Monaural Perception of Pitch and Rhythm." Perceptual and Motor Skills 82, no. 3 (1996): 843–51. http://dx.doi.org/10.2466/pms.1996.82.3.843.

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A monaural study of music perception was conducted on 77 right-handed subjects from a university population. The musical ability of each subject was classified in two ways, according to years of training and by total score for three tests of musical achievement [melody (sequence and excerpt), harmony, and rhythm]. Analysis indicated that subjects with more years of training showed a right-ear dominance for recognition of excerpts but those with high scores had no such dominance. Both groups with either low scores or no formal training had a right-ear dominance for recognition of sequences. Cor

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Marvin, Elizabeth West. "Ear Training for Twentieth-Century Music Michael Friedmann." Music Theory Spectrum 14, no. 1 (1992): 66–74. http://dx.doi.org/10.2307/746081.

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Marvin, Elizabeth West. ": Ear Training for Twentieth-Century Music . Michael Friedmann." Music Theory Spectrum 14, no. 1 (1992): 66–74. http://dx.doi.org/10.1525/mts.1992.14.1.02a00040.

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Lilliestam, Lars. "On playing by ear." Popular Music 15, no. 2 (1996): 195–216. http://dx.doi.org/10.1017/s0261143000008114.

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The vast majority of all music ever made is played by ear. To make music by ear means to create, perform, remember and teach music without the use of written notation. This is a type of music-making that has been little observed by musicology, which has mainly been devoted to notated music. Even in the research on folk and popular music, which has expanded in the last twenty or thirty years, questions of musical practice when you play by ear are rarely treated: how do you learn to play an instrument, how do you make songs, how do you teach and learn songs and how do you conceive of music theor

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Pritchard, William H. "Ear Training." South Atlantic Quarterly 91, no. 3 (1992): 721–38. http://dx.doi.org/10.1215/00382876-91-3-721.

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Kiraly, Zsuzsanna. "Solfeggio 1: A Vertical Ear Training Instruction Assisted by the Computer." International Journal of Music Education os-40, no. 1 (2003): 41–58. http://dx.doi.org/10.1177/025576140304000105.

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The aim of this paper is to describe the process of solfège learning when assisted by computers. The research was conducted in the Länsi-Uusimaa Music Institute in Finland. The study focused on pupils’ attitudes, opinions, motivation, and learning-outcomes using computer-based music learning. We also examined how Solfeggio 1, the new electronic ear-training material, works. Jukka Louhivuori (1990) has examined the didactical questions of computer-assisted music education. He emphasized that learning music with a computer does not mean the replacement of “real” music. The notions of learning an

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Piro, Joseph M. "Laterality Effects for Music Perception among Differentially Talented Adolescents." Perceptual and Motor Skills 76, no. 2 (1993): 499–514. http://dx.doi.org/10.2466/pms.1993.76.2.499.

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To examine the comparative nature of laterality patterns for music perception among differentially talented adolescents, 138 right-handed subjects (56 boys, 82 girls) trained in music, mathematics, and dance, respectively, were tested on dichotic chords and dichotic melodies tasks. Analyses demonstrated that only the musically trained subjects displayed task-dependent ear asymmetry, that is, a left-ear advantage for dichotic chords and a right-ear advantage for dichotic melodies. The mathematically and dance-talented students displayed a left-ear bias for both tasks of music perception. A cont

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Карасева, М. В. "Reflecting on the Ways of Music Education in Russia: New Century Ear Training — First Outcomes and New Prospects." Научный вестник Московской консерватории, no. 4(39) (December 7, 2019): 194–210. http://dx.doi.org/10.26176/mosconsv.2019.39.4.007.

