Aural education : reconceptualising ear training in higher music learning

목차 (Table of Contents)

• CONTENTS
• List of figures = xi
• List of tables = xii
• Series editors' preface = xiii
• Acknowledgements = xv
• 1 Introduction : how it all started = 1
• Personal beginnings = 1
• Teaching `ear training' in higher music education in Greece = 2
• Embarking on research = 3
• Research aim and research questions = 5
• 2 Tracing the history of `aural skills' : solfege and dictation as facilitators of musical learning = 7
• Introduction = 7
• Solmisation as an old and global phenomenon = 7
• Solmisation in the Western world : Guido d'Arezzo = 8
• The use of sol-fa syllables in the modern era = 9
• The practice of dictation = 13
• Solfege and dictation in tertiary music education = 14
• Modern developments = 16
• 3 Current views on `aural skills' teaching : a lively, ongoing discourse = 18
• Introduction = 18
• The perceived value of `aural training' for the 21st-century musician = 19
• Desired aims of `aural training' in the literature = 20
• Problematic aspects of `aural training' = 21
• Suggested changes for higher relevance of `aural training' = 22
• Exploring `aural training' from a different angle = 23
• 4 Aural perception : the human brain, a fascinating sound-processing machine = 28
• Introduction = 28
• How hearing works = 28
• 5 Musical memory : much more than playing by heart = 36
• Introduction = 36
• A short history of memory = 36
• Characteristics of human memory = 38
• Memory and music - a short historical outline = 40
• Musical memory in psychological and pedagogical literature = 41
• 6 Musical mental imagery : the brain's inner musical life = 48
• Introduction = 48
• Musical mental imagery = 50
• Types of musical imagery in the literature = 52
• Uses of mental imagery by musicians for various goals = 59
• 7 Music notation and literacy : bridge or barrier? = 64
• Introduction = 64
• Writing and music = 65
• How musical reading works = 65
• A brief history of Western European musical notation = 66
• Contemporary pedagogical issues = 70
• 8 Implicit and explicit forms of musical knowing : you can only know what you already know = 78
• Introduction = 78
• Implicit (or `tacit') musical knowledge characteristics = 78
• Explicit musical knowledge characteristics = 83
• Musical knowledge as a combination of implicit and explicit processes = 90
• 9 Music theory : music's changing shadow = 95
• Introduction = 95
• A basic history of music theory = 96
• Music theory today : issues of relevance = 97
• Theory at the service of musical understanding = 99
• Theoretical knowledge and musical intuition = 102
• Theory in contemporary formal music education = 103
• 10 Embodied musical knowledge : it's music to my ears - but not only = 107
• Introduction = 107
• The role of the body in engaging with music = 108
• Bodily knowing as a distinct form of knowing = 111
• Bodily and intellectual musical knowing = 113
• Bodily musical knowing as socially, culturally, and historically embedded = 113
• A special case of embodied music perception : deaf musicians = 114
• Music as embodied experience = 114
• 11 Musicality : synonymous with giftedness - or is it? = 118
• Introduction = 118
• Music and musicality as universal phenomena = 118
• Characteristics of musicality = 121
• Different profiles of musicality 122
• Musicality as `giftedness' = 123
• 12 An interview study : exploring non-Western classical views of `aural training' parameters = 129
• Introduction = 129
• `Aural training' parameters through the eyes of non-Western classical musicians = 132
• 13 Moving from `aural training' to aural education : a pedagogy according to the intricate character of the human musical experience = 163
• Introduction = 163
• How humans relate to (Western) music = 164
• Implications for `aural training' 172
• Emerging pedagogical and educational!philosophical principles = 174
• Enhancement of learning transfer = 178
• 14 Enriching aural education with non-Western classical perspectives : more immersion in musical sound, more creativity = 183
• Introduction = 183
• Correlating empirical data with literature findings = 183
• Implications of the interview study for aural education = 184
• Correlations summarised = 195
• Enriched pedagogical principles for aural education = 198
• 15 Reflections and conclusions : thoughts on the way(s) forward = 201
• Recapitulation : from `aural training' to aural education = 201
• Reflections on research choices and processes = 204
• Implications for education = 206
• Looking ahead : areas for further research = 207
• Conclusions = 209
• Appendix = 211
• Bibliography = 219
• Index = 247