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Статья посвящена вопросам развития профессионального музыкального слуха в контексте потребностей современной музыкальной практики, образования и социокультурных вызовов нового века. Предлагаются авторские методические пути повышения эффективности музыкально-слухового воспитания— через динамическое сочетание традиций и новаций в мелодическом, гармоническом и ритмическом воспитании слуха. Особое внимание уделяется новым аспектам развития музыкального слуха, таким как формирование адаптивных свойств психики музыканта через развитие чувства синестезии. Показаны разнообразные возможности применения

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Карасева, М. В. "Methodology of Synesthetical Ear Training in the Solfeggio Course." Научный вестник Московской консерватории, no. 4(35) (December 19, 2018): 174–85. http://dx.doi.org/10.26176/mosconsv.2018.35.4.09.

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Статья посвящена методическим аспектам рассмотрения феномена синестезии. Автор показывает различные возможности практического применения эффектов синестезии в музыкально-образовательном процессе. Выделены основные психологические ступени работы с музыкальным слухом. Обозначено место и значение работы над синестезийным восприятием в контексте других форм тренировки различных типов музыкального слуха, в частности, стилевого. Раскрывается специфика взаимосвязи синестетических ощущений с эмоциями при восприятии музыки. Представлена таблица ведущих сенсорных субмодальностей (визуальных, аудиальных

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Rothstein, Joseph. "Play It by Ear: Ear-Training Software for IBM PCs." Computer Music Journal 15, no. 3 (1991): 122. http://dx.doi.org/10.2307/3680777.

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Yang, Jing. "Practical Method of Ear Teaching in Universities Based on Digital Music Environment." Learning & Education 10, no. 2 (2021): 52. http://dx.doi.org/10.18282/l-e.v10i2.2265.

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With the rapid development of information technology, information technology is widely used in all walks of life, and the music education in universities is no exception. The modern education technology based on computer technology has had a huge impact on music teaching and is widely used in all fields of music teaching. Using the digital technology means to the college music teaching, and combining with the help of the computer-aided system to form a new teaching mode, it has become an important means to promote the development of the basic college music class teaching. With the continuous i

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Žauhar, Valnea, Sabina Vidulin, Marlena Plavšić, and Igor Bajšanski. "The Effect of Ear-Training Approach on Music-Evoked Emotions and Music Liking." Psihologijske teme 32, no. 1 (2023): 81–104. http://dx.doi.org/10.31820/pt.32.1.5.

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In this study, we examined differences in music-evoked emotions and music liking between two approaches to teaching ear-training in music school. Participants were 423 pupils (60% female; Mage = 10.55 years, SDage = 0.92) in the third grade. In two ear-training lessons prepared either by the standard (STA) or the multimodal and interdisciplinary cognitive-emotional approach (CEA), pupils listened to a 2-minute excerpt from the 4th movement (Allegro con fuoco) of the Symphony no. 9 in E minor, Op. 95 (“From the New World”) by Antonín Dvořák. The Geneva Emotional Music Scale (GEMS-9, Zentner et

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Huang, Wencui, and Rosy Binti Talin. "Student Satisfaction with University Pre-service Music Teacher Training Programs: A Study from Guangxi Province." Malaysian Journal of Social Sciences and Humanities (MJSSH) 10, no. 4 (2025): e003342. https://doi.org/10.47405/mjssh.v10i4.3342.

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Research has shown that music teachers in Chinese middle schools encounter challenges in teaching music; and it is important to evaluate the quality of university-based pre-service music teacher programs preparing future music teachers in these schools. The aims of this study were to a) assess the satisfaction levels with pre-service music teacher training programs at eight Chinese universities in Guangxi Province and b) offer recommendations for music teachers, the universities involved in teacher preparation, and the various stakeholders including administrators, program developers, music ed

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Altenmüller, Eckart O., Marc W. Bangert, Gundhild Liebert, and Wilfried Gruhn. "Mozart in Us: How the Brain Processes Music." Medical Problems of Performing Artists 15, no. 3 (2000): 99–106. http://dx.doi.org/10.21091/mppa.2000.3020.

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The increase of studies on brain activity during music listening and processing has generated a puzzling, and in many instances contradictory, variety of findings. Besides methodological reasons, e.g., different brain imaging procedures and the nature of applied stimuli, other factors must account for the observed variety. The objective of the present paper is to illustrate individual factors influencing brain networks during music processing. In three longitudinal follow-up studies, changes in cortical activation patterns due to long-term ear training, to short-term ear training, and to piano

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Медушевский, В. В. "Performance Theory of Music." Музыкальная академия, no. 3(783) (September 29, 2023): 216–35. http://dx.doi.org/10.34690/334.

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Автор предлагает свой взгляд на теорию музыки, отмечая ее теснейшую связь с исполнительской практикой. Поднимаются вопросы о том, как воспитать чуткий слух музыканта-исполнителя, опираясь на тонкости гармонического анализа; раскрываются оригинальные понятия синергии и вероятия. Автор подчеркивает особую роль цезуры как важнейшего элемента музыкальной ткани, ее отличия от эмфатического акцента, глубинно связанного с гармонией. В статье выдвигаются критерии онтологизма в музыкальном произведении, а также в его интерпретации исполнителем. The author offers his own view on the theory of music an

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Cox, Cathy L. "Ear Training, Solfège and Sound Education." Leonardo Music Journal 26 (December 2016): 44–47. http://dx.doi.org/10.1162/lmj_a_00970.

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Motivated by Marshall McLuhan’s suggestion that advances in technology serve to alter sense perceptions, and that it is the role of artists to be aware of such changes, the author explores intersections and contrasts among five different approaches to the subject and practice of ear training in the context of sound recording technology, with attention to how these approaches serve to expand and challenge traditional ear training pedagogy and what these changes to tradition reveal about how sound recording technology has altered our sense perceptions.

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Aldrich, Elizabeth, and Katherine Teck. "Ear Training for the Body: A Dancer's Guide to Music." Notes 52, no. 4 (1996): 1188. http://dx.doi.org/10.2307/898408.

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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 (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 strategie

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Pechstedt, Polly Henninger, John Kershner, and Marcel Kinsbourne. "Musical Training Improves Processing of Tonality in the Left Hemisphere." Music Perception 6, no. 3 (1989): 275–98. http://dx.doi.org/10.2307/40285590.

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Melodies that had been rated by music professors on degree of tonality and melodiousness were paired with noise and presented dichotically to 48 musically trained and untrained subjects. The subjects' abilities to recognize a transposed version of a melody among four similar choices designed to elicit training differences were compared. Trained subjects showed the greatest performance advantage on tonal, relatively amelodic melodies, indicating that musical training increases effective use of tonality. Neither group showed a laterality effect for correct choices; error patterns revealed latera

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Ren, Dongwei. "Research on the Application of Computer Music Technology in Solfeggio Teaching in Universities." International Journal of Social Sciences and Public Administration 2, no. 1 (2024): 200–207. http://dx.doi.org/10.62051/ijsspa.v2n1.26.

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This paper investigates the potential impact and benefits of integrating computer music technology into solfeggio teaching within university music programs. Solfeggio, as a foundational skill in music education, encompasses sight-singing and ear training, yet traditional teaching methods often encounter challenges in engaging students and providing personalized instruction. The paper explores the theoretical foundations of solfeggio teaching and the role of technology in music education, highlighting the potential advantages of incorporating computer music technology. Specific examples of tech

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Mcpherson, Gary. "Book Review: Musicianship: Ear Training, Rhythmic Reading, and Sight Reading." International Journal of Music Education os-12, no. 1 (1988): 81. http://dx.doi.org/10.1177/025576148801200131.

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Brezina, Pavol. "Perspectives of Advanced Ear Training Using Audio Plug-Ins." Journal of the Audio Engineering Society 69, no. 5 (2021): 351–58. http://dx.doi.org/10.17743/jaes.2020.0029.

